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

Loewe, the German speaker and TV maker, has just announced that it's launching a new venture called Loewe Systems. According to the company, this is "a new Berlin-based company focused on developing fully integrated high-end audio and audiovisual solutions for automotive manufacturers, luxury residences, superyachts, recreational vehicles, and other premium mobility applications."

The new team consists of Managing Director Alexander Meisen, Director of Acoustics Ajan Hannemann, and Director of Automotive Engineering Robert Schletze. The team comes from a background of working on the Burmester audio systems in Mercedes-Benz cars, so has a strong in-car audio heritage.

To find out more about the goal of this new team, I spoke with the three members of the Loewe System crew, as well as Loewe's CEO Aslan Khabliev.

TechRadar: What's the goal for you guys of pushing into the integrated installation systems market?

Alexander Meisen: We did projects in residential and one-off projects, and this is really where we see people smiling. This is really where we can create stories. With the new setup with Loewe, creating those kind of experiences this is clearly where we see lots of potential.

TechRadar: What what will success look like for you going into this market?

Alexander Meisen: Clearly more than just adding a brand to projects to speaker grilles in automotive. Really going deep, really creating a special sound signature, really creating outstanding experiences with future partners.

TechRadar: You mentioned the sound profile. Is that one of the main things that will make Loewe's offering unique, or what else do you think will make will make people want to see that brand on the design?

Robert Schletze: I think it's a lots of things, but starting in an automotive project, it's specific knowledge of how to specify the speakers, how to integrate the speakers in the car, partner up with the right partners, having our own sound signature, knowing how to tune a car with 37 speakers like an orchestra [when you're] sitting in the middle, knowing what to do with delays, gains, filters… all that stuff comes together [in our] knowledge.

TechRadar: What are other companies doing wrong that you think you can do differently to win over the the car makers?

Alexander Meisen: There are massive changes and shifts in in-car audio. That's especially where we see lots of potential, because in this field it became quite common to just add a logo to speaker grilles, make it look fancy and try to tell stories — I mean, there's no real USP, there's no real story. So we really go into what Robert just explained, and then in addition, we know that in the hi-fi market or in audio market in general we see a certain lack of really activating partnerships, really communicating and kicking off marketing campaigns together.

This is clearly one of the reasons why we decided to set this up under the Loewe and also Cabasse brand, because Loewe is already doing this — Loewe can offer that to potential partners. And Loewe also has a long heritage, and the feedback we're getting right now from potential partners we're talking to is 'Hey guys, we don't just want to put the name somewhere from a certain brand which is maybe famous or recognized in a certain area. We really want to create those experiences together' — and this is where we're very confident we can offer those [companies] the full package with all the different aspects

TechRadar: Is in-car audio the primary area of the Loewe Systems project? Loewe has history in this area with BMW, so it makes sense.

Alexander Meisen: There is this history, and yes, automotive is clearly the priority to us. This is where our team has lots of expertise. This is where the network is established. This is where… we haven't released the news officially, but we are in talks. There are certain lead times when it comes to establishing new partnerships, but yes, clearly and absolutely [in-car audio is the priority].

Still we're also talking to potential partners in the field of residential building on integrated systems, because the great thing for for us as a team right now is also we have full access to all the expertise and products of Loewe Group. We're not only talking about audio, we're talking about the full experience, which is also the visual element.

TechRadar: What do you see as the ultimate in-car offering from Loewe? Does it stretch to the displays as well as the audio and the DSP?

Robert Schletze: It's an overall experience in the car. You look at the market, there are video screens already integrated lots of them [regardless of the] brand that they're coming from. You have the audio part, you have smell in the car — you can connect all together, so it's an overall experience. Why not add this visual area from Loewe if it works and we can partner up? Anything is possible there. Currently we're figuring it out — we know where our expertise is, and we as we said we're not just just adding elements to a car. We're working together hand in hand [with manufacturers] for the full experience.

TechRadar: Are we talking about Dolby Atmos in cars, or what kind of premium experience are you aiming for?

Robert Schletze: I think Dolby Atmos is a standard now in the automotive area anyway. Yeah, of course. 3D sound, 4D sound, 2D sound.

Alexander Meisen: We've worked with the teams of Dolby before. We know them pretty well. So, this is one aspect, but it's not new anymore. It's not outstanding. It's more like a given to us.

TechRadar: Is there something else new that you guys have in mind that you can bring?

Alexander Meisen: The manufacturers are asking for new features, especially when you compare the markets. You have a look on the European market and then you check the Chinese market and there are there are different demands and requests. We know that we will come up with features that are not [widely available] yet, but we cannot communicate them right now because we're at a very early stage.

Robert Schletze: We have some past experience with what's missing in the market. We've got some ideas there, and partners that we can develop them with. But overall I think you have to go back from adding feature over feature over feature — you have to go back to not adding another speaker in the car, but developing a proper speaker that can reproduce the sound as we want. The basics; go back to the basics. That's missing a lot today.

TechRadar: You talked earlier about working with speaker partners on developing the right speaker for this situation. How involved do you expect to be in like the actual driver design?

Ajan Hannemann: We want to dive into this topic, and we will specify this — we actually already did in the past as well, for Mercedes Group. So we aim to improve those elements, but [the] really important thing for us, like Robert already mentioned, is the packaging of where the speaker is placed — there's room for improvement if you can make it clear to the manufacturer of the car what kind of benefits we get when when we place the speakers in more optimized positions. You can gain a lot of improvement regarding the sound performance.

TechRadar: Can you give us any examples of issues that you see with a lot of in-car systems now that you want to aim to improve?

Robert Schletze: Definitely the design wins over the functionality, which is quite normal today and that shouldn't be the case. So most of the time you have a midspeaker next to your knee, so you don't have a proper staging. It belongs higher up. It's all because the designers have the power.

TechRadar: So you want to work with partners where you can put the acoustic design earlier into the overall car design, and get the speakers where you need them to be. Is that the idea?

Robert Schletze: That should be the target, yeah. To be in early from the beginning stage of every project.

TechRadar: And the partners you're working with now are on board with that?

Robert Schletze: They are on board and they provide the direct access, yes.

TechRadar: Can you say any of the car partners you'll be working with at this point?

Aslan Khabliev: Let's put it this way, they will be German.

TechRadar: What's your goal in the luxury property development market? Are you are you looking at home theater installations, or is it more like convenient built-in sound for kitchens and bathrooms?

Alexander Meisen: Yeah, we're focusing on to B2B [business to business] partnerships, so we're not looking at individual home cinema here. We're more looking to work with developers, architects, interior designers, etc. We're also looking at concepts that we can scale, so not only the one unit, but maybe the whole building. Our main priority is clearly not the bathroom or the ambient sound in the elevator or somewhere, but clearly defined listening situations.

Ajan Hannemann: And here also, the target is to achieve a high-quality sound reproduction from those systems integrated in the environment, that are part of the architecture. From the very first steps, we [want to] define not only materials surrounding our system, but only also the perfect positioning of the system to make the best out of those sometimes-challenging spaces. New architecture is often with a lot of flat surfaces, so you get flatter echoes, you get high reverberation times, and we want to specify exactly the parameters we need to achieve a high-quality sound.

So that's why, in the past, we worked at early stages together with the architects and the engineering and simulation companies to try to achieve the best possible room acoustic parameters. So this is the goal in architectural audio as well, not only home cinema. So this we want to do this in a scaled way, [multiple apartments] in one building. And we will individually tune every apartment, so that you get the transporting sound signature from the car, [bringing] the tuning expertise we have there into real-estate projects.

TechRadar: The yacht market is an interesting one because it seems to have its own genre of audio brands that specialize in, it like JL Audio from Garmin. So what kind of systems are you talking about building in that market and what do you want to do differently?

Ajan Hannemann: In that market, we have to rely on marine partners, because in the portfolio from Cabasse and Loewe there are no marine-certified systems available. So we have to choose strong partners in that market and adapt our skills, our expertise, the human touch we bring regarding sound signature, into the marine sector.

TechRadar: So in that area, are you talking about becoming more like an integrator and not so much offering your own speakers?

Aslan Khabliev: Never say never. This might be the next project for the guys from Cabasse, for example. By the way, you asked a question about drivers: we have our own drivers in Cabasse, with a lot of expertise and IP and patents. I'm very happy that we have acquired Cabasse, I think we bought a real diamond. So there is no project which we cannot do, let's put it this way.

Right now, [Loewe Systems] is only a three-man show. It's a very tiny team, but we have a lot of ambition and knowledge, and it's never going to happen with these three guys by them by themselves. We [Loewe] are a big team now, we have 200 people now in Kronach, and we have 40 people in France, and we all want to help these guys to become successful. So whenever they need some hardware, software, this can all be done in-house.

What we need to do to help them is to basically realize their dreams. And those things which were not possible in their previous experience, to make them possible with our skilled people — and in my opinion, there is nothing that is impossible. It has to make sense financially, because you don't want to spend millions on one project and just sell one or two pieces. It has to make sense, but otherwise I think everything is possible. We've got the right resources for that.

Alexander Meisen: It's amazing for us to see what kind of resources, expertise and and infrastructure we can access now as a team. All three of us are coming from Burmester. So Ajan responsible for overall acoustics at Burmester, Robert was the lead engineer for automotive and responsible for Mercedes. This is well known in the industry and this is also what we're adding here. So a full network but with all the power and direct access within the Loewe group — this makes us really confident.

TechRadar: One of the areas mentioned in the press release was premium mobility brands. Can you say what that means outside of the areas we've already talked about.

Alexander Meisen: Yeah, so we would also call it, like, future mobility concepts. Automotive is is very clear, yacht is very clear, and residential as well. But for instance think about an RV. This is also interesting for us, but it's not the main priority.

TechRadar: Things like tour buses for for bands?

Alexander Meisen: Exactly. But most of the time these are not projects you're allowed to communicate [to other people] in the first place.

TechRadar: A lot of the times they might be private custom designs?

Alexander Meisen: They prefer that, yes. Same for yachts, but it's still it's very interesting for us.

I recently visited the Japanese factory where Denon and Marantz make the hi-fi and home theater gear, and the best part of the seeing the facility was getting a demo of the reference home theater listening there, with its 9.4.6 channels of Dolby Atmos sound delivered via $250k of Bowers & Wilkins speaker.

While snooping around the room, the shelving in the corner that houses their disc library naturally caught my eye. Marantz's engineers had already told me that they consider Gravity to be one of the ultimate stress tests for AVRs (you can read why in the piece I linked above), but what else do they keep on hand for testing AV receivers and other gear?

I wanted to make a list to share with the many 4K Blu-ray and home theater enthusiasts out there, looking for fresh demo disc ideas — but given that we had limited time in the room and a major portion of the movies are in Japanese, I took a few photos of the shelves, and came back home to analyze them.

The list is below, and it's in two sections: movies, and concert discs. I excluded anything that isn't a Blu-ray or 4K Blu-ray — the shelves were obviously also full of CDs and SACDs (and a few DVDs).

It's not an exhaustive list: I used Google Gemini to help me translate Japanese titles that I couldn't discern myself anyway (I did not need help identifying which disc was Mad Max: Fury Road, naturally), and sometimes its translations were either vague or otherwise uncertain, so I didn't include those titles unless I could verify them another way. And also, I probably missed some because this whole exercise made me go a little stir-crazy.

So if you want to see the shelves and comb through yourself, here they are — but my written-out list is just below.

The list is inevitable in places — Blade Runner 2049 and 1917 are obvious inclusions, and two versions of Interstellar is the normal number of versions of Interstellar to own, in my opinion — but it was also really interesting and surprising in places.

I loved seeing Bridge of Spies in there; I didn't expect Hairspray (2007), but it makes a ton of sense; I'm very curious what makes Taxi 3 specifically a good disc to have; it absolutely rocks that they have RRR, and I can't recommend it enough for your own library; and in contrast to Interstellar, I really don't think anyone needs two copies of Pixels…

The music side includes a fun mix of jazz sets, classical music, movie music and huge stadium events — and with a very healthy dose of metal.

Movies

• 1917
• 2001: A Space Odyssey
• 28 Years Later
• 9 (Nine)
• A Clockwork Orange
• A Complete Unknown
• A Star is Born (2018)
• Akira
• Alien Romulus
• American Made
• American Sniper
• Apocalypse Now
• Apollo 13
• Aquaman and the Lost Kingdom
• Argo
• Avatar
• Back to the Future Trilogy
• Batman v Superman: Dawn of Justice
• Battleship
• Birdman
• Black Rain
• Blade Runner
• Blade Runner 2049
• Blue Giant
• Bohemian Rhapsody
• Breakfast at Tiffany's
• Bridge of Spies
• Burlesque
• Casino Royale
• Chicago
• Civil War
• Crimson Peak
• Deadpool & Wolverine
• Donnie Brasco
• Dr Strange and the Multiverse of Madness
• Dune (2021)
• Dune: Part Two
• E.T. the Extra-Terrestrial
• Fantastic Beasts: The Secrets of Dumbledore
• Ford v Ferrari
• Furiosa: A Mad Max Saga
• Get On Up
• Ghost in the Shell
• Ghostbusters (2016)
• Gladiator II
• Godzilla vs. Kong
• Gran Turismo
• Gravity
• Green Book
• Hairspray (2007)
• Harry Potter and the Deathly Hallows Part I
• Hidden Figures
• The Huntsman: Winter's War
• I, Frankenstein
• Inception
• Indiana Jones: The Complete Adventures [Doesn't include Dial of Destiny]
• Inside Llewyn Davis
• Interstellar
• It: Chapter One
• Jack Reacher: Never Go Back
• Jason Bourne
• John Wick
• Joker: Folie á Deux
• Jumanji: The Next Level
• Lucy
• Mad Max: Fury Road
• Man of Steel
• Mission: Impossible – The Final Reckoning
• Mission: Impossible – Dead Reckoning
• Mission: Impossible – Ghost Protocol
• Mission: Impossible – Rogue Nation
• Mission: Impossible – III
• Moana 2
• No Country for Old Men
• No Time to Die
• Nope
• Oblivion
• Oppenheimer
• Pacific Rim
• Pacific Rim: Uprising
• Paris, Texas
• Pixels
• Pokémon: The Movie
• Quantum of Solace
• Red Tails
• Rocketman
• Rogue One: A Star Wars Story
• RRR
• Rurouni Kenshin: The Legend Ends
• Seven (Se7en)
• Sherlock Holmes
• Sherlock Holmes: A Game of Shadows
• Sinners
• Sisu
• Skyfall
• Solo: A Star Wars Story
• Spectre
• Spider-Man: Across the Spider-Verse
• Spider-Man: Far From Home
• Spider-Man: Homecoming
• Star Trek Beyond
• Star Trek Into Darkness
• Star Wars: The Force Awakens
• Superman (2025)
• The Legend of Tarzan
• Taxi 3
• Teenage Mutant Ninja Turtles
• Tenet
• The Batman (2022)
• The Cell
• The Creator
• The Expendables 3
• The First Slam Dunk
• The Girl with the Dragon Tattoo
• The Greatest Showman
• The Hunger Games: Mockingjay – Part 1
• The Phantom of the Opera
• The Shallows
• The Sky Crawlers
• The Super Mario Bros. Movie
• Top Gun
• Top Gun: Maverick
• Transcendence
• Transformers: Age of Extinction
• Transformers: Rise of the Beasts
• Twisters
• Unbroken
• Venom: The Last Dance
• West Side Story (2021)
• Wonder Woman
• X-Men: First Class
• Yowamushi Pedal

Music and concerts

• Adele: Live at the Royal Albert Hall
• Ado Special Live
• Babymetal: Live at Tokyo Dome
• Beethoven Symphonies Nos. 5 & 7: Wiener Philharmoniker
• Berliner Philhamoniker: The Asia Tour
• Billy Joel Live at Shea Statdium
• Black Sabbath: The End
• Bob James Trio: Feel Like Making Live
• Bob Marley and the Walers Legend
• Bon Jovi Live at Madison Square Garden
• Chihiro Yamanaka: Somethin' Blue Quintet – Live at Blue Note Tokyo
• Chris Botti: Live in Boston
• David Gilmour: Live at Pompeii
• George Mccrae - Love
• Hans Zimmer: Live in Prague
• Harvie S Trio: Too Late Now
• Hit Man David Foster & Friends
• Joe Bonasmassa Live at the Greek Theatre
• John Mayer: Any Given Thursday
• John Mayer: Where the Light Is
• John Williams in Tokyo
• KISS Rocks Vegas
• Lady Gaga Presents The Monster Ball Tour
• Led Zeppelin: The Song Remains the Same
• Megadeth: Countdown to Extinction
• Metallica: Quebec Magnetic
• Michael Jackson: This Is It
• Misia: Soul Quest World Tour
• MR. BIG – The Big Finish Live
• MTV Unplugged ayaka
• Norah Jones: Live at Ronnie Scott's
• Pat Metheny Group: The Way Up - Live
• Pat Metheny: The Orchestrion Project
• Pink Floyd: Live at Pompeii
• Prince Sign o' the Times
• Queen: Rock Montreal & Live Aid
• Quincy Jones: The 75th Birthday Celebration
• Roger Waters: The Wall
• Rolling Stones: Shine a Light
• Scorpions: Live in 3D
• Shogo Hamada: On The Road 2015-2016
• Steve Vai: Live at the Astoria
• Sting: Live at the Olympia Paris
• Take Me to the River
• The Beatles: 1
• The Beatles: Get Back
• The Great Jazz Trio Hank Jones – The Legend of Jazz: Live at Blue Note Tokyo
• The Last Waltz
• The Rolling Stones: Hyde Park Live 1969
• Tony Bennett: An American Classic
• Toto: Live in Poland
• Vienna Philharmonic: New Year's Concerts – 2017, 2018, 2019, 2020, and 2021

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.

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.

• Peacock will stream Telemundo's World Cup coverage with Dolby Vision HDR and Dolby Atmos in AC-4
• Dolby AC-4 codec promises higher sound quality than current streaming codecs
• All 104 matches will be covered

Last month we reported on a blind test that says Dolby's new-generation AC-4 audio codec sounds as good as 4K Blu-ray even at a low streaming bitrate. And now you can hear it as the soundtrack to the World Cup — if you have the right tech and subscriptions.

Dolby and NBCUniversal have teamed up to deliver a world first. Telemundo's live Spanish-language FIFA World Cup 2026 coverage will be streamed on Peacock in Dolby Vision HDR and Dolby Atmos using the AC-4 codec — according to Dolby, this is "the first commercial deployment of Dolby AC-4 by a video streamer."

