I’ve tested more than 50 Bluetooth speakers, and whenever I review a new model, there are a number of factors to consider. Do its features rival the competition? Can its design merge beauty with practicality? Is it actually worth the asking price? But one question is more important than any other: does it genuinely sound good?

This raised a deep curiosity within me. What if a Bluetooth speaker was judged on sound alone, with elements such as pricing, brand reputation, and looks holding no influence on people’s perception of quality? Well, I decided to find out for myself, and blindfolded four of my colleagues for a blind speaker test.

I played a 30-second snippet of a track, asked listeners to make notes, and when each speaker had been tested, I got my participants to rank each speaker from 1 to 5 (with 1 being the best, and 5 the worst). We repeated this process across five different tracks, each spanning a range of genres, in order to determine which sounded the best.

A few things to run through before we get into the results, though. The volume of the speakers were all equalized, but I ensured not to push them above 80% volume, in order to limit distortion and compression. Each speaker was also set to its default EQ, and tracks were streamed from a single source device over Spotify. Also, my listeners had no prior knowledge of the speakers involved in the test, so as to cancel out any prejudices or prior experiences they may potentially hold.

I decided to use five speakers in a very similar size category: the JBL Go 5, the IKEA Kallsup, the Bose SoundLink Micro Gen 2, the Edifier ES20, and the Ultimate Ears Miniroll. Some have a higher power output than others and some are considerably cheaper (or pricier) than others. And some sit in our guide to the best Bluetooth speakers, while others have fallen short. But interestingly, rankings varied quite a fair bit depending on the track and listener involved.

Curious to find out who came out on top? Here’s how our listeners ranked each speaker across each track, as well as the final scores.

Track 1: Fascinator by Max Dean

I started with a house track, Fascinator by Max Dean. I asked participants to listen to a short lead up to some sub-bass, and while I emphasized that the small models wouldn’t produce roaring power, I asked them to assess how well the speakers manage it. When the drop came in, I also asked them to judge how controlled and precise drums sounded in the treble range.

The results were pretty interesting here. Our cheapest option, the $10 / £5 IKEA Kallsup was the clear loser, with one listener, Caspar, noting ‘tinny’ highs and underwhelming bass — a sentiment generally shared across the board. It was quite close between JBL and Edifier here, with some listeners noting a slight lack in low-end impact, but improved mid-range performance and tighter treble.

However, the clear winner was Bose, which ranked 1st with all of our participants — and spoiler alert, this was the only instance of a unanimous verdict across the entire experiment. One listener, Ashley, noted how the track sounded ‘balanced with no distortion’ with others including Josh and Erin highlighting meatier bass and a pleasingly warm tone.

Track 2: Orphans by Cero

I changed up the vibe for Track 2, and played a snippet from the jazz-infused indie pop track Orphans by Japanese band Cero. Vocals are meant to be slightly forward, so I asked listeners to determine how well the speakers captured this, while also prompting them to judge how well-balanced percussion and guitars were in the mix.

The Kallsup unfortunately finished in last place once more, with Josh highlighting ‘rolled off’ vocals and unclear guitars in the mid-range. However, the JBL Go 5 wasn’t far in front, with Erin noting ‘lifeless guitars’.

The Edifier ES20 and UE Miniroll performed well, though, with participants highlighting better balance across the frequency range, warmer and more prominent vocals, and cleaner bass. The SoundLink Micro Gen 2 took the win once more, though, with an emphasis on clearer, more tonally accurate guitars, well-defined vocals, and more articulate percussion.

Track 3: The Girl From Ipanema by Stan Getz

I wanted to try out something softer next, so I went for the legendary Bossa Nova track, The Girl From Ipanema by Stan Getz. I requested my blindfolded colleagues to tune into the separation between guitars and vocals, the subtlety and texture of vocals and percussion, and control of the double bass. And this is where things got really interesting.

Surprisingly, Bose, which had been bossing it so far, finished in a lowly 4th place here, with listeners generally expressing disappointment with the speaker’s overemphasized bass and slightly unrefined treble response.

However, one thing remained the same, as the IKEA Kallsup came in 5th place. In fact, this was the only occasion in which every listener decided the Kallsup was the worst performer, with Erin writing: ‘No. What? What is this? It sounds like there’s a horde of bees trying to escape.’ Ouch.

Our champion this time out was the Edifier ES20, a speaker which I’ve often championed for its supreme mid-range clarity. Listeners appreciated this model’s beautifully balanced presentation, textured and controlled double bass, and detailed vocals. The UE Miniroll and JBL Go 5 finished 2nd and 3rd respectively, with our participants widely noting their relatively expansive interpretation of the track, and talking up their crisp, textured handling of vocals.

Track 4: Come On, Come Over by Jaco Pastorius

But how did the speaker manage a busier, more chaotic mix? I threw on Come On, Come Over by Jaco Pastorius, a funky, high-octane track that has it all. Participants were told to listen for the aggressiveness and clarity of horns, the quality of the track’s mid-bass punch, and how the speakers manage the swathe of instruments and vocals.

And it seemed that in this test, order was restored to how it had been up until Track 3. Bose came out on top, with Ashley praising the speaker’s balanced approach and Caspar highlighting the SoundLink Micro Gen 2’s impactful low end and enhanced vocal clarity. However, the Edifier ES20 and UE Miniroll did run Bose very close indeed. Participants enjoyed the tonality of the vocals, the decently open soundstage, and solid separation on offer.

IKEA’s Kallsup fell to last place, however, largely due to its unregimented bass and tinny mids. Meanwhile, listeners also felt that the JBL Go 5 struggled with the business of the tune, though some did highlight solid clarity in the treble range.

Track 5: Black Eye by Allie X

With Track 5, I wanted to assess the portable speakers’ handling of dynamics, so I went with an electronic song from TechRadar’s reference playlist, Black Eye by Allie X. Colleagues were asked to hone in on the attack of strings in the beginning of the snippet, and assess the control and dynamism of the bass and its impact, as well as the breathiness and detailing in the vocals.

And this was an incredibly close battle between Bose, Edifier, and Ultimate Ears. Bose just about managed to top the podium, with Erin delighted with the ‘dramatic strings’ and ‘expansive vocals,’ and Caspar highlighting dynamic bass and ‘nice balance between vocals and instruments’.

Josh’s favorite was the ES20, stating that vocals were ‘wonderfully conveyed’ and that bass was ‘punchy yet controlled’. Ashley, however, liked the UE Miniroll the most, arguing that it offered the cleanest low-end and most articulate vocals of the bunch.

But the poor Kallsup finished in 5th once more. Muted synths, a lack of texture and kick in the low-end, and recessed vocals left our listeners wanting more.

Final results: and the winner is…

So, the experiment drew to a close. Our listeners handed over their final scores, and I totaled them up to discover which speaker was king on sound alone. And the winner was… the Bose SoundLink Micro Gen 2!

Was I surprised by the result? Well, not entirely. I personally think this is a great-sounding small speaker, and its ability to produce meatier bass than much of the competition, alongside more precision in the treble range and clearer separation was all it needed to scoop up top spot.

What’s important to recognize, though, is that Bose’s small speaker is far pricier than all of the competition. It has a list price of $129 / £119.95, and while it certainly produces the goods in terms of sound, that’s an awfully high price tag given that you can nab larger, meatier, and more feature-rich models at that cost — the JBL Flip 7 is probably the first that comes to mind.

I was surprised, however, that the Edifier ES20 did so well. Josh selected the ES20 as his overall favorite, and it continually competed closely with Bose throughout, even topping the table in Track 3. In the UK, it’s less than half the price of the Bose SoundLink Micro Gen 2, but you really wouldn’t think so. Its composure and clarity in the mid-range is exceptional, and it has enough warm bass and controlled treble to keep more energetic tracks sounding as they should. If you want value for money, I think this model is absolutely worth checking out.

Another standout was the UE Miniroll, which Ashley picked out as her personal favorite. It continued to plate up clear mids and bass throughout, and I think it earns its relatively modest price.

Some may be surprised to see the JBL Go 5 a bit off the pace in 4th, but I still think it produced a solid performance across the experiment considering its limitations. It has a weaker power output than the top 3 speakers, which limits its ability to provide the drive and low-end might that others can. And although it could’ve offered slightly better separation, it's still a great small speaker given its low asking price of $54.95 / £39.99.

I felt very sorry for the IKEA Kallsup, which was regularly placed last by each of our participants. However, in the IKEA speaker's defense, not only does it have the lowest power output of the bunch (at just 3W), but it’s just $9.99 / £5. Yes, it's extremely cheap, and so the fact that it occasionally squeaked 4th place here and there is impressive in itself.

Check out the final table below, where you can see the final scores and rankings for each speaker, as well as their typical asking price. Were the results as you expected? Let me know in the comments!

Q Acoustics 3040c review: Two-minute review

The 3040c is the smaller of two floorstanding speakers in Q Acoustics' celebrated 3000c range — it’s the fifth and final 3000c model, and it’s arguably the best of the lot.

For £599 or equivalent, depending on where you reside, you'll receive two reasonably compact, elegant and nicely finished cabinets (available in four different finishes) with optimised point-to-bracing inside and a three-strong driver array on the outside.

Two 120mm mid/bass drivers sandwich a 22mm soft-dome tweeter that’s decoupled from the rest of the cabinet — and with some input from a rear-firing bass reflex port, a claimed frequency response of 43Hz - 30khz is the result.

Sensitivity of 88dB means you don’t need all that burly of an amplifier to drive these Q Acoustics speakers effectively.

And when they’re being driven effectively, there’s plenty to like in ultimate terms and even more when you keep the price of these speakers uppermost in your mind. They’re a balanced, poised and expressive listen, good at soundstaging, better at maintaining a convincing tonal balance, and best of all when it comes to detail retrieval.

Some of the best stereo speakers on the market? Yes. OK, they could do with a touch more dynamic headroom and a slightly more assured method of expressing rhythms, but really I’m tempted to ask what more you might realistically hope for when listening to a pair of compact, well-made floorstanders for this money…

Q Acoustics 3040c review: Price & release date

• $1,099 / £599 (around AU$1,140, based on UK pricing)
• Released July 30, 2026

The Q Acoustics 3040c passive floorstanding loudspeakers are on sale now, and in the United Kingdom a pair will cost you £599. This translates to €899 in the Eurozone and £1099 in the United States (yes, a little pricier in the States) while prices for other territories, including Australia, are yet to be confirmed.

Competition? You'd really be looking at bookshelf speakers for anything as affordable as this from a trusted name — and let me be clear, Q Acoustics is one such name. So, it's a lot of speaker (and speaker tech) for the price.

Q Acoustics 3040c review: Features

• 22mm soft dome tweeter
• 2 x 120mm Continuous Curved Cone mid/bass driver
• 43Hz - 30kHz frequency response
• 88dB sensitivity

No one’s expecting a whole lot of features when it comes to reasonably affordable passive loudspeakers, which is just as well given the Q Acoustics 3040c have just the essentials.

As is the company’s standard operating proactive, though, these few features are completely fit for purpose.

On the inside, Q Acoustics has used its targeted ‘point-to-point’ bracing technology — having identified those areas of the cabinet that are prone to low frequency vibrations, ‘P2P’ reinforcement seems to minimise those vibrations and produce a cleaner, better focused soundstage as a result. It’s also deployed ‘Helmholtz Pressure Equalisers’, a series of tubes that minimise internal pressure; this reduces the build-up of standing waves inside the cabinet and keeps sonic colouration to a minimum as a result.

At the rear of the cabinet there are a couple of very low-profile speaker binding posts, positioned just below a fairly large bass reflex port. Q Acoustics provides foam bungs for the ports — so feel free to experiment with the position of the speakers and the effect of the bungs too.

Up front there are three drivers that are familiar from some of the more expensive model ranges in the Q Acoustics line-up. Here, a decoupled 22mm soft-dome tweeter is positioned between two 120mm mid/bass drivers — these are of the ‘continuous curved cone’ design that made its debut much further up the Q Acoustics loudspeaker range.

‘‘C³’ is designed to combine the low-frequency response of a straight conic cone with the control and clarity more commonly associated with a flared cone design. It’s a straightforwardly impressive design with, at this point in time, nothing to prove.

• Features score: 5 / 5

Q Acoustics 3040c review: Sound quality

• Full-scale sound with drive and poise in equal measure
• Great facility with detail retrieval
• Could use greater dynamic impetus

Every audio product reviewed at TechRadar (and there are myriad options) has be put into proper context, of course — and so while I’m going to open this section with a couple of mild-ish criticisms, it’s important to remember that these are relatively affordable floorstanding loudspeakers that are likely to form part of a relatively affordable stereo system. Agreed? Good.

So when playing a copy of Phoebe Bridger’s Lost Boys the 3040c don’t have quite the dynamic potency to track the changes in volume or attack quite as fully as they might. They can do more than allude to changes in intensity, of course, but they don’t put quite as much distance between ‘minimum’ and ‘maximum’ as is absolutely ideal.

And while I’m finding fault, there’s no denying the Q Acoustics don’t quite have the instinctive flow that’s required to fully express a rhythm or manage a tempo. Control of low-frequency activity is never in any doubt, and there’s no suggestion the speakers can drag at the rhythm of a recording — but there’s no denying the 3040c could sound more fluent, especially when asked to play overtly rhythm-based material.

But with this griping out of the way, I can concentrate on all the ways the 3040c is straightforwardly impressive.

It’s a very nicely balanced listen where tonality and frequency response are concerned, for starters. Previous Q Acoustics loudspeakers have tended to err on the warm-ish side of neutral when it comes to tonality, but the 3040c is not at all inclined to stick its oar in — any heat (or lack thereof) in the sound you’re experiencing is there before it reaches the speakers, either in the recording or in the source equipment that’s delivering it.

The speakers are poised and even from the bottom of the frequency range to the top; there’s no overstating of any part and no underplaying, just a smooth and balanced representation. The integration of the drivers is first class, and the point at which handover from the bigger drivers to the tweeter takes place is imperceptible.

As well as the low-frequency punch and substance I mentioned, the Q Acoustics deal with the attack and decay of bass information fairly confidently — and they’re just as adept when it comes to midrange resolution. The 3040c are a detailed listen in every respect, and this manifests itself particularly where voices are concerned. There’s plenty of information about timbre and texture made apparent. At the top end there’s similar alacrity, and more than a hint of bite and shine — but with the substance to ensure treble sounds are never hard or edgy.

Despite the lack of ultimate dynamic headroom, the Q Acoustics do good work with the more minor, but no less significant, dynamics of tonal and harmonic variation. They can identify and reveal even very fleeting and/or subtle occurrences in a recording, and coherently lay them out as part of the overall presentation. If there are details embedded in a recording, the 3040c do their utmost to get them to you.

• Sound quality score: 4.5 / 5

Q Acoustics 3040c review: Design

• 942 x 285 x 281mm (HxWxD)
• Magnetically attached grilles
• Choice of four finishes

You have to hand it to Q Acoustics: the 3040c look, and even to an extent feel, like much more expensive loudspeakers than they actually are.

The standard of build and finish is excellent, and even the vinyl wrap that covers the MDF cabinets of my ‘Claro’ walnut review sample is a cut or two above the norm — and I am confident that is also the case if you prefer the ‘pin’ oak, satin white or satin black alternatives.

The 942 x 285 x 281mm (HxWxD) dimensions mean the proportions of the cabinet are harmonious. That ‘width’ measurement includes the small aluminium stabilisers that fit to the back of each cabinet and make it less susceptible to rocking or, heaven help us, toppling. The look of the cabinet is further enhanced by the crisply rendered curves along each horizontal edge.

Q Acoustics supplies magnetic grilles, but for my money you’re better off leaving them in the packaging and enjoying the sight of the driver array instead. The satin nickel brightwork that surrounds them is a confident touch, and another little flourish that suggests the 3040c might cost a fair bit more than they actually do.

• Design score: 5 / 5

Q Acoustics 3040c review: Usability & setup

• Attach the stabilisers and spikes
• Connect to an amplifier using appropriate speaker cable
• Toe in just a little towards your listening position

Well, they’re passive loudspeakers and so setting them up and using them is hardly rocket science.

You’ll need to attach the little outrigger stabilisers to the bottom of each cabinet, and then attach the floor spikes. These can be adjusted from the top, so getting the cabinets level is no hardship.

Then, connect the speakers to the amplifier that’s driving them with speaker cable — ideally two identical lengths. And then try to make sure the speakers are toed in, just a fraction, towards the spot from where you do your listening.

• Usability & setup score: 5 / 5

Q Acoustics 3040c review: Value

• You'll struggle to find decent floorstanding speakers for this money
• Q Acoustics is a trusted name — and the 3040c are worthy of that heritage

This money won’t even get you on the ladder at some loudspeaker companies, but Q Acoustics first made a name for itself by redefining what ‘entry level’ ought to mean where booth sonic performance and build quality are concerned.

It almost goes without saying that the 3040c does nothing to spoil this reputation — and as a result, it represents prodigious value for money for anyone who wants a fairly big sound from a fairly compact and unarguably affordable floorstander.

• Value score: 5 / 5

Should I buy Q Acoustics 3040c?

Buy them if…

Don’t buy them if…

Q Acoustics 3040c review: Also consider

Part of the appeal of the 3040c, in addition to the way they look and sound, is the money Q Acoustics wants in exchange for a pair. It’s genuinely hard to find a pair of floorstanding loudspeakers from a brand anything like as credible as this one for anything like the money — even brands such as DALI, Fyne Audio or Monitor Audio (to name just three) start their floorstanding ranges with models costing several hundred of your chosen currency more than this.

If you're happy to consider bookshelf models however, look to the Dali Sonik 1 or even Cambridge Audio L/R S. But again, they're not floorstanding speakers.

How I tested the Q Acoustics 3040c

I connected the 3040c to a WiiM Amp Pro using a couple of lengths of QED loudspeaker cable, and then connected a preamplified Technics turntable to the WiiM’s single analog input.

I used a Rega CD player, connected to the amplifier’s digital optical input, and also streamed via Bluetooth and Tidal Connect using an Apple iPhone 15 Pro. Which meant I was able to listen to music in lots of different formats, and at lots of different resolutions, more-or-less non-stop for a week or so.

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

The Bowers & Wilkins Nautilus is a speaker that requires no introduction. It’s a truly iconic model, and there really is nothing else on the market that looks quite like it.

With its mollusk-like build, tapered damping tubes and exceptional sound, it's no wonder that Bowers & Wilkins proudly announces it as “the last wish” of co-founder John Bowers. And even though the Nautilus launched all the way back in 1993, it's still being produced to this day.

During my time at the High End Vienna show earlier this year, I got a chance to check out the B&W Nautilus for myself, and got to learn more about its weird and wonderful design. I even had the chance to speak with Bowers & Wilkins’ Product Marketing Director, Andy Kerr, about why people keep coming back to the speaker, even 33 years down the line — and you may be surprised by just how popular it still is…

Bowers & Wilkins Nautilus: an introduction

For the uninitiated, the Bowers & Wilkins Nautilus is a floor-standing loudspeaker that boasts a striking spiral design and tapered tubes, resulting in one of the most unique looking models that money can buy. But despite its off-the-wall appearance, its design is very much rooted in utility.

Kerr explained to me that, in essence, the speaker attempts to create the impression of drive units “hanging in free air,” operating without the typical restrictions of a traditional cabinet or enclosure.

While B&W still decided to harness the “pressurization benefits of some form of an enclosure,” he said, there was an active effort to remove the audibility of the box — something that was achieved by using the tapered tubes that the Nautilus is still known for.