All 104 matches will be broadcast using the technology, the first time it's been used for a major sporting event. It's also the first time the technology has been used by a major streaming service.

(If Spanish-language commentary isn't your thing, you might be interested in Samsung's latest TVs and their AI Soccer Mode, which enables you to remove the commentary entirely while keeping the crowd noise — we tested two affordable Samsung 2026 mini-LEDs here.)

Why this World Cup will sound like the future

Sound quality is one area where streaming can be disappointing. The audio codecs used by the major streaming services can't rival the quality of a 4K Blu-yay disc's soundtrack because their audio is too compressed.

AC-4 is more modern, and delivers much higher quality at the same bitrates, and in the double-blind listening test I referenced above, multiple audio pros couldn't tell the difference between AC-4 audio and uncompressed audio. It's up to 50% more efficient than current codecs, apparently.

The use of Atmos with AC-4 means the sound of these World Cup matches should be even more atmospheric, so if you've got a decent speaker setup or one of the best soundbars, it'll be even more fun to hear.

I'm not sure it'll be 100% as "vivid and electrifying as if you are sitting front row for each match without stadium prices" as the marketing blurb claims, but better dyanamic range with Dolby's spatial audio tech should mean it feels genuinely more immersive.

Dolby and NBCUniversal's engineers have spent a year working together to bring Dolby Vision to live sports, and according to NBCUniversal's senior vice president of global video engineering, David Bohunek, “Fútbol fans will love watching Telemundo’s FIFA World Cup 2026 coverage on Peacock in Dolby Vision and Dolby Atmos with Dolby AC-4 — it’ll be a truly stunning viewing experience they can’t get anywhere else.”

Of course, you'll need to be both a Peacock subscriber and using a TV with support for AC-4 in order to get the full effect. Dolby says that support in TVs is pretty widespread these days, and lists the following partners: "LG, Panasonic, Sony, TCL, Samsung, Sharp, Vantiva, Bang & Olufsen, Hisense, Huawei, Humax, Sagemcom, Skyworth/Strong, SEI Robotics, Innopia, Deutsche Telekom, Vodafone, Liberty Global, Sunrise, SES HD+, Sky, Swisscom, Zattoo, Waipu.tv, PŸUR, Ocilion, Austrostream, TPVision, Vizio, Philips, Kaon, Winston Neweb".

Naturally, you'll to check if your particular devices supports it, using the manufacturer's website (or, more likely, Google).

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.

WiiM is one of the most interesting companies in the audio world right now, breaking out in the last couple of years in no small part thanks to capitalizing on Sonos' disastrous app update, and the company's quieter period since.

In that time, WiiM went from offering add-on boxes for traditional hi-fi, to launching sleek integrated streaming amps, to launching its own wireless speakers and subwoofer, starting with the WiiM Sound, to unveiling its first soundbar.

Ahead of the soundbar's launch, I spoke to WiiM's CEO, Dr. Lifeng Zhao, about the decisions the company made in developing the soundbar, whether WiiM has a signature sound profile, and what it means to offer "simplicity" in the context of these products, among other topics.

TechRadar: Tell me why you guys have chosen to do a soundbar now.

Lifeng Zhao: WiiM is four years old; in terms of brands right now we are a new player. So we did a streamer and amplifier, which convert or upgrade your existing audio gear. Those get really popular among our users, who start to expand [where they use them] to more environments: their living room; their media rooms. So, we always get this kind of feedback — they ask "when will you guys launch home theater, because we already have your gear, but we don't want to have separate components".

To use our streamer or amplifier, you have to have passive or powered speakers, right? But many people want to have one powerful all-in-one device in their living room. So they don't really want separate components because you know there's messing [with wires, and aesthetics], so we are always getting this request.

I'm also a big fan of entertainment, so for myself I want something simple to use with Dolby Atmos that can fulfill my music and TV experience. So, it came both from our own use, as well as a request from our community.

TechRadar: So, did you consider making an AV receiver or something like that before you decided to go the soundbar route? You already made the amps, so an AV receiver seems like it might have been the obvious way to go.

Lifeng Zhao: We already have the AV receiver if you think about it, right? We have the amps.

TechRadar: Only two channels.

Lifeng Zhao: Yeah, 2.1. But you can expand it with your surrounding channels [using wireless WiiM speakers]. That's the beauty of our systems. We don't want to make a traditional AVR, but we have a solution for those AVR users. People want a multi-channel system, but they don't want messy wired solutions. It's not flexible, and there are many limits on the placement, so we already have 2.1, but you can expand it with the surround speakers.

We are looking at more possibilities, but we don't want to make a legacy AVR; we want to make compact powerful and wireless versions of AVR.

TechRadar: The soundbar you guys are releasing is very good value considering the amount of physical channels that you've built in, and the amount of technology. A lot of soundbars at a similar price to yours are quite small, whereas yours is reasonably big. Can you talk through the design process around deciding how big you wanted the soundbar to be, and how that paired with the price you wanted to charge?

Lifeng Zhao: First of all, let's go back to our target users. We want this soundbar for both needs: watching TV plus listening to music. We don't want you to have to have two separate devices just because you watch TV and listen to music in your daily lives. So then we were thinking about how if we make [a product] only for the TV, just to improve the voice clarity, then we don't really need to go big — but we see a lot of people really want to listen to music with good bass, so the physics of that means we cannot make it too small.

So then we are thinking we can make [a soundbar with a subwoofer] but many people prefer the simplicity of an all-in-one — so that also gives us a size limit. So for our first one we wanted [to make one] people can just buy for most use cases. So with the size, our main target market is the US and Europe, and in most of Europe people have a single family [room]. So they have 55 inches or up TVs. So we did some surveys, and we think this is the kind of right size which can capture the majority of our audience.

TechRadar: You mentioned trying to balance the bass with the size and the compactness. So, you've got the four passive radiators in there. Were you designing the size of the soundbar around the size of the speakers and radiators you wanted to use, or were you choosing the speakers based on the size you wanted the soundbar to be?

Lifeng Zhao: We start with acoustic criteria. We say how deep a bass we want, based on our [previously launched devices]. We launched the amps, and we see how people set up their systems. We want to go to 50Hz, so users could get good bass — so that kind of gives us an acoustic volume. We calculate size based on this volume, but we do want it to be a sleek soundbar, so we have some height limits. But we can calculate the length, depth, and the height while leaving space for the speakers.

I always say we start from the acoustic criteria, then we calculate the size, then we design the best speaker driver according to this size limit.

TechRadar: Do you have more than one HDMI port, for passthrough?

Lifeng Zhao: We have one HDMI eARC, we don't have passthrough. We are thinking that people will connect most of their devices through the TV, because you have multiple HDMI inputs in the TV.

TechRadar: A lot of your competitors also only have one HDMI port, but there's a large number of people who have had their TV for a long time and they've collected a lot of boxes to connect to it, and so it can be really difficult to lose one of your HDMI ports to your soundbar. So, is there a reason behind this decision: was it either to do with cost or technical design or simplicity that you chose to only have one port?

Lifeng Zhao: Design is always about trade-offs, right? So, here I would say we value the simplicity, so people aren’t confusing HDMI and HDMI ARC. Before this journey [at Linkplay/WiiM] I also worked on media devices a lot in my past career, so we know that simplicity is very important. This is a choice to value that simplicity more in this device.

TechRadar: One of the interesting things about your soundbar is that you have a screen on the front, like the Wiim Sound speaker. Screens on soundbars is always quite a controversial topic, because people feel very strongly about having a light in front of their TV. Tell us about how the screen will work when you're watching content, and why you decided to include it.

Lifeng Zhao: We actually debated a lot internally. Our first screen-enabled devices [were the streamer and the amplifier], then the Sound speaker. So we actually accumulated a lot of experience in how people use a screen. To go back to your question regarding why we put a screen on the soundbar: first of all, the soundbar is made both for people using it for music and also watching TV, and in both cases we see a need for a screen. To give you some examples, when you listen to music, people always look somewhere to see what's playing, and they like looking at their favorite album art. We see people will even build a separate display just for artwork while listening, so we see this, and we want to provide integrated solutions for that.

Then we go back to the soundbar. So actually we are saying two things. One is that if you don't really need the screen, you can turn it off. Another thing is that we really want instant feedback. Think about it: if you only have an LED light right there with so many inputs, output and functions, how do you know what the status of the device is? It's really confusing even for me when I look at the LEDs, you know? I always forget, like, [what would flash] when the network doesn't work, right? How do I know it?

So, we want to give people a simple and intuitive control plus the instant feedback, because the device is so powerful. There are many statuses that may be important to your use cases. In a simple device we can just use a very simple app, but when it becomes very powerful, like your smartphone, you have to have a screen for people to interact.

TechRadar: There are obviously two ways to think about simplicity. And one is to have less information shown to keep it simple, and to have users trust that they're in the mode they like and things won’t change. Whereas I think you're saying that the way to introduce simplicity is to make sure people have all the information in front of them, so they're not questioning what the options are. That more information makes it simpler. Is it fair to say that's how you feel about it?

Lifeng Zhao: What I'm trying to say is that there are certain use cases where you need more information, but we don't want to give people too many options. So if you don't want that screen while you’re watching TV, our system will automatically turn off for you because you can separately configure the mode for each of your watching needs. But you can do even more, or we can do it automatically for you by default. You just need to set up once.

We want people using the screen intuitively. We don’t want to cause confusion; we don't want to become complicated. But [instead of] only having a red or a yellow indicator, we will tell you, oh, your network is disconnected, or your format is not supported, right? Let's say you don't support DTS, right? If you just have a yellow indicator, people will not really understand, they'll get really frustrated because they don't have any audio. So that's the kind of simplicity we want to have.

TechRadar: When it comes to expanding the system, you've got the ability to easily go to 5.1.2 channels by adding on the other WiiM products. Did you consider going beyond that? Because presumably with your technology, you could offer 7.1 2 or 5.2.2. Did you think about offering these?

Lifeng Zhao: Yeah, that's the beauty of our system, right? We started from separate components, so we accumulated a lot of experience. Another thing is that if you look at our wireless technology, we invest a lot in terms of wireless infrastructure — we have Wi-Fi 6E, so if you have the best routers we can leverage your routers, so we don't really have a limit. If your wireless environment can support it, we can expand it more.

Yes, when we launch the soundbar it supports 3.0.2, but as you mentioned we can expand it beyond 5.1.2, so that's exactly what we are doing, with the latest Wi-Fi standard you know we can expand more and with low latency.

[Editor's Note: Since this interview, WiiM has changed its stance and is aiming to support adding front left and right separate speakers for use with the WiiM Bar at launch, which can be either WiiM's wireless speakers or can be any speakers attached to a WiiM amp. Dr. Zhao gave us this additional comment: "We can confirm the bar supports wireless front, left, and right speakers. This wasn't originally intended as a launch feature, but based on community feedback and the team's testing, we decided to share it. There seems to be a lot of interest from our community, so if feedback and internal testing continue to go well, we'll look to keep it in."]

TechRadar: So are you saying that actually someone can go beyond 5.1.2 channels?

Lifeng Zhao: Right now we are saying 5.1.2, but potentially, with the software update we can expand more.

TechRadar: Speaking of wireless technology, have you guys explored Dolby Atmos FlexConnect as an option for your products?

Lifeng Zhao: We always look at different types of connectivity and the multi-channel options. FlexConnect definitely is on our radar.

TechRadar: Is there any reason why you're not supporting it now?

Lifeng Zhao: This is our first one, right? As I mentioned, we can support it with a software update, so the hardware is there. It's just about whether we feel it's mature enough, or the user experience [is ready]. We don't really want to give people half-baked technology; we want to make sure it’s really good and people can easily use it. So there's a possibility that we can do it even in current hardware with the software update, but I cannot commit on this one yet.

TechRadar: Speaking of the ecosystem, it looks like this is another piece of hardware that doesn't support Apple AirPlay 2, which is true of a lot of the new releases WiiM has launched. Are you able to say why this hasn't been included in the last few products?

Lifeng Zhao: We have many options on our devices, we support like more than 25 music services, then we have other ‘casting’ options there — and we value the people's content. If you're using Spotify, we want you using Spotify Lossless instead of a compressed [stream], and we see a lot of confusion, actually, of people using Spotify Connect with the other option you just mentioned [AirPlay 2]. So, it’s really a choice, like a design choice — we make it easy to use with high-res.

We really want people to leverage the best quality of their music on our system, and we also offer other options, which you can do very easily. We have multi-room no matter which source, via input to the Wiim. And with most of the music sources you can do lossless audio — so that’s the two options we offer right now.

TechRadar: You’re offering your RoomFit room correction here. I guess this is a very similar technology to what you've offered on the amps previously, but did you have to make any changes for working with Dolby Atmos and other formats you're supporting here?

Lifeng Zhao: It has to be different, right? Because in the soundbar we handle Dolby Atmos as a type of spatial audio, we also handle DTS, so we have multi-channel [sound to deal with]. Previously with RoomFit we started with like one device, then we expanded to 2.1 with a subwoofer — but now we’ve expanded RoomFit for the entire system. It's adding your surrounding speakers, adding your subwoofer, it’s not only doing stuff like balancing your SPL, or frequency spectrum, we also balance timing.

So we really expanded RoomFit for the spatial audio. We invested quite some time to get it right, and hopefully when we launch this soundbar people will be amazed by just how good it is. You just do one-tap calibration, it does everything for you: it calibrates the latency, the level matching, both for your front and surrounds and your subwoofer.

TechRadar: You mentioned earlier about designing the acoustic signature to deliver the right kind of sound that you wanted. And would you say that the new soundbar and the WiiM Sound speakers and your amps share a particular sound signature? Is there a sound signature that you believe is the WiiM style?

Lifeng Zhao: We are not really traditional hi-fi, if you look at our history. We really value the source. So that's why we always emphasize that, if you have a very good source, we want to replicate that in the original format. That means the resolution and in the bit depth, so we try to minimize the distortion when we do the [digital-to-analogue].

We do a lot of things mathematically to try to perfect the sound based on your existing system. In our amp we want to value your speaker signature you already have, so in our RoomFit we actually we want to just tackle the room mood most. So your high end, high frequency — we want to keep that signature [of your speakers] because that's what you paid for, right? So I would say we want to value people's preference more, and in the parts we can do well, we control that part — then we give people options. Simplicity, plus the powerful control.

If you go to advanced settings, you still can change your signature because if people whole, like, a warm sound they [can have it].

TechRadar: That makes sense, especially for the amps and things. But when you're making the soundbars and and WiiM Sound speakers, you're the ones choosing what the speaker output is going to sound like. So did you guys settle on a particular sound profile you wanted to make the default, or is it different for the soundbar than for the music speakers?

Lifeng Zhao: Exactly. Out of the box we want a really good sound, and if you talk about a sound signature, we do have different profile settings for the HDMI input or the music inputs. For the music inputs, we want to really have good clarity and a rich sound [with] respect to the original. Then for the HDMI, we tuned for more bass, for immersive audio. So we have a different profile, and I think it's a very good default for each of the sources.

TechRadar: It's interesting to talk to you about this element, because there are some companies I speak to where the speaker drivers are the things they really focus on, whereas your focus seems to be more on the processing and the signal pathway. Do you think that comes from the kind of company you are, as a digital platform company that has extended into speakers, instead of the other way around? Do you think that makes big difference as to how you approach your products compared to older hi-fi companies who did the analog part first and then are adding the digital in?

Lifeng Zhao: To make a better product, we need to marry the two sides. I would say we start from the digital world, but when we did the amplifier we actually [developed] a lot of analog, so we have a really good understanding of that digital-to-analog [process]. So we definitely are also analog people, and then when we do the speakers, our teams have people who worked in traditional [hi-fi] companies such as Harman Kardon, so we do have expertise on this area as well. Our talents will be in wireless, and in the DSP, and we also have a lot of acoustic engineers.

• WiiM launches its first soundbar for $479 / £449 (about AU$840)
• 8-driver array with dedicated upfiring drivers
• 3.0.2 channels, expandable to 5.1.2 with WiiM wireless speakers

WiiM has been building out its rival ecosystem to Sonos for a while now. The impressive WiiM Sound wireless speaker launched last year, and now the firm has unveiled its first soundbar. Based on its pricing, the new WiiM Bar is being positioned as a direct rival to the Sonos Beam (2nd Gen)... but on paper seems to beat it in a few key areas.

The WiiM Bar is a 3.0.2 Dolby Atmos soundbar with an eight-driver array, including upfiring height speakers, which the Sonos Beam lacks. It features automatic room correction, multi-room grouping and support for over 20 streaming services, and you can expand it to a full surround system with WiiM's other speakers and its subwoofer.

Unusually, there's a glass-covered 2.1-inch touch display on the front. That's an interesting choice when many people don't want any extra illumination near their TV screen.

We spoke to WiiM's CEO, Dr Lifeng Zhao, about the soundbar, and he told us that the screen is primarily there for people playing music through the soundbar — it'll display album art, like other WiiM devices do — and you can turn it off for watching movies or shows. He's confident some people will find it valuable anyway.

"We actually debated a lot internally," Dr Zhao says. "So actually we are saying two things. One is that if you don't really need the screen; you can turn it off. Another thing is that we really want instant feedback. If you only have a LED light right there, with so many input/outputs and functionality, how do you know the status of the device? It's really confusing, even for me. We want to give people a simple and intuitive control, plus the instant feedback."

WiiM Bar: key features and pricing

The eight-driver array features four passive radiators and a mix of front mid-woofers, front tweeters and the aforementioned full-range up-firing height drivers.

It's 3.0.2 channels, expandable to 5.1.2 channels with surround speakers and a subwoofer — and possibly more channels in the future. When we asked about supporting more satellite speakers or subwoofers, Dr Zhao told us that "potentially with a software update we can expand more," and that Dolby Atmos FlexConnect support is "on our radar". He was clear that we shouldn't expect either upgrade in the short term, though.

The WiiM Bar supports Dolby Atmos, and DTS:X audio (DTS being another benefit over the Sonos Beam, on top of the upfiring drivers), and it features RoomFit room correction. There are two extra audio modes: AI-powered dialog enhancement, and a night mode to help you stay friendly with your neighbors.

Streaming support includes nearly all the big names: Spotify Connect, TIDAL Connect, Qobuz Connect, Google Cast and Roon, and streaming via the WiiM app takes the number of supported streaming services past 20.

However, as with other recent WiiM releases, this doesn't include Apple Music or AirPlay 2. We'll cover this more later, but we asked Dr Zhao why WiiM hasn't included AirPlay, and his answer — which we're not entirely convinced by — implies that it's about AirPlay's compression of audio.