“Each tube increases in length relative to the size of the drive unit,” said Kerr. “So you've got a relatively small one for the upper tweeter, slightly longer still for the lower mid, and then this [tube for the bass section] is three meters long but kind of swirled up”.

As the driver operates, pressure dissipates into the Nautilus' tubes — which are also padded with “an absorbent wadding material” — eliminating rearward reflections and drastically reducing distortion while capturing that sense of the driver operating in free space. “It's one of the best loudspeakers you'd hear at disappearing.”

And while he accepts that the Nautilus may not be suited for a studio environment in the same way that the Bowers & Wilkins 801 D5 are, Kerr states, “As an experiment for reducing the audibility of a loudspeaker, it’s perfect”.

The legacy lives on

The ingenious design and sound of the Nautilus has remained, and Kerr notes that many people still purchase the speaker to this day. In fact, so many people are interested in having a Nautilus of their own that there are years' worth of backorders.

I was told that B&W is still producing approximately 50 pairs a year for sale — pretty impressive given that each individual pair takes around 31 days to make, all meticulously done by hand.

Audio enthusiasts can grab a pair of Nautilus speakers in the standard colorways — Black, Midnight Blue, and Silver — for a sum typically in the $110,000 or £100,000 ballpark. But there’s a slightly more expensive alternative, one that’s proved very popular with buyers: a custom option.

That’s right, for around £120,000 (US pricing was not shared), you can order the Bowers & Wilkins Nautilus with special paint, and get the speaker in just about any color imaginable. I was shown a handful of customer photos, and there were some exceptional finishes to behold, including McLaren Orange, Ferrari Red, and Minty Green variants, only adding to the unique nature of the Nautilus.

As things stand, there are three years — yes, three years — of backorders. Even though the Nautilus is a speaker like no other, the sheer volume of interest is seriously impressive all of these years later.

You all know what a guitar amplifier is. Big, intimidating stacks of speakers and dials, designed for some nice loud guitar playing. But do they work as well for other people's guitars; i.e., can a big powerful block of music-playing kit double as a home speaker for recorded music?

It may seem like a stupid question, but the more I thought about it, the more I realized that speakers and amps are the same thing... kinda. And for people who don't have the money to buy a guitar amp and a home speaker, could buying the former kill two birds with one stone? I had to find out.

Now, I’m not talking about a guitar amp-esque speaker made by a brand traditionally known for its amps (and before these new Bluetooth speaker things became so jolly well lucrative), such as the Marshall Stanmore IV or the Orange Box. No, I’m talking about a real power-speaker designed for guitars, with jacks and dials galore and no Bluetooth in sight.

Specifically, I’m talking about my Line 6 Spider IV amp, which I have owned for at least half of my life, thus far.

Now, I know Line 6 has a mixed reputation, making it an odd choice to incorporate into a home sound system. Its speakers aren't even for serious guitarists — they're for edgy 14-year-olds without much cash who just want goofy levels of distortion. In my defense, when I bought it, I was an edge 14-year-old without much cash, who just wanted goofy levels of distortion. And it still works fine for what I need.

For the tech-heads among you, my Spider IV offers 75W of power. For the purposes of this article, you should know it has a 3.5mm and a 6.35mm input, and I played music from my turntable as well as some Edifier speakers (the same set-up as in my recent article about setting up a new turntable, so an Edifier M90 and Sony PS-LX310BT). The amp was getting incorporated into an existing hi-fi system, not replacing it.

The other important point of context before we get started is that I had to make a conscious effort to turn off my brain before undergoing these experiments. In many parts of my rational brain, I could tell that a guitar amp wouldn't function smoothly as a speaker; they're not designed to hit a wide range of frequencies, just the ones guitars play at, and they're not intended to be connected to a chain of other players. If I switched off the scientific part of my cranium, I could just mess around with wires, have some fun, and see what happened.

Turning my amp into a subwoofer

With my first experiment, I decided to start small: I’d see if my amp could function as a subwoofer for my Edifier M90s. I wanted to use its wattage just to give me some extra 'oomph', even though it’s not a bass amp.

First, I used a 3.5mm to 3.5mm cable to connect the M90s, from their Sub Out port, to the amp’s smaller input… and nothing happened. I couldn’t hear a peep from the Line 6, though oddly, the amp’s volume control adjusted the output from the speakers.

Next, I took the risky move of using a 3.5mm to 6.35mm to connect the Sub Out port to the amp’s primary input — risky because I was using an unbalanced stereo cable across devices really not meant for this use, and I wasn’t sure what was going to happen.

I turned the Line 6’s dials all the way down, plugged the cable in, and popped on some Morgan Wallen before slowly turning the volume up.

The resulting speaker sound is best described as ‘rhythmic, distorted pulses’: I was getting something, but it sounded more like asthmatic coughs than music. The amp was clearly connected, and outputting something, but it was just rhythmic fuzz. I suppose that's the Line 6 effect.

I spent quite a while fiddling with the dials, but it was impossible to reduce the drive, while also retaining enough volume for the amp to be audible when I wasn’t putting my ear to it. So it wasn't good for most music, but turn the volume up while listening to a rock track, and the pulses sounded like the strums of a really keen rhythm guitarist trying to play along. This was pretty nostalgic for me, because when I bought the Line 6, that's basically exactly what I was doing.

I tried the same experiment with my turntable, which was connected to the Edifiers via Bluetooth, and found the same result, albeit watered-down.

How about as a giant aux speaker?

Perhaps I was trying to run before I could walk? For my next experiment, I decided to make things a bit more simple. I connected the iPad I was using as a music player, to a USB-C to 3.5mm converter, and then plugged in the aforementioned 3.5mm to 6.35mm cable which led to the guitar amp’s primary input.

I could hear music! I mean, if you could call it that. The Line 6 not being a bass amp became patently clear here, because I was basically just getting treble. It was surreal; I've tested speakers and earbuds with barely any bass, but never any with literally no low frequencies to speak of.

Plus, a weird phase effect was causing noticeable oscillations in the music, providing a powerful attack but fast fade. It was most audible in Post Malone’s voice (I’d moved on to Post Malone at this point) – it sounded like he’d learnt Mongolian Throat Singing.

The resulting sound was odd, and didn't match even the affordable Tribit Stormbox Micro 3 I use in the shower, but at least the guitar amp gave me some control over it: I could use the dials to add a bit of warmth, and some fuzz to mask the lack of bass.

Then I had a brainwave: I returned to the 3.5mm to 3.5mm cable from the first section, and music sounded much better. There was finally some bass (not much), and Malone was back to his regular singing voice. It was the closest to a speaker I'd managed to bring the amp.

It wasn’t perfect, though: Line 6 amps can sound quite tinny, and I felt like I was listening to music on some cheap earbuds you get free with a flight… just 75W ones that'd annoy the downstairs neighbor.

Let's add some drive

Obviously, the thing missing from my set-up was more things, so I whacked out a Pigtronix Fat Drive to add to the mix. You can probably tell what this does; it’s obviously a vital addition to an amp which is slated for offering nothing but drive.

Here’s how the set-up looked now: a USB-C to 3.5mm converter plugged into my iPad, leading to a 3.5mm to 6.35mm cable, which was plugged into the Fat Drive pedal, which was connected to another 6.35mm to 6.35mm cable, which led into my amp. That music was getting quite a few air miles before being played.

You can probably imagine what more drive did to already-too-distorted music; it sounded like it was playing from behind a waterfall. Add to that the phase effect that playing music from the 6.35mm port provided, and it was even more of a write-off than before.

I wasn't expecting sudden audio clarity, though. As with the rest of this piece, it was just a fun experiment to try.

Unfortunately, there was a casualty to this experiment: my Fat Drive pedal conked out the day after the test, and I’ve not been able to revive it. I don’t blame my tests, as much as the several years of misuse and poor management prior to them, but I’d still like to pour one out for the Pigtronix.

Lessons learnt

Obviously, I didn’t go into this experiment thinking that a guitar amplifier would make for a genuine home speaker alternative. That’s like thinking a pottery kiln is a good microwave replacement; it technically does the same thing, but things are going to get a little crunchy.

But I was hoping it'd turn into a fun, albeit messy, party speaker in a pinch, in case I had people over and suddenly wanted room-filling sound. Sure, I could buy such a device, but given how expensive tech is (and how much space that'd take if I already own an amp), who needs that?

I always knew, too, that some useful features would be missing. My amp doesn't allow for a wireless connection, for example, and it's far from being portable.

The solution is already out there: recent Bluetooth speakers released under the Fender name (though made by by a different company called Riffsound) had an XLR port that doubles as a 6.35mm jack, so you can plug a guitar and use it as an amp, even though it's technically a speaker.

Given how many guitar companies now make consumer tech (Marshall, Fender, Orange; Yamaha does too but it's an everything-music company really), it'd be great to see this kind of feature again. Or, at the very least, some way of blurring the borders between amp and speaker. Not all of us have the space or money for both.

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

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

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

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

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

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

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

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

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

Tangled up in blue

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

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

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

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

Oye Como Va

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sony PS-LX3BT: Two-minute review

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

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

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

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

Sony PS-LX3BT review: Price & release date

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

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

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

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

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

Sony PS-LX3BT review: Specs

Sony PS-LX3BT review: Features

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

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

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

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

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

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

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

• Features score: 3 / 5

Sony PS-LX3BT review: Sound quality

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

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

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

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

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

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

• Sound quality score: 4 / 5

Sony PS-LX3BT review: Design

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

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

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

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

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

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

• Design score: 4 / 5

Sony PS-LX3BT review: Value

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

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

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

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

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

• Value score: 2.5 / 5

Should I buy the Sony PS-LX3BT?

Buy it if…

Don’t buy it if…

Sony PS-LX3BT review: Also consider

How I tested the Sony PS-LX3BT

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

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

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

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

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

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

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

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

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

A DAC is for life, not just for gaming

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

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

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

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

Fluance RT87 Turntable review: two minute review

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

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

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

Fluance RT87 Turntable review: price and release date

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

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

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

Fluance RT87 Turntable review: features

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

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

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

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

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

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

Features score: 3 / 5

Fluance RT87 Turntable review: sound quality

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

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

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

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

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

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

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

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

Sound quality: 5 / 5

Fluance RT87 Turntable review: design

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

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

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

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

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

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

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

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

Design score: 4.5 / 5

Fluance RT87 Turntable review: ease of use and setup

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

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

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

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

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

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

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

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

Usability and setup score: 3.5 / 5

Fluance RT87 Turntable review: value

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

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

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

Value score: 4 / 5

Should I buy the Fluance RT87 Turntable?

Buy it if...

Don't buy it if...

Fluance RT87 Turntable review:: Also consider

How I tested the Fluance RT87 Turntable

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

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

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

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

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

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

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

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

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

Marantz Model 70 and CD 70: key features and pricing

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

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

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

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

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

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

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

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

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

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

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

Chock-full of features

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

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

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

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

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

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

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

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

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

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

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

What Sonos got right and Sony probably won't

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

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

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

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

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

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

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

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

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

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

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

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

Marshall Stanmore IV review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Marshall Stanmore IV review: price & release date

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

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

Marshall Stanmore IV review: specs

Should I buy the Marshall Stanmore IV?

Buy it if…

Don’t buy it if…

Marshall Stanmore IV review: also consider

How I tested the Marshall Stanmore IV

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

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

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

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

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

PSB iQ2: Two-minute review

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

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

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

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

PSB iQ2 review: Price & release date

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

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

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

PSB iQ2 review: Features

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

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

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

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

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

• Features score: 5 / 5

PSB iQ2 review: Sound quality

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

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

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

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

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

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

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

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

• Sound quality score: 4 / 5

PSB iQ2 review: Design

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

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

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

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

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

• Design score: 5

PSB iQ2 review: Usability & setup

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

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

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

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

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

• Usability & setup score: 5 / 5

PSB iQ2 review: Value

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

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

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

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

• Value score: 4.5 / 5

Should I buy PSB iQ2?

Buy them if…

Don’t buy them if…

PSB iQ2 review: Also consider

How I tested the PSB iQ2

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

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

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

Moving home is such a pain, and that's doubly true when half of your possessions are tech gadgets. I just spent weeks moving my belongings between two flats on opposite sides of London, and it would've taken half the time if I didn't have to shift countless large boxes that were 10% gadget and 90% packaging to keep said gadget from breaking.

Eventually I finished moving to The Ladder, as the area is called (not funny, since most tenants still aren't on it), and as soon as I had my foot on the rung, as it were, my turntable and hi-fi kit was the first thing I set up. The deposit had barely gone through before my Sony PS-LX310BT was on the cabinet and some Edifier M90s were either side.

That's right, the very first thing. Before I unpacked my clothes. I still haven't unpacked my books or computer. Getting some tunes going was the most important task.

This wasn't just because I wanted to enjoy some music while I unpacked, though, or because I wanted to claim the good speaker spots in the living room before my flatmate moved his own turntable in (OK actually, that was part of it). No: it's because getting your hi-fi set up in a new flat can save you loads of faff later on down the line.

Pride of place

Speakers aren't something you can just dump anywhere in your living room and get a good experience. A lot of thought needs to go into where they're placed.

Stereo speakers like mine need to be placed so they're spread evenly across a room, to put the listener in the sweet spot betwixt the two, not hidden together in a corner. You want to make sure they're placed on a surface that won't offer unwanted resonance, aren't too close to a wall and are, ideally, at ear level.

If you set up a living room and then bring your hi-fi kit into it, the ideal placement for all of this may already be taken up by other things. Books or DVDs or fancy liqueurs can hog the shelf space on which a speaker would ideally do best.

In my old apartment, the only convenient space for a turntable was on a shelf in the corner of the room. Reaching it to swap a record was a chore, and so I didn't bother using the player as much as I otherwise would.

That's why I thought it important to give my hi-fi set-up priority space in the room. Now, everything else can be place around it.

I'll admit, it wasn't perfect. As you can see in the pictures, I put my speakers on the same cabinet as the turntable. Great for taking pictures, not so great for music, because vibration interference might affect record playback. Unfortunately, it's the only place in the room where I could equally space the speakers, so it's something I'll have to make do with.

A mess of cables

"There's nothing as fun and sexy as cable management" is what I would say if I wanted to say something totally wrong. I hate the whole process of cleaning up wires and cables, and so often ignore it, leaving trails and black snakes and wire rat kings running like veins around my house.

(I know some people find great satisfaction in cable management and maintenance, with some cables ties and so on, and that's fair enough. It's just not my cup of tea. You can try and help me with mine, if you want though).

Unfortunately, this can quickly become a problem with a hi-fi set-up, when players and speakers need cables for power, cables for music, cables for the sake of it sometimes. I've created some pretty hideous messes in the past.

Sometimes, that makes moving house quite a pain, because you're left tangling or untangling countless wires. It's why I thought it important to set up everything quickly when I moved: I could refresh my cable situation, making sure I had all my audio cables in position before any annoying extras needed to be added.

I'm glad I did, because in the week I've moved here, the behind-the-cabinet area has turned into a nest of vipers. If I had to add my turntable now, it'd give me a migraine trying to work out what goes where.

That's especially true of power plugs, which are few and far between in any rental flat. Where I've plugged in the turntable and speakers, I also have to find space for a refrigerator, internet router, separate internet box (yeah, my ISP really likes taking up power points apparently), and various other things.

Since I've yet to buy a splitter, I'm constantly playing musical chairs with the plugs, removing and replacing them to find space for my laptop charger or projector. Thankfully, since the turntable and speakers were there first, they're too embedded to remove.

Where do the records go?

When I first set up my turntable and speaker, I thought those pieces of kit getting central spots would be the end of my space issue. I was wrong. And I'm not just talking about the fact that my flatmate and I have far more UK pint glasses than our kitchen storage can cope with.

Records. I'm talking about records. They're pretty big, aren't they? A lot bigger than my Spotify collection, that's for sure, because that takes up zero space.

Partly, I'm talking about how tall and wide records are. They just don't stack on all shelves, so you need to be smart about where you place them.

But the biggest problem for my flatmate and I soon became just how many records we have between us. We must have far north of 50 collectively, which makes them hard to fit on any kind of shelf.

Unfortunately, I didn't think of this ahead of time, and we only realized the issue when we'd already settled in the living room. Where were our records going to go? We'd already filled the crevices in the cabinet with bowls and plates, and reaching the shelves required a stretch, so that was no cigar.

It took some reorganization to carve out a space for them in one of the cabinet's areas, and that's only a half measure, because I had to sacrifice about three-fifths of my collection to the black void that is my unpacked room. But our favorite records are within reach, at least.

If I'd have thought this far in advance, I'd have saved some more cabinet space for records. But it just goes to prove the point: a hi-fi system takes thought, and if you don't bring it into your home before anything else (yes, including bowls and cutlery and little ramekins of the sort I have far too many of), you end up having to totally reorganize when it's too late.

• People continue to build alternative Sonos apps with features Sonos hasn't offered
• Recent creations include customizable room correction that works with front surrounds
• Most aren't widely available, and are being shown in invite-only betas

In the last few months, Sonos has finally moved on from fixing its app's tech issues to improving it with new navigation and adding some useful new techy features, such as a key new network troubleshooting option.

But many Sonos users are just tired of waiting for long-requested features — such as the ability to add front surround speakers — so they're building their own alternatives instead.

We covered some user-created apps to improve the Sonos ecosystem not too long ago, and the list of available options continues to grow.

More Sonos apps than you can shake a soundbar at

First up there's "the app Sonos should have made" according to its creator: Somos InControl. It's an iOS remote for Sonos home theater products with custom EQ, saveable sound presets, surround height levels and music features too.

The big draws here are that it supports adding front left and right surround speakers, and the ability to save EQ options for different use cases — the example screen shot has slightly tweaked sound for 5.1 surround versus Dolby Atmos versus music listening that you instantly switch between. It's an Apple TestFlight work in progress so availability is limited, but it looks very impressive.

Moosic is a self-hosted music server app that offers an alternative to Trueplay's room tuning, with the always-welcome ability to display charts of the room correction, plus more customization options for the tuning.

It also enables you to switch your Sonos configuration — such as switching a pair of Era 300s from working as rear speakers to working as stereo music speakers — but to keep separate room-tuning profiles for each configuration, which again is something Trueplay doesn't offer.

If you're wondering why not just use TruePlay, creator AffectionateFox5907 explains: "Sonos does not provide a way to switch between home theatre and music setup seamlessly. My app does, but as part of that I lose Trueplay. When you unbond and rebond a speaker, each time it will lose its Trueplay configuration. My app basically builds a better Sonos app that adds features I've been wanting for a while without having to have a bunch of different apps. This now works with multiple subs and should work with fronts added as well."

One of the big downsides of using third-party apps that add front surrounds is that it disables Trueplay, so this is a win for people coloring outside the usual Sonos surround lines.

It also looks ideal for anyone who's found using their home theater for music to be a bit of a pain, and there are plenty of people who do: there's a whole Reddit thread asking for a simple switch between movie mode and music mode without having to reconfigure your system every time you do it.

Last but not least, MajorAtmosphere has created Kyuu (pronounced "queue"), an iOS Sonos controller that enables you to use UPnP for local files, which the Sonos app doesn't support.

As they explain: "Kyuu runs a lightweight local server that handles speaker discovery via SSDP, polls playback state, and sends commands directly to your speakers. The iOS app talks to that server over your LAN — no cloud, no Sonos account, no external dependencies."

Marshall Acton IV review

Marshall has refreshed its mid-sized home speaker, which promises enhanced bass, dynamic loudness tech and improved tweeters, among other things. Yes, the Marshall Acton IV looks to be quite the improvement over its predecessor, and after testing it for myself, I have to say, it certainly makes good on its promises.

Let’s start by taking a look at the tech specs. The Acton IV features a single 60W woofer alongside two 25W tweeters, helping it to produce powerful and energetic audio. It also has a frequency response of 37Hz-38kHz, meaning it can extend down seriously deep for such a compact speaker — and you can really feel the bass… more on that later.

One standout difference between the Acton IV and its predecessor is its inclusion of RCA connectivity. This makes it a great option for hooking it up to turntables, for instance, and it’s easy to switch between Bluetooth and RCA mode with the built-in source controls. 3.5mm connectivity is back too, if you want to access lossless audio — something I always look out for when testing the best Bluetooth speakers.

Although these connectivity options are all very welcome, it would have been great to see Wi-Fi playback, given that this is a speaker most people will likely keep at home. Streaming using your home's Wi-Fi network is ideal for such speakers because it provides an even more stable, higher-resoltuion quality than Bluetooth can offer, and means that notification sounds on your source device don’t play through your speaker. Still, there is LDAC this time out — something that Marshall has been keen to integrate into its consumer audio products recently, as we saw with the Marshall Milton ANC. This opens up higher-res wireless playback over Bluetooth (provided you've got a source device that supports it), and it works great if you’re streaming on platforms such as Tidal, for instance.

Despite the omission of Wi-Fi, the Acton IV does include Auracast, enabling you to create a multi-room setup with other products from the brand, such as the Marshall Heston 120 soundbar and Marshall Stanmore IV. Some older models, like the Marshall Acton III can also join the Auracast multi-room setup with the Marshall Heddon streaming hub.

I was also interested to find that the Acton IV connects to the newer ‘Marshall’ app, which has so far been restricted to the brand’s TV audio gear. It feels more intuitive and detailed than the standard app, and features a five-band equalizer, which enables you to set three presets of your liking. You can also customize the speaker’s M button to cycle between these. The app also enables you to cycle between different sources, optimize audio with a placement compensation tool, set a standby timer, and adjust the brightness of the speaker’s LED indicators. Good stuff.

One thing that may dissuade some from picking up the Acton IV is that it lacks baked-in voice assistant support. This means that it can’t act like a smart home speaker in the way that a Sonos model would, say.

But, by now, you must be wondering: just how good does the Marshall Acton IV sound? Well it’s good news, because it sounds pretty great. Something that instantly struck me, is that the speaker has a very exciting sound signature, with attention-grabbing and relatively prominent bass, as well as energetic, forward-sounding treble.

This was great for livelier genres like dance tracks. For instance, in Get It On by Jansons, higher-pitched drums came through with serious bite, hitting with speed and precision. Meanwhile, pumping bass came through with great impact without ever overshadowing vocal chops and synths in the mid-range. Even with some deeper house tracks, I was truly wowed by the Acton IV’s bass extension. It can reach down into deep dark depths with great confidence, and even the sub-bass was full-sounding and seismic.

Luckily, the Acton IV continued to perform well with more laid-back tracks. In Ned Doheny’s Sing To Me, soulful vocals were nicely weighted, and came through with solid clarity. They weren’t separated to the point that they occupied a unique pocket in the mix, although when I bumped things up in the mid-range, they had a little more space to express themselves. Bass definitely remained fairly weighty, and although this gave the tune a pleasantly funky edge, some may prefer to mess around with different EQ settings.

It’s also worth noting that the Acton IV has a stereo sound configuration, rather than the basic mono that a lot of Bluetooth speakers use. While it doesn’t produce the most amazing stereo imaging I’ve ever experienced, this is understandable for a smaller-sized speaker. In All Along the Watchtower by Jimi Hendrix, vocals were well-defined in the left channel, and percussion expanded well beyond the Acton IV’s limited confines. With LDAC on, I also appreciated the speakers attention to detail, with small vocal quirks and subtle percussive elements illuminated to impressive effect.

My main critique of the Acton IV’s audio output relates to its control at higher volumes. Despite including the dynamic loudness tech seen on the Marshall Kilburn III, for instance, I found that the speaker could sound a tad harsh at high volumes. At 90% and above, compression was more noticeable, with highs turning slightly shrill and bass lacking the control I’d experienced at mid-volumes. It's pretty standard for speakers to compress towards maximum loudness, though, and if you’re looking for meatier sound, the mightier Stanmore IV is available.

Moving on to an area where Marshall speakers always excel now: design. The Acton IV looks very similar to its predecessor, but that’s no bad thing. It has enticing faux leather casing, a neat speaker grille, and a gorgeous golden control panel. Its amp-inspired aesthetic makes it feel like just as much of a statement piece as it is a great-sounding speaker.

The buttons and control knobs are also highly responsive and satisfying to use, and there are even onboard EQ controls for the bass and treble if you want to make some changes on the fly.

But it’s time to address the most crucial question of all: is the Marshall Acton IV worth the money? Let’s start by looking at its price. The Acton IV comes in at $299.99 / £259.99 / AU$499. That’s by no means cheap, and puts the speaker in competition with the Wi-Fi equipped Sonos Play and home speakers like the JBL Authentics 200.

I’d argue that the Acton IV certainly sounds up to scratch for this money. It offers mighty yet refined bass, clean and detailed mids, and vivid highs. It's also decently powerful, and would make a great fit for a small or medium-sized space. However, the lack of Wi-Fi playback may prove to be a deal-breaker for some — it’s the connectivity method many will favor for home speaker use, and again offers better quality and seamlessness than Bluetooth.

Still, its brilliant design, solid set of features and, of course, impressive audio capabilities, means this is still a great home speaker. All in all, I’d recommend the Acton IV if you want a powerful and stylish speaker, even if you’re a little limited on space. If you want something more portable, the Marshall Kilburn III is a great alternative, though, coming with a handle, 50-hour battery life, and waterproofing at a very similar cost.

Marshall Acton IV review: price & release date

• $299.99 / £259.99 / AU$499
• First released July 2026

The Marshall Acton IV was released in July 2026, just short of four years after its predecessor came to market. It launched alongside the Marshall Stanmore IV, which is essentially just a larger variant of the Acton. It comes in at $299.99 / £259.99 / AU$499, representing a slight price bump in the US, but continuity in the UK, if we’re comparing it against the Acton III.

Marshall Acton IV review: specs

Should I buy the Marshall Acton IV?

Buy it if…

Don’t buy it if…

Marshall Acton IV review: also consider

How I tested the Marshall Acton IV

• Tested across multiple days
• Used at our dedicated music testing space at Future Labs
• Mainly streamed music over Tidal

I spent days testing the Marshall Acton IV, listening to hours worth of music, testing its various features, and exhausting every option available in its companion app.

For the most part, I tested the Acton IV in our dedicated music testing room at Future Labs, where I mainly streamed tunes via Tidal on my Xiaomi 17. I started by playing tracks in our TechRadar reference playlist — which features songs from a wide variety of genres — but I also bumped a bunch of tunes from my personal library.

More generally, I’ve spent years testing audio gear here at TechRadar. I’ve reviewed all sorts of tech, from premium wireless headphones like the Sony 1000X The Collexion through to Dolby Atmos soundbars such as the JBL Bar 1300MK2. I’ve also tested more than 50 Bluetooth speakers, including lots of Marshall models, such as the Marshall Middleton II and Kilburn III.

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

The best Bluetooth speakers get better every year: we get improved batteries to supply even more sonic stamina, wider connectivity, and a dizzying range of designs. The market is so competitive that 'good enough' just isn't good enough to stand out any more, and that means the speakers launched and launching in 2026 are often exceptional.

The first six months of 2026 have been great for audio fans, with a range of very good portable speakers to cover pretty much every niche. There are ridiculously loud party speakers that'll annoy your neighbors, tiny portables that are perfect for podcasts, small speakers that are ideal for when you're showering and go-anywhere, play-anything portables for the great outdoors. And we've tested a ton of them with in-depth reviews.

So I've picked out the five top Bluetooth speakers we've review so far in 2026, now that we're half-way through the year. The products I've picked here aren't the only Bluetooth speakers launched in 2026 by any means — for example, there was IKEA's 10-dollar Kallsup speaker, which is so cheap you can buy stacks of them to make a musical pyramid, which we also tried. I also haven't featured stationary wireless speakers that may include Bluetooth, but tend to be more focused on Wi-Fi — we're all about the portable options here.

I've picked my top five based on our in-depth testing, their price tags and how well I think they'll fit into most people's lives.

5. Tribit Stormbox Micro 3

• List price of $64.99 / £62.99 (about AU$130)
• Released in April 2026
• Rating: 4.5 / 5

The budget Bluetooth sector is absolutely jam-packed with affordable options, but it's hard to beat the Tribit Stormbox Micro 3: it's super-cheap even at full price, and it's frequently discounted from the launch price of $64.99 / £62.99 (about AU$130).

With 24 hours of battery life, a solid build and IP68 dust and water resistance it's a great go-anywhere speaker, and while its single 48mm driver is small, it's surprisingly punchy, with impressive bass for such a compact design. We really like the sound the Micro 3 delivers: it's a good all-rounder for music, podcasts and audiobooks.

Read our Tribit Stormbox Micro 3 review

4. Marshall Bromley 450

• List price of $799.99 / £549.99 / AU$1,079
• Available from March 31, 2026
• Rating: 4 / 5

The Marshall Bromley 450 is the marginally more sensible member of the Bromley party speaker range: it's considerably cheaper than its very expensive sibling, but still puts out a whopping 400W of Class D amplification — and it can keep playing for over 40 hours, albeit not at full volume. With a list price of $799.99 / £549.00 / AU$1,079 it's still quite expensive, but you're getting a lot of bang for your buck.

In our Marshall Bromley 450 review, we praised its 360-degree audio and noted that you can pair it with a second Bromley over Auracast if 400W isn't shaking the building enough. And as someone who's carried many a Marshall amp up and down venue stairs, I love that it echoes the design of classic Marshall amps and cabinets. Like most of my favorite rock bands it's a little bit ridiculous and enormously entertaining.

Read our Marshall Bromley 450 review

3. JBL Go 5

• List price of $54.95 / £39.99 (about AU$75)
• Released in April 2026
• Rating: 5 / 5

JBL is one of the best-known brands in the Bluetooth speaker space, and it consistently delivers very impressive products with equally impressive prices. Last year's JBL Flip 7 and JBL Charge 6 are firm favorites of ours, and this year JBL has updated its cute JBL Go ultraportable.

We gave this new model the full five stars in our JBL Go 5 review, calling it "the best tiny Bluetooth speaker" — while 4.8W output means it's hardly a party speaker, it delivers impressive sound from its tiny case along with attractive edge lighting and a durable, waterproof design. It's one of the best-sounding small speakers we've ever tested.

Read our JBL Go 5 review

2. Sonos Play

• List price of $299 / £299 / AU$499
• Released on March 31st, 2026
• Rating: 4.5 / 5

So far we've been focused on Bluetooth-only speakers, but now let's turn to a portable option that can also be used in multi-room setups over Wi-Fi. Sonos is the big brand in that space, and the Sonos Play is a superb new addition to the Sonos range whether you want it to fly solo, take it on your travels, or use it as part of a wider Sonos setup.

It's a little more expensive than rivals, but the Sonos Play delivers powerful and well-rounded audio, has superb streaming support and connectivity including Hi-Res Audio over Wi-Fi, and its USB-C port can be used as an audio input: you can get an adapter that enables you to connect a turntable or other wired audio source.

It delivers up to 24 hours of battery life and sits on a good-looking charging cradle when you don't need to take it places, which means you can grab and go in an instant without unplugging.

Read our Sonos Play review

1. JBL Xtreme 5

• List price of $399.95 / £329.99 (about AU$560)
• Launched in April 2026
• Rating: 5 / 5

This beast makes the JBL Go 5 look like it was made for a Lego character. The rugged, chunky and very loud JBL Xtreme 5 is a bit of a beast, delivering mesmerizing bass from its rather hefty frame. It's marginally bigger than its predecessor, but the sound is bigger too.

As we said in our review, "this is how you do an upgrade. This model has more power, more striking sound, lighting for added beauty points, and an even more durable build than last time out." It's also solidly built, reminiscent of the old Nokia phones where if you dropped them, you were more likely to break the ground than your phone.

Dustproof, waterproof and with a long-lasting battery keeping the party going for up to 28 hours, the JBL Xtreme 5 is exceptional — but if it's just a little too heavyweight for you, the 2025 JBL Charge 6 is very good too.

Read our JBL Extreme 5 review

Bose Lifestyle Ultra Speaker: Two-minute review

It may not always be among the first brands to get a particular type of product to market, but you can usually rely on Bose to have done a proper job by the time it gets around to it. And on paper, that seems to be exactly what’s happened with this new Lifestyle Ultra Speaker — it’s priced and specified to meet the market-leaders head on, and has one or two points of difference to try and make its case even stronger.

The looks, for instance, are just distinct enough from the usual ‘cylinder of sound’ design to stand out in a showroom. The specification, which includes a 38mm mid/high driver angled to fire upwards through the top of the cabinet, promises authentic spatial audio performance where many a rival relies on digital sound processing in an effort to achieve the effect. And the appearance of Alexa+ as a voice assistant marks the first time a non-Amazon product is using the technology.

One of the best wireless speakers around? Yes, in a word. In practice, the Lifestyle Ultra Speaker has an awful lot to recommend it and immediately becomes a real contender. There's Wi-Fi and Bluetooth connectivity, with Apple Airplay and Google Cast baked in too. It’s also a punchy, detailed and respectably dynamic listen, can play very loudly indeed if you so desire, and has a definite and well-defined sensation of height to its sound. You’ll need to be into the EQ settings to get treble response balanced out and calmed down, but overall this is an upfront, energetic but not remotely unsubtle performer that deserves a place on even very short shortlists.

Bose Lifestyle Ultra Speaker review: Price and release date

• Launched May 15, 2026
• $299 / £299 / AU$545.95 in black or white (the 'sand' finish is pricier)

The Bose Lifestyle Ultra Speaker is on sale now, and in the United Kingdom it costs £299. Or, at least, it does in either of the black or ‘white smoke’ finishes. If you fancy the Bang & Olufsen-tastic ‘sand’ finish with its natural oak base, you’re looking at £349.

In America it sells for $299 / $349, while in Australia (where the ‘sand’ finish does not seem to be available), the going rate is AU$545.95.

At this price, the Lifestyle Ultra Speakers' chief rival in the Bluetooth arena is probably the slightly more expensive (at its regular price, anyway) JBL Xtreme 5. And that's a five-star speaker, so competition is tough. That said, the Bose you're reading about offers streaming over your home's Wi-Fi network too, so in that category, your easy comparison is the Sonos Play.

Bose Lifestyle Ultra Speaker review: Specs

Bose Lifestyle Ultra Speaker review: Features

• Wi-Fi and Bluetooth wireless connectivity
• Three-driver speaker array includes 38mm up-firing mid/high drive unit- 3.5mm analog input

In most respects, the feature-set of the Lifestyle Ultra Speaker is somewhere between ‘very good’ and ‘very good indeed’ — the features we know about fall into one of those categories, anyway. This is Bose we’re dealing with, of course, which means there are no details whatsoever regarding some aspects of specification forthcoming.

I’m going to go ahead and guess the Lifestyle Ultra Speaker uses Class D amplification, and that there’s an adequate amount of power on board (the ‘sound quality’ section will let you know how I’ve come to this particular conclusion).

What I know for sure is that there’s a three-driver array on board that’s in receipt of this mysterious amplification — a forward-facing 76mm mid/bass driver below a 25mm tweeter, with a 38mm mid/high driver angled up and out through the top of the cabinet.

As for what these drivers are made from, or the frequency response they’re capable of generating, well, your guess is as good as mine. Whatever the frequency response is, though, it’s bolstered by a rear-facing ‘QuietPort’ bass reflex port at the rear of the cabinet.

The port is towards the bottom of the back of the cabinet, just above a 3.5mm line-level analog input that constitutes the Bose’s only physical connectivity.

Wireless stuff is handled by dual-band wi-fi and Bluetooth — the latter is version 5.3 but is only compatible with the bog-standard SBC and AAC codecs, which is a shame when you consider the number of alternatives that are capable of local streaming to a higher standard. Still, Wi-Fi means Apple AirPlay 2, Google Cast and Spotify Connect are all available, with TIDAL Connect promised sooner rather than later.

• Features score: 4.5 / 5

Bose Lifestyle Ultra Speaker review: Design

• 184 x 121 x 167mm (HxWxD)
• Choice of three finishes
• Fixed grille

You make your own mind up when it comes to looks, of course, but for my money the shape of the Lifestyle Ultra Speaker makes a very pleasant change from all those cylindrical speakers that make up the bulk of the competition the Bose faces. The soft, rounded shape is miles ahead of the rather boxy stuff Bose has been turning out before now.

At 184 x 121 x 167mm (HxWxD) the proportions are pleasing, and the speaker is just about compact enough to work happily on a shelf (as long as there’s space above it for the up-firing driver to do its thing, of course). The standard of build and finish is basically impeccable, and there’s even a suggestion of tactility to the plastics Bose has used here. No matter which of the three available finishes you choose (the black of my sample, the ‘white smoke’ alternative that has more than a hint of grey about it, or the cost-option ‘sand’ alternative), the Lifestyle Ultra Speaker looks and feels the part.

The looks are nicely enhanced by the wraparound grille that covers a good portion of the front of the speaker. The fact that it’s notably proud of the main body makes it look very much like it can be detached — but it can’t, so don’t even try. No good can come of it.

• Design score: 5 / 5

Bose Lifestyle Ultra Speaker review: Sound quality

• Spacious and punchy presentation
• Pronounced ‘height’ element to sound
• A little more width and a little less high-end vigour wouldn’t go amiss

First things first: the Bose Lifestyle Ultra Speaker makes good use of its up-firing driver — dial in some ‘height’ in the control app, queue up a FLAC file of Idles’ Never Fight a Man with a Perm, let the ‘TrueSpatial’ processing do its thing, and you get a presentation that’s considerably taller than the cabinet from which it’s coming.

There’s nice even frequency response on display, too — the Bose digs respectably deep, hitting good and hard and the bottom of the frequency range, and the transitions to the midrange and into the highest frequencies is pretty smooth. While it goes out of way to ensure no part of the frequency range is over- or under-represented, the speaker does project the midrange just a little. The ‘V’ shape that results is more of a bump than a spike, though. Control of the bottom end is pretty tight, so the speaker has no real issues in expressing rhythms confidently. Detail levels are high at every stage. The Lifestyle Ultra Speaker is quite an insightful listen, and pays good attention to the more minor details in a recording — the fact that it presents quite a spacious and well-defined soundstage helps to make this obvious.

There’s a good sensation space to the overall sound, and certainly more than enough room for every participant in a recording to get the space in which to operate — but the left/right width of the presentation is quite curtailed in comparison to the height element. The result is a slightly narrow, notably tall sound that’s slightly counter-intuitive right until the moment you get used to it.

The tonal balance is, for the most part, pretty consistent; the Bose is a fairly neutral device in this respect. There’s a slight lack of substance to treble sounds compared to the rest of the frequency range, a tiny hint of toothiness that’s rather at odds with the robust way the rest of the range is presented. It’s nothing a moment or two examining your EQ options can’t mitigate, though.