"If you're using Spotify, we want you to use Spotify Lossless instead of a compressed [stream], right? So we are seeing a lot of confusion in people using Spotify Connect versus other options you just mentioned [AirPlay 2]," he said, referencing the fact that AirPlay 2 is still limited to compressed streaming through official support.

Spotify Lossless has existed for less time than WiiM been avoiding AirPlay support, so the timeline doesn't really work for this specific explanation, and WiiM offers Bluetooth and its compressed audio happily enough — but this is all the answer we're going to get officially.

The WiiM Bar has HDMI eARC, but no passthrough port, so you'll have give up the use of one of your HDMI ports for it. "We think that people will connect most of their devices through the TV because you have multiple HDMI ports in the TV," says Dr Zhao. Passthrough was considered, but the decision was made to keep things focused on "simplicity" — which is Sonos' claimed reason for not offering passthrough too, but has never really convinced our team (having to swap HDMI cables in the back of your TV because you've run out of ports does not aid simplicity).

This may be the firm's first soundbar, but Dr Zhao he doesn't consider it to be WiiM's first home theater product: the firm's amplifiers can be used as an HDMI-ready sound system, albeit in 2.1 channels. The soundbar is intended as a standalone device for people who, like Zhao, want big sound without lots of separates taking up space.

"We don't want to make a legacy AVR. People want one powerful all-in-one device in their living room." Those people include Dr Zhao: "I want something simple to use, I really like Dolby Atmos and I want it to fulfill both my music and my TV experience," he says. "So it's both for our own use as well as a request from our community."

It's an impressive specification, and the price is decent too: the official price is $479 / £449 (about AU$840). The WiiM Bar will be released in July, with pre-orders starting from 3 June 2026. It'll be really interesting to see how it compares with the equivalent Sonos when we get it in for testing.

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.

Sonos has offered the ability to add wireless rear speakers to its soundbars, creating an effective compact surround-sound system, for well over a decade. But this setup really hasn't changed much from the Playbar to the Sonos Arc Ultra — you can still have the soundbar with two rear speakers, and one or two subwoofers.

For years now, Sonos superfans have been begging the company to expand these options with the ability to use its wireless speakers as true front left and right channels for a home theater setup.

The frustration is width: elite soundbars like the Arc Ultra have angled drivers so that the audio sounds much wider than the soundbar itself, but there are diminishing returns with 'virtualized' width compared to the real width of just having speakers on either side of your TV, the way you would in a five-channel surround sound system made from separate speakers. And we just had a reminder from a Dolby exec about how important width is in recreating Dolby Atmos mixes.

People love the simplicity of a wireless Sonos setup compared to building out a wired separates system, and many are enamored with Sonos' sound profile. But as time goes on, the failure to innovate in the kinds of setups available starts to look stubborn at best.

Imagine that you have a Sonos Beam 2nd Gen connected to your TV over HDMI, and it receives the Dolby Atmos sound and then streams it out to a Sonos Era 300 to the left of your TV and one to the right of your TV.

These would deliver real width, especially since the Era 300 has left and right drivers, as well as forward-facing. The Beam serves as the center channel for clear dialogue, and the Era 300s deliver powerful side channels and height channels. And, of course, you could combine with wireless rear speakers, as Sonos does already.

People are choosing to buy bigger and bigger TVs, which need wider and wider sound to match their scale. We can't keep making soundbars bigger to compensate (well, we can, but I'm not sure it'll really please anyone).

Sonos has been in the perfect position to capitalize on this, and yet somehow Sony beat it to the punch by announcing the Sony Bravia Theatre Trio, an 'LCR' (left, center, right) wireless system that's more or less exactly the setup I described above, but with Sony speakers.

Here's what really galls the Sonos superfans: the tech already exists, unofficially, to do this, and many have tried it. There is a whole subreddit dedicated to a third-party app called Sonosequencr, and the developer makes it clear that they're not hacking the speakers to make this possible: they're tapping into tech already dormant in Sonos' system, that Sonos has never fully enabled.

Using Sonosequencr comes with tradeoffs, with the main one being that you can't use Trueplay to correct the sound for your room, so in some cases it's possible you're better off sticking with a regular Sonos setup that compensates for your room's reflections, especially if you have a smaller space — but in some large setups, the addition of real speakers might be the better option. Sonos could also break the third-party app at any time, since it's all unofficial.)

There were leaks that Sonos was planning to enable this kind of setup using its canceled streaming box as the centerpiece, but this obviously never came to fruition (but the tech that Sonosequencr taps into might be the vestigial remains of it, or an earlier version of it).

I wrote at the time that I hoped it would retain the exact feature I'm talking about today, but there's been no sign of it since then. That's probably partly because Sonos spent a year just trying to fix its app's problems and getting things ready for multiple launches this year (which started with the Sonos Play).

Maybe Sonos is getting ready to unleash a new world of home theater flexibility on us — when I interviewed CEO Tom Conrad, I asked him about Dolby Atmos FlexConnect and its ability to work with really flexible speaker placement, he said: "We're interested in that entire space, the entire domain of: How do you get the bits from the source to the speakers? How do you position the speakers in three-dimensional space? And how do you render? We'll continue to work on our roadmap."

In response to a question about TV makers launching their own wireless speaker tech and pushing Sonos out, Conrad said: "We're the pioneer in wirelessly distributing audio around the family room, and we'll have our own things to say about how that evolves in the coming quarters."

So it definitely sounds like Sonos has something planned for home theater this year, and I really hope it takes the chance to finally unleash extra speaker positions. The fact that Sony got there first really surprised me, but Sonos has a key advantage: price.

Sony's system costs £2000 (about $2,690 / AU$3,750) for the front three speakers. The closest Sonos setup in terms of Dolby Atmos performance would be the Beam 2nd Gen and two Era 300 speakers, as I mentioned above. At the time of writing, that costs $1,127 / £1,077 / AU$2,297 — but you could swap the Era 300s for a pair of Era 100 SL speakers, and the price would drop to $707 / £657 / AU$1,377.

When I think about the scale of performance you could get from that setup for that price… well, like I said, the whole thing

• Dolby exec says movie mixers independently made the same changes in Dolby Atmos mixes
• They moved the music "into the room", away from the screen and the dialogue
• The change was "immediately, obviously better"

Home theater fans often have very strong opinions about soundbars versus separates-based surround sound systems (as a comment on our recent article on the choices in the Fight Club 4K Blu-ray evidences), arguing that even the best soundbars simply can't deliver the same width, depth and immersion of a separates-based surround system.

And recent comments from Senior Vice President of Entertainment at Dolby Laboratories, John Couling, arguably backs them up: he describes a change in the way movie audio was mixed due to the transition to Dolby Atmos, and it struck us that it ties strongly into one part of why separates-based systems are likely to deliver a better experience with movie soundtracks.

What moviemakers are doing with their audio mixes

Posting on LinkedIn, Coulis described the early days of Dolby Atmos. "We would continuously ask questions and take notes as teams of film mixers started to explore the technology," he says, "and we noticed that almost every mixer, without being told to, instinctively did the same thing."

He continued: "They took the film's music from the left and right speakers and pulled it just slightly into the room — down the side walls, away from the screen. The screen became more about action and dialogue, while the music became part of the atmosphere surrounding the audience."

The change was "immediately, obviously better," Coulis says. "The front stage had more clarity, and the music found its proper place."

That's great on a full set of surround-sound speakers where the music's moving out to left and right speakers that are fully past the left and right sides of your TV or projector screen. They're capable of delivering the kind of width necessary to get the full effect of what Coulis is talking about.

But, of course, standalone soundbars don't have speakers out to the sides, so with budget soundbars you're going to miss out on this intentional separation of the dialogue and music in the 3D Atmos space.

Bery expensive standalone soundbars with angled drivers, virtualization and clever digital processing will do a far better job of this, but they're ultimately compensating for what isn't physically there: there's no real substitute for having strong speakers out side.

That's not to say soundbars are bad; of course they're not. Some of the best ones are truly exceptional and even the budget ones are a big audio upgrade compared to your TV. They're a lot more convenient and often a lot less expensive too.

But Coulis' comments are a fresh reminder and a new perspective on the idea that if you're serious about soundtracks, separate speakers are likely to deliver the most realistic results.

Samsung HW-Q990H review: Two minute review

The Samsung HW-Q990H continues the high standard set by its predecessors, which are reliably among the best soundbars on the market, delivering a full, multi-box Dolby Atmos experience for one of the most competitive prices around. While it doesn’t offer that many changes from its predecessor, it’s still a fantastic system.

An 11.1.4 channel soundbar system, the Q990H is packed with superb sound-enhancing features such as SpaceFit Sound Pro and Q-Symphony, which add more layers to its already excellent sound. Sound Elevation (where sound is raised to the height of the TV itself) is one of two new features introduced, and while I didn’t use it for much of my testing, it could be useful depending on your circumstances.

It supports both Dolby Atmos and DTS:X enhanced audio formats, and there’s even support for 4K 120Hz and VRR passthrough in the soundbar’s two HDMI 2.1 In ports — perfect for those who don’t own one of the best gaming TVs.

The Q990H’s performance is phenomenal. It delivers an immersive, powerful sound with bass that’s both meaty and controlled, aided by the returning small-sized, dual-driver subwoofer introduced in last year's Q990F. Sound mapping is accurate, with details placed precisely to the correct channels and connected with the action on screen. Speech is consistently clear, and Dolby Atmos effects are re-created faithfully with real clarity. While it doesn’t innovate much on last year’s Samsung HW-Q990F, it’s still a superb soundbar.

Design-wise, the Q990H benefits from the compact subwoofer, which is easy to position while still delivering excellent sound. While the soundbar itself feels sturdy and has a nice color to it, the actual grated design doesn’t feel as premium as 2024’s Samsung Q990D, and the alphanumeric display isn’t always the easiest to read, but is a welcome feature. It would be nice to see Samsung mix up the design of the flagship model in future.

The Q990H is incredibly easy to set up and use. Actual installation took a few minutes, and I used the SmartThings app to control EQ and other features, never running into any issues. There is a supplied remote for those who don’t want to use the app, but I suggest you give the app a try.

The Q990H is a premium soundbar system, and while it delivers the performance to back up its asking price of $1,999 / £1,599 / AU$1,999, there aren’t a great many changes over its predecessor the Q990F. The latter is available for $1,599 / £999 / AU$1,599 at the time of writing, so it's the better option in my view. Once it disappears though, the Q990H is a more than worthy successor.

Samsung HW-Q990H review: Price and release date

• Release date: May 2026
• Price: $1,999 / £1,599 / AU$1,999

The Samsung HW-Q990H is the flagship model in Samsung’s 2026 soundbar lineup. It sits above the Samsung HW-900H, HW-Q800H and the HW-QS90H, the latter of which is a follow-up to the Samsung QS700F from 2025.

The HW-Q990H’s launch prices are pretty consistent with its predecessor, the HW-Q990F, from last year. The Q990H is launching for £100 cheaper in the UK and AU$100 cheaper in Australia, however.

Samsung HW-Q990H review: Specs

Samsung HW-Q990H review: Features

• 11.1.4 channel soundbar system
• Dolby Atmos and DTS-X support
• HDMI 2.1 input ports rated for 4K 120Hz gaming

The Q990H doesn’t bring many new features to the table compared to last year’s Q990F, but that’s not a bad thing, as that soundbar's features were pretty impressive. The Q990H is an 11.1.4 channel soundbar system comprising four units: a main soundbar, a subwoofer (the same compact unit introduced with the Q990F), and two rear speakers. It has the same 23-speaker layout as the Q990F.

In terms of audio support, the Q990H supports Dolby Atmos and DTS: X sound formats, and there’s support for Eclipsa Audio, Samsung and Google’s joint foray into the 3D sound world. Wireless Dolby Atmos and DTS:X are also supported.

Connections are the same as last year, with an HDMI eARC port for connection to your chosen display, as well as two HDMI In ports. Both are HDMI 2.1 and rated for 4K 120Hz gaming, and both support HDR10+ HDR. There's also Wi-Fi and Bluetooth connectivity for music streaming.

The Q990H introduces two new sound features. Sound Elevation is designed to direct the sound towards the screen itself in order to create a more natural listening experience, while Auto Volume aims to reduce sudden spikes in volume when changing channels or content.

Returning sound-enhancing features include SpaceFit Sound Pro, which optimizes the sound profile to suit the environment you’re in; Adaptive Sound, which analyzes the content being played and adjusts it in real time; and Active Voice Amplifier Pro, which analyzes voices within a scene and optimizes them. The Q990H also supports Q-Symphony, which enables a compatible connected Samsung TV’s speakers to be employed to enhance the audio further.

There are a number of night-mode listening features as well, such as Private Audio, which directs the sound to the rear speakers, and Moderate Bass, which mutes the subwoofer and directs the bass to come from the soundbar itself.

The Q900H can be controlled by the SmartThings app, where adjustments to the EQ and sound levels for each channel can be made. You can also choose from the soundbar’s four listening modes here: Standard, Surround, AI and Game. The aforementioned sound enhancements can also be controlled via the app.

• Features score: 5 / 5

Samsung HW-Q990H review: Performance

• Detailed expansive sound
• Powerful, controlled bass
• Great Atmos reproduction

Of the Q990H’s four sound presets (Standard, Surround, Game and AI) I chose Surround, as I felt it gave the most consistently immersive sound. I also used the SpaceFit Sound Pro setting to calibrate the soundbar to our testing lab, and this created a more immersive sound profile.

The Q990H’s sound placement and mapping are superb. Watching the Death Star attack run from Star Wars: A New Hope, the whir of the X-Wing’s engines came from the rear speakers, laser fire came from all around, and the flight paths of the various TIE fighters and X-Wings was accurately placed, making me feel like I was in the cockpit.

Watching The Batman, as Penguin fired a spray of bullets towards Catwoman, the sound travelled from the front to the rear channels, following the direction of the action on screen. In the chase sequence itself, the swerving of tires and blaring car horns travelled across the soundbar, again mapped perfectly.

The compact subwoofer first introduced in last year’s Q990F returns here, and I was reminded of how good it was. Despite its smaller stature, the Q990H’s subwoofer packs a mighty punch. As the Batmobile’s engine fires up in The Batman, the subwoofer delivered an almighty rumble that filled the room, accurately delivering the roar and the crunching gear changes during the driving sequences. Crucially however, the bass never got ahead of itself, as the subwoofer demonstrated excellent control, with the same gear changes delivered with great detail.

Speaking of detail, the Q990H delivers it in spades. During the Darkstar test flight in Top Gun: Maverick, subtle sound effects, such as the wind passing through the jet’s outer panels and the tightening of Maverick’s gloves are all well balanced with the bass of the jet engine and the loud beeps of the various displays.

The Q990H benefits from four height channels, meaning Atmos effects are reproduced accurately. As Maverick flies over Admiral Kane in Top Gun: Maverick, the sound of the Darkstar’s flight path went over my head, delivering an expansive sound. The same was true as TIE Fighters flew overhead in Star Wars, with height channels precisely following their iconic howling sound.

Throughout my testing, the Q990H’s front channels delivered crystal-clear speech, even in complicated scenes such as the Batmobile chase, accurately delivering the Penguin’s frantic shouts over the loud explosions and impacts.

As I tested the Q990H with the Samsung S95F, one of 2025’s best OLED TVs, I tried out the Q-Symphony setting. This added extra volume and more power to the front channels by using the S95F’s speakers, giving everything extra punch. If you don’t own a Samsung TV, fear not — this Q990H still sounds fantastic without Q-Symphony.

I tried out the new Sound Elevation feature, and while it did move the height of the sound effectively, it wasn’t necessary for my viewing. This could be a useful feature for those who wall-mount the soundbar, but I’d recommend giving it a try to see if it fits your environment.

The Q990H is also a solid soundbar for music. Listening to a Dolby Atmos version of Bad Bunny’s BAILE INoLVIDABLE, the Q990H delivered tightly controlled low-end from the track’s heavy bass synths and drums later in the song. The piano sounded detailed, and Bunny’s varied vocals were delivered accurately. High notes had plenty of brightness without sounding overbearing, and the horn section sounded punchy and detailed.

Switching to a heavier track, Dir En Grey’s Un Deux, the Q990H did a great job delivering the pounding guitars, crunching drums and Kyo’s soaring vocals, capturing the wide production of the track with its big soundstage. While other soundbars, such as the Sonos Arc Ultra, are better for music overall, the Q990H is still great.

• Performance score: 5 / 5

Samsung HW-Q990H review: Design

• Return of the brilliant compact subwoofer
• Sturdy build quality
• Design becoming familiar

The Q990H is almost identical in appearance to last year’s Q990F, which in turn felt like a cheapened design of the 2024 Samsung HW-Q990D. While the Q990H does have a sturdy, weighty build that feels premium, my criticisms of last year’s design remain.

The highlight is once again the compact subwoofer design. The dual-driver unit is weighty, but has a much more visually appealing cubed design. Due to its more compact size, it’s much easier to conceal than most subwoofers. The main soundbar measures 1232 x 70.8 x 138mm (48.5 x 2.8 x 5.4 inches), which was the exact width of the 55-inch Samsung S95F OLED TV I tested the soundbar with. It’s quite a deep soundbar however, so you may need to consider this when placing it.

The actual look and materials of the Q990H are the main issue. While the metallic grille that’s been used for years remains, the cheaper-looking grated design introduced in the Q990F is still here, and it doesn’t look as appealing as older models. The same is true of the rear speakers, which don’t feel or look as premium.

The alphanumeric display included can still be a challenge to a read, but it’s still welcome. While the Q990H’s overall design is fine, Samsung could stand to learn from other multi-box units, such as the JBL 1300Mk2.

• Design score: 4 / 5

Samsung HW-Q990H review: Setup and usability

• Easy, hassle-free setup
• SmartThings app for control as well as remote
• Wireless connection between soundbar and other units

As I’ve found with the last few iterations of Samsung’s flagship soundbar, the Q990H was a breeze to set up. I simply connected the main soundbar to the TV via HDMI eARC, and then paired the subwoofer and rear speakers by holding down a button. At one point during my testing I had to disconnect and re-connect the same units due to a brief Wi-Fi issue, and this again took a matter of minutes.

The Q990H can be controlled by the supplied remote or the SmartThings app. I opted for the latter, and it allowed me to easily make adjustments to the EQ and sound levels as I saw fit, with said changes happening almost instantaneously. It’s worth trying out the app, but the Q990H also sounds great out of the box.

One quick note: Samsung advertises its new Samsung Sound app as the new control, though at the time of writing it doesn’t offer the full compatibility or support all the features of SmartThings, so you’re best sticking with the latter for now.

• Setup & usability score: 4.5 / 5

Samsung HW-Q990H review: Value

• Great flagship performance and features
• Still a premium price
• Only minor upgrades over predecessor

The Q990H is undoubtedly at the premium end of the soundbar market. Priced at $1,999 / £1,599 / AU$1,999, it’s pricier than a lot of all-in-one options such as the Sonos Arc Ultra and Marshall Heston 120, as well as more budget surround sound models from the likes of JBL, Hisense and Ultimea.

Major rivals such as the JBL 1300MK2 are also available for less, with the 1300MK2 priced at $1,699 / £999 in the US and UK (it’s pricier in Australia at $AU2,299). That said, the 1300MK2 did launch several months ago, so its prices have had time to drop.

Still, the Q990H is a flagship soundbar that delivers phenomenal audio quality and comes with a ton of useful features, most prominently its HDMI 2.1 ports for gaming. Compared to said multi-box rivals, it’s also pretty fairly priced.

There is the small matter, however, of the Q990H’s predecessor, the Q990F, still being available. While the Q990H offers a couple of upgrades, the Q990F is still a fantastic soundbar in its own right, and at $1,599 / £999 / AU$1,599 it’s the better option right now. Once it disappears, though, the Q990H will make a worthy successor — and we’ll have hopefully seen some discounts by then.

• Value score: 4 / 5

Should I buy the Samsung HW-Q990H?

Buy it if...

Don't buy it if...

Samsung HW-Q990H review: Also consider

How I tested the Samsung HW-Q990H

• Tested with the Samsung S95F OLED TV
• Tested using different sources
• Dolby Atmos, 5.1 surround and stereo sound tested

I tested the Samsung HW-Q990H with the Samsung S95F OLED TV, which allowed me to test out the Q-Symphony feature, which employs the Samsung S95F's speakers in conjunction with the soundbar.

To test the Q990H soundbar, I used reference Dolby Atmos scenes that I also use to test TV speakers, namely The Batman and Top Gun: Maverick on 4K Blu-ray, and Star Wars: A New Hope for 4K streaming.

I used the Samsung SmartThings app to test out its sound features, including SpaceFit Sound Pro and Sound Elevation, as well as testing out its different sound presets.

I also tested the Samsung HW-Q990H's music capabilities using Dolby Atmos tracks such as Bad Bunny's BAILLE INoLVIDABLE, as well as stereo tracks such as Dir En Grey's Un Deux.

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

Sony has just announced the Bravia Theatre Trio, which is a new Dolby Atmos wireless system that splits the difference between a proper surround system and a soundbar, and is particularly designed with huge TVs in mind, to make sure the soundscape is wider than the TV itself — but will be tempting to anyone who wants a physically more separated sound than the best soundbars alone can deliver.

It can also be expanded into a fuller wireless surround setup, and I got to hear this full-force system in action. But first, let's go over the basics.

The Sony Bravia Theatre Trio is, as the name implies, three wireless speakers in a package. It's what home theater fans call an 'LCR' system — meaning left, center, and right channels.

There's a center speaker that's like a mini soundbar, which connects to your TV over HDMI eARC. And there are left and right speakers that look like little pillars with a flat section added to the back, so they can be wall-mounted.

The center speaker has two woofers and a tweeter, while each of the the side speakers each has a woofer and tweeter facing forward, and then an 8cm upfiring driver for Dolby Atmos height channels.

In the simplest terms, this is a 3.0.2-channel system, though Sony says that the system is built heavily around virtualization of more in-depth speaker setups. This initial three-speaker system can apparently mimic 24 phantom channels.

Sony says that it's done some smart stuff with its virtualization tech in the Bravia Theatre Trio, including rethinking how those phantom channels work: they're now designed not just to mimic the placement of a more elaborate speaker setup, but also to mimic the "indirect sound sources" of a cinema room's acoustic signature, including reflections.

So yes, for those keeping track of how psychoacoustic virtualization works, it may be the case that this system is using the reflections of your room to create the sense of an entirely different set of reflections…

To help the system do this as well as possible, it comes with a USB-C microphone that you can use for room calibration. Just plug it into your phone or tablet, fire up Sony's app, and follow the instructions so it can do its best work.

As I mentioned above, this three-speaker core setup can be expanded with add-on rear speakers or a subwoofer as well.

You have two choices of subwoofer: the new Sub 8 is a mid-range option, while the Sub 9 is an absolute massive beast of a sub by lifestyle tech standards. It looks like two Sub 8 units glued together with a vent in the middle, and while Sony didn't confirm the specs, I wouldn't be surprised if that's not far from the truth.

You also have two choices of rear speaker: there's the existing Bravia Rear 8 or the new Bravia Rear 9, which are more or less the same speakers as the front left and right (woofer, tweeter and upfirer combo — in the same design).

Of course, these add-ons will cost you — and the core Bravia Theatre Trio package isn't cheap either. Here's the breakdown of all those options (Sony was only able to provide UK pricing pre-launch and Australian info for the Theatre Trio only, but we'll update with other pricing as we get it):

Sony eats Sonos' lunch

Before I get to my experience of the performance of these speakers, something that immediately struck me is that this kind of setup is what Sonos' users have been begging to company to do for years.

Given that Sonos' whole thing is wireless satellite speakers, its users have asked many, many times (directly and on the r/sonos subreddit) for the ability to use separate front left and right speakers in an LCR setup with its soundbars.

There's even a third-party app that enables this called SonoSequencr, which is quite popular among Sonos home theater enthusiasts.

It seems wild that Sony has offered this before Sonos, and with a better spec list than Sonos can offer, because the Bravia Theatre Trio offers both Dolby Atmos and DTS:X support (Sonos lacks DTS), and has an HDMI passthrough port (supporting 4K 120Hz) so you don't lose an HDMI port by using it.

Of course, if Sonos did end up offering a setup to compete with this, it could have a major price advantage. You can get a Sonos Beam Gen 2 (as the center channel) and two Sonos Era 300 speakers (as spatial audio side speakers) for £1,077 at the time of writing, compared to £2,000 for the Sony system.

And there's also the small issue that in my demo of the Sony system I found it to be quite hit and miss…

Mixing it up

I didn't get to hear just the Bravia Theatre Trio core setup on its own at Sony's event; instead I heard the fullest setup, with the original trio, two Rear 9 speakers, and two Sub 9 subwoofers (though, somewhat oddly, these were placed next to each other rather than spaced for even bass distribution).

In terms of pure physical channels, this is a 7.2.4 setup, but Sony was unable to confirm exactly what the virtualized channel setup it creates using the phantom channels would be — though Sony confirmed that you get 24 phantom channels regardless of how many physical speakers are involved.

First up we watched the big music performance in Sinners at the juke joint. What jumped out straight away is that the system provides a really powerful and warm sound, which is really well suited to the pounding of drums and making the tonality of guitars feel solid and electric.

However, I wasn't that impressed with separation of different elements in the mix, despite all the Dolby Atmos power going on — and in particular I felt that the vocals were more subdued than I'd expect, especially for a system with an actual separate center speaker.

Moving onto the car shoot-out in No Time to Die, the surround and positioning effects got a particular chance to shine. The rear effects were solid, but the side effects were especially impressive considering there are no real speakers there.

Building on that, I thought the way sound moved from the front, around the sides, and to the back was especially impressive — it felt like the sound moved smoothly the whole way, and didn't jump from the front to the back, which is how it can feel in some simple five-channel systems.

But this demo also showed the same apparent weakness with vocals, with dialogue feeling soft and a little muddy even in the quieter moments — and even some of the mid-frequency effects seemed to not pop quite as strongly as they should (I have seen this scene a lot in demos).

The final demo was the first racing scene in Ready Player One, and the system produced a lot of sound and fury all around me here… but I thought there was a slight softness to the fine details that held it back — the very sudden sounds didn't seem quite as dramatically sudden as they should, which robbed them a little of impact, scale and spectacle.

That last point wasn't helped by the fact that in all three demos I noticed that the sound and visuals weren't quite in sync. This isn't uncommon in HDMI ARC-based systems at all, but I don't normally notice it as strongly as I did here — and I think it made a difference when experiencing the crunching crashes of Ready Player One if you see the impacts before you hear them.

Of course, this is far from a review — and I'm really interested to see how just the core Bravia Theatre Trio set performs on its own. But at this early stage, I'm kind of torn: I love the overall concept and the design, but I'm concerned about the high price based on the performance I heard so far.

• Sennheiser launches Momentum 5 wireless headphones
• Improvements to ANC, feature set and repairability
• Price bumps up against Sennheiser's premium cans

Better late than never, eh Sennheiser? The legendary audio brand took four years to bring its much-anticipated Momentum 5 Wireless to market, but they're finally here — and perhaps just in time to show the recently-released Sony 1000X The Collexion how it's done.

These new cans succeed the five-star Sennheiser Momentum 4 Wireless, which we loved all the way back in 2022, and are still in use today by several members of the TechRadar team. Perhaps the brand was just waiting for its tenancy on our list of the best headphones to end, so it could reclaim the top spot.

Releasing in June 2026, the Sennheiser Momentum 5 Wireless are due to cost $399 / £329 / AU$749, which represents a little price hike from their predecessors. It's much less than Sony's fancy newest headphones — but it's basically right in line with the price of the Sony WH-1000XM6.

It puts them quite close to my favorite headphones from the company, the Sennheiser HDB 630, which sell for $499 / £399 / AU$999 — and I'd personally be tempted by the HDBs. But maybe I'll feel differently once we've actually tried the Momentum 5 Wireless and their new features.

Momentum? You barely know 'em

Sennheiser has given the Momentum 5 a 42mm driver again, like the Momentum 4, but has added certification for Hi-Res Audio, Snapdragon Sound and aptX Lossless codecs. The app also now has an EQ and presets, as well as a listening test.

Improvements come to active noise cancellation (which is now influenced by four microphones, over two in the last pair — but far fewer than the 12 employed by Sony), while Bluetooth is version 5.4 out of the box, but Sennheiser promises an upgrade to 6.0 in the future.

Other features include Dolby Atmos spatial audio with head tracking — we love this on the Sonos Ace, so hopefully it's just as good here.

The battery life is slightly lower than the previous model at 57 hours, but that's only three hours less than the Momentum 4's lasting power, and is still nearly double the 30 hours promised by the Sony XM6 or Bose QuietComfort Ultra Headphones 2nd Gen.

Sennheiser's making a point of repairability for the Momentum 5: apparently, it's easy to use a Phillips screwdriver to remove and replace an ailing battery. Since the battery is often the aspect of gadget which will stop working first, this will hopefully ensure your headphones keeping lasting for years.

There are three color options for the Sennheiser Momentum 5: black, white and blue (or 'Denim', according to the brand). Whichever you buy, you'll get a carry case, USB-C charging cable and 3.5mm headphone cable.

No matter how you shake it, the Sennheiser Momentum 5 don't look like huge reinventions of the fourth-gen model, but that's no bad thing. You can't argue with a perfect review.

Instead, it seems to update some of the Momentum 4 features which haven't aged well in four years, and if the sound's had a tune-up in the right places, we expect these to be pretty damn competitive.

• Dolby AC-4 was the preferred codec of multiple audio pros
• Better than existing Atmos audio without high bandwidth requirements
• Peacock is upgrading but other streamers haven't announced any plans

One of the biggest differences between streamed movies and 4K Blu-ray is the sound quality: even the most expensive streaming tiers deliver compressed audio with a clear reduction in dynamic range and clarity compared to disc-based playback.

But that might change thanks to a new version of Dolby's sound technology that audio experts apparently can't tell apart from uncompressed PCM, but that works at streaming bitrates.

The new technology is called Dolby AC-4, and it's a codec: an encoder/decoder for compressing audio. It's designed to deliver much higher audio quality than current streaming soundtracks, and can do so without requiring lots of bandwidth.

With a bit of help from the New York section of the Audio Engineering Society and Engine Room Audio, the audio pros at Immersive Machines in the US set up a double-blind listening test where audio experts heard mixes in multiple formats including the current streaming standard, DD+JOC (using the Dolby Digital+ codec).

Again and again the experts picked AC-4 as having the best sound quality of the compressed audio formats.

How Dolby AC-4 could make your streams sound sweeter

Most streaming apps use DD+JOC for immersive audio. It's a version of the tried and tested Dolby Digital standard, with the JOC bit standing for "Joint Object Coding". It enables Dolby Atmos to deliver positional audio without breaking support for 5.1-channel setups.

Dolby AC-4 is what Dolby calls a Next Generation Audio codec, and it's designed to more efficiently deliver audio for headphone and speaker listening, including 3D object information.

As Dolby explains: "The AC-4 coding system utilizes new aspects of object audio beyond what is already available with Dolby Atmos in other Dolby codecs for features like dialogue enhancement or commentator substitution." And significantly, it "can deliver equivalent channel-based audio quality at roughly half the bitrate of Dolby Digital Plus".

That's impressive, but does it deliver?

Immersive Machines' listening test used three formats: DD+JOC at 768 kbps, uncompressed PCM audio at 13,824 kbps, and AC-4 L4 at 448 kbps. The listeners heard them on a full 7.1.4-channel system, on the same system with specific speakers muted, and to individual speakers soloed. Each format was given the letter A, B or C and their identities weren't revealed until the test was done.

The test wasn't just based on vibes. Listeners were asked to identify compression artefacts such as gating, "swishing", loss of spatial precision and loss of frequency range. And with all the speakers on — ie, the way you'd listen at home — AC-4 was in a dead heat with the reference uncompressed PCM audio.

Compression was more noticeable in AC4 when individual speakers were soloed, but for a full home theater setup, AC-4 delivered sound that apparently matches lossless but while streaming just 3% of the data.

There are some caveats here, notably the sample size: a test with 16 listeners isn't hard science. But at the same time, 16 audio pros told to listen critically are going to be much more picky than you or I are likely to be, so it's still quite the endorsement.

The first TV/movie streaming service delivering AC-4 will be Peacock, although the technology is also being used by Amazon Music and TIDAL (but specifically for binaural headphones-based spatial audio). Other streamers may migrate but so far there haven't been more announcements since Peacock's news at CES 2026.

You can find out more about the Immersive Machines testing here, but while it does suggest that streamers could deliver similar sound quality to 4K Blu-ray in the very near future, it's worth noting that Dolby AC-4 doesn't address one of the other reasons people buy Blu-Ray discs: unlike streaming, bought Blu-Rays don't disappear from your library when streaming rights expire or the streamer decides to slim down its catalog.

Better quality has absolutely been a major driver for why people buy 4K Blu-rays, especially if you have a great home theater setup — but collection and ownership is growing as a reason why people are becoming invested in Blu-ray again, and AC4 won't change that.

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.

• Denon unveils new X2900H and X3900H AV receivers
• Both have new audio architecture for Dolby Atmos and DTS:X sound
• X2900H is 7.2 channels; X3900H is 9.4 channels

Denon has unveiled two new AV receivers, including an update to one of the most popular bang-for-buck models around — and it's a pretty strong upgrade based on my early impressions from a demo session.

The new models are the Denon AVR-X2900H and the AVR-X3900H, and they're similar in a lot of ways, with the X3900H promising more "scalability" and "flexibility" over its little sibling.

They replace the X2800H and X3800H respectively, and Denon says they've been updated internally to improve the sound, including sharing a new 32-bit DAC system designed to deliver "improved imaging, clearer high-frequency detail and more confident low-frequency energy across every channel."

Both receivers support Dolby Atmos and DTS:X, and include Dirac Live and Audyssey support for sound correction. They both have six HDMI inputs and multiple HDMI outputs, with support for 4K 120Hz passthrough with Dolby Vision HDR (and 8K video at 60Hz). New this year is support for 1440p and AMD FreeSync passthrough, which is nice for PC gamers.

They also have Denon's HEOS wireless platform on board for music streaming over Wi-Fi, with support for major streaming platforms to play in hi-res — plus Bluetooth connectivity.

The differences come in just how elaborately all this is implemented. The X2900H supports 7.2 channels of sound at up to 95W (at 8 ohms) per channel, while the X3900H supports 9.4 channels at up to 105W (at 8 ohms) per channel.

The pricier X300H includes Auro 3D and IMAX Enhanced support as well as the two standard spatial formats, and offers more Dirac tools as optional extras. The X2900H offers two HDMI outs (one of which is eARC), while the X3900H has three HDMI outs (again one eARC).

The extra channels of the X3900H obviously require a load more speaker connections on the back, but the X3900H also includes more RCA inputs, including an MM phono input, and more pre-amp outputs.

Both models launch today, May 14. The Denon AVR-X2900H costs $1,349 / £899 (about AU$1,680), while the Denon AVR-X3900H costs $1,849 / £1,299 (about AU$2,430).

So, you've got the run-down on what they can do — but how do they sound? Happily, I got to hear them before their launch.

What are the Denon X2900H and X3900H like in action?

Denon's listening room at its Kawasaki office — used by its current Sound Master, Shinichi Yamauchi, to refine and provide feedback on the performance of its products — provided the setting for an all-too-brief demo of the new AVR models.

They were connected to the room's array of Bowers & Wilkins 801 speakers, which are probably a little more hardcore (at $55k / £34k per pair) than most people will connect to these amps, but at least I could be sure that the speakers weren't going to impose any kind of limitation on what I was hearing.

First, Denon gave me a demo comparing the existing X2800H AVR with the new X2900H that replaces it, showing a scene from Dune in the ornithopter (a word I'm now able to spell first time consistently, thanks to how frequently scenes featuring it in appear home theater demos).

This was a 5.2.2-channel demo in Dolby Atmos, maxing out the X2900H's 7.2-channel capacity with the five surround channels plus the two height channels, and then two subwoofers.

The key theme here is that small changes add up to a clear improvement. The dialogue clarity is a little stronger, standing out slightly more prominently from the beating wings of the ornithopter while still feeling natural.

The spatial effect of the surround channels is a little stronger as well, feeling like there's a touch more dynamic range and expansiveness to envelop you in what's around you.

The bass transients and low-end power also feel — say it with me — a little stronger. There's an extra step of liveliness and control to bass impacts that make them feel more tactile

Adding together multiple elements that are a little stronger, though, creates a whole that feels bigger, meatier and more complete. The upgrade from the X2800H to the X2900H isn't game-changing, but it's weighty.