Add in a reasonable facility with dynamics — the broad stuff about volume and intensity, and the more subtle dynamics of harmonic variation too — and the Lifestyle Ultra Speaker makes a pretty convincing case for itself. Unless, of course, you’re listening to content that simply doesn’t enjoy being forced into a spatial audio presentation. You can minimise the effect of the height channel in the app, but you can’t defeat the ‘TrueSpatial’ processing — and uncooperative recordings can sound just a touch vague where more compliant stuff is quite sharply focused.

• Sound quality: 4.5 / 5

Bose Lifestyle Ultra Speaker review: setup & usability

• Alexa+ voice control
• Physical and app control too
• No auto-calibration feature

As far as ‘setup’ is concerned, the Bose is either mercifully straightforward or rather underpowered — it depends on your point of view. In order to get up and running, it’s simply a question of finding a suitable position for the speaker (Bose will sell you a wall-mount of a dedicated stand, and there’s a thread in the base of the cabinet for use with third-party supports) and plugging it in. Then it’s simply a question of logging into wi-fi and to Amazon in order to activate the voice assistant. There’s no automatic room calibration routine available here (which is distinct from the Lifestyle Ultra Soundbar that launched at the same time), so any tweaks to the performance of the speaker will have to be made in the Bose control app.

The app itself is clean and logical, and as well as some EQ adjustment (plus a slider to increase or decrease the sensation of sonic height) it’s where you can create a stereo pair with a second Lifestyle Ultra Speaker or incorporate your speaker into a home theatre system. Use the Google Home app, meanwhile, and a multiroom system using any and all compatible speakers can very easily be set up.There are some physical controls on the top of the speaker, too.

Capacitive buttons take care of play/pause, volume up/down, Bluetooth pairing, input selection, and waking this voice assistant — there’s a button to defeat the mic too, in case you don’t want Alexa+ to listen out for you.

This is the first non-Amazon product to take advantage of Alexa+ voice control and, while Amazon has kept some smart features for itself, this version works very well indeed. It’s alert to voice prompts, and is rapid in its responses to any questions or instructions you might have.

• Setup & usability: 4.5 / 5

Bose Lifestyle Ultra Speaker review: Value

Obviously there’s no shortage of wireless speakers at this sort of money, and some of them are very good indeed. Spending your money with Bose rather than with, say, brands as credible as Apple, Denon, Sonos or WiiM (to name just a few) does have upsides, though.

Obviously there’s the standard of build and finish, the very pleasant aesthetic and the many positives about the way the Lifestyle Ultra Speaker sounds. But there’s also the open and agnostic nature of its multiroom capability, as well as the welcome and well-implemented appearance of Alexa+ as a voice assistant to be factored in too. So while this is not your only choice, the value for money it offers means it should really be on your shortlist.

• Value score: 4.5 / 5

Should I buy the Bose Lifestyle Ultra Speaker?

Buy it if…

Don’t buy it if…

Bose Lifestyle Ultra Speaker review: Also consider

How I tested the Bose Lifestyle Ultra Speaker

I used the Bose Lifestyle Ultra Speaker on a kitchen worktop, a bookshelf, and a dedicated speaker stand. I used an iPhone 15 Pro to stream to it using Bluetooth (given the lack of worthwhile codec compatibility, there didn’t seem much point in getting anything better specified charged up), and I also used the iOS device to listen to Apple Music via AirPlay 2.

Read more about how we test

• First reviewed: July 2026

• Audio Pro has just unveiled the A15 W (yes, late on a Friday afternoon)
• The Swedish brand's progeny offers Wi-Fi, Bluetooth and portability
• Available now, priced at $400 / £299 / around AU$579

If the 2022 Audio Pro A15 was a natural Sonos Move rival, the newly launched 2026 Audio Pro A15 W might happily butt heads with the Sonos Move 2.

It could also compete with a new series of Bluetooth-only 'HYG' speakers from Jamo, the Denon Home 400 (which it resembles rather strongly), something from WiiM's expanding arsenal of products or the new Bose Lifestyle Ultra Speaker — top tip on that one: a review will be going live over the weekend and it's worth a read...

Back to the A15 W, though, and what you've got here is a portable wireless speaker that boasts room-filling sound, flexible streaming options and battery-powered portability that's built for both indoor and outdoor listening.

And that's where it has the edge over some (if not all of the competition), because your average Wi-Fi enabled speaker usually needs to remain hooked up to a power socket within your home.

Not so here — in fact, alongside Bluetooth capability and an 11-hour battery life, you also get a 'water resistant' IPX2 rating, so it'll survive a European shower (if not the deluges we've been seeing during World Cup matches in the US this week).

Audio Pro tells me it can also be used as a multi-room system with other A15 W speakers (or in fact any W series speaker from the Audio Pro range) but because it also supports both Apple AirPlay 2 and Google Cast, it should be easy to welcome it into existing Apple or Android-based multi-room systems.

The (Audio) Pro mindset

I've long been a fan of Audio Pro speakers, starting with the Bluetooth only T3+ I listen to every day, but having tested the five-star, Wi-Fi enabled Audio Pro C20, I know very well about the decidedly 'Hygge' adjacent firm's admirable way with HDMI ARC-toting, sub-out sporting, RCA hook-up-able AirPlay and Google Cast speakers.

Interestingly, the grille looks fixed on this model, and I've always been a fan of removing the grilles on my Audio Pro speakers to see the relaxed, rock-chic driver configurations underneath.

The A15 W features a two-way speaker system with a dedicated tweeter alongside a 4.5-inch woofer. You can stream music via Bluetooth too, with better-quality aptX support, and if using Wi-Fi you'll be aided by the latest Audio Pro app, to access compatible music streaming services directly. I've used it before, and I like it a lot.

For instant access to playlists and internet radio stations, six preset buttons across the top plate are there to offer one-touch playback without working out where you've left your phone. A 3.5mm aux input also enables connection to portable music players and compatible turntables or CD players. So, no HDMI ARC, sub-out or RCA this time (its newest rival, the Denon 400 also lacks these things), but there's the same contemporary fabric finish and contrasting aluminium control buttons as I've come to expect from the brand.

The Audio Pro A15 W is available in Dark Grey and Light Grey finishes, and it'll set you back $400 / £299 (which is around AU$579), whichever color you go for.

How good does it sound? I can't vouch for that yet. But I'll be working on it…

We're halfway through 2026, which means a lot of products have passed through TechRadar's testing rooms — in total, we've reviewed a colossal 639 products in January to June 2026.

That includes a load of fantastic audio tech — including new options good enough to challenge the best wireless speakers, the best turntables, the best DACs to get more from streaming music on your PC or phone, and the best stereo speakers.

Our expert reviewers have tested a lot of stuff, and some products have proven to be the cream that rises to the top. Here are the products in these areas that scored either 5 stars or 4.5 stars in our reviews, making them best-in-class or highly recommended.

Wireless & stereo speakers

Wharfedale Diamond 12.1i

• Score: 5 / 5
• Price: $499 / £249 / AU$699 (pair)

What is it? The latest bookshelf stereo speakers in Wharfedale's famous 'Diamond' line, which is over 40 years old and clearly still going strong. They're two-way speakers with a 25mm tweeter, a 130mm mid/bass driver, and deliverying a frequency range of 65Hz - 20kHz. And they're easy to drive, and flexible on positioning — a great beginner hi-fi model.

What we said: "The Wharfedale Diamond 12.1i speakers turn out to be (yet another) high-achieving-yet-affordable loudspeaker option. They sound excellent, they're very unfussy about what drives them, they look and feel good, and they're extremely well priced. They're a little large for a pair of ostensibly 'bookshelf' speakers, so be warned if you're actually looking to put them on shelves, but that's easily forgiven."

Read our full Wharfedale Diamond 12.1i review

Cambridge L/R S

What is it? Small and stylish active stereo speakers with wireless connectivity as well as wired digital and analogue connections. There's 100 watts of Class D amplification powering a 21mm tweeter and 76mm mid/bass driver combo, and the connection stretch to USB-C, line-level stereo RCA, digital optical input, a pre-out for a subwoofer, and Bluetooth (with aptX HD codec compatibility).

What we said: "The Cambridge L/R S is a good-looking, well-built wireless active stereo speaker system that has the bold sound smarts to back up the fine, multi-option visuals. Sure, it's a little too confident at the bottom of the frequency range, with too much weight given to bass information, but for the money it's a genuine contender in an already-stacked market. Requires serious consideration."

Read our full Cambridge L/R S review

Sonos Play

• Score: 4.5 / 5
• Price: $299 / £299 / AU$499

What is it? Sonos' mid-size portable speaker, with enough power and quality to work as a home speaker, but a battery and charging cradle so you can take it away instantly. With audio input as an option over its USB-C port (via an adapter) it's incredible versatile — it's also tough and waterproof.

What we said: "The Sonos Play is a triumph of usability. It has just the right design and convenience considerations to make you pick it up and use it more often than other speakers, even great portable ones. To paraphrase a notable camera quote: the best speaker is the one you choose to listen on. The Sonos Play encourages me to listen more, in more places. It doesn't hurt that it sounds better than most portable speakers, too, and can hold its own as a home speaker."

Read our full Sonos Play review

Fluance Ri91

• Score: 4.5 / 5
• Price: $799 (about £640 / AU$1,270)

What is it? Big floorstanding active speakers with the power of a full hi-fi system, but no need for a separate amp or inputs. There's 150 watts of power behind two 6.5-inch mid/bass drivers and an AMT tweeter per speaker, and connections include HDMI, two RCA inputs, a subwoofer out, and Bluetooth (including aptX HD).

What we said: "The Fluance Ri91 sound great when turned up, though they can be a bit mid-focused, especially for those looking for neutral-sounding speakers. The included HDMI ARC input (quality control issues notwithstanding) are appreciated, as is the ability to stream higher-res audio over Bluetooth aptX."

Read our full Fluance Ri91 review

Denon Home 400

• Score: 4.5 / 5
• Price: $599 / £449 (around AU$999)

What is it? A relatively hefty and powerful wireless speaker (think of it as a fair bit bigger than a toaster), that uses six-drivers to deliver expansive Dolby Atmos spatial sound. There are left and right drivers, upfiring drive units, and two 4.5-inch woofers, all with their own Class D amplification. It uses the Denon HEOS wireless system and app, which is powerful and well-specced too.

What we said: "It's a home speaker that delivers where it counts, and is probably the most compelling single-unit spatial audio offering at this price, where it goes head-to-head with some serious competition. It offers confident, engaging and immersive spatial audio performance, a thoughtful and stylish design, and a great range of connectivity options, along with an excellent HEOS app. It sounds wonderful in its default Auto mode or the slightly more balanced Pure mode, but it really rewards those of us who tinker a bit, especially if you mess around with some of the customization options for the width and height of spatial sound."

Read our full Denon Home 400 review

Klipsch The Nines II

• Score: 4.5 / 5
• Price: $2,399 / £2,249 / AU$4,999

What is it? A pair of active standmount stereo speakers (their size and weight maybe pushes them beyond being 'bookshelf' speakers, really) that deliver tons of power connectivity with any extra components needed. They can be a soundbar replacement with HDMI and Dolby Atmos/DTS:X support, plus they have Bluetooth and Wi-Fi for music, as well as optical, phono, USB, coaxial, and ethernet.

What we said: "The Klipsch The Nines II are an easy recommendation despite the weight and despite the price bump over the previous version. It's thanks to the immersive, robust sound and large set of features, not to mention broad connectivity — they're an excellent all-in-one hi-fi upgrade."

Read our full Klipsch The Nines II review

Sonos Era 100 SL

• Score: 4.5 / 5
• Price: $189 / £169 / AU$289

What is it? A cheaper version of Sonos' entry-level home speaker, delivering all the same connectivity as the regular Era 100 (including Bluetooth and Wi-Fi, plus line-in over its USB-C port using an adapter) and the same sound quality, but for cheaper. You lose voice control and Quick Trueplay on Android as a result, but it's hard to argue with the price.

What we said: "What Sonos has achieved with the Era 100 SL is impressive. It has managed to pack in the same quality sound, great connectivity and iconic design, while dropping the price to a more affordable level. But there are absolutely some compromises — voice control is absent here, while Android users will miss out Sonos' room correction. Despite this though, it's one of the strongest performers in its price range, making it an easy choice if you never invested in the original Era 100."

Read our full Sonos Era 100 SL review

Turntables

Sony PS-LX5BT 

• Score: 4.5 / 5
• Price: $499 / £399 / AU$599

What is it? Sony's successor to its previous and wildly popular affordable Bluetooth turntable, bringing fully automatic operation and Bluetooth connectivity in a sleek design. The ultimate beginner turntable? Well, there's a cheaper version that might be more tempting, but for the price, it's hard to argue with.

What we said: "The Sony PS-LX5BT picks up where the PS-LX310BT it replaces left off — as one of the best pound-for-pound Bluetooth turntables around. If you want the most painless vinyl experience possible, you’ve come to the right place."

Read our full Sony PS-LX5BT review

Goldring GR3

• Score: 4.5 / 5
• Price: $1,299 / £699 (around AU$1,599)

What is it? Goldring is one of the oldest hi-fi companies in the world, and hasn't made a turntable in several decades — and now it's back with a very well-specified and great-looking new model. A built-in phono stage and high-quality provided cartridge make it great for relative novices, though it's odd that you can't bypass that phono.

What we said: "Goldring has managed to enter a tricky area of the turntable market with a player that is distinct enough (where finish, specification and sound quality are concerned) to stand out and make quite a compelling case for itself."

Read our full Goldring GR3 review

Headphone DACs

Fiio KA15

• Score: 5 / 5
• Price: $99.99 / £99.99 / AU$189.99

What is it? This tiny DAC blends the retro with the modern. It does a better job of converting hi-res audio to analog than your device's built-in DAC will, and has a fun little cassette animation while it plays.

What we said: "If you have big audio ambitions and a very small budget, the KA15 is excellent value for money. It's a significant upgrade in sound quality for smartphones and computers, and while it's not as powerful as a desktop headphone amp it has more than enough oomph for a wide range of headphones and IEMs so it's fairly future-proof."

Read our full Fiio KA15 review

Eversolo DAC-Z10

• Score: 5 / 5
• Price: $1,980 / £1,939 / AU$3,339

What is it? A super-versatile addition to a hi-fi setup, providing a high-end DAC system, a pre-amp, and a powerful headphone amp all in one unit. It's pricey, but it's incredibly well-specified, making it kind of a bargain — at least as far as premium hi-fi goes.

What we said: "The Eversolo DAC-Z10 won’t fail to satisfy, provided your partnering equipment is up to scratch. It’s a premium DAC for a premium system, and offers all the bells and whistles you could hope for as a result, as well as immaculate sound quality that specializes in finding every possible grain of detail in your music. It's simply as capable a DAC/preamp/headphone amp as this sort of money can buy."

Read our full Eversolo DAC-Z10 review

iFi GO Link 2

• Score: 4.5 / 5
• Price: $59 / £59 (around AU$111)

What is it? A no-fuss, super-small headphone DAC to make it easy to use wired headphones and earbuds with your phone or laptop, and with an audio upgrade along the way. Oh, and it's super-cheap as a bonus.

What we said: "The iFi Go Link 2 takes everything that's great about the original and packs it into a dinky DAC that's even smaller and lighter than before. It's a fantastic audio upgrade and it's priced very keenly, too."

Read our full iFi Go Link 2 review

Not that long ago, I stumbled across my old AudioQuest DragonFly Red USB DAC when rearranging a work cupboard. Its paintwork might have seen better days, but its simple form factor took me back to a really exciting time in hi-fi — when more people were starting to care what their music sounded like again, and making better sound more portable was an important part of that.

The DragonFly line was really quite revolutionary among the best DACs of the time for that reason, and was an education piece as much as anything else. For so long, most people had accepted that the sound from their laptops and portable devices just was whatever it was — but the DragonFly, with its unintimidating, recognizable form factor, helped demonstrate the impact of dedicated audio electronics to a wider audience.

Plus it was just so convenient. I would wager I had one DragonFly model or another plugged into my laptop for most of the years between 2012 and 2018.

Its last model, the DragonFly Cobalt, was released in 2019, but it was eventually discontinued last year due to a rise in costs due to unpredictable US tariffs. Now, with a rethink on materials and supply chains, it’s back with a new version — and AudioQuest is promising the new DragonFly Copper is its most powerful and efficient DAC yet.

That’s because the new 32-bit ESS Sabre ES9218 DAC its outfitted with claims twice the output power of any DragonFly before it, but with a smaller processor that has helped reduce power consumption by a quarter. The new copper case, which AudioQuest says has been “informed and inspired” by the RF-draining barrels of its premium Mythical Creatures cabling, also adds to its improved performance, helping to minimize noise.

It also looks pretty nice, which is a bonus, and it still has the little light-up dragonfly to let you know the sample rate you’re listening to, from green at 44.1kHz, blue at 48kHz, yellow at 88.2kHz and light blue for 96kHz.

Long-time DragonFly designer Gordon Rankin is behind the tuning of this generation too, and AudioQuest says he has optimized it in a way that reduces distortion to a level “significantly below” that of previous models.

The one thing that AudioQuest hasn’t updated, though, is the need for the DragonTail USB-C converter, because the DragonFly itself is still rocking an older style USB-A connector.

While this was super-convenient for my laptop in 2015, my laptop is all USB-C now (along with my phone, and most of the rest of my life), and so some of that once-effortless form factor feels lost in 2026 (particularly because my personal chance of misplacing this necessary dongle is almost devastatingly high).

AudioQuest isn’t alone here — several USB DACs on the market rely on a similarly clunky addition — but there are tons of USB-C options, and it feels like an obvious problem for the DragonFly to solve.

I asked whether it had been considered, and while I wasn’t given a firm answer, it was suggested that the smaller connector wouldn’t be great for stability and longevity, but also that maintaining USB-A also gives it greater flexibility to use with as many devices as possible.

As for how it sounds, from a first listen, it’s as promising as ever. Although I wasn’t able to do any A/B testing due to the demo using an iPad with no 3.5mm jack, listening with a pair of Austrian Audio’s The Arranger through the DragonFly Copper sounds incredibly clean and precise.

Now, these $1,100 / £900 / AU$1,759 open-back headphones are undoubtedly not-to-shabby on their own, but even if we credit them with a good chunk of the space and airiness I hear on a listen of Come Away With Me by Norah Jones, I’m certain that the amount of clarity and insight is very much aided by the DragonFly.

Jones’ breathy voice is sweet and full of texture, as are the instruments — the DragonFly’s fine detail retrieval able to fully enunciate the leading edges of notes all the way through to their decay in a way that I’m confident you just wouldn’t hear without it.

Of course, the DragonFly Copper re-enters a market that is very different today, with more wireless headphones and much more competition in the affordable USB DAC market too. But talking to people in the hi-fi world, there’s a clear excitement for the DragonFly’s return, and I think that extends to more than just nostalgia.

I’m certainly excited to spend more time with it when it goes on sale in September for $250 / £230 (about AU$430 but there’s no confirmed Australian price as yet).

• Klipsch launches limited-edition Bluetooth speaker for The Odyssey
• Based on Klipsch Detroit with movie-inspired detailing
• Limited to 2,500 speakers worldwide, costing $499 (about £379 / AU$723)

Blockbuster movies often come with interesting collaborations, and Christopher Nolan's The Odyssey is no exception: in addition to a rather nifty Trojan horse popcorn rather nifty Trojan horse popcorn bucket, you can also get your hands on a strictly limited edition Bluetooth speaker from audio experts Klipsch that promises audio that will "defy the gods".

And if there's one thing we know from Greek mythology, it's that defying the gods always ends well.

The new speaker is limited to 2,500 devices worldwide and is based on Klipsch's Music City Series Detroit platform. The Detroit is the largest of the Music City speakers, with dual one-inch tweeters and dual three-inch woofers. This special edition is inspired by the movie design of Odysseus' sword and features "battle-worn finishes, hand-distressed detailing, and brass accents that evoke an ancient artifact carried through an epic journey."

It looks like a lot of fun, and I'm very much enjoying the irony of the team-up here: The Odyssey director Christopher Nolan is infamous for making movies where the dialog is really hard to hear.

Klipsch x The Odyssey Limited Edition Speaker: key features and pricing

The Odyssey speaker features Bluetooth 5.3 with 40ft range, 20 hours of battery life and 18W USB-C charging. You can connect up to 10 Klipsch speakers in broadcast mode for a more immersive audio experience (though I'm not sure it's strictly how Nolan would like you to enjoy the movie…), and the speaker is IP67-rated and can survive water immersion for over 30 minutes.

You can customize the bass, mids and treble with the Klipsch Connect Plus app, which also delivers over-the-air firmware updates and tech support.

The recommended price of the Klipsch x The Odyssey Limited Edition Speaker is $499 (about £379 / AU$723) and it'll be sold online at Klipsch.com as well as through retailers including Amazon and RC Wiley.

That means it's significantly more expensive than the standard Detroit: that's currently on offer for $194 at Best Buy in the US and £299 at Currys in the UK. But of course that model doesn't have the movie magic and unique detailing of the limited edition.

Astell & Kern AK HC5: two-minute review

Astell & Kern builds some outstanding digital audio players, and the company also knows how to charge us for them. But it’s taken pity on those of us without the wherewithal, and has developed this HC5 headphone amp/DAC.

It is a portable device intended to transform your bog-standard smartphone into a viable source of hi-res audio for anyone with the wired headphones good enough to take advantage of it. With high-end AKM digital-to-analog conversion components on board, Astell & Kern’s ‘digital audio remaster’ and ‘high driving mode’ technologies included, and both balanced and unbalanced headphone outputs, the HC5 is specified to get the job done. It also features half- a-dozen digital filters, as well as a huge range of volume adjustment and some slightly imprecise-feeling physical controls that serve to undermine the robust and tactile overall nature of the device just a little.

In operation, the Astell & Kern is slightly lightweight at the bottom of the frequency range — it doesn’t have quite the heft or substance that it really should have, and can lack a little apparent punch as a result. In every other meaningful respect, though, it’s a very accomplished device indeed. It’s dynamic, lavishly detailed, creates a large and well-organised soundstage, and communicates through the midrange like nobody’s business.

If you want to turn your humble smartphone into a device that bears comparison with some of the best three-figure digital audio players around, and if you have suitable headphones too, then you ought to be after one of the best DACs around. And you should absolutely hear the Astell & Kern HC5.

Astell & Kern AK HC5 review: Price & release date

The Astell & Kern HC5 headphone amp/DAC launched at the very end of 2025 and hit shelves in January 2026.

In the United Kingdom it sells for £399. You’ll need to part with more like $489 in the United States, while in Australia the going rate is around AU$779.

This makes it a reasonable (rather than 'cheap') option, of course — at only $85 / £85 (or around AU$120) the iFi Go Link 2 Max would be an example of something more affordable, while the $4,499 / £4,499 (around AU$8,999) iFi iDSD Phantom (albeit a desktop solution) proves this A&K is hardly at the costly end of the market either.

Astell & Kern AK HC5 review: Features

• AK4191EQ digital processor
• AK4499EX DAC- 32bit/768kHz; DSD512
• Granular volume control

Apparently this is the first time that AKM’s flagship AK4191EQ digital processor and AK4499EX digital-to-analog converter have appeared in a product as small and as relatively affordable as this one. AKM suggests that splitting the d-to-a decoding into two stages preserves signal integrity — and Astell & Kern agrees. Mind you, that hasn’t stopped Astell & Kern bolstering the AKM chipset with its own ‘DAR’ (digital audio remaster) upsampling technology; it functions with both PCM and DSD content, increasing the sampling rate by quite a degree, and it can be switched off if you so desire. The upshot, though, is a DAC that supports 32bit/768kHz and DSD512 resolutions.

Astell & Kern’s ‘high driving mode’ technology is also making its debut appearance in an affordable product. The horizontal op-amp layout helps keep the physical size of the HC5 to a minimum, but also allows for significant driving power. It's worth bearing in mind, though, that the HC5 has no power supply of its own, and the prodigious amplification power it can muster will cut into the battery life of your source player more than somewhat.

There are a total of six digital filters for the user to explore, but this is the extent to which you get to influence the sound of the Astell & Kern. Perhaps oddly, there’s no sign of the EQ adjustment that’s commonplace on quite a few of the HC5’s nominal rivals.

• Features score: 4.5 / 5

Astell & Kern AK HC5 review: Sound quality

• Open, revealing and organised sound
• Dynamic and detailed in more-or-less equal measure
• Bantamweight rather than heavyweight where bass is concerned

The proof that the digital-to-analog conversion abilities of your smartphone or laptop are pretty rotten can be found in the number of extremely affordable USB DACs that are on sale now — TechRadar has rounded up the best of them, as I've previously alluded to.

But there’s no denying that spending $489 / £399 (or equivalent) on an Astell & Kern HC5 takes the sound of your laptop or smartphone to another level entirely. Provided you have the headphones to properly exploit its talents, anyway.

Load up a 24bit/48kHz FLAC file of Off Course by Oh Sees and all will rapidly become clear. When it’s dealt with by the HC5 the recording is more open and spacious, and yet somehow more singular and unified at the same time. The soundstage from which it comes is big in every direction, and the spaces and silences on it suddenly become almost as significant as the actual occurrences. Each participant has more than enough room in which to operate without crowding any other.

There’s real positivity and energy to the way the Astell & Kern delivers the recording, a sense of engagement and enthusiasm which is strongly at odds with the sound served up by a bog-standard smartphone. But at the same time the presentation is poised and balanced despite its direct and upfront nature — there’s never any suggestion the HC5 is not fully in control. This authority is especially apparent at the bottom of the frequency range, where the attack and decay of bass sounds is observed with such care that rhythmic expression is always confident and naturalistic. Down at the bottom end is where the Astell & Kern’s most significant shortcoming lurks, though. Just like the rest of the frequency range, the low end is lavishly detailed where timbre and texture are concerned — there’s more than enough information revealed and contextualised to let you know you’re getting a very full account of a recording. But there’s an appreciable shortage of body and substance to the low frequencies the HC5 generates. It can dig respectably deep but it doesn’t hit as hard, or with as much weight, as is ideal.

Otherwise, though, the frequency response is just as pleasing and convincing as everything else about the Astell & Kern. It’s articulate through the midrange, communicating the attitude and intention of a voice every bit as willingly as it reveals the details of tone and technique. The top of the frequency range is bright and similarly detailed, but carries enough substance along with it to prevent it sounding thin or aggressive — and this is true even if you like to listen at considerable volume.

There’s ample dynamic headroom available for when the attack or intensity or simple volume of a recording ramps up, and a similar facility with the less obvious (but no less important) dynamics of harmonic variation. It’s not enough for the HC5 to identify and reveal the most fleeting, most minor details in a recording - it is able to put them into the sort of context that means they serve as part of an overall picture, rather than treating them like some kind of academic exercise.

• Sound quality score: 4 / 5

Astell & Kern AK HC5 review: Design

• 64 x 32 x 16mm (HxWxD)
• Aluminium construction
• 46g

There’s ‘portable’ and then there’s the Astell & Kern HC5. Unlike quite a few nominal rivals, (some of which look like hip flasks) this headphone amp/DAC is sufficiently small (64 x 32 x 16mm, HxWxD) and light (46g) enough to be taken out even by those not wearing a coat with sturdy pockets, or carrying a bag of some kind.

The aluminium construction is impeccable, the proportions are almost instinctively suitable for a palm, and those concave sides only add to the tactility. Obviously Astell & Kern is a past master at this sort of thing, but it’s nice to be reminded it can do it for a £400 product as readily as it can for something costing £4K.

• Design score: 5 / 5

Astell & Kern AK HC5 review: Usability & setup

• Supplied with USB-C and Lightning cables
• Clear, legible display
• Physical controls feel imprecise

At one end the HC5 has a USB-C input — it’s supplied with both USB-C / USB-C and USB-C / Lightning cables, so you should have no problem connecting your source of music. At the other there are 3.5mm unbalanced and 4.4mm balanced headphone outputs.

Next to the USB-C input there’s a relatively large, knurled dial that takes care of volume — the HC5 features a frankly excessive 150 steps for ultra-granular control. It feels just slightly wobbly and a little less premium than the main body of the device.

That’s also true of the little button on the side of the HC5 that is basically your control for everything that isn’t volume; it feels just fractionally imprecise. Thankfully the display it works in conjunction with, which occupies fully half of the front of the device, is crisp and bright and legible. Here’s where you’ll turn the digital audio remaster algorithm on or off, and choose between the six available digital filters — and this, in essence, is what constitutes ‘set up’ where the Astell & Kern is concerned.

• Usability & setup score: 4 / 5

Astell & Kern AK HC5 review: Value

• It's a very little product
• …but that is one of its biggest strengths
• It more than levels up your phone's audio without you noticing it's there

If — and it’s quite a big ‘if’ — you have wired headphones capable of taking advantage of the HC5’s unarguable sonic abilities, and if you have a streaming service subscription that includes lots of hi-res content, then there’s no arguing with the difference the Astell & Kern can make to your portable listening experience. Which has to count as ‘value’ in anyone’s language, doesn’t it? OK there are cheaper devices out there too, but none look or feel quite as good as this one — and there are also much more expensive ones out there…

• Value score: 4 / 5

Should I buy the Astell & Kern AK HC5?

Buy it if…

Don't buy it if…

Astell & Kern AK HC5 review: Also consider

Where price and performance is concerned, the most obvious rival to the Astell & Kern HC5 is the Chord Mojo 2. In absolute terms it probably has the edge over the HC5, and its EQ adjustment facility is worthwhile too — but it stretches the meaning of the word ‘portable’ quite a distance…

How I tested the Astell & Kern AK HC5

At one end I connected the Astell & Kern HC5 to an Apple iPhone 15 Pro, a FiiO M15S digital audio player, and an Apple MacBook Pro — this way I was able to access a whole lot of content of various genres and resolutions, and also to assess the device’s performance against the extremely impressive D-to-A abilities of the FiiO DAP.

At the other end I connected a pair of Austrian Audio The Arranger open-backed over-ear headphones to the 3.5mm unbalanced output and a pair of Sennheiser IE900 in-ear monitors to the 4.4mm balanced alternative.

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

• The BBC has turned off its Long Wave (LW) service
• BBC 4 joins the digital-only party
• Radios will likely soon need to support digital to be viable

If you still rock a retro, decades-old radio (and live in the UK), you're probably going to have to pop down to your local electronics store, because it's well on its way to becoming defunct.

BBC 4, the last radio station in the UK to use Long Wave (LW) radio, has now been taken off the airwaves. And by that I mean, it's still going digitally and on FM analog radio, but it's the final station to be taken off BBC's Long Wave service — and thus, the power there has been switched off.

This follows a several-decades-long trend, which started in 1995 when the Beeb launched its first-ever DAB broadcast. Over time, digital-only stations and the slow shutdown of aging long-wave tech has made digital one of the preferred ways to listen.

Although several medium-wave and FM radio broadcasts persist, most people listen to their stations via digital audio in 2026, with spoken word and songs converted into binary rather than the warmer, imperfect oscillations of wave-based radio. And I've got to tell you: that's the way it'll continue.

Digital is the future

This format shutdown will reduce the complexity of the BBC's stretched multi-signal operation. In theory, it will increase accessibility — you can listen to digital signals wherever you are in the world, without needing to be within signal range — but some listeners with limited internet access or technological ability may be cut off.

For better or worse, this is the way it's going. The UK government is consulting on plans for TV to follow suit, with terrestrial TV proposed to be removed by 2034 or, possibly, 2044.

The proposals are facing the same criticism of reducing access to programming, though an eight-year lead-up gives people plenty of time to upgrade. That's especially true given that all of the best TVs these days are, let's face it, smart ones.

According to the BBC, roughly a third of a million viewers only have access to Freeview currently, and the corporation threatened that channels may be shut down if it's forced to support terrestrial for much longer. It'll depend on the consultation process.

It's too late for long wave radio though which, in the UK, now joins the dinosaurs and passenger pigeon in the category of 'things which are extinct'.

At least we know its death wasn't for nothing: it'll keep the BBC ticking along for a little while longer.

Depending on where you reside, over the last 72 hours, you'll have lived through a pretty intense heatwave, significant lightning and thunderstorms, or just, er, something (perhaps even everything) in between.

Luckily, the weather is nothing if not changeable. So if you can't get outside now, you absolutely will be able to very soon. And if you're tired of listening to music indoors and want to get out into nature, one of these portable little beauties is the way to go.

• Browse the full Amazon Prime Day sale

All of these deals have been tested and approved by TechRadar, and all are heavily discounted right now. That said, I can't promise how long said savings will last, since you may have noticed it's Amazon Prime Day right now — until midnight at least.

Which to pick, since we're in a rush? That depends. For me, you simply cannot go wrong with the Ultimate Ears Wonderboom 4 as a travel companion; it's mug-sized, you can stereo-pair two of them, it's more than loud enough for the tent or picnic table, and the audio is tight and accurate.

Both the Tribit Stormbox Micro 3 and slightly older JBL Go 4 are cheaper and smaller than the UE Wonderboom, so better suited to a solo trip, where the Bose Soundlink Flex 2 and JBL Flip 7 are that bit bigger if you're looking to start a party.

The JBL Grip is a relatively new model for the Bluetooth speaker and hi-fi giant, and I have to say, that purple finish is delightful, isn't it? But for me, top of the style pile would be the Bang & Olufsen Beosound Explore. It's like a very very chic can of beans that plays music and totes a carabiner. I feel as if I'm not selling it well with that description, but trust me, it's a handsome little speaker.

Need something bigger, ideally with a shoulder strap? The Tribit Stormbox Lava is a great shout at this price. For audio quality, I didn't love it at full price, but you can't really complain when it's $45 off… and in that 'not too big, not too small, just right' Goldilocks area of speakers, is the wine bottle-shaped JBL Flip 7. And that sounds every bit as good as its dimensions can possibly allow.

OK then, happy shopping, and get ready for that rain-check!

The cheap Bluetooth speakers we recommend

Amazon Prime Day may be coming to an end, but it's not too late to snap up a super saving on top-tier tech. And luckily, I've just spotted one of the best deals of the whole sale: you can get one of 2026's best-value Bluetooth speakers, the Tribit Stormbox Micro 3, for less, even though it only released a few months ago.

• Browse the full Amazon Prime Day sale

Right now, you can buy the Tribit Stormbox Micro 3 for $47.49 (was $64.99) at Amazon US, which represents a chunky 27% discount. If you're in the UK, you can get a sweet deal as well. That's because the Tribit Stormbox Micro 3 is £49.99 (was £62.99) at Amazon, which is more than 20% off.

The Stormbox Micro 3 delivers deep and distinguished bass, clear all-round sound, and a super-durable build. It's also phenomenally compact, making it the ideal audio companion to take on your travels this summer. If you want to find out more about these blistering bargains, simply scroll on down.

Today's best Tribit Stormbox Micro 3 deal in the US

Today's best Tribit Stormbox Micro 3 deal in the UK

In my Tribit Stormbox Micro 3 review, I rated the speaker 4.5 stars, which is an exceptional score for a small, budget-friendly speaker. Why? Well it comes down to a few things.

First of all, it sounds so much better than you'd expect for a model in this size-class. While a lot of palm-sized speakers struggle to crank out striking low-end sound, it's no problem for the Stormbox Micro 3. Bass hits hard, but not in an uncontrolled or unrefined way — it's responsive and relatively full-sounding too. In addition, vocals and guitars in the mid-range come through with impressive clarity, and percussion in the treble is controlled, never sounding tinny (unless you're cranking the volume to 100, which is rarely a good idea with small speakers anyway).

IP68 waterproofing means the speaker is fully protected against particle ingress, but also capable of surviving a 1.5 meter dive underwater for up to 30 minutes. So if you want to bring it with you for a swim in the pool, for instance, you're in luck.

It also has a magnetic base, a nifty companion app, and a massive 24-hour battery life, cementing it as one of the best Bluetooth speakers in its weight class alongside the likes of the JBL Go 5 and Edifier ES20. So, what are you waiting for? Scoop up this awesome Bluetooth speaker for less while you still can!

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & De'Longhi
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: up to 25% off SSDs & games
• Grand Theft Auto 6: pre-order now
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

It's Amazon Prime Day, and one of my favorite deals of day isn't actually a huge discount, but I think it's a really worthwhile buy at the lower price. It's the WiiM Amp Ultra, which is available for $449 at Amazon US (down from $529), or you can get it for £425 at Amazon UK (down from $499).

• Browse the full Amazon Prime Day sale

I have the WiiM Amp Ultra at home, and it's an amazing streaming amp for this price. It's really well-built and looks at home among nice furniture, with a solid metal finish — and it's shockingly compact, considering that it provides up to 100W per channel, so it can work with some really hefty speakers,

Most importantly, it sounds excellent, and there's support for nearly every music service you could want (but I'll come back to that "nearly), plus useful inputs for a turntable and so on.

I use it with a pair of Dali Oberon 5 bookshelf speakers, and the combination is off the charts for a hi-fi system that barely takes up any space. Obviously, floorstanding speakers are tall, but the Oberon 5 only have the same footprint as bookshelf speakers, so these three boxes overall can be used even in space-starved homes, but sound like you've got a much bigger, beefier setup.

When I started this configuration, I auditioned it against using the Amp Ultra with a pair of Dali Oberon 1 bookshelf speakers, and against a pair of Sonos Era 300 speakers (a pair of which costs about the same as getting the Amp Ultra and Oberon 5 speakers).

The Oberon 1 bookshelf speakers crushed the Sonos Era 300 when it came to detail and dynamic response in music, but they were equally crushed by the Sonos for bass depth and dispersion of sound in the room.

However, the Oberon 5 are the best of all worlds with the WiiM powering them — big and controlled bass, fantastic detail in the mids and treble, superb dynamic attack, and great dispersion in the room.

So I'd recommend the WiiM Amp Ultra generally, but if you're thinking that you'd like a whole magnificent hi-fi setup for under £1,000 in the UK, here's my recommendation today — if you're in the US, scroll down, because I've got a recommendation for you right after.

Today's best UK WiiM Amp Ultra and speaker deal combination

Today's best UK WiiM Amp Ultra and speaker deal combination

Some speakers are quite a lot more expensive in the US than in Europe, and Dali speakers are chief among this category. So when looking for an equivalent system to suggest with the WiiM Amp Ultra in the US, I wanted to find something that was also a huge bargain, and that's just as good, and the ELAC Debut 2.0 F6.2 is the perfect option, because their bookshelf version also got five stars from What Hi-Fi? in their review.

The downside to the WiiM Amp Ultra

There is one thing I want to note about the Amp Ultra: it's not 100% ideal for Apple Music households, despite its aluminum look and slick design. It lacks any kind of Apple support outside of Bluetooth — not just Apple Music (which is normal for streaming amps, only Sonos has this natively), but even AirPlay 2, which nearly every other music streaming device on the planet supports.