After that, we got a comparison of the new step-up X3900H against the X2900H. The demo was Hans Zimmer & Friends: Diamond in the Desert, which is a movie score concert film (but sounds like an animated movie where Hans and his team solve a Scooby-Doo-like mystery).

The X2900H played through the same speaker setup as above, but when we switched to the X3900H we added a couple of extra surround channels, taking us to 7.2.2 channels, in Dolby Atmos.

Interestingly, though, in the section of the Inception medley that Denon demoed for us, I couldn't hear as much difference between these two AVRs as I could between the X2800H and the X2900H, even though in this case two extra speakers were being added.

It may have been partly to do with the arrangement of the song just not taking that much advantage of the extra channels, but in general I'd say I didn't feel much of a difference in the expression and clarity of the instruments.

It's obviously very possible that further reviewing with more scenes will reveal more nuance, so I'll have to reserve full judgment on the X3900H — but obviously, at the very least, even if its performance turns out to be very similar to the X2900H, it still provides more channels and higher power output for speakers that really benefit from it, so may be worth the upgrade anyway.

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.

The 2026 World Cup starts on June 11, and while a lot of people will be thinking about a new TV, there's still one crucial component that can make or break the whole experience: audio.

A new soundbar can really add another dimension to the World Cup viewing experience, delivering clearer commentary and a more immersive atmosphere by capturing the roar of the crowds. Let's face it, even the best TVs have average built-in audio, and it'd be a shame to miss out on the full World Cup feeling.

Below, I've picked four of the best soundbars you can buy right now that will be more than up to the task of delivering the atmosphere of the World Cup, whatever your budget.

Best overall: Samsung HW-Q800F

Currently sitting at the top of our best soundbars list is the five-star-rated Samsung HW-Q800F. One of the brand's mid-range 2025 soundbars, the Q800F really does cover all the bases.

The Q800F is a soundbar-and-sub combo that delivers everything you could need. We found in our testing that the bass delivered by the new, compact subwoofer was still suitably powerful and sizeable, accurately delivering the ignition of the Darkstar jet in Top Gun: Maverick.

It also demonstrated excellent precision with surprisingly effective Dolby Atmos height effects in movies such as The Mask, accurately capturing the chaotic nature of the titular character as he tears around Edge City. Expect it to accurately deliver the ball's movements around the field during the World Cup.

Dialogue was crystal clear throughout our testing as well, which is a good sign that a commentary track during the World Cup should be delivered with real clarity.

The Q800F is brilliant value too. You can expect to pay around $799 / £599 / AU$849, which is a great price for this soundbar. Expect prices to drop in the lead-up to the World Cup, too.

Best premium: Samsung HW-Q990F

For those looking for a complete soundbar system, it doesn't get much better than the Samsung HW-Q990F, the brand's 2025 flagship model. This 11.1.4 channel soundbar is a beast, composed of four separate units and really delivers the full surround sound experience.

I personally tested the Q990F and was blown away by its performance. The new compact subwoofer delivers room-filling bass that is mighty, but also well controlled. The rumble of the Batmobile's engine in The Batman was room-shaking but dynamic and precise, with the subwoofer accurately delivering the chunky gear changes.

The Q990F boasts a wide soundstage that's not only great for big musical numbers from movies like Wicked, but also action-packed scenes such as the Death Star attack in Star Wars: A New Hope. The sound is expansive with pinpoint placement, such as the TIE Fighter's screeching flight path in Star Wars. The stadium atmosphere in the World Cup will sound sensational through this system.

Speech was perfectly clear throughout my testing, whether it was hushed conversation in The Batman or the loud, soaring vocals of 'Defying Gravity' from Wicked. Expect the same with commentary in the World Cup.

The Q990F is at the more premium end of the market, costing $1,599 / £999 / AU$1,599, but this mammoth soundbar system will cover you for sports, movies, and gaming, and do a superb job with all of them.

Best budget US: Sonos Beam

The Sonos Beam (Gen 2) may be compact, but don't let that fool you. It delivers a beefy sound that you wouldn't expect from a soundbar this size and is easily one of the best models for music on the market.

The Beam (Gen 2) has been around for a while now, but it still consistently delivers a satisfying sound that works for a diverse range of genres. I tested it alongside the Sony HT-S2000 and Denon Home 550, two compact rivals, and I was always pleased with the Beam's performance.

The bass it delivers for a small unit is tightly controlled and punchy, as it accurately delivered the roar of jet engines in Top Gun: Maverick. Its soundstage was also spacious, giving effects room to breathe with a great balance overall. As The Mask tornadoes around his bedroom in The Mask, the Beam did an excellent job mapping the direction of the whirlwind, connecting the sound accurately to the picture.

Dialogue is nice and clear despite its smaller stature, so commentary should be nice and clear for the World Cup. It also has a diverse sound profile that makes it great for music.

Sonos' soundbars often get some nice discounts throughout the year, but even at the full $499 / £449 / AU$799 price, it's a superb soundbar that's real value for money.

Best budget UK: Hisense AX5125H

The Hisense AX5125H is one of the most impressive budget soundbars I've ever used. Not only are you getting a great 5.1.2 channel Dolby Atmos system, but you're getting it for a ridiculously low price.

Using the Death Star attack from Star Wars: A New Hope, I was seriously impressed with the AX5125H's clarity and control. It accurately delivered the whirring engines of the X-Wings and did a solid job with height channels, recreating the screech of the TIE Fighters as they flew overhead.

The AX5125H also has a wide soundstage, which helped pick up subtleties in The Batman's opening crime scene, with camera clicks, mumbled conversations, and the sparse, scratchy strings of the score all presented clearly. This should do a great job picking out the dynamics during the World Cup, from a travelling ball to the crowd noise.

Speech was also clear throughout testing, coming through loud and clear during both quieter conversations and action-packed scenes. This will have no problem delivering clear commentary in a packed stadium atmosphere.

The AX5125H's real highlight is its low price. A 5.1.2 channel system for £249 is ridiculous. This would have been my pick for the US budget option, but sadly, it's out of stock. For UK readers, this one is a no-brainer if you're on a budget.

• Disney+ subscribers believe the platform is changing Dolby Atmos availability at different times of the day
• They think it's due to server loads during speak streaming times
• Disney has yet to address the situation

Have you noticed changes in audio quality while streaming titles on Disney+ recently? If so, you’ll be glad to learn that you’re not alone on this one.

Some Disney+ subscribers have been noticing that the platform is seemingly adjusting which audio formats are available at certain times — primarily peak times — based on server load. Though it could simply be a matter of misinterpretation, it appears that a handful of users have experienced this, and some have taken to Reddit to address the issue.

In the main Reddit post, the author notes that they were able to stream with Dolby Atmos during the day, but only in 5.1 audio during evening hours despite being subscribed to Disney+ Premium.

Only the Premium Disney+ plan ($18.99/ £14.99/ AU$20.99 a month) gives you access to both Dolby Atmos and Dolby Vision viewing, while the $11.99/ £5.99/ AU$9.99 a month basic ad-supported plan offers viewing up to 5.1 audio and 1080p full HD video.

Not surprisingly, users are confused as to why they’re experiencing this apparent issue when they believe they should be able to access Dolby Atmos-supported titles no matter the time of day since they’re subscribed to the Premium plan. “I only noticed because the sound was way quieter, and then noticed it was only showing 5.1 while I was certain it was Dolby Atmos. I thought I was going mad”, the author of the initial Reddit post said in a reply to another user.

The issue seems to occur during peak streaming times in the evening, and several posters suggest that because the Disney+ servers are busier during these times there isn’t enough bandwidth for users to stream Dolby Atmos-supported content, with one Reddit user describing it as “a pressure release valve”.

It appears that this is also happening across a range of devices on which Disney+ is available. One user shared “It happened across all my devices, LG C3, Xbox, PS5, and even my phone. I got on to a live chat with [Disney+] and actually got refunded because as far as I’m concerned, I’m paying for the premium tier and not getting all the features.”The Disney+ help page does outline cases where the highest-quality audio may not be streamed. The company states that while “Disney+ will automatically use the highest-quality audio supported on your device (including external audio systems or soundbars) and available with your plan”’, this still depends on internet connection, device capability, and platform settings, emphasizing that not all content on the platform is Dolby Atmos supported.

Disney+ hasn’t yet publicly addressed the issue, but we’ve reached out to it for comment, and to ask if there are any workarounds users can try. We’ll update this article if and when we get a response.

Although Spotify is my music platform of choice, I do enjoy what Apple Music has to offer. Last summer I signed up to Apple’s music service for the first time, and I’m testing the waters once again — mainly to make the most of Dolby Atmos-supported listening.

I’ve been using Apple Music on and off for the past couple of weeks after signing up for one of its latest deals, and as soon as I logged back in, I immediately started making a playlist centered around essential Dolby Atmos listening. The best part about my brief return to Apple Music is that I’ve had enough time away to really notice and appreciate the way my favorite records sound in Dolby Atmos compared to Spotify Lossless.

Then it got me thinking, which Dolby Atmos albums would I recommend to new Apple Music members? There are five supported records I’ve had on constant repeat lately because, when I compare listening to them on Spotify Lossless, Apple Music is the clear winner.

Don’t know where to start? Here are my top Dolby Atmos album picks.

Homogenic, Björk

I knew that Björk would make the list, but selecting just one album was almost an impossible job. I was torn between the earthiness of Debut and the urban Post, but as far as electronic albums go, Homogenic is the one that truly shines in Dolby Atmos.

I first got into Björk around 10 years ago and have been listening to Homogenic ever since, but it’s only now that I’ve started picking up on elements I never knew lurked between the layers of each song. Not only that, the album’s orchestral components don’t get lost in the thick cyber forest. Instead, they come front and center just where they belong — balancing perfectly with the album’s electronic core.

3D Country, Geese

Although Getting Killed would’ve been a solid choice, Geese’s album 3D Country is incredibly dynamic, and one that I’ve been listening to non-stop. It’s a fun album to listen to if the blend of indie alternative, rock 'n roll, country, and blues intrigues you.

It sounds like an overstuffed concoction on paper, but listening in Dolby Atmos really allows you to pick out the influences one by one, and then throw them all back together. One of the best parts about the listening experience is getting to hear Cameron Winter’s vocals in all their robustness, which does wonders for showing off his vocal control.

The Rise and Fall of a Midwest Princess, Chappell Roan

Of course, I had to throw in a pop album, and Chappell Roan’s 2023 album is the record I’ve noticed the biggest differences with when listening to it in Dolby Atmos form — the main ones being its punchier bass and synth clarity.

However, like 3D Country, this is another album where the vocals are one of the stars of the show. Chappell has a voice that really works for a pop vocal album like this, but you don’t notice how polished her sound is and how much vocal layering she does until you stream it on Apple Music. As far as pop albums go, this one sits at the top when it comes to essential Dolby Atmos listening.

Grace, Jeff Buckley

Every time I listen to Grace by Jeff Buckley, it sends shivers down my spine and fills my eyes with tears, so naturally it had to be included. If you thought that his raw voice and acoustic instrumentals were hard-hitting, just wait until you press play on the title track in Dolby Atmos.

Buckley’s musicianship is spotlighted in every isolated guitar pluck, which will make you realize just how many different types of guitars he uses in a single song, let alone the whole album.

Orquídeas, Kali Uchis

If you’re looking for an album with rich production to kick-start your Apple Music/ Dolby Atmos experience, allow me to point you to Kali Uchis’ Orquídeas, a Spanish-language record that explores reggaeton, R&B, and funk in all its glory.

This is another album that’s packed with influences, but again, it doesn’t feel stuffy in Dolby Atmos. If anything, its groovy rhythms, underwater-sounding acoustics, and seductive trap beats are balanced perfectly. One doesn’t overpower the other, and the echo of her angelic vocals is the cherry on top.

LG Sound Suite H7 review

The LG Sound Suite H7 is the first soundbar in the market to feature Dolby Atmos FlexConnect capabilities — instantly providing a unique option in what is a highly competitive category.

FlexConnect enables the LG Sound Suite H7 to act as something of a hub — you can pair a compatible sub and various surround speakers to the soundbar, and no matter where you place them in the room, you can expect well-optimized sound and Atmos effects.

As I discovered when reviewing the LG Sound Suite Immersive Suite 7 Pro and testing out the LG Immersive Quad Suite 7 — two systems that place the H7 soundbar front and center — FlexConnect works brilliantly. When using a wide variety of configurations, these systems provided impactful and clear sound. It’s a very handy feature, and one that could be useful for those with awkwardly shaped or laid-out living spaces.

Here, though, I wanted to look at the LG Sound Suite H7 soundbar on its own, and assess its quality without the assistance of any W7 subs or M7 surround speakers. Sure, this is a model that’s at its best when paired with other components — as is the case with rivals like the Sonos Arc Ultra. But can it hold its own as a standalone device? Can it compete with the very best Dolby Atmos soundbars?

Let’s begin by taking a look at features on the H7 soundbar. Of course, FlexConnect is great, but there’s a lot more to discover — especially if you download the LG ThinQ app.

One interesting addition is Sound Follow. This optimizes sound not only for your living space, but for your position within it. It works surprisingly well, and although it's not essential, it’s certainly a unique option in LG’s arsenal. On top of this, you can alter the EQ, adjust channel levels, and even cycle between different sound modes.

There’s a decent array of these sound modes, with a bass-boosted option, a vocal-oriented alternative, and an AI Sound configuration. Personally, I found the AI-enabled mode to sound worse than the standard tuning — movie soundtracks lacked balance, and often sounded too bass-heavy. Other than this, you’ll also find an AI upmixing setting, which enables you to convert a stereo signal into a more expansive 9.1.4-channel format.

As well as its various sound modes, the H7 offers a decent amount of connectivity options. Of course, you’ve got the standard HDMI eARC, but you can also make use of a USB connection, or play music and podcasts via a Bluetooth or Wi-Fi connection.

On the topic of connectivity, though, I do have one key complaint: the LG H7 doesn’t have HDMI passthrough. In 2026, this feels like a huge miss. A lot of even high-end TVs owned by people today are restricted to just two HDMI 2.1 ports, one of which will be the HDMI eARC port. Given that the H7 will take one of those up, you may well be left with just one. That could prove to be a point of contention for owners of multiple modern video game consoles, for instance.

Another feature that some may miss is DTS support. DTS has been missing from a lot of LG’s tech as of late, with the company opting to drop the format from its TVs in 2025. If your TV or video player decodes DTS, it's not really a problem — but it's annoying if you buy all LG. Still the best 4K Blu-ray players, where DTS is most important, can generally decode it.

But you may be wondering by now, just how good does the LG Sound Suite H7 sound? Well, in my view, it’s a very strong performer indeed.

Unsurprisingly, the real highlight here is Dolby Atmos performance. In Top Gun: Maverick, when Tom Cruise flies up and over the head of Ed Harris, the verticality of this move was replicated brilliantly. This is something that a lot of rivals struggle with — especially without overhead speakers for ‘true’ Atmos, but the height channels consistently conjured up excellent effects in my testing.

The H7 also outputs expansive sound with tremendous width, something I found when watching a 4K Blu-ray of The Mask. As the titular character spun around an outdoor area, his movement was tracked well, and it sounded as if he was tornadoing into the corners of our TV testing space. Sure, a full setup with the M7 speakers added more depth and pin-point precision, but the soundbar certainly offered a broad sense of sound on its own.

It was a similar story with music — with Hans Zimmer’s Dream of Arrakis, vocals oozed into the sides of the room, while ambient sound effects felt as if they were crawling along the walls. The bottom line, then, is if you’re looking for excellent Atmos performance, the H7 is a top choice.

Outside of Atmos performance, the H7 is pretty strong too. It gets a lot of the fundamentals right — clear dialogue, impactful bass, and expressive treble all feature. When watching The Boy and the Heron, I was impressed with the snappy and sharp sound of a wooden sword snapping, and even when harsh wind noises entered the fray, the Heron’s monologue was articulated clearly in the mix.

In one scene, a horde of frogs exclaim “JOIN US,” and powerful deep bass seeps in. The room-swallowing low-end was replicated quite well, even at higher volumes, but it wasn’t quite as full-sounding and thunderous as I’ve experienced — largely due to the lack of a sub. Adding the W7 subwoofer will fix this, of course, but that comes at quite the price.

Movies do generally sound great, however. Whether it was The Mask smashing through a glass door with giga impact or dialogue coming through with a true-to-life echo in Maverick, I was satisfied with the H7’s quality.

Is the H7 the most musically adept soundbar I’ve heard? Not quite. With stereo music, you do get distinct channel separation, and commendable attention to detail. However, I sometimes felt as if low-end sounds were a little overstated, leaving vocals or instruments in the mid-range sounding less prominent than I’d like.

With Atmos music, it was similar. Sure, the spatial effects are translated fantastically, and the dynamism of sudden drum hits or pounding bass was striking. But I sometimes felt that vocals in the center could be a touch understated. Some EQ tweaking can help with this, but I prefer models like the Marshall Heston 120 for music.

So, overall, the LG Sound Suite H7 is a very admirable performer, but I want to take a moment to talk about design.

Look, I don’t think this is the prettiest soundbar ever. It’s built to a high standard, but the H7 doesn’t have the flashy modern look of the Sonos Arc Ultra or the striking retro style of the Marshall Heston 60.

It ends up looking a bit generic, which isn’t a major problem — however, the more style-focused might wish for something with more flair. On the positive side, I did really like the soundbar’s display, which is handy for checking volume, source, sound mode, and more.

Another design positive relates to button and port placement. Everything is simple and well-sized, making for a relatively straightforward setup. Speaking of setting up, you can simply plug the HDMI cable and power source in, and you’re ready to go.

I did experience a few difficulties pairing the soundbar using the app, which was a little frustrating, but I had things working after a couple of resets. From there on out, the simple app made my user experience fairly trouble-free.

Let’s finish up by talking about value for money. The LG Sound Suite H7 has a list price of $999 / £899 (about AU$1,400), which, let’s face it, is pretty pricey. You can easily grab a great option that comes with a sub for less than this — the Samsung HW-Q800F, for instance, is regularly cheaper than the H7, and boasts DTS support alongside HDMI passthrough. However, the Sonos Arc Ultra — arguably the H7’s main competition — is in the same ballpark, retailing for $999 / £999 / AU$1,799.

Is the H7 worth it, though? Well, if you want Dolby Atmos FlexConnect and you’re planning to build out a full system, then it could be. Individual components, like the M7 speakers and W7 sub are expensive, and there’s no discount on a full system as of yet. But if you’re looking for a massively expansive overall package, then it remains a great option.