It doesn't have a USB audio input either, which seems like an odd omission for an 'Ultra' device — and it's annoying that it rules out using your Apple device's USB port to send Hi-Res Audio to it.

Now, Spotify is the most popular service, and that's supported. I have a Tidal subscription, so I'm all good. This is far from affecting everyone, but there are plenty of people who are deep in the Apple system, who use Apple Music only, and the Amp Ultra is oddly hostile to those people.

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & Tefal
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: £90 off PlayStation 5
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

Apple has just announced major price rises on a huge range of its products, and among them are its two HomePod models. The price of the HomePod mini is rising from $99 / £99 to $129 / £129, which is a 30% increase.

The full-size HomePod 2 is also getting a price change, but it's a more palatable 17%, meaning that it's changing from costing $299 / £299 to now $349 / £349.

I think the HomePod 2 can take that price rise, even though I'd obviously rather we were still in an era when products came down in price over time; the big HomePod is already a more premium product, and still sounds very good for the price.

But I think this change is devastating to the HomePod mini. I reviewed it when it came out, and I was so impressed by the dynamic range of its sound and its detail, bearing in mind not only the price, but the size. For ages, I had a pair as my desktop speakers out of choice, even though, as an audio editor, I can get my hands on pretty much any stereo setup I want to try.

As a result, I've been strongly recommending the HomePod mini since it came out, and advocating for its position as the best 'cheap' option in our list of the best wireless speakers. Being a HomePod, it's very limited as to who it's ideal for (all-Apple households, basically), but it's been in a totally different league to anything else when it comes to value since it's launch, in my opinion — yes, even five years later.

Well, until today.

The problem is that the gap has very suddenly closed between it and the next-best cheaper wireless speaker, which is the freshly released Sonos Era 100 SL.

The Sonos speaker has much bigger sound, Android and iOS support for all streaming services, Bluetooth as well as AirPlay and direct app control, and the ability to connect analog devices via an adapter — it's way more capable, but it was fair enough that the HomePod doesn't do all that considering its lower price.

At the start of this week, there was $90 / £70 between them. Today, the gap between them is $30 / £12.

Today's best Sonos Era 100 SL prices

Now, that's a slightly unfair comparison — I'm comparing full price to the Sonos' discounted price — but it's a very practical one, because it's the real choice most people will face when they buy.

The biggest sales for something like the Sonos Era 100 SL happen during sales events. Right now, it's Amazon Prime Day. Soon, it will be the July 4th sales in the US. And obviously Black Friday is huge for selling this stuff — the Era 100 SL will be discounted to this kind of level at all these times, and more besides.

The HomePod mini was very rarely discounted, by comparison, and usually only by a couple of bucks. So once this price rise settles in, and at the times most people are actually thinking about which one to buy, the comparison of the $129 / £129 very limited HomePod mini vs the $159 / £141 chad Sonos Era 100 SL is going to be the choice people will actually face.

And despite being the HomePod mini's strongest advocate since its launch, I'm just not going to be able to recommend it any more.

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & Tefal
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: £90 off PlayStation 5
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

We've tested so many Bluetooth speakers to the point where we've lost count, but if there's one thing we've learned is that JBL is the reigning champion of the best Bluetooth speakers. And now that we're in the midst of Amazon Prime Day, our top models have never been more affordable.

• Browse the full Amazon Prime Day sale

One of the best offers out there just happens to be for our top overall Bluetooth speaker, the JBL Flip 7, which Amazon has kindly knocked $55 off taking it to $94.95 from $149.95. Equally, Amazon UK has dropped our 5-star JBL Charge 6 to £109.95 from £169.99, saving you £60.

But there's way more beyond that — froms a bulky speaker with audio that can reach a neighboring country, or a more compact device that doesn't compromise sound quality, I've gathered seven of the best JBL deals on Amazon right now just below.

Today's best JBL Bluetooth speaker deals in the US

Today's best JBL Bluetooth speaker deals in the UK

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & Tefal
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: £90 off PlayStation 5
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

It's 'Global Beatles Day' today, June 25th, which is the perfect excuse to go on a magical mystery tour of the Fab Four's finest output. Consider it a gift from me to you: I've collected essential vinyl albums, great turntables to play them on, fun accessories, the ultimate version of their best movie, and some other great gifts from across the universe (well, Amazon).

There's obviously the option of getting the whole Beatles Anthology vinyl collection, but that's a lot of money to spend — though I want to tell you that it's also excellent value overall. There are also smaller collections, so you can pick up the LPs that look especially great when displayed, such as Abbey Road, Revolver and The White Album.

I've got a feeling you'll also love the special Criterion Collection Blu-ray of A Hard Day's Night, because it's easily the best way to watch the film, with a beautiful visual presentation and hours of features and documentaries from the era.

I've also highlighted a Sony turntable that's basically the best beginner option on the market right now if you're just getting into vinyl, plus some Beatles playing cards and a couple of other cool desktop gifts. Don't wait on these — because tomorrow never knows if they'll still be available.

UK Beatles picks

US Beatles picks

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Back-to-school tech: 48% off laptops, headphones & tablets
• Cheap TVs: Samsung, Sony & LG from $89.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Smartwatches: up to $250 off Garmin & Apple
• Vacuums: Dyson, Shark & Bissell from $34

More Amazon Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & De'Longhi
• Fans: from £20
• Headphones: up to 50% off Beats & Sony
• Tablets: Samsung & Lenovo from £79.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

When I'm planning my summer get-togethers there are three important things I have to tick off my list: good food, good company, and even better music — and for the past two years, the JBL Clip 5 has helped me check off that final entry.

While there are plenty of decent Bluetooth speaker offers kicking about for Amazon Prime Day, it's annoying to see them slip through your fingers if you don't have an Amazon Prime membership. Thankfully, Best Buy is pulling through with some great deals of its own.

• Browse the full Amazon Prime Day sale

Best Buy is currently matching Amazon's offer, listing the JBL Clip 5 for $59.95 down from $79.95, taking the speaker to a reasonable sub-$60 — and, unlike the Amazon offer, you don't have to sign up for a membership in order to get this deal.

Today's best JBL Clip 5 deal

Despite narrowly missing out on a spot in our picks for the best Bluetooth speaker, the JBL Clip 5 is still one of our favorite models we've tested, and packs quite the punch despited its diminutive size.

It's simple to use and easy to carry around, and comes with IP67 rating, making it an ideal speaker to have at a pool party. Additionally, the fact you can hang it anywhere using its clip handle makes it a solid option for an outdoor speaker.

On the audio front, the JBL Clip 5 is surprisingly impressive for a sub-$60 Bluetooth speaker. You don't lose the details in deep bass, and while it can be a little strained with its trebles, that's pretty much to be expected given its budget-friendly price, and not a major issue for me.

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

It's a bit hot right now, isn't it? In fact, today marks the hottest June day recorded in the UK, with temperatures peaking at over 36 degrees Celsius, which is pretty outrageous.

I suspect, then, that many Brits will be heading to their local pool or beach to chill out a bit. But if you want to really enjoy the summery vibes, then I'd strongly recommend grabbing a Bluetooth speaker and blasting some tunes — and luckily, one of my favorite models is on sale for Amazon Prime Day.

• Browse the full Amazon Prime Day sale

Yes, you can snap up the JBL Charge 6 for £109.65 (was £169.99) at Amazon right now, which is an absolutely phenomenal price for what is an equally phenomenal Bluetooth speaker.

With amazing sound quality, a rugged build, and top-tier waterproofing, the JBL Charge 6 is the ultimate pool or beachside companion, so scroll on down to learn more about this unmissable offer.

Today's best JBL Charge 6 deal

In our JBL Charge 6 review, we rated the speaker five stars, and raved about its "even-handed and expressive sound," awesome power, and genuinely impressive build quality. And after testing it for myself, I'd agree that it's more than deserving of the high praise.

When I got my hands on the Charge 6, I was especially struck by its regimented, precise, and thumping bass, which made genres like House and Hip-Hop sound highly energetic and exciting. But this never got in the way of the rest of the frequency range — vocals and guitars in the mid-range and percussion in the treble also came through with commendable clarity and flair, resulting in a beautifully rounded listen.

But JBL's mid-weight speaker doesn't only sound great, it's also rammed with a fantastic feature-set. With customizable EQ, a battery-enhancing PlayTime Boost option, and lossless USB-C audio, this speaker really feels like the full package.

And what really helps it to stand out as a beach or poolside is its IP68 dust and waterproof rating. This means that the Charge 6 is fully protected against particle ingress, but it can also survive a 30-minute-long dunking under a meter and a half of water...pretty amazing, right?

Ultimately, this deal makes an already great-value Bluetooth speaker feel like a total bargain. And if you're looking to take your music-listening experiences to new heights this summer, then I'd strongly suggest scooping the Charge 6 up for less while you still can.

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & Tefal
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: £90 off PlayStation 5
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

It's finally Amazon Prime Day, and I've already spotted some sensational deals on all kinds of tech, from Dolby Atmos soundbars to compact clothes steamers. But arguably some of the most impressive offers I've seen so far are on Bose Bluetooth speakers — with some huge savings available on the brand's absolute best.

• Browse the full Amazon Prime Day sale

I'm a Senior Reviews Writer here at TechRadar, and I've spent years testing audio gear, including a large number of Bose Bluetooth speakers. And so, I've created a list of my 3 favorites — all of which I've tested personally and are on sale for Prime Day.

I've included options like the budget-friendly Bose SoundLink Flex Gen 2, which is $99 (was $149) at Amazon US and only £99.95 (was £149.95) at Amazon UK, as well as more premium models like the Bose SoundLink Max for $279 (was $399) at Amazon US and just £267.95 (was £399.95) at Amazon UK. Now then, let's get straight into my list!

Today's best Bose Bluetooth speaker deals in the US

Today's best Bose Bluetooth speaker deals in the UK

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & Tefal
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: £90 off PlayStation 5
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

Music lovers listen up, Amazon Prime Day is stacked with offers on some of our favorite audio brands, and I've just spotted a deal on our best budget turntable, making it even more affordable — what more could you ask for?

I started my vinyl record collection in my teens, but my first mistake was not doing my research beforehand, and I purchased one of those Crosley-style players that do nothing but wreck your albums. If I were to speak to my 17-year-old self again, I'd tell him to look into the Sony PS-LX5BT turntable instead.

• Browse the full Amazon Prime Day sale

When we gave the Sony PS-LX5BT a first spin, it was an immediate 4.5 stars from us and we even described it as 'one of the best pound-for-pound Bluetooth turntables around'. Now Amazon has knocked it down to $398 from $499.99, while Amazon in the UK has a similar deal for £307 (was £399).

Selecting the right vinyl player for your needs takes time. At the end of the day, they're an investment piece, so you don't want to regret your choice, but the Sony PS-LX5BT is a solid entry-level option. Our audio editor Becky Scarrott has also pieced together a collection of some of our favorite turntables — which would make great graduation gifts .

Today's best Sony PS-LX310BT deal

My JAM Audio Bluetooth turntable gave out on me a while back, and now I've become that annoying friend that's constantly begging to use other people's vinyl player to spin my favorite LPs. Well, thank goodness for Prime Day is all I can say.

As far as entry-level turntables go, the Sony PS-LX5BT turntable is simple and uncomplicated, yet doesn't compromise sound quality. If anything, its sonic characteristics are quite upfront.

It also doesn't fall flat on the features front. You're going to get plenty of connectivity options including stereo RCA connections for hooking the turntable up to speakers or an amplifier, as well as Bluetooth if you refer to opt for wireless connection. The only small setback is that it doesn't come with an adjustable counterweight, so you get what what you're given, but that's expected for a beginner-friendly record player.

Features aside, there's no denying that it's incredibly sleek in its design, right? And the dust shield is an added bonus, adding an extra layer of protection to your vinyl records as you spin them. I'd buy it on the design front alone.

More Prime Day deals in the US

• Amazon Devices: Fire Sticks & Echo from $18
• Amazon Haul: viral gadgets, tech & appliances from $1.99
• Apple: MacBooks, AirPods & AirTags from $29
• Beauty: 50% off toothbrushes & hair tools
• Cheap TVs: smart TVs from $69.99
• Garden: tools, mowers, planters from $24.99
• Headphones: 50% off Beats, Bose & Samsung
• Laptops: Apple, HP & Dell from $199
• Mattresses: Sealy, Serta & more from $186
• Patio: outdoor furniture, rugs & decor from $19.99
• Sports: 50% off fitness gear, treadmills & clothing
• Vacuums: Dyson, Shark & Bissell from $34

More Prime Day deals in the UK

• Amazon Prime: get a 30-day free trial
• Amazon Devices: Fire, Ring & Blink from £13.99
• Amazon Haul: up to 30% off
• Apple: up to 33% off AirPods & Apple Watch
• Appliances: up to 45% off Ninja & Tefal
• Beauty: up to 60% off Philips & Oral-B
• Essentials: household goods from £5
• Fans: from £20
• Fashion: up to 50% off
• Gaming: £90 off PlayStation 5
• Headphones: up to 50% off Beats & Sony
• Laptops: from £149
• Tablets: Samsung & Lenovo from £79.99
• Toys: up to 25% off Lego and Tonies
• TVs: from £129.99
• Vacuums: up to 40% off Shark & Roborock
• Wearables: up to 30% off Garmin & Oura

I’ve tested a lot — and I mean a lot — of the best Bluetooth speakers. More than 50 to be exact. And if we’re talking about sheer popularity, then one brand is the clear and obvious top dog: JBL. For good reason too. In my years of testing, I’ve found that JBL regularly delivers the ideal blend of quality and affordability, regularly producing Bluetooth speakers with great sound and impressive durability at an easy-to-stomach price.

JBL also makes loads of different options, so I though I'd help you narrow things down a bit, and have picked out three JBL speakers I’d actually spend my own money on — with speakers for all budgets.

I’ve selected a small, budget-friendly speaker, a mid-priced maestro, and a premium pick that’s ideal for parties — there really is something here for everyone. If a speaker hasn't make this list, it’s by no means a vote of no confidence; this is simply a list of the three I’d personally grab right now.

1. JBL Go 5

Let’s start with the small yet mighty JBL Go 5, which I recently reviewed and rated five stars. The Go 5 is, in my view, the best small speaker on the market right now, offering clear, precise, and well-balanced sound, alongside an extremely hardy build, and a stellar feature-set.

As a mini speaker, the Go 5 won’t be able to belt out earth-shaking bass, but it plays to its strengths. Low-end sound is agile and punchy rather than ‘boomy’ and uncontrolled. Meanwhile, mids are clear and composed, and treble is highly articulate, resulting in great sound within a small package.

There’s also USB-C audio for lossless playback and EQ options to tailor audio to your specific tastes. The Go 5 has a more layered, full sound than its predecessor, the JBL Go 4, so if you own that model, I’d still recommend upgrading.

Another reason to opt for the Go 5 over the Go 4 is its design. The newer variant is equipped with edge lighting that makes listening to music even more immersive — especially in low-lit rooms if you want a bit of ambience. Waterproofing also got a boost to IP68, meaning the Go 5 is fully dustproof and capable of surviving a 1.5 meter dunking underwater for as long as 30 minutes — ideal for beach trips and pool parties.

Mix in solid battery life, Auracast compatibility, as well as a drop proof exterior, and the JBL Go 5 really is the full package — albeit a small-sized one. It’s typically available for $54.95 / £39.99 (about AU$75) as well, meaning it’s an absolute bargain.

2. JBL Flip 7

If we’re talking about value for money, then the JBL Flip 7 might just be the greatest Bluetooth speaker I’ve ever tested. Big statement, I know.

The reason for this is actually fairly simple: the sound it produces defies belief — not only based on the speaker’s low price, but also on its low footprint. Yes, the five-star Flip 7 is very compact, but it produces big, impactful sound, with strikingly impactful bass that demands your attention. But this doesn’t come at the expense of the rest of the frequency range. Mids are layered and intricate with vocals sounding especially well-defined, while treble sounds exert a level of expressiveness that’s beyond expectation.

Elsewhere, the Flip 7 carries over a lot of the Go 5’s greatest features, like an IP68 rating, USB-C audio, Auracast, and PlayTime Boost if you need a bit more battery life — though the standard 14 hours should get you a decent way. Sure, there’s no edge lighting on this one, but it's a clear step-up in terms of sound quality and power — it has a 35W maximum power output compared to the Go 5’s humble 4.8W.

At $149 / £129 / AU$179, the Flip 7 already overdelivers against its asking price, but I’ve seen it pop up on sale plenty of times, so keep your eye out for a sweet deal.

3. JBL Xtreme 5

Last but most definitely not least, I have the JBL Xtreme 5. If you’re working with a larger budget, want massive sound, or want a speaker for parties, then this one’s for you. This model was released alongside the Go 5, so I also reviewed it very recently, and like its small counterpart, it earned a glowing five-star review.

But what makes the Xtreme 5 so special? Of course it has all of the aforementioned features, whether that be IP68 dust and waterproofing, wired lossless playback or personalizable EQ. But the big difference is made in the audio department.

The Xtreme 5 has a massive maximum power output of 130W, meaning it can supply seismic sound, with thumping bass, driven and direct mids, and vibrant highs. Although it's a great performer all-round, it really is the low-end that wows. I described this model’s bass as “mesmerizing” in my review, and during testing I was blown away by the sheer might of its low-end output, which was significantly improved from the JBL Xtreme 4.

In addition, the Xtreme can squeeze out up to 28 hours of playtime, has JBL EasySing Mic compatibility for karaoke, and like the Go 5 it has customizable LED lighting. If you want the ultimate portable party speaker, look no further than this. The Xtreme 5 usually sells for $399.95 / £329.99 (about AU$560), which is very competitive in the upper echelons of the Bluetooth speaker market, although it's undoubtedly quite the investment.

If you're looking to get into the world of audiophile-grade sound, or want to upgrade your gear, then now could be the perfect time. And that's because Amazon Prime Day is finally upon us, and we've spotted a bunch of amazing deals on head-fi, with some mega bargains on IEMs, headphones, and music streamers.

• View the full Amazon Prime Day sale

I've got the rundown on some awesome offers from the likes of Astell & Kern, its affordable sub-brand, Activo, Meze, and Sennheiser, with big discounts, bundles, and more available.

As someone who's been testing audio gear for years, and has tested IEMs and headphones from all of these brands — including the featured Activo Volcano and Sennheiser IE 200 — I have to say that these deals are seriously tempting, even for me. So, whatever you do, don't miss out on some of this high-quality, yet low-priced audio gear!

Prime Day sale – quick links

• Shop Amazon's Prime Day headphones deals

Excellent Prime Day head-fi deals

More Amazon Prime Day deals in the UK

• Amazon Prime: sign up for a 30-day free trial
• Amazon Devices: Fire TV, Ring & Blink from £21.99
• Apple: AirPods Pro 3 for a record-low price
• Appliances: up to 45% off Ninja, Tefal & Sage
• Essentials: household goods from under £10
• Laptops: from £149.99
• Tablets: Samsung & Lenovo from £125
• TVs: from £129.99

Amazon Prime Day is upon us, and headphones will fly out of Amazon warehouses like the best brownies at the bake sale — and if the best models sell out, the deals-hungry public will flock to competing retailers.

• See all early Prime Day deals at Amazon

But I want you to be first in line when the deals land, and that means knowing how to sort the wheat from the chaff. Stick with me, and you'll never be led astray to an unknown (but very lavishly packaged) set of cans that turn out to be 2019-launched duds still toting Bluetooth 4.1 and with no app to speak of.