All in all, though, the LG Sound Suite H7 is an astute soundbar that packs in highly convenient FlexConnect technology, awesome Dolby Atmos effects, and impressive overall audio. It’s disappointing to see HDMI passthrough and DTS support off the menu, alongside a more enticing look.

And yes, it’s pricey, although it's competitively priced against Sonos, and can act as a highly capable hub if you’re looking to build out a full FlexConnect system.

LG Sound Suite H7 review: price & release date

• List price of $999 / £899 (about AU$1,400)
• Released in early 2026

The LG Sound Suite H7 soundbar released early into 2026, with the W7 subwoofer and M7 wireless speakers joining it. At $999 / £899 (about AU$1,400), the H7 is by no means cheap, though it is priced pretty competitively against options like the Sonos Arc Ultra and Klipsch Flexus Core 300.

LG Sound Suite H7 review: specs

Should I buy the LG Sound Suite H7?

Buy it if…

Don’t buy it if…

LG Sound Suite H7 review: Also consider

How I tested the LG Sound Suite H7

• Tested across multiple weeks
• Used at our TV testing space at Future Labs
• Played 4K Blu-Ray, streamed movies and streamed music over Wi-Fi

I tested the LG Sound Suite H7 across the course of multiple weeks. For this review, I used the soundbar on its own, although I made use of its Dolby Atmos FlexConnect capabilities in my review of the LG Sound Suite Immersive Suite 7 Pro and the LG Immersive Quad Suite 7.

During my time with the LG Sound Suite H7, I watched a variety of movies — using the Panasonic DP-UB820 with 4K Blu-rays, and Netflix with Dolby Atmos content. I also connected my phone up to the soundbar for listening to music, and played a wide variety of tracks using Tidal Connect.

More generally, I’ve tested a whole lot of soundbars here at TechRadar, including everything from budget-friendly options — like the Sony HT-SF150 — through to premium alternatives such as the JBL Bar 1300MK2.

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

• Dolby Atmos audio can now be broadcast freely over the air more broadly
• It will use ATSC 1.0 rather than 3.0 / NextGen TV
• A Mexican broadcaster will be the first to offer the tech

Something exciting is happening in Mexico for home theater fans. Dolby Laboratories and broadcaster TV Azteca have joined forces to bring Dolby Atmos to free-to-view broadcast TV — not streaming — and they're doing it over the widely available ATSC 1.0 standard.

That's significant because while the current US and Mexico standard for broadcasting 4K TV is NextGen TV, aka ATSC 3.0, support for version 3.0 is still pretty patchy.

ATSC 1.0 tops out at 1080p HD for visual resolution, but it's been around since 1996 so it's much more widely supported than the newer version — and ATSC 3.0 devices are backwards compatible. That means Dolby Atmos over ATSC 1.0 should be available to a lot of people in the future, assuming it takes off.

For now this project is only happening in Mexico, but it raises some interesting possibilities elsewhere — and it suggests that there's still plenty of life in the free broadcasting model even in an age of streaming subscriptions.

What is Dolby Atmos doing over ATSC?

According to Pankaj Kedia, vice president of Americas, commercial partnerships at Dolby Laboratories, Atmos will be especially tempting for sporting events. "Imagine watching a game from your living room and hearing where every cheer in the stands comes from, the sound of the ball, and the voice of the commentator moving around you. That is what Dolby Atmos makes possible today in Mexico.”

That's obviously nothing new for sports if you want over a more premium cable or streaming service, but a lot of people haven't had access to these. Although I'm not 100% sure I want the commentary "moving around" me…

TV Azteca's chief technical officer Pedro Manuel Carmona Ortiz says the collaboration is a "technological milestone... We are collaborating with Dolby to demonstrate that innovation in audio can transform free-to-air television."

That innovation could be used by broadcasters in other territories too. ATSC 1.0 is widely used in the US, Canada and Mexico, and its intended replacement by ATSC 3.0 has been moved back several times.

Current proposals in the US suggest sunsetting ATSC 1.0 from 2028 to 2030 but those are based on broadcasters doing so voluntarily. Earlier this year, America's Public Television Stations (APTS) and PBS wrote to the FCC asking the regulator not to set a firm date for ending ATSC 1.0 broadcasting; other broadcasters are urging the FCC to do exactly that to boost adoption of ATSC 3.0.

On top of that, ATSC 3.0 is still hit and miss in even the best TVs. LG actually stopped including ATSC 3.0, while Samsung has also stopped (having only included them in limited models in the past).

Improving a 30-year-old broadcast standard may seem strange when most of the free-to-view hype has focused on streaming rather than broadcast TV thanks to the fast-growing free-TV services from the likes of Roku, Google TV and, in the UK, Freely.

But internet speeds and service have never reached the reliability of over-the-air broadcasts in many areas, so having an immersive audio upgrade delivered no matter your connection options is a win for everyone.

• Sony unveils Bravia Theater Bar 7 soundbar, with 9 speakers, 5.0.2-channels, for $869 / £699
• Also the 3.1-channel Bravia Theater Bar 5 with wireless sub for $349 / £399
• Two wireless subs and wireless rear Atmos speakers unveiled too

Sony has launched two new soundbars along with new companion subwoofers and rear speakers.

The Bravia Theater 7 is a nine-speaker, 5.0.2-channel all-in-one soundbar with dedicated up-firing and side-firing drivers, and automatic room calibration. It's very much in line to be a competitor to the Sonos Arc Ultra, but it has a bunch of key features that the Sonos lacks.

It supports Dolby Atmos, DTS:X, IMAX Enhanced — the latter two aren't supported by Sonos. It also has HDMI passthrough with 4K/120Hz and Dolby Vision support, and again the Sonos Arc Ultra lacks any HDMI passthrough.

There's also Bluetooth is 6.0 with LDAC, Wi-Fi 6, and the Bar 7 has Spotify Connect and Apple AirPlay 2.

You can also expand the new Sony with the new Bravia Theater Sub 8 smaller subwoofer, the bigger dual-driver Theater Sub 9, and the Bravia Theater Rear 9 speakers, which have large up-firing 80mm speakers for more immersive spatial sound.

Sony Bravia Theater Bar 5

The second soundbar, the Bravia Theater Bar 5, is a 3.1-channel model with an included wireless subwoofer. It supports Dolby Atmos and DTS:X as well, and also comes with Sony's virtual surround technologies: Virtual Surround Engine for virtual spatial audio and S-Force Pro, which emulates side-firing speakers for a wider sound field.

The new soundbars are designed to work with Bravia TVs and the Bravia Connect app, which enables you control your home theater setup from your phone.

Both new soundbars are priced keenly. The Bravia Theater Bar 5 is $349.99 / £399, and the Bravia Theater Bar 7 is $869 / £699. Australian pricing hasn't been confirmed just yet, but all models will available from July 2026. We'll update this update once pricing details come through.

The Bravia Theater Sub 9 has an official price of $899 / £899; the Theater Sub 8 is $499 / £649, and the Theater Rear 9 speakers are $749 / £699. All of the new products are available for pre-order now, and we have a review on the way of the Theater Bar 7, so watch this space.

• Philips launches new soundbars: one full size and two compact
• A choice of 3.1.2, 2.1 or 2.0 models
• The top model has 4K 120Hz passthrough

Philips has unveiled three new soundbars, and one of them could be a particularly tempting upgrade if you've got an older gaming TV with a limited number of HDMI 2.1 ports.

The Philips B8301 could be the perfect cheap Dolby Atmos soundbar for gamers, because it's a full-sized soundbar featuring HDMI eARC with 4K 120Hz passthrough. That means you can get full-quality audio and video from a single HDMI connection on your TV.

Tons of people out there have a TV with two HDMI 2.1 ports, and one of these ports is the HDMI eARC port — so if you have one of the best soundbars connected to one of them, that leaves only one port with 4K 120Hz support, and you might have more than one 4K 120Hz device you want to connect.

There are soundbars out there with 4K 120Hz, such as the Samsung HW-Q990F and the Marshall Heston 120, but they tend to be expensive. The Philips B8301 is shockingly cheap at €329 (about $379 / £284 / AU$535).

There are three new soundbars in the range in total: the full-sized, 3.1.2-channel Dolby Atmos B8301; the more compact 2.1-channel B5601; and the simple, 2.0-channel B5201. Pricing for the even more affordable models hasn't been confirmed just yet. All three models will go on sale in June 2026.

Philips 2026 soundbars: key features and pricing

The B8310 is 82.6cm wide and offers a 3.1.2-channel setup with dedicated left, centre and right channels, plus two up-firing drivers, and a separate twin-driver subwoofer. The total system power is 190W RMS.

In addition to the aforementioned eARC with 4K 120Hz passthrough, it supports Dolby Atmos and DTS:X + Virtual X. It also has Bluetooth 6.0 with LE Audio compatibility.

The B8310 also features an "AI powered Intellisound Engine" which Philips says automatically optimises the sound profile for movies, music and games. It also offers voice boost and vocal expansion adjustments as well as custom Spatial Audio settings.

The B5601 is smaller at 76.6cm wide, and Philips suggests pairing it with 48- to 55-inch TVs. It's a 2.1 setup with 145RMS of power, split between 80W for the main soundbar and 65W for the subwoofer. Once again there's AI sound adjustment, Dolby Atmos and DTS: Virtual X. Bluetooth is 5.4 with LE Audio compatibility.

The baby of the range is the B5201, which again is 76.6cm wide but delivers 80W of power and doesn't include a subwoofer. It has AI optimisation and DTS: Virtual X compatibility but the Dolby here is Dolby Digital rather than Atmos. Bluetooth is 5.3 and once again it supports LE Audio.

You may think you’ve heard God-tier audio in a car. But unless you’ve had an opportunity to test drive (or at least sit in the passenger seat of) one Cadillac’s 2026 EV line of cars, no you haven’t.

The Cadillac Lyriq, Escalade IQ, Vistiq, and Optiq all outfitted with the new AKG-tuned and calibrated Dolby Atmos systems are next level for audiophiles, audio engineers and music fans, providing reference-grade audio, to the point that professional engineers have bought them to use specifically as a reference for the Dolby Atmos mixes.

I know that for a fact, because I not only did I meet one of the engineers who went out of their way to get the Optiq, I also managed to get a behind-the-scenes explainer on the new audio system on a press trip that included a visit to NAMM (more on all that later) and I had the privilege of driving it around for a week.

Now, as exhilarating as the listening experience is, the price of even the less expensive vehicle is still cost prohibitive to many of us mortals (around $54K for the Optiq and $124K for the Escalade IQ), especially considering that the most base level models of some of the cars don’t come with the AKG systems.

I did also have an issue with the display’s available search function when looking for music, which I’ll also touch on. And while there’s plenty more to say about the car in general — some of the interior fabric covering feels a little less than premium, the self-driving is quite good, and the drive itself is quite smooth — I’m going to focus on the AKG-assisted audio system and what the experience of using it is like.

James Dean in that Mercury 49; me in the Optiq — Caddy's awesome EV line

The journey? I’ll be honest, the first thing in my mind when taking on this assignment was the opportunity to travel across the country to Los Angeles on a press trip. And yes, the street tacos and overall energy of the city have been sorely missing from my life, but I was quickly smitten by all that AKG via Harman, and Cadillac, had rolled out.

AKG, for its part, showcased their new line of affordable, studio-grade microphones, while Cadillac offered up listening sessions in the 2026 Optiq and Escalade IQ models. I even got to experience a cross-pollination of sorts.

Having arrived on a Tuesday, I was ferried to Larrabee Studios the following morning in an Optiq while enjoying a curated playlist of Dolby Atmos-enabled songs, such as Boom by DJ Tïesto, Dreams by Fleetwood Mac, plus a few more that I’ll probably name drop later in this article.

At Larrabee Studios, I witnessed a group of studio musicians run through a few songs, all captured by the new AKG mics — the C104, C114, and C151 for the curious. Those songs were then quickly mixed in Dolby Atmos, which we finally got to listen to in either the Cadillac Optiq or Escalade IQ, sitting in the parking lot.

On Thursday, I also got the opportunity to drive the Escalade IQ from the hotel in West Hollywood to NAMM in Anaheim, where I received a demonstration with that same curated playlist in a different Cadillac Escalade IQ, along with a presentation on the mics.

If that wasn’t enough, I also spent a week with the Cadillac Optiq, driving through the snow-covered streets of Southeast Pennsylvania and listening to all the Dolby Atmos music I could find (there’s less of it than you would think). I also spent quite a bit of time listening back to a (very mid) song of my own that I made using only those new AKG mics in the car.

Not only was I able to just enjoy a lot of music that I love in a more spatially sensitive format, but I even had the experience of using the car’s sound system for reference the way an audio engineer would.

Sound quality

After spending a lot of time listening, you could say that I have some impressions on the sound quality of the “AKG Studio Reference System with Dolby Atmos” systems built into these Cadillacs. And they’re very positive.

The sound systems aren’t the kind where Cadillac just licensed the name of a renowned audio company (AKG is very well known among producers, engineers, and musicians), slapped it on, and called it a day.

No, the collaboration between Cadillac and AKG included building in passive noise cancellation throughout the car as well as active noise cancellation meant to minimize outside sound between 30 and 50 Hz from affecting what one hears inside the car. Not only is this critical for a good audio experience, but it also creates a quieter, more peaceful drive. Some of the drivers are isolated so that they don’t resonate through materials they’re not supposed to, like the doors. And the actual interior is tuned and calibrated for the best listening experience possible, the way one would with a listening room or recording studio.

If you’ve ever used something like Dirac Live, you know how big a difference calibrating your listening space is for getting a clearer, more honest sound. And if you haven’t used room calibration before, then know that it makes a huge difference by adjusting the audio to counteract errant sound waves and reflections.

What does this mean in terms of actual listening then? The 19 speakers in the Optiq (the Escalade IQ has 42 including the subwoofers) create this immersive listening experience where clarity and sound separation are just as on display as crazy surround sound-like listening experiences.

Sure, there are some songs where the Dolby Atmos is wild in an experimental way. For example, when putting on Jimi Hendrix's Voodoo Child (Slight Return), the guitar starts swirling around in a counterclockwise motion when the band kicks in and before the vocals start.

Or consider Daft Punk’s drumless version of Lose Yourself to Dance, a song on that curated playlist where all seems normal until the backing vocals kick in. All of a sudden, you hear “Come on, come on, come on” creep up from the back on the right side of the car and then the left. And then, all of sudden, another vocal pops in sitting near the back of the car flanked by the ping-ponging come ons.

But there are also songs with a more stately mix, such as Tom Petty’s Wildflowers where nothing crazy is happening, but all the audio elements just have more separation and clarity. Audio elements are off to the side in different positions — the shaker is off to the left and in the back, for instance — but this feels less like someone slipped some illegal mushrooms in your tea and more like you’re sitting in the middle of a band playing around you.

Now, there’s a lot of music not in Dolby Atmos. Newer stuff like Raye, Chappell Roan and more out-there artists like Björk may offer that immersive listening experience, but a lot of rock comes only in stereo (at least at the time of writing). Still, as long as Dolby Atmos is enabled (and it’s turned on via a slider that requires a bit of menu diving), the AKG Studio sound system will still upmix any stereo audio so that you’re getting the music from every seat in the car — and you’re still getting an immersive listening experience. It’s not Dolby Atmos, but you still get some clarity and immersion that you wouldn’t otherwise. My 2013 Honda Accord certainly can’t compete.

The one issue

After 1,200 or so words, you might be thinking that I may be seeing through rose-tinted glasses (or whatever the auditory version of that is). But not all is perfect.

I’m a music nerd. That means that most of the music I listen to is esoteric, obscure, and/or not a priority for streaming services to properly catalog. I don’t mind the fact that I’m limited to using Amazon Music for the Cadillac since it’s one of only three services that currently offer Dolby Atmos, the other two being Tidal and Apple Music (which is also not currently supported on the Android-based infotainment system). I don’t even mind that there’s a limited amount of music even available in Dolby Atmos.

But I do mind how limiting the search function is. For some background, the Cadillac EV line doesn’t support or use Apple CarPlay as that’s an overlay — and the company wanted a system built from the ground up.

The Android-based infotainment system is, overall, seamless and intuitive, even though I didn't find the menu diving for certain audio settings as easy to navigate as the rest of the system. It also includes three years of data so that you’re not controlling or navigating your music through a phone.

I don’t mind that and even appreciate offloading that chore to the car. But it needs some refining. If I look up an artist and press on their name in Amazon Music, I don’t get a page listing out their discography or top songs. Instead, the first listed song (which is not necessarily their biggest song) for that artist starts playing. That makes looking for music almost impossible to the point that you’ll probably want to do some searching (and playlist creating) away from the car.

Of course, this might be an intentional limitation as I can imagine Cadillac doesn’t want you scrolling through 20 versions of your favorite Chopin Sonata while flying 60 miles an hour down the New Jersey Turnpike.

So we turn to the voice assistant, which responds to “Hey Google” (this is Android system after all). Though the voice recognition is impeccable (it hears me even over almost maxed out volume), it seems to not always understand my requests. For example, when searching for the artist Elsiane, it always plays a song from LCM or LCN (I think I even got a Spanish language artist at one point) instead of my intended request. I had to actually spell it out, despite going through this process multiple times to get to where I wanted. I understand that a bit, considering the similarities in name.

However, I also wanted to listen to (and show off — I did a lot of that with my week-long loaner) the drumless version of Lose Yourself To Dance by Daft Punk. This song is from the one Daft Punk album that’s mixed in Dolby Atmos. It might not be the most popular version of the song, but I feel like I was very clear in my request.

If I say “Hey Google, play the drumless edition of the album Random Access Memories by Daft Punk” or “Hey Google, play the Daft Punk album Random Access Memories (Drumless Edition),” it categorically ignores the words “drumless edition” and plays the original album. It doesn’t matter how I word it, either. I ended up having to do a search for Daft Punk, then not click on the artist name (otherwise it would just play the first song that pops up for Daft Punk), but scroll down in the search results to find the Drumless edition of the album. Then (phew!), I press on the album title and use the search buttons on the display or steering wheel to forward to that particular song.

Verdict

Despite my issues with the Cadillac’s music search functions, whether through the touch panel or voice assistant, I could easily continue to wax lyrical about the audio quality of the new Cadillac EV line for a few thousand words more.

Sure, new cars are expensive generally and these models are certainly not within range of a struggling musician. But if you’re in the market for an EV and have the cash, there’s probably no better sounding car out there right now. And I haven’t even talked about the fact that it can park itself…

Update: LG has contacted TechRadar to clarify that while its TVs will support the spatial audio technology that Eclipsa Audio is based on, it's not part of any licensing agreement to use the name Eclipsa Audio. The underlying tech is called IAMF, and LG will support this, so video labelled as being in the Eclipsa Audio format should work fully on LG TVs — but LG isn't using the name Eclipsa Audio anywhere, so it won't be identified as such in the settings. The rest of this article remains as originally published.

LG is adding support for the Eclipsa Audio format to its 2026 models, as well as to certain 2025 TVs. This is an alternative to Dolby Atmos, delivering spatial audio over streaming, and was notably developed by Samsung and Google.

According to a report from FlatpanelsHD, all of LG's 2026 TVs will support Eclipsa Audio, and support has been added to the following 2025 TVs via a free update: the LG G5, the LG C5, the LG CS5, and the LG QNED9M.

FlatpanelsHD says the format will be supported for playback over the TVs' built-in speakers, or can be passed out to compatible soundbars (such as the Samsung HW-Q990F).

Eclipsa Audio is being released by the Alliance for Open Media, much like HDR10+ is, and has no licensing fees or royalties, so companies can choose to support based purely on whether they think the technical development is worth it. All of this is true of HDR10+ as well, but LG has never seen fit to support the rival to Dolby Vision — we'll come back to why I think it's different this time, though.

We spoke to Samsung in-depth in the past about why it developed Eclipsa Audio, what it hoped to achieve, and why it believed Dolby Atmos couldn't be the sole future for 3D sound.

Samsung said that it wasn't to expand into areas where Dolby Atmos either isn't widely already used, or is prohibitive. "Dolby is not involved in gaming seriously, and they’re not involved in in-car audio," said Samsung Audio Lab VP Allan Devantier (though I should add that Dolby definitely invests a lot in in-car audio — see the Cadillac Optiq this year).

Samsung is particularly keen for Eclipsa Audio to be used by smaller content creators, which Devantier says "can’t make immersive content because to make Atmos content costs too much money." The idea of offering spatial sound to small creators seems to be Google's goal as well, because it's already integrated the technology into YouTube.

There are ambitions for Eclipsa Audio to be used by movies and TVs as a full rival to Atmos for large-scale productions, though: Samsung said "we're working with Netflix and Amazon" on the format, though no announcements have been made there.

Analysis: a surprise, given LG cautiousness with other formats

Some TV brands, such as TCL and Hisense, like to embrace a ton of formats, which helps to give their TVs a sense of being incredible value. LG is a lot more circumspect about such things, usually.

The company has supported DTS audio formats at times in the past, but that's been on and off — it's currently off. LG also told me at a recent event that it still has no immediate plans to support Dolby Vision 2, and representatives were unsure if the 2026 TVs could even be updated to support it in the future.

This decision was based on the lack of Dolby Vision 2 content currently — LG said it would consider support when there are things to watch that fully make use of the format.

Now, one might note that both DTS and Dolby Vision 2 require paying a fee to include in a set, so there's a strong reason for a business not to support them if it doesn't think it's a problem to exclude them.

However, HDR10+ doesn't require a fee to support, but LG has always been vehemently against it, instead focusing solely on Dolby Vision HDR. In the past, LG's answer has usually been similar to the Dolby Vision 2 answer: that there wasn't enough content to justify adding support.

More recently, HDR10+ has been added to more streaming services (including Apple TV+ and its movie rentals, Disney+ in some countries, including some Hulu content, and Paramount+ on some content), so last year I asked LG about adding support, given that it's now more widely available.

The company said that it still doesn't see the point, claiming pretty much anything available in HDR10+ will be available in Dolby Vision too. It also said that it believes its own tone mapping processing is superior to HDR10+, removing the need for it, and that it was simply likely never to support it.

So, why is Eclipsa different? Well, I suspect it's to do with something I mentioned above: YouTube. YouTube doesn't, and I suspect never will, support Dolby Atmos. YouTube is also more popular on TVs than even the likes of Netflix and Disney+. And TVs have become the most popular way to watch YouTube, surpassing even phones.

If people start expecting and enjoying things on YouTube with more immersive Eclipsa Audio, then LG doesn't want to be left as a platform where you're not getting the best sound from the most popular streaming app. Especially since Samsung already supports Eclipsa Audio, and Google TV supporting Eclipsa means TCL, Hisense, and Sony will surely all include the format. And if Samsung's been working with Amazon, we can assume Fire TV sets may support it at some point.

LG could afford to be 'left out' of HDR10+ because, as it rightly said, Dolby Vision was the only game in town for so long in practice, and is still the bigger player. But Eclipsa Audio will make its impact in places that Atmos will likely never reach, so it makes sense for LG to actually join Samsung in an upstart format, for once.

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.

In the build up to the launch of the new Sonos Play and Sonos Era 100 SL speakers, I had the chance to speak to Sonos CEO Tom Conrad not just about these speakers, but about the many changes he's made to the company since taking over in January 2025, and other changes happening in the industry at the moment.

Below is our full conversation, covering every topic — but you can read just our conversation about the app disaster and how the company is changing as a result (and what Conrad still doesn't like about it) here, or just our discussion of wireless soundbars and Dolby Atmos FlexConnect here, or just our talk about what the music streaming services can do better here.

Conrad has been a part of Sonos as a board member for eight years, and became the boss when former CEO Patrick Spence left following a disastrous app update in 2024 that changed the company's perception drastically. It seems like an appropriate position for a man who had a tattoo of the Sonos Ace headphones on his arm even before he got this job.

After our initial introductions, Conrad wasted no time in jumping into his pitch for the direction of the company, and how that informed the launch of these new products.

Tom Conrad: One of the first things that I said to the team when I took the job as CEO was that I think we really make just one product, which is a sound system for the home. Any individual device is just a way into the system or to deepen your attachment to it. The system of Sonos really is the product.

Now, of course, we sell speakers and soundbars and headphones and components. But what has always made Sonos special is that the experience gets better every time you add another room, a stereo pair, surround sound in the living room, music moving with you from the kitchen to a road trip — really a system where the whole is genuinely greater than the sum of the parts.

And I think that really sets Sonos apart from every other audio company on the planet. And so I think that's the context to understand [Sonos Play]. We're not launching a new speaker, but we're really opening a new front door to the system.

13 years ago, Play:1 introduced millions of people to this idea. Actually we sold more than 10 million of them, and remarkably, nine out of 10 are still in use today.

And Play:1 didn't just introduce an audience to whole-home audio, it really invented the category and defined what internet-connected home audio could be.

When we started this project [the Sonos Play], we asked a simple question: If we were designing the perfect fundamental building block for the Sonos system today, knowing everything we've learned over the last two decades, what would it look like?

And as an intentional callback to the speaker that started it all, we're calling this new product Sonos Play.

And when you put Sonos Play next to the Play:1, you can see how much has changed. Play:1 was a mono single tweeter speaker with a midwoofer. Sonos Play is true stereo with dual tweeters, a dedicated midwoofer and, frankly, a soundstage that just absolutely fills the room.

The bass is deeper, the amplification architecture is three generations ahead of where we were with Play:1. It has automatic TruePlay that continuously adapts the sound to wherever the speaker happens to be sitting, and then there's just all of the technological stuff that didn't exist in 2013 — Wi Fi 6, microphone arrays for AI conversation.

Matt Bolton: I also feel like there's a couple of design elements in the Play that look more like the Play:1 and the Sonos One than the Era 300. It's got this bigger like white lip at the top and some elements of the slightly more old-school Sonos design aesthetic.

TC: That's right, it is a callback in a bunch of ways. I mean, it looks really nice next to a 300, certainly from the same family.

As beautiful as the, as the Play:1 was in its day, and you still see them all over the world, we have moved dramatically beyond the design language of that product, from that era. So [the Play is] just aesthetically, it's a great step forward.

The last exciting thing about Play is that while Play:1 was designed to sit kind of permanently on a shelf in your home, Sonos Play comes with a charging cradle and has a full-day battery in it.

So in addition to being the perfect speaker for your kitchen or for a stereo pair for your office, it's also the best speaker for you to take with you, whether it's into the backyard for a dinner party or to throw in your bag to take on vacation.

It's beautifully between the audio characteristics of Sonos Roam and Sonos Move. it's a pretty remarkable Goldilocks speaker, if I do say so myself. We're really, really excited about it.

MB: I feel like the fact that you're talking about fresh front door products is an indication in itself that, after 15 months of being quiet, you've had to go through some kind of reset. So can you you talk through what you guys have been changing internally?

TC: If you think about the history of the company, we had a decade under the stewardship of John McFarlane, the company's founder. His vision was really all driven by the idea of filling every home with music on the backs of this emergent streaming moment, that he predicted so accurately.

But if you were to critique his decade, it might only be that we didn't ship that much hardware — a couple of amplifiers, a controller, you know, the initial Play:5.

It wasn't until Patrick became CEO, in our second decade, that the company really found its footing with respect to reliably shipping a couple of new products every single year. In fact, his stated goal for the company was to turn it into kind of a new product introduction machine. And, I mean, I'm the incredible beneficiary of that work!

But if you were to critique his chapter, I think the unintended consequence of that laser-like focus on new products was the company lost some of its connection to the idea that the product is actually Sonos. That the individual product launches are meant to extend the idea of what the system can be in a home and in the world.

The shift in my chapter, in some ways, is to marry the best of both of those worlds, to return to the idea that Sonos is a comprehensive system for audio in the home that you need in the same way that you need lighting and plumbing and Wi Fi; you need a sound system for your home. But to also build on our capability around new product introduction.

For my first year at the company, we had to pour so much of our energy into righting the ship with respect to the software platform that underpins all of the system experiences, that we purposefully paused our new hardware introductions to get back to par on that front.

And so it is an exciting moment to be able to say, OK, we're back, and we're launching new products again, and we'll have more in the back half of the year, because, you know, I like to say that Sonos is a company that's 100% software and 100% hardware, and so it's nice to get the 100% back that's hardware.

MB: It's interesting you mentioned that moment, because with something like the Era 100 SL, it's not like it requires a huge amount of new R&D to develop it, so it's clearly a decision you've made to wait for this time to release it. So what is it about the stage you've reached with the platform or the other work you've been doing that made now the right time?

TC: Then you look at where we were when I came in the door, we were in the middle of trying to recover from our missteps in the spring of 2024 with the launch of the new app and software platform.

Candidly, the real story there is that we just changed too much too fast, and made a bunch of tactical errors along the way of rolling it out to our customers, and then paid a very dear price. As did our customers.

I've been a customer for nearly 20 years. I've been a partner to the company for 15 or something, going back to the integrations we did between Pandora and Sonos in my days building Pandora. I've been on the board for eight years. I love this company

And Sonos in my own home is a huge part of, you know, the daily delight and satisfaction and ambiance I enjoy when I'm at home. As much as anything, I took the job to fix the product and, and get the company back to a place where we're just reliably delighting tens of millions of customers around the world again.

A lot of that was on the back of getting the software right. And so I wanted the company to be just laser focused on that return.

And with respect to the timing on Era 100 SL, our goal with Era 100 SL, frankly, was really to anchor the product line in an attainable price point for our customers. There's a lot of work that went into Era 100 SL to get us to a point where we could offer it at this entry-level price point while not compromising on audio quality at all.

So while it might look like this is as simple as removing some microphones, there's a comprehensive look at the cost of the product from top to bottom to get it to this new entry-level price.

MB: So there's an amount of re-engineering inside to to help you get it there?

TC: That's right.

MB: The other outcome of everything you guys have been through with the app is that it now means that any further updates you make to the app are automatically a huge deal, whether they deserve to be or not. Does that affect how you're approaching it or how you communicate about it?

TC: I think that when you make software that people use every day, and it's a big part of their life, it's always a big deal when you make changes. It's certainly true that there's additional scrutiny on Sonos, but as a software creator, I've always felt a keen responsibility to move my audience along with the changes and updates that we're making, in a really thoughtful and methodical way.

And so, as an example of that playing out at Sonos, you know, I'd say there were kind of three things that we had to improve upon after the disastrous launch in 2024. We had to fix performance and reliability — we had to restore baseline functionality that had been dropped from the product in its initial release. And we had to improve the user experience of the offering as well.

And it's really the third thing that we're only just now able to tackle [now]. If I'm candid about my assessment of the app, I think it's peculiar. I think the company made a range of decisions about the user interface that are just not consistent with what you see in any other music streaming app, for example.

I mean: all kinds of strange swipe behaviors and a search affordance that floats above the screen in a kind of weirdly invisible way — cards upon cards upon cards as you navigate through the app, none of which is conventional.

So when we sit with our customers in their homes and observe them using the app, they get lost, they don't know where they are. It's not clear to them how to get to just basic functionality. There's a funny kind of search blindness — the interface that we chose for search actually takes up more pixels on the screen than a typical search interface, but people don't even see it. They're like, 'I can't find search' because it's presented in such an unconventional way.

And so, we're now at the place where we can update the app to return it to more conventional choices. But it is, as you point out, another set of changes for our customers.

We're handling this opportunity in a really different way. I've been on Reddit, for example, describing the changes and asking our customers there to give us feedback back about their own experience learning to use Sonos and living with it every day. We will roll changes out to our beta channel and even there, our users will be able to opt into the experience.

And then when we take it to production, we'll similarly have opt-in experiences and a gradual roll out and iteration. We've already learned a lot from the perspective of our customers on Reddit after my invitation to them [recently] to share their thoughts.

None of this is a surprising way to operate a scale consumer software product, but it's certainly the set of best practices and, frankly, one of the missteps of the company in 2024 is that we didn't more closely adhere to these norms.

MB: There was a real sense that your competitors could smell blood in the water in 2024, and they really went hard on their own products going for, going for the switchers. Do you think you can win back people who did switch to WiiM or other platforms? Or do you think it's more about using these new "front door" products to go after an expanded market?

TC: Certainly, anyone that was frustrated with Sonos in the last couple of years, I hope will consider us again. When I wear my business hat, there was a cost of goodwill with our customers from this chapter, I think it really most impacted advocacy and repurchases. I don't think it was a huge driver of people fully leaving Sonos and going to other platforms.

So my my hope is that all of the people who had a bad experience in 2024 are having good experiences today, and are starting to feel better about Sonos, and can be excited about a product like Sonos Play or Era 100 SL to extend their experience in their own home, or to evangelize it to their friends and family as something that they have to have in their homes.

I think that was the real cost, it was sort of a cost of advocacy and evangelism more than it was people switching to one of the the smaller players who purports to do the same kinds of things we do.

MB: You guys certainly were one of the most recognizable brands in tech — I mean, still are, no doubt — but that must have been a real eye-opening moment that momentum and past performance only takes you so far, right?

TC: Yeah, for sure. I mean, it certainly was a moment that changed my life.

In the aftermath of that, 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.

MB: I believe you restructured the company. How is that changing how you're working and helping to make improvements?

TC: When I came in in January of 2025, I quickly made a bunch of changes. I moved us from a business-unit orientation, where we had a home theater team, and a portables team, and a professional team, a headphones team — to a functional [organization], where we have a hardware organization and a software organization, and a product design organization.

And the benefit there is that it really allows you to get the company thinking about what we do as a system and not a collection of categories.

In the process of doing that, we also eliminated a bunch of management layers, which were standing in the way of execution. So yeah, we're definitely functioning differently today than we were a year ago.

MB: How would you say that change in function manifested in designing and launching these two products?

TC: It allowed us to really think holistically about how the product fits into the lineup. I think under the old guard, a product like Play might have been principally conceptualized alongside the various other kinds of mid-tier portable speakers, and would have been scrutinized internally and marketed on [technical specs] around battery life and portability and so forth.

We've really focused on how we make this a really great part of the Sonos system — the 'Goldilocks' perfect speaker, if you like.

MB: It's interesting you say that because I remember when the Move 2 came out, one of the things that occurred very quickly to me is that it has, if not the exact same speaker configuration, an extremely similar speaker configuration to the Era 100. Are you saying that with the Play, you're just working on the Play, you're not looking at what technology you have elsewhere that you can borrow?

TC: Well, no, in some ways the opposite, particularly as it relates to software. We're thinking more fundamentally about: How does this fit into the overall offering? How does it make the the system of Sonos more comprehensive?

With Play, I really do think it's kind of the ideal building block. I mean, when my friends and family ask me about Sonos, I'm going to start telling them they should put a Sonos Play in every room, or a stereo pair in their family room.

It's a phenomenal-sounding speaker and just has so much utility relative to anything that we've ever done before

MB: We've talked a lot about the Sonos system in particular as it pertains to the music side. I wanted to ask about home theater as well, because we're on the cusp of a major change in that sector with wireless connectivity, particularly from the TV to the soundbar. LG and Samsung are exploring proprietary options that lock out companies like Sonos, and push people to buy the same soundbar brand as their TV. Is this a trend you are concerned about?

TC: As you know, we're by far the most successful player in home theater, and consistently taking more and more market share from the companies that you're talking about

It's a huge part of our business, and we're the pioneer in wirelessly distributing audio around the family room, and we'll have our own things to say about how that evolves in the coming quarters.

MB: What do you think of Dolby Atmos FlexConnect? Is that something you would support?

So FlexConnect is interesting. There are really three things that have to happen in a FlexConnect-style implementation. You've got to get the bits from the media to the speaker, whether that's through the television or through the set-top box or through the soundbar, something has to get the bits into the air.

And then you have to position the speakers in the room, understand where they are and what their orientation is.

And then the last piece is that, understanding the speakers' position and the bits from the device, you have to render the bits appropriately for that position and orientation.

Dolby has done a great job of telling the story of FlexConnect as encompassing all three dimensions, but the technology of FlexConnect is actually just that last bit. It's taking the positional information [of the speakers] and the bits [from the media] once they're on the speaker, and rendering it.

And, the other two dimensions — positioning, and the transmittal of the bits actually from the source to the speakers — is sort of left as an exercise for the student, which is why the LG solution is proprietary to LG and the TCL solution is proprietary to TCL.

And you can imagine that — even as much as Dolby wants to talk about the universal character of FlexConnect in the same way they talk about Atmos — the LGs and TCLs of the world might not be that motivated to create a system whereby you can mix and match speakers [from other brands] with their televisions.

I guess I could just say that we're interested in that entire space, the entire domain of: How do you get the bits from the source to the speakers? How do you position the speakers in three-dimensional space? And how do you render? We'll continue to work on our roadmap.

MB: The old Sonos was a really leaky ship when it came to product launches before your time. Is that something you want to change? I've got to say, I yearn for us to go back to the days when companies showed us tech six months, eight months, before it launched — to get a feel for how people responded to it. Could you imagine the company operating in that way?