Look, I'm being harsh here because I want you to have the good products. The ones I'm listing here are, in fact, the best. And because Amazon Prime Day is one of the biggest sales events in the tech calendar, some discounts are likely (not certain, you understand… but likely).

What follows are my top three noise-canceling headphones for iPhone, Android, and audiophiles, along with my advice on pricing. Know this now and bookmark the product page for the day(s) ahead. You got this!

Not looking for noise-nixing cans? That's OK — see TechRadar's early Prime Day roundup for the best deals across tech.

1. The bubble-of-silence cans for iPhone users

You may not want to hear this, because believe me, I know that the second-generation Apple over-ears launched in March 2026, devoid of any huge redesign we might have hoped for.

Here's the thing: you won't care once they're on. That is because the ANC is so much better this time around. I know because I reviewed them for TechRadar, and their noise-nixing performance is jaw-droppingly, head-shakingly, 'No you must have lowered your voice, come on' good. Really.

Also excellent is the new Conversation Awareness feature, which picks up your voice to lower all other sounds and enable an important chat much faster than in competing options I've tested.

Why are they so good? It's their new H2 chip and its computational wizardry. They're also punchier sonically, and the extra perks (Live Translation, Adaptive Audio, Head Gesture control, and the Camera Remote feature, in short) work seamlessly and with minimal button-pushing to get you there.

Provided you've got an iPhone 15 Pro or newer (ie. something that supports Apple Intelligence) these features are unbeatable. These are the headphones I reach for daily. And it's not even close.

Launch price: $549 / £499 (March 2026)

Prices to look for on Prime Day:
US: $399 is already live!
UK: as above, look for 10% savings (or £449) over Prime Day

2. The cocoon-of-quiet set for Android owners (that's also device agnostic)

And now for something slightly cheaper, and slightly older — although a September 2025 launch date still makes them thoroughly relevant and modern, even in the fast-moving worlds of Bluetooth audio and wireless headphones.

The Bose QuietComfort Ultra Headphones (2nd Gen) are my second-most-reached-for cans when I need to block out the world. I pick them up whenever I want to listen in ‘cinema’ mode (within the ‘Immersive’ audio offering), but my source material is from Tidal, say, because unlike Apple's AirPods, these headphones will give you top-tier head-tracked dynamic content irrespective of the source device or streaming platform.

And while you'll also get Lossless from the AirPods Max 2 above, being able to hard-wire the QuietComfort Ultra (2nd Gen) headphones to a source of music in order to enjoy truly hi-res audio quality isn't to be sniffed at either — oh, and you get aptX Adaptive for better quality over Bluetooth, too, which we loved in our full review of the Bose QCU Headphones (2nd Gen).

OK, the option below this product (and the one above it, though that's a far closer call) will give you slightly more detail and a more faithful neutrality in your music. But for noise cancellation at this price, these Bose headphones still cannot be beaten nine months after their release. Bose basically wrote the book on ANC back in the 1970s, and the QuietComfort Ultra Headphones (2nd Gen) are more than worthy of their history.

Launch price: $449 / £449 / AU$699 (September 2025)

Prices to look for on Prime Day:
US: their lowest ever price of $379 has just been seen
UK: £399 is the lowest-seen deal in the UK (but keep your eyes peeled!)

3. The isolation chamber for picky audiophiles

Want class-leading sound as well as near-class-leading ANC? You've really got to give the Bowers & Wilkins Px8 S2 your complete and undivided attention, as we said in our five-star Bowers & Wilkins Px8 S2 review.

When I want a wireless listen that's as close to a wired listen as I've ever heard, with very good noise-cancellation performance to boot, I go for these. Also, these are by far the best-looking headphones I've ever worn. They're a classy, timeless set of over-ears and no mistake — but on this, they also launched in September 2025, like the Bose option above.

The B&W are the priciest set of headphones within what is hardly a bargain bucket roundup, I grant you — but again, I have ruthlessly selected my favorite headphones for this missive. They are the only sets of cans I'd advise splurging on this Prime Day, because I can personally vouch for their talents.

Honestly, you do tend to get what you pay for in audio — and here you're getting aptX Adaptive and aptX Lossless compatibility, with the option for wired USB-C listening as well. However you choose to listen, I could wax lyrical on the sound quality for days. Just be careful when wearing them on public transport, because I've missed my stop more times than I'd care to admit while wearing these headphones.

Launch price: $799 / £629 (September 2025)

Price to look for on Prime Day:
US: Anything less that $749 (or 6% off) would make for a new lowest-seen price
UK: Anything under £629 would be a new lowest-seen fee (so stay tuned!)

Summer is here, and there’s one thing you need to take your barbecues, beach trips, and festivals to the next level: a Bluetooth speaker.

That’s right, a portable speaker is sure to bring the vibe up — well, if you’ve got one that’s actually good. And believe me, there are a lot of models out there that really aren’t worth your time. Whether it’s an unbranded speaker that only costs $15 / £15 and produces distorted sound, or an overpriced luxurious alternative, you’ll want to steer clear of the slop.

Luckily, I’ve tested more than 50 Bluetooth speakers, so I know good value when I see it. And today, I’m here to share three of my very favorite portable speakers with you, all of which are well worth their asking price, and excel in crucial areas like sound quality, design, and feature-set. So, want to ensure you get a high quality audio companion for the summer? Look no further than these top picks.

1. The ultra-cheap option: Tribit Stormbox Micro 3

I could’ve easily given this one to the JBL Go 5, but spoiler alert: JBL is featuring later on in this list — and hey, it’s good to get a bit of variety in there, right? And so, enter the Tribit Stormbox Micro 3, which is easily among the best Bluetooth speakers in the ultra-cheap category.

This palm-sized speaker offers a lot more quality than you’d expect at its moderate price point. What grabs you first is its seismic bass output. But don’t be fooled: this isn’t the bloated, overstated low-end that a lot of budget speakers produce — it’s impactful and commanding. This is great for genres with pumping bass like House and other electronic genres, for instance.

What’s more, this speaker is IP68-rated, meaning that it’s fully dustproof, and can survive a 30-minute-long dunking in a meter and a half of water. It's also made of a rough and ready fabric material, and is drop-proof, which, paired with its compact size, makes the Stormbox Micro 3 the ultimate speaker to take out and about.

Another real highlight is the Stormbox Micro 3’s 24-hour battery life, which is absolutely exceptional. For reference, that’s double the amount you’d get with the Bose SoundLink Micro Gen 2, and while that model may offer slightly more detailed mids and more expressive treble, its underwhelming bass and high price means I’d pick the Stormbox Micro 3 every time.

2. The mid-range maestro: JBL Flip 7

The JBL Flip 7 is one of those pieces of tech that seems too good to be true — except it isn’t.

It supplies sound far greater than you’d expect for its size, with huge yet controlled bass, powerful yet detailed mids, and vibrant yet articulate highs. The Flip 7’s dual-driver configuration and 35W max power output also helps it to get surprisingly loud, making it a versatile option for either bedroom listening or a party environment.

In addition, the Flip 7 is compatible with Auracast, enabling you to easily connect to other JBL speakers, there’s USB-C lossless audio support, and again, IP68 dust and waterproofing for on-the-go use. Sprinkle in a high-quality build, AI Sound analysis for optimized audio, and a neat array of color options, and the Flip 7 really does feel like the full package.

Usually, the Flip 7 will cost you about $149 / £129 / AU$179, but it goes on sale quite a lot of the time — even when writing this article, I spotted it going for less than $100 / £100 / AU$150, which is unspeakably good value for money.

3. The premium powerhouse: Marshall Kilburn III

Let’s finish up with the speaker I always reach for at my desk: the Marshall Kilburn III. This beautiful amp-inspired model is a true work of art, with faux-leather casing, a gorgeous metallic speaker grille, and eye-catching golden details. But it’s a lot more than a pretty face.

Yes, the Kilburn III sounds exceptional even with the lack of higher-res Bluetooth codecs like LDAC or aptX Adaptive. It serves up deep, regimented, almost moving bass, well-separated mids, and controlled highs, and there’s a great sense of balance right across the frequency range. The Kilburn III also makes use of Marshall’s “true” 360-degree stereophonic sound, which means the speaker has no real sweet spot — it sounds fantastic from all angles.

One of the things I love most about the Kilburn III, however, is its S-tier battery life. You get a mammoth 50 hours of playtime here, and there are also battery health options that you can activate in the Marshall Bluetooth app. On top of this, you get a 3.5mm port for wired listening, a USB-C port that enables you to charge external devices, and there’s even a placement compensation feature for getting optimized audio, no matter where your speaker sits.

At $379 / £299 / AU$599, this is by no means the cheapest speaker on the market, but I’ve seen it go on sale for less than $300 / £250 / AU$500 before. And if you’re looking for something with a touch of class, then it really doesn’t get much better than the Marshall Kilburn III.

It's a huge day. That second you become fully aware that your studying days and nights are finally behind you is one of life's pivotal moments. You only really know it happened because someone tied a ribbon around your results, handed you a robe, and took your photo holding the scroll. But you did it; you got there!

And if the newly liberated student in your life is looking to move into their own place, or simply wanting to chill out with a bit of downtime before 'real work' begins, a turntable is the kind of important gift they might love to receive from you.

As luck would have it, Amazon Prime Day is upon us, and that means some savvy shopping deals may coincide beautifully with your gifting. However, I'm not focusing on that here, despite my obligation to place a link below this piece…

See all early Prime Day deals at Amazon

4 excellent turntables that will last long after they graduate

This mini roundup is simply the four best turntables I recommend as graduation gifts, irrespective of deals. At the time of writing, the cheapest of the lot, the Bluetooth-friendly Sony PS-LX3BT (which is the cheaper sibling of the splendid Sony PS-LX5BT and a direct replacement for the 2019-issue Sony PS-LX310BT), is already discounted by 18% too, meaning you'll now only pay $328 (was $398) on Amazon.

One up from this in terms of pricing is the excellent Pro-Ject Debut Carbon Evo, which is the top turntable we recommend for most people in our guide to the best turntables. Why do I love it? It just sounds so good for the relatively affordable price. Unlike the Sony above, this one won't ping vinyl audio to your Bluetooth headphones and is more of a traditional-style deck, requiring amplification and hard-wired connections to sing, but that's part of its beauty — they can tailor it to their future!

Want to give them something brand new, hot off the factory floor and for my money, even better-looking than the Pro-Ject? Meet the baby of the bunch, the days-old Fluance RT87. Its winsome looks come largely from what Fluance calls a 'dual plinth', but there's really only one plinth with a novel two-layer design, to eliminate vibrational nasties. It's so new, we've yet to review it, but this is Fluance, a trusted name in audio and a little birdie tells me early signs are resoundingly positive.

This is again a more traditional, analog-style amp-and-passive-speakers type turntable. You can buy it with either the super-solid Audio-Technica AT-VM95ML stylus preloaded or, for listeners seeking a highly musical presentation, the Ortofon 2M Blue, known for its tonally rich character and detail.

What if they've got a Sonos speaker they'd like to make use of (or you've got one you were planning to give them when they move out)? I've got you: the Victrola Stream Onyx works with Sonos kit, with no other connections needed. You can even get it in a stunning sage green (you'd be so surprised how many people ask me to recommend sage green turntables) and the build is effortlessly chic. Yes, it's the priciest model here, but when you consider that you may not need anything else to get vinyl that harnesses your (their!) home Wi-Fi, it may make more sense.

I hope you find a favorite among these, because I love them all. And wish your recent graduate all the very best on this mad journey we call life from me, will you?

Sonos Era 100 SL: two-minute review

The Sonos Era 100 SL is a wireless speaker that features nearly all the strengths of 2023’s original Sonos Era 100, but at a cheaper price. While it isn't a surprise that there have been some trade-offs to get that cost down, I doubt they'll be a dealbreaker for most people.

Sonically speaking, there aren’t many sacrifices at all. In the mid-range, the Era 100 SL is capable of impressive detail. When I played I Want You by Moloko, I was impressed by how well its funky guitar noises, strings and acidy synth line cut through the mix, without interfering with the wonderfully polished vocals.

However, I found the high end a little more cluttered on occasion: listening to The Gloaming by Radiohead, I did feel that the rhythmic pulsing static was a bit too forward, treading on the toes of the granular synth. It sounds great for the price, but you do get a finer presentation if you pay more.

Bass was always the original Era 100’s achilles heel. It often tipped into being brash, slightly swamping the rest of the mix. When I played Six Days (Machinedrum remix) by DJ Shadow on the SL, the low-end appeared slightly more dynamic when compared to the original Era 100, leading me to wonder if a software tweak to rein in bass was responsible, or whether it's part of the re-engineering inside that Sonos CEO Tom Conrad told us the company had done, to hit the lower price.

Either way, it still isn't great with sub, though: it falls away just when it hits the drop, that swelling bassline feeling nowhere near as substantial as it sounds on the best wireless speakers that are pricier.

Generally, though, the SL offers a spacious presentation, especially when fed high-quality recordings. Playing Wasting My Young Years by London Grammar from Tidal’s hi-res tier, I was struck by the airiness of the mix, which allowed the silvery vocals to stand apart from the piano and drums.

Unfortunately, this doesn’t quite extend to the speaker’s stereo field — as with its predecessor, I found it hard to differentiate a clear stereo separation unless I was very close. As such, you’re unlikely to get a clear sense of left and right from halfway across the room — but then, at this price, you could actually buy two happily.

So the Era 100 SL is as easy on the ear as its predecessor, albeit with some of the same drawbacks. But how does it look?

Given it’s largely decked out in the same getup as the Era 100, there really are few surprises here. It’s the same dimensions and has the same wraparound grille and matte-plastic top surface. The touch-capacitive control scheme is also largely identical — with the voice control button being the only real omission, because Sonos removed that feature. Otherwise, Sonos has stuck with what works for the SL, and I’d say that was the right instinct.

In fact, probably the only area where the SL makes a real departure from its namesake is in its feature set. Connectivity remains solid, offering Wi-Fi 6, AirPlay 2 and a whole host of built-in streaming services — although the only wired input you’ll get is if you splash extra cash on its USB-C to 3.5mm analog converter. EQ options are identical to those on the Era 100, offering just the option to boost or duck bass or treble.

But there are two significant differences. First off, as I alluded to above, voice control has been stripped out of the SL. This feels like a reasonable sacrifice to lower that price — and I’d rather that than weaker sound quality.

Slightly more an issue for me is the omission of Trueplay room correction for Android users (which is a consequence of dropping the microphones, since the Android solution relies on them). Those with an iPhone can still tailor the SL’s sound to their space using their device to track calibration sound as they walk around the room. Given how well this feature polishes its sound, it is a shame that you'll miss out if you're on an Android device.

Despite this though, the Sonos Era 100 SL is well worth it. You get the quality sound plus classic design of Sonos’s pricier speaker, for the reduced price of $189 / £169 / AU$289. That’s a pretty great bargain and ameliorates our biggest hesitation with its pricier predecessor. Yes, it's a shame that Android users miss out on a great feature but it's still the best home speaker you'll get for this price.

Sonos Era 100 SL review: specs

Sonos Era 100 SL review: price & availability

• Launched on March 31, 2026
• Costs $189 / £169 / AU$289
• Available in black or white

Having launched on March 31, 2026, the Sonos Era 100 SL is available now, at a cheaper price than its predecessor, the Era 100.

The SL comes in at $189 / £169 / AU$289, compared to the Era 100’s now-reduced price of $219 / £199 / AU$319. While not a huge gulf, it still amounts to a decent saving, especially given the near-identical specs.

And, as is usually the case with Sonos gear, for that price you have the option to pick up the speaker in white or black.

Sonos Era 100 SL review: features

• Good connectivity options and streaming service support
• Room correction only compatible with iPhone
• No voice control of any kind

So how does the Sonos Era 100 SL’s featureset differ from its spendier stablemate? Well, on paper, it’s very similar to the Era 100, with only a couple of key differences.

Let’s start with its drivers. The SL offers the same setup as as the Era 100, with a mid-woofer to handle both mid-range frequencies and bass, while two angled tweeters take care of the treble and help form its stereo field. These are all driven by the speaker’s three class D amplifiers, meaning you get decent volume and low-end heft.

Setting up Sonos products has always been a breeze, and the Era 100 SL is no exception. Simply plug it in, download the Sonos app, and select the system you want to add it to. Tap on your speaker when it appears, and it will play an audio pin to connect it to your system. After installing an update via the app, I was good to go.

The last (optional) step is to set up the SL’s Trueplay room-calibration tuning, which is designed to get you the best possible sound from the speaker, and that works much the same as it did on the Era 100.

Essentially, you point your iPhone’s mic toward the speaker, then walk around the room while whirling it around in slow circles with one arm, like a lopsided propeller.

Following calibration, the sound definitely seemed free of obvious acoustic issues — there wasn’t any boom back from the bass, nor any unfortunate reverberations off the surfaces or walls — so Sonos’ room correction seems as effective as ever.

Unfortunately, there’s a pretty major caveat here: unlike on the Era 100, the SL’s Trueplay tuning is only compatible with iOS. And that is a real shame, given it does help unlock the SL's best sound. However, it still offers great performance for Android users, even if the lack of Trueplay does add an asterisk there.

Trueplay for Android users isn’t the only feature removed to help reduce the SL’s price. The voice control offered by the full Era 100 has been omitted, too, saving you the price of the mic module and controls. Personally, it takes me far longer to horsewhip my thoughts into a spoken command than it does to simply pull out my phone, so I’m not all that bothered about the lack of voice assistant. But if you are, you’ll probably prefer the Era 100.

While I’ve mentioned how much I rate the Era 100 SL’s room-correction tech, I can’t really say the same for its EQ options. The Sonos app only offers the ability to boost or duck the treble or bass by up to 10 levels. While I do think Sonos’s speakers sound a lot better than some wireless speakers out of the box, plenty of rivals now offer nine-band or even parametric EQ — which makes the SL’s bass and treble sliders feel like old hat.

As far as connectivity options are concerned, the Era 100 SL offers a decent range. Using Wi-Fi 6, you can stream tunes directly from your devices using AirPlay 2, or from the speaker using built-in apps including Amazon Music, Apple Music, Deezer, Soundcloud, Spotify, Tidal and a whole heap more. Meanwhile, Bluetooth 5.3 will allow you to hook up all your non-Apple devices, although there’s no support for higher-res formats such as aptX HD.

Sadly, the Era 100 SL is less well equipped when it comes to physical connections. Its USB-C port is only for plugging in adapters, so banish any thoughts of hooking up wired digital audio. So while it does allow you the option for plugging in either a 3.5mm jack for analog audio or an Ethernet cable, each of these requires you to buy a separate adapter. It’s a world away from the wealth of ports that a speaker such as the Bluesound Pulse Flex offers.

• Features score: 4 / 5

Sonos Era 100 SL review: sound quality

• Impressive detail
• Rich mids, and bass feels slightly less muddy
• Relatively weak stereo field

My big worry when preparing to test the Sonos Era 100 SL was that in trying to hit the cheaper price point, there would have been a negative impact on the quality of its sound. Fortunately, I’m pleased to reveal this isn't the case — the Era 100 SL happily holds its own against its predecessor and, in some areas, I actually wonder if software tweaks have reined in some of the Era 100’s worst impulses.

First, let’s start with the mid-range. When listening to Venera by George Fitzgerald, I was impressed with how much presence and detail the SL could squeeze out of the track’s vocal, pad washes and synth lines, making them sound like a richly textured whole. Admittedly, some of the percussion felt a little less punchy than I’m used to, but that was more than made up for by how well it balanced the saturated, arpeggiated synth and organic organic woodwind sounds that close out the track.

The original Era 100 came unstuck mainly in the bass — like an overexcitable puppy, it was both enthusiastic and yet lacking in discipline. Here, it sounds like the SL’s software has been tweaked slightly to rein this in.

Comparing Listen by Pola & Bryson and Goddard on both speakers, sustained bass notes sound less reverberant and flabby on the SL, while snarling distorted bass synths seem more tightly expressed. However, not that if you’re expecting super-low bass from either device, you’ll be left wanting: there’s very little in the way of sub from either.

I tested the SL’s treble by playing Go Your Own Way by Fleetwood Mac — an exam it easily passed, even if it didn’t quite ace it. There wasn’t any unpleasant distortion or oversaturation to it, while the snare and toms had a delicious punch that kept everything moving forward. However, my one reservation was that the rhythmic punch and the polished vocals slightly outshone the twangy rhythm guitar — for me, they’re part of what makes the track so iconic, so it was a shame they didn't get to share as much of the limelight.

Given the Era 100 SL doesn’t exactly sit at the premium end of the market, it also does a good job of separating different instruments in the mix. Playing a hi-res stream of Clair de Lune by Kamasi Washington straight from Tidal, I was impressed by the clarity of timbre of each instrument, especially during the solos. The trumpet beautifully conveys the instrument’s rich harmonics, while the sliding strings of the double bass as the player launches into their solo are brilliantly expressed.

Like its predecessor, the SL is only capable of so-so stereo. Unlike some more premium speakers, it still largely feels like the sound is issuing from a single point. And when I played Manchild by Eels, I could appreciate the stereo separation between elements — with the guitars clearly panned to the right and the vocals to the left — but only when I was sat within a few feet of the device. At least listening angles are pretty consistent, with only a very slight drop off in the treble as you travel toward the speaker’s back.

All in all, my biggest worries going into this were ill-founded. Despite the cheaper price of the Sonos Era 100 SL, it doesn’t demonstrate any significant sonic sacrifices compared to its full-fat sibling. And there may have even been a few software tweaks behind the scenes to slightly rein in the wilder tendencies of the older speaker. Either way, it’s a very decent-sounding speaker for the price.

• Sound quality score: 4.5 / 5

Sonos Era 100 SL review: design

• Almost identical to the Era 100
• Solid, tactile build
• Effective touch-capacitive controls

When it comes to looks, the Sonos Era 100 SL remains almost identical to its older sibling. They share the same cylindrical ellipse shape, are wrapped in the same metallic grille, and arrive in the same black or white colorway. If you’ve ever gawked at the older Era 100, you’ll know exactly what you’re getting here.

All in all, the Era 100 SL is decently stylish, feels solidly built, and the matte plastic of its top surface is pleasingly tactile. While I’ve poured scorn on quite a few wireless speakers lately for defaulting to this same basic format, I’ll give Sonos a pass here. First off, it was largely the brand that coined this look in the first place — and, more importantly, the Era 100 SL is principally a cheaper speaker wearing its spendier brother’s clothing, meaning it was never going to break the mould of existing speakers.

In light of this, so not surprisingly, the Sonos Era 100 SL is the same size as its full-fat sibling, measuring 7.19 x 4.72 x 5.14 inches / 182.5 x 120 x 130.5mm. However, it's ever so slightly lighter — presumably thanks to its shedding of voice control mics — weighing in at 4.3lbs / 1.95kg compared to its predecessor’s 4.45lbs / 2.02kg. That makes it a pretty average size in the grand scheme of things, neither Lilliputian like the 0.96lbs / 0.44kg Sonos Roam 2, nor Brobdingnagian like the hulking, 3 lbs / 14.5kg Cambridge Audio Evo One.

With one notable exception, the erstwhile voice control button, the buttons on the Era 100 SL are the same. And that’s very much a plus: there’s no need to fix the Era 100’s control scheme since it definitely isn't broke. Its touch-capacitive controls are easy to activate, allowing you to play, pause and skip tracks, while swiping its touch bar lets you tweak its volume. Sure, it could offer light-up symbols for use in darker rooms or customizable shortcut keys, but it covers the core functions well.

Fundamentally, the Era 100 SL is the spitting image of the Era 100 before it. So if you were a fan of the older model, you can be sure you’ll like its younger sibling.

• Design score: 4 / 5

Sonos Era 100 SL review: value

In our review, one of our criticisms of the original Sonos Era 100 was its increased cost. Its initial list price of $249 / £249 / AU$399 presented a chunky markup on the Sonos One at $219 / £199 / AU$319 , but even more so when compared to the Sonos One SL's $199 / £179 / AU$289. Even though the Era 100 has now come down in price to $219 / £199 / AU$319, that’s still only roughly comparable to the Sonos One.

Conversely, the Era 100 SL has a list price of $189 / £169 / AU$289, making it the same price or even cheaper than the Sonos One SL but with many of the same features and the exact same sound quality as the Era 100. That’s not to be sneered at.

In fact, if you’re an iPhone user, the only real thing you’re losing here is voice control, something I’m personally happy to sacrifice for a bit of a bargain. And even if you’re an Android user, this price is still well worth it as you're unlikely to get much better performance by investing your spend elsewhere. Access to Trueplay is a definite bonus but that shouldn't detract from the fact the SL still offers great sound for its price.

• Value score: 4.5 / 5

Should I buy the Sonos Era 100 SL?

Buy it if…

Don’t buy it if…

Sonos Era 100 SL review: also consider

How I tested the Sonos Era 100 SL

• Tested it over four weeks
• Compared it to the Era 100 using a wide range of tracks
• Have decades of experience using audio hardware

I tested the Sonos Era 100 SL over the course of about a month. I made sure to utilize many of its key features, including room-tuning and EQ, and tried connecting to it through a range of options from direct streaming on the device through to connecting discrete devices using AirPlay 2.

To assess its sound quality, I played a wide variety of music, from classic rock to liquid drum & bass. I also compared the sound, side by side, with the Era 100 to see whether I could perceive any significant differences between their sound signatures. In addition, I compared each version’s stereo field and angle drop-off to see whether either revealed any issues with their soundstage.

As well as spending at least the past six years reviewing wireless speakers for tech publications, I have decades of experience using audio hardware in my home environment, including a range of wired and wireless speakers and headphones. I’ve also spent 20 years producing music from home, which has given me a firm understanding of how to assess the balance of frequencies and stereo elements.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Klipsch The Nines II: Two-minute review

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

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

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

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

Klipsch The Nines II review: Price and release date

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

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

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

Klipsch The Nines II Powered Stereo Speakers: Specs

Klipsch The Nines II Powered Stereo Speakers: Features

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

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

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

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

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

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

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

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

• Features score: 4.5 / 5

Klipsch The Nines II Powered Stereo Speakers: Sound quality

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

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

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

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

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

• Sound quality score: 4.5 / 5

Klipsch The Nines II: Design

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

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

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

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

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

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

• Design score: 4.5 / 5

Klipsch The Nines II review: Setup and usability

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

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

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

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

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

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

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

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

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

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

• Setup and usability score: 3.5 / 5

Klipsch The Nines II Powered Stereo Speakers: Value

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

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

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

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

• Value score: 3.5 / 5

Should I buy the Klipsch The Nines II speakers?

Buy them if…

Don’t buy them if…

Klipsch The Nines II review: Also consider

How I tested the Klipsch The Nines II

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Convenience has become a much more acceptable concept in hi-fi these days. No longer shorthand for compromise, its importance for modern listeners has instead inspired whole lines of products — and the impressive Cambridge Audio Evo range is one of the most impressive among them.

Initially made up of a couple of just-add-speakers streaming amplifiers and an all-in-one player, the line up has offered a great solution for anyone looking to simplify their setup since its launch five years ago.

Last year, Cambridge retired the lesser powered of the two streaming amps — the Evo 75 — leaving the reconfigured Evo 150 SE and the also-includes-speaker Cambridge Evo One holding the fort on their own… until now.

Cambridge recently unveiled the Evo 300, a brand new range-topping stereo streaming amp, promising to be twice as powerful and, the brand says, a “real step up” from last year’s Evo 150 SE in “pretty much every way”. I got to hear it at this year's High End Vienna hi-fi show, and we deemed it good enough to win one of TechRadar's High End Vienna Best in Show awards.

As much as I love the fun of system matching with hi-fi separates, it can be expensive and time consuming, so there’s a lot to be said for a the simplicity of a streaming amp — particularly one that is claiming a hefty output of 300 watts per channel of Class D amplification, all wrapped up in a seriously stylish design.

You even get to choose from interchangeable side panels for the Evo 300’s black aluminum body, with the option of a traditional real-wood finish or a more modern black slatted look. I’m partial to the wood look myself.

The Evo 300 is like a slightly stretched out version of the Evo 150 SE, measuring just a couple of inches wider. This means it also features the brand’s largest screen at 7.8 inches, which is an OLED that looks as bright and crisp as ever. This shows any changes to volume and input as they happen, but also displays album artwork or a choice of digital VU meters, if you prefer.

The same incredibly tactile dual-concentric control dial from the 150 SE sits along the front panel, for adjusting volume and choosing input, plus there’s a front-mounted 6.35mm headphone output and a handful of playback controls just to the right of the display.

While Cambridge told me that it’s managed to squeeze even more power from the same Hypex NCOREx amplification modules as the 150 SE, the company’s flagship streaming amp has had a DAC upgrade, with the improved 32-bit ESS Sabre ES9038Q2M now on board to support playback of just about any Hi-Res Audio you can throw at it.

It also now features a dual-mono layout under the hood, for maximum channel separation, and improved stereo imaging, alongside a balanced pre-amplifier stage. Plus there’s now the addition of HDMI eARC for the most up-to-date connection for your TV, and flexibility with independent volume and subwoofer controls.

These join the things we loved from the 150 SE, such as dual speaker outputs, optical, RCA and balanced XLR inputs, and a moving magnet phono stage for hooking up a turntable.

Comprehensive streaming support is of course offered via Cambridge Audio’s excellent StreamMagic platform, which includes Spotify Connect, Tidal Connect and Qobuz Connect, plus you can use AirPlay 2, Google Cast, and Bluetooth 5.4. It’s also Roon Ready for multiroom support with other Roon-compatible devices.

All of this points to a seriously capable centrepiece in a serious hi-fi system — particularly considering the much more powerful speakers it can now be paired with.

I got to listen to the Evo 300 hooked up to a pair of Dynaudio Contour Legacy floorstanders — which really aren’t messing around at $14,000 / £10,000 / AU$20,000 per pair. But the Evo 300 takes them in its stride, with a confident, full-bodied presentation, and volume to spare.

From a brief first listen, it’s easy for the power and scale that this relatively compact single box is capable of to be the main takeaway. Streaming from Spotify Lossless, the Evo 300 delivers an incredibly expansive and spacious sound, with a solid stereo image and good separation.

But the level of insight, clarity and detail retrieval also feels notable here. Combined with Cambridge’s reputation for musicality and what appears to be a more refined tonal balance — even at high volume levels — it all means that, on first impressions, the Evo 300 certainly sounds to be the substantial step up it is promising to be.

Of course, trade show demos offer far from perfect conditions for a truly critical appraisal of sound, so I’m very much looking forward to seeing how it performs in the real world.

The Cambridge Evo 300 is very much priced for its capabilities though, so at $3,999 / £3,499 / AU$6,399, you’re going to want to make sure your space or gear can really make use of these beefier specs before you invest.

If not, the Cambridge 150 SE remains a great option for just-add-speakers convenience, and at almost half the price in the UK and Australia (£1,999 / $3,299 / AU$3,849). In the US, the price is bizarrely close between the two models, though the Evo 150 SE often falls to $2,699.

• Major changes to navigation and volume control
• Available in a new beta this week
• Opt-in rather than enabled by default

Sonos has announced a suite of new changes to the Sonos app, and you'll be able to try the new version this week as a beta — if you want to.

Posting on Reddit, Sonos CEO Tom Conrad says that after "hundreds of hours watching real customers use the Sonos app" his team has identified lots of irritants and sticking points. "We've learned a lot about what hangs people up, what's confusing when you're new to the system, and what slows you down when you're just trying to change the darn volume."

In response, Sonos is making lots of changes to the app, including how you turn the volume up and down.

The post has so far generated a lot of positive responses, including the current top comment by Daveintausend: "Never thought I'd say this but I'm hyped for a better volume control."

What changes are coming to the Sonos app?

A new beta will be released this week, with significant changes to the interface. As Conrad put it: "What kept showing up was this: a lot of friction came from proprietary patterns we built that made the app harder to learn and use than it needed to be. Stacks on stacks on stacks of content cards. Swipe-up gestures to switch speaker orientation. Close boxes where any other app on your phone would have a back button. Custom interface elements that never quite felt like part of iOS or Android."

The plan is to change all of that, and Conrad has highlighted three key areas: better tabbed navigation, a "totally new" volume interface, and more control over how your players are listed and displayed.

He also promises "dozens of smaller quality-of-life fixes everywhere" including swipe to delete in playlists, new views on iPad, and a refresh to the Now Playing screen.

The main interface will be divided into three tabs: Home, System and Search, which will be styled in a way that's native to your phone's operating system, and that replace "the hidden gestures and content cards".

And the volume control will have "a core mechanism that is easier to grab and fine tune, buttons to tap up and down if that’s your thing and a new way to synchronize a across group of rooms."

The changes aren't rolling out to the main app just yet, and they're actually not even mandatory in this week's beta either — but if you install the new beta you'll be able to see the changes by enabling "Enable Improved Navigation" in Settings. It will remain an opt-in toggle post-beta, with Sonos soliciting feedback "until it's fully polished up."

The beta program is here, if you want sign up and try the changes out, but bear in mind that using beta software always comes with the risk of bugs or other problems.

I think it's fair to say that Sonos is doing things very differently since Tom Conrad took the helm in early 2025, and he was up-front about the app debacle when my colleague Matt Bolton interviewed him earlier this year.

In that conversation he told us that "In the aftermath of [the problems], you just have to show up in people's life with some humility and do the hard work of earning their trust back through great execution, great product, great software, great experiences, and never forget what you put people through". It's great to see him delivering on that promise.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thinking of buying a new TV?

Try our TV size and model finder! You tell it how far you sit from your TV, we'll tell you what size to buy based on viewing angle advice from image quality experts, and we'll recommend our three top TVs at that size for different prices.

Majority Move M4 review

The Majority Move M4 is a huge Bluetooth speaker boasting a mighty 70W power output, a rugged design, and plentiful battery life, making it very much reminiscent of JBL’s Xtreme range.

Yes, it's clear that the Cambridge-based audio brand is coming for JBL with its Move speakers — and this model I tested is the most powerful in its line. But can Majority compete with the likes of JBL with this release? Here’s what I think after many hours of listening with the Majority Move M4.

On the face of it, the Majority Move M4 has a lot of the features you’d expect from the best Bluetooth speakers. It has Bluetooth 6.0 for long-range connectivity, IP67 dust and waterproofing enabling it to survive a good dunking underwater, and a high power output for blasting tunes at parties or gatherings.

But this model struggles to keep up with the competition in a number of regards. And crucially, that’s mostly evident in its sound quality.

I started assessing the M4’s audio quality by playing KOLTER’s What a Day. This house tune just didn’t sound as I’d hoped — I was instantly struck by compressed audio, with tinny percussion that sounded grating, even at middling volume levels. Bass also lacked the authority and punch I was looking for, and the low-end sounded distorted at higher listening levels.

It was a similar story with I’ll Be Your by RUZE. Bass lacked dynamism, meaning that drops were anti-climactic. Mids also didn’t sound very well separated or rich, and the track just lacked that full-bodied, energetic quality necessary to replicate its excitement and vibrancy.

Even with a more stripped back track like 78 Rotações by Jards Macalé, I wasn’t a big lover of the M4. It definitely handled the less demanding nature of the track more effectively, with relatively clear vocals and decent enough balance across the frequency range. However, the tonality of acoustic guitars wasn’t the most accurate or expressive, and the finer details didn’t jump out at me.

Even though the M4 can get relatively loud, in part thanks to its 70W output power, it often sounds more shouty than regimented and impactful. Bass lacks the dynamism and drive you may expect. And with compressed-sounding treble that can err on the harsh side of things, this speaker struggles to compete, sonically speaking.

I experienced underwhelming sound while streaming over Bluetooth, but also when I was using a wired connection via a 3.5mm cable. However, you can also use the speaker with a USB flash drive or microSD card if you’d prefer. Both of these listening methods are admittedly on the niche side of things, but hey, they’re here.

There are a few more interesting features onboard, including customizable RGB lights. You can press the light button on the speaker and personalize the color and pattern to your liking, and although I prefer the classier lights of the JBL Xtreme 5, it looks fine. You can also turn the lights off if you’d prefer, which can conserve battery life.

Speaking of battery life, you get a pretty commendable 30 hours here, which is better than budget rivals like the Tribit Stormbox Lava. Other features include a built-in mic for hands-free calling and multi-speaker pairing… though I’m not sure why anyone would want two of these.

The fatal flaw in the features department is the M4’s lack of a companion app. That means there are no EQ options — a big miss — and no way to remotely alter lighting or other useful settings. This is a basic inclusion for a lot of Bluetooth speakers at this point, and was disappointing to see.

Before we wrap up, I want to speak about design. This thing is definitely reminiscent of the JBL Xtreme 4, with a pseudo-cylindrical build, fabric exterior, and rubber buttons. However, it looks like a far less appealing alternative. I wasn’t a fan of the flimsy-feeling handle, the blue and gray color scheme, or the cheap-looking radiators on each side. This sort of thing is subjective, of course, but the look of the M4 definitely didn’t do it for me.

With that said, the speaker feels fairly durable, and its IP67 rating means it's well protected against dust ingress, and can be submerged under a meter of water for as long as 30 minutes — a very solid level of protection.

OK, the Majority Move M4 is hardly the most expensive model on the market. It comes in at £119.95 (about $160 / AU$225). However, rivals such as the Tribit Stormbox Lava are available for less — and while that model is a little heavy-handed in the low-end, it certainly sounds better than this Majority speaker. The JBL Xtreme 4 is also available discounted regularly for as little as $250 / £199 (about AU$350), and although that’s a decent amount more, the jump in quality is outrageous.

Would I recommend the Majority Move M4? The answer is no, sadly. Despite its relatively rugged build and commendable battery life, it offers poor, unrefined audio that lacks energy in the low-end and control in the highs. There’s a generally compressed quality here, which means that your favorite songs just don’t sound as they could. Instead, I’d recommend scooping up an on-sale Xtreme 4 if this is the kind of speaker size you're after (and the budget you've set aside for it).

Majority Move M4 review: price & release date

• Priced at £119.95 (about $160 / AU$225)
• Released in January 2026

The Majority Move M4 released in January 2026 in the UK, although at the time of writing, the speaker — alongside its sibling models, including the Move M1, M2, and M3 — are yet to land in the US or Australia. The Move M4 is priced at £119.95 (about $160 / AU$225), making it a lot cheaper than rivals like the JBL Xtreme line, and although it's the largest in its line, it remains pretty budget-friendly.

Majority Move M4 review: specs

Should I buy the Majority Move M4?

Buy it if…

Don’t buy it if…

Majority Move M4 review: also consider

How I tested the Majority Move M4