TC: You know, the funny thing about the period where Sonos was sort of a leaky ship is that it was a period where the company, I think, was trying to be at its most secretive. In some ways, I think that Sonos culturally, internally, fashioned itself like a mini Apple, and really tried to hold its cards close to its vest.

As much as I've been a little evasive about some of the things you've asked about our roadmap, I'm conscious that we're not Apple, and that I think we can talk a little bit more about where we're going and the future that we see without being so concerned about the secrecy of it all.

I sort of love that since I've gotten here, the leaks have dried up from that standpoint, and I think it suggests that the people inside the company are feeling excited and proud of their work, and not wanting to see it out in the world in advance of when the company decides to reveal it.

Where my head is, is somewhere between where Apple sits and what you would like for us to do. So stay tuned, we should keep talking!

MB: I want to ask about the largely rumored but semi-confirmed set-top box and smart software that seemed to be developed in partnership with another company. Are you willing to talk about how far it got, or what your relationship to it was?

Without getting into specifics of that project, if it exists, I will say that part of what I had to do when I came in the door was to make some hard decisions about where we were going to focus. The company was, demonstrably, spread too thin, was trying to do too many things, and was struggling to execute with excellence across all of them.

So I tried to focus our energies on the programs that I thought that were most aligned with our differentiating power in the market. I remain really confident that the things that we chose to focus on are the things that are going to have the most impact on Sonos, in the near term.

MB: Given your background at Pandora, what do you think of music-streaming services today and how they integrate into the Sonos app? Do you, from the Sonos side, have any frustrations with them, and then personally what do you think?

TC: One of the things I'm really excited about in terms of our software roadmap is working more closely with our music service partners. All I really care about with with respect to listening to music on Sonos is getting the customer as quickly and seamlessly as possible to their outcome.

If that means AirPlay or Bluetooth or Spotify Connect or experiences inside of Spotify versus experiences inside of our app… I don't care. I just want it to work every time, and have it be completely seamless. I feel like we have a better relationship with Apple, Amazon, Spotify than we have in years, and I'm really excited about the work we're driving together.

I think the only thing I will say about the state of streaming music is that, you know, the iPod invented the core conventions of modern digital music, and then in 2004, Pandora and Last FM, I suppose, kind of invented the modern conventions around personalized streaming audio. And it's been 20 years, and it's surprising to me how little has changed in that experience.

We've gone from a world where you had access to just the CDs you bought to a world where you have access to hundreds of millions of songs in your pocket, and yet the user interface of it all is kind of just some hierarchical browsing, and then a fullscreen audio player with skip buttons and things.

I guess quietly, at night, I sort of imagine a future where there's more innovation and [questioning] what does it mean to navigate the whole entire world of music with something that wasn't designed for 1,000 songs in your pocket.

MB: Do you think that the physically small size of phone screens is holding us back in that regard?

TC: You know what I think is mostly holding us back in that regard? Apple is motivated by selling hardware, and Spotify is motivated by reducing licensing costs, and no one is motivated by: let's make a great and innovative music discovery experience for the consumer.

Sonos is synonymous with wireless multi-room audio and home theatre, and has long been known for making some of the best wireless speakers and best soundbars. The company has also recently introduced the Sonos Play and Era 100 SL speakers, which both have their sights set firmly on music playback.

While those two new models are now available to pre-order ahead of their launches at the end of this month, Sonos is hoping to ignite a multi-room, home theatre passion in all Australians and New Zealanders with a ‘March Madness’ sale that is seeing up to 25% off a range of speakers and soundbars.

As a Sonos aficionado myself, who has a complete Sonos home theatre setup and music speakers dotted further around my apartment, I can’t recommend the company’s devices enough for anyone wanting effective Dolby Atmos surround sound experiences or easy room-filling sound.

The Sonos March Madness sale covers a wide gamut of speakers, from the Arc Ultra soundbar through to the portable Roam 2 Bluetooth speaker.

What’s more, Sonos offers what it calls ‘Sets’ that combine various speakers and soundbars to help make your buying decisions easier. The prices of these Sets have also been discounted in line with the individual discounts, but if you’re anything like me, you’ll want to buy items individually.

How come? Well, if you buy a set, you commit to just one colour choice for all speakers and components. When buying individually, you’re free to choose whether you want white or black. In my case, I have a black Arc Ultra to help blend in with my dark TV unit and white Era 300s and Sub to blend in with my white sofa and lighter room decor.

The final decision is yours of course, I just wanted to add my two cents.

The full list of discounts available at Sonos AU is as follows:

• Sonos Arc Ultra: was AU$1,799 now AU$1,499
• Sonos Beam (Gen 2): was AU$799 now AU$599
• Sonos Sub 4: was AU$1,299 now AU$1,049
• Sonos Era 300: was AU$749 now AU$599
• Sonos Era 100: was AU$319 now AU$289
• Sonos Sub Mini: was AU$699 now AU$559
• Sonos Roam 2: was AU$299 now AU$239
• Sonos Move 2: was AU$799 now AU$639
• Sonos Ace (Black only): was AU$599 now AU$449

You’ll want to be quick though, as this rare sale is only running until March 31.

I’ve highlighted my favourite deals below, but be sure to head to the Sonos AU or Sonos NZ website for the full selection of deals and discounts. I’ve seen The Good Guys beating the price on these by a small margin in some instances, so if you're after the absolute cheapest deal then check out the full Sonos range and the Good Guys site.

The Sonos Arc Ultra is available in a variety of ‘Sets’, which pair it with anything from just a Sub 4 subwoofer, to a complete surround sound package with two Era 300 Atmos-enabled rear speakers. You can view the full range of sets in the table below.

Speaker sets that include the Beam (Gen 2) are also available, and are as follows.

Ahead of Sonos' recent launch of its new Sonos Play and Era 100 SL speakers, I got to speak to CEO Tom Conrad about what the company has been up to since its last big launch, the Sonos Arc Ultra in 2024.

We talked about the new speakers, and then we spent a long time talking about what went wrong with the company's big app disaster that same year, what's still wrong with it, and how the company has changed to fix it — and Conrad was very candid in that talk, so I'd definitely recommend reading it if you've taken an interest in Sonos at all.

But one of the other big things that's happened in the time Sonos has been working on itself is the launch of Dolby Atmos FlexConnect. This is technology that lets you get a great home theater experience without needing speakers that sit in traditional front left, front right, rear left, rear right positions — you put the speakers wherever you like, even if they're unbalanced or the speakers don't match, and the system figures out how to provide the best surround sound automatically.

TCL was the first to launch Dolby Atmos FlexConnect support in its TVs and in a speaker called the Z100. And this year, LG followed with support in its newer TVs, and a speaker, subwoofer, and soundbar range called LG Sound Suite. You can read our full LG Sound Suite Immersive Suite 7 Pro review for more on that.

One of the big features of these systems is that you can have wireless speakers connected directly to a TV, with no HDMI cable — wireless sound, configured simply using an app, and you don't lose an HDMI port.

This strikes me as a huge change, because it's very desirable and convenient, but it means TV companies are pushing people to buy their own products — TCL and LG's FlexConnect systems only work with their own speakers. And even non-Dolby versions of this tech — Samsung has an extremely similar technology — also require you to buy the same speakers as your TV.

I asked Conrad if Sonos is concerned about this major trend that effectively locks Sonos' products out of the future of wireless home theater, and he certainly puts on the air of a man who is not concerned.

"As you know, we're by far the most successful player in home theater, and consistently taking more and more market share from the companies that you're talking about," says Conrad.

"It's a huge part of our business, and we're the pioneer in wirelessly distributing audio around the family room, and we'll have our own things to say about how that evolves in the coming quarters."

I asked Conrad what he thinks of the FlexConnect technology. "So FlexConnect is interesting," he begins. "There are really three things that have to happen in a FlexConnect-style implementation. You've got to get the bits from the media to the speaker, whether that's through the television or through the set-top box or through the soundbar, something has to get the bits into the air.

"And then you have to position the speakers in the room, understand where they are and what their orientation is.

"And then the last piece is that, understanding the speakers' position and the bits from the device, you have to render the bits appropriately for that position and orientation.

"Dolby has done a great job of telling the story of FlexConnect as encompassing all three dimensions, but the technology of FlexConnect is actually just that last bit. It's taking the positional information [of the speakers] and the bits [from the media] once they're on the speaker, and rendering it.

"And, the other two dimensions — positioning, and the transmittal of the bits actually from the source to the speakers — is sort of left as an exercise for the student, which is why the LG solution is proprietary to LG and the TCL solution is proprietary to TCL.

And you can imagine that — even as much as Dolby wants to talk about the universal character of FlexConnect in the same way they talk about Atmos — the LGs and TCLs of the world might not be that motivated to create a system whereby you can mix and match speakers [from other brands] with their televisions."

So, is it something Sonos would support in the future? (Standard Dolby Atmos has been available on Sonos products for years, and support is included in the current Sonos Beam 2nd Gen, Sonos Arc Ultra, and Sonos Era 300.)

"I guess I could just say that we're interested in that entire space, the entire domain of: How do you get the bits from the source to the speakers? How do you position the speakers in three-dimensional space? And how do you render? We'll continue to work on our roadmap."

As much as the insight into Dolby Atmos FlexConnect is interesting, Conrad is obviously very vague about future plans — but we can do some reading between the lines here.

Of the three questions Conrad asked at the end, we know a bit about Sonos' technology in that area already.

"How do you position the speakers in three-dimensional space?" Sonos' TruePlay tech has never been pitched as mapping your speakers' positions, but rather compensates for your position in the room, and the reflections of your walls relative to the speakers.

But reading that statement, you're probably thinking 'Hang on, that sounds a lot like mapping the position of the speakers' — and we'll come back to that shortly.

But more directly, the Dolby Atmos FlexConnect systems from TCL and LG both use audio alone to detect the positions of the speakers, playing sounds and listening to them with microphones on the devices, with remarkable accuracy in 2D. This is how Sonos' own TruePlay Quick Tuning works, so even if the current TruePlay algorithm isn't exactly suitable, the knowledge seems to exist within the company.

When it comes to rendering the 3D sound, Conrad himself said that the FlexConnect system handles that — though again, Sonos has knowledge in this area of its own. Psychoacoustics tricks such as using reflections and time-of-flight manipulation are common in virtual Dolby Atmos devices, and the Sonos Beam is one of those. TruePlay again involves adjusting reflections for width and height channels.

But more than that, Sonos introduced the idea of a new kind of 3D sound processing for the Sonos Ace headphones and the TV Swap feature, tracking your head inside its own recreation of an Atmos-like 3D soundscape.

The 3D soundscape of the Sonos Ace can even be made to mimic the sound profile you get from your main Sonos speaker system, based on where the speakers are positioned compared to your usual seating position. It uses TruePlay data to do this — and so now we know Sonos has a product capable of creating a unique 3D sound environment based on the position of your speakers compared to your seating position.

So it seems evident that Sonos finds the same kind of tech as FlexConnect interesting, even if it hasn't added the freedom of speaker positioning to its home theater setups yet.

But none of this tackles the first question: "How do you get the bits from the source to the speakers?"

This is where Sonos is truly at risk, in my opinion. HDMI is an open standard that has enabled any kind of soundbar to work with any kind of TV. A similar attempt at a wireless standard, WiSA, has never taken off.

That's left TV companies free to use this part as a method of lock-in. Samsung, TCL, Sony, and LG all offer some kind of wireless speaker option that works directly with your TV, enabled by the TV software itself.

Sonos has no power over TV software, which leaves it with two options: partner with smart TV software makers to build in support, or offer some kind of HDMI dongle attachment.

The latter is relatively easy, but still uses up an HDMI port, and part of the attractiveness of these wireless systems is not having to deal with a port for your sound at all.

When it comes to partnering with smart TV makers, it's tough. LG and Samsung make their own software. Google TV is huge, but Sonos and Google famously have not had a good relationship.

That's a lot of TVs sold covered just in that group, especially high-end options. But there are still interesting options. Amazon Fire TV and Roku might be open to a partnership, and Fire TV support could also mean support from Fire TV Sticks, which can be attached to other TVs, of course.

And then there's the Apple TV 4K, which is rare among streaming boxes because it can take audio from anything connected to the TV, as well as generate its own audio from streaming apps. Apple and Sonos have long had a cosy relationship, including the Sonos Amp being the only streaming amp with native Apple Music support, even today.

The Apple TV 4K is popular with home theater enthusiasts, so perhaps Sonos could arrange with Apple to provide a flexible, 3D wireless sound option support at the OS level.

Whatever Sonos' plans are, I hope it's able to roll them out soon — the wireless soundbar revolution is arriving at speed, and Sonos doesn't want to be left behind.

It’s well-known that most TVs nowadays don’t generally have the built-in sound to match the picture quality — especially the more mid-range or cheaper models. This is where one of the best soundbars comes to the rescue, but not everyone has the space or budget for one of the really big and immersive systems.

The humble, all-in-one, compact soundbar is what you need, then — and we had three of the best available in our testing lab: the Sonos Beam (Gen 2), the Denon Home 550 and the Sony HT-S2000, the latter of which has been our best budget recommendation for a while now.

So, I decided to pick a few of my go-to audio testing scenes from our back catalogue of 4K Blu-rays to see which soundbar reigns supreme. A quick note: the Sony HT-S2000 is difficult to get hold of (with some stock left in the UK), but I thought it would be a good benchmark soundbar since we've recommended it for so long.

We have a system in our testing rooms to pipe sound and visuals to multiple TVs at once, so I was able to line all the soundbars alongside each other – all attached to LG TVs, for a bit of consistency – and switch between their sound instantly to compare.

The Batman

My go-to testing scene for soundbars and TV audio, the Batmobile chase scene from The Batman is a perfect test for all audio elements: sound mapping, bass, speech, Dolby Atmos and surround effects. It’s easily one of my favorite Atmos scenes.

The first thing I noticed was how effective all three soundbars delivered the rumble of the Batmobile’s engine. The Denon had a lot of up-front bass that was well controlled, but the Sonos’ felt that little bit more refined with good space between the low-end of the engine and other elements. While the Sony’s bass was thinner than the other two, it was still decent.

The Denon delivered a surprisingly wide soundstage with plenty of room-filling power. Its virtual Dolby Atmos processing created a dome-like effect despite its compact size. The Sonos also had a wide soundstage with plenty of depth, but it wasn’t quite as convincing as the Denon. The Sony delivered decent Atmos but again felt a bit thinner in the sound overall.

All three soundbars had great accuracy, mapping effects — such as the bullet spray from Penguin’s weapon, swerving tyres and blaring car horns — accurately between the soundbar and the action on screen. Again the Denon was more precise, but the Sonos was a close second. The Sony also sounded accurate, particularly with the flame of the Batmobile’s engine on ignition.

While the Denon mostly shone in this scene, I did find that various sound effects could get cluttered at times, with the score being lost in the explosions whereas the Sonos was able to give each sound element more room to breathe. The Sony had good detail, but felt narrower than the other two, meaning some elements weren’t as clear.

The Mask

A semi-recent addition to the testing lineup, The Mask has excellent sound design with one area in particular standing out: placement and direction of sound. All of The Mask’s zany cartoonish sound effects, especially his tornado, are a brilliant audio test.

Again, all three soundbars demonstrated impressive sound placement, accurately delivering the movement of The Mask’s tornado around his bedroom with real precision. The Denon and Sonos had the edge when it comes to the power of the sound, which made the tornado effect more engaging, but the Sony did a good job in its own right.

While the Denon was bolder and more direct in the scene, the Sonos had a nice width that was perfect for giving more of a sense of space as the Mask careens around the room. This was also evident later as ricocheting gunfire again had more space on the Sonos, but had more impact through the Denon. The Sony again didn't have the impact of the other two soundbars, but its accuracy can’t be denied — it just wasn't as exciting.

Wicked

Not just a regular disc for me when testing TV picture quality, Wicked is, of course, great for testing audio, as it’s a musical with plenty of elements to put a sound system through its paces. No song does this better than Defying Gravity, not only with its big score and grand vocals, but also in Elphaba’s movement on the broom.

Elphaba’s vocals are big, bold and powerful, and all three soundbars do her justice. The Sonos had the most clarity in the vocals while the Denon had the out-and-out power, and the Sony actually struck a nice balance between the two.

One thing I was surprised by was how the Sonos handled the rest of the soundtrack — the score itself, the sound of the wind as Elphaba flies on the broom — because these were pushed to the back of the Sonos’ soundstage, with the vocals receiving most of the power. This took away from the soaring, impactful nature of the scene.

The Denon, on the other hand, managed to strike a fine balance between every element, as did the Sony (it just sounded thinner than the Denon).

In terms of the expansiveness of the sound, the Sonos proved to have the most width. The Denon went for a direct approach which meant it didn’t sound as wide in places. The Sony again delivered a broad sound with good space, but not as much as the others.

Oppenheimer

While there are a ton of scenes you could use from Oppenheimer to show off your home theater, both video and audio, it’s actually the scene where Strauss gives Oppenheimer a tour of the University that I used, to test dialogue.

All three soundbars delivered crystal clear speech throughout the scene, even without any speech enhancement features activated. I did find that the Sonos and Sony had the most authentic sound, and by this I mean they accurately delivered the echo-y voices of Strauss and Oppenheimer as they’re in the office. The Denon sounded much cleaner and fuller, but this isn’t really the most film-accurate.

Again, all three soundbars showed excellent tracking as they were able to replicate the voices accurately, whether from behind, off to the side or when both characters were at a distance. I tested all three soundbar’s voice enhancements too, and while they were effective, they limited other aspects of the sound. Frankly, none of them needed these enhancements.

Top Gun: Maverick

Top Gun: Maverick is another reference testing disc with a load of scenes to really let your home theater flex its muscles. A common one I use (and is often used in tech demos by companies) is the Darkstar test flight at the start of the movie, because it’s a perfect Dolby Atmos height scene.

What I really wanted to test on these three soundbars was their virtual Dolby Atmos processing, as none of them have up-firing speakers. I had glimpses in The Batman and Wicked, but really it’s the moment in this scene where Maverick flies over Admiral Cain that will make or break height channels.

Honestly, all three did well considering their compact size and lack of up-firing speakers. They all demonstrated pretty convincing Atmos, providing some sense of the flight path of the Darkstar traveling overhead. While it didn’t fill the room or completely go over my head like I’d had on the Samsung HW-Q990F or the Sonos Arc Ultra, it was a valiant effort.

The Sonos had the greatest sense of space, giving the Atmos room to breathe, while the Denon again had that hit of power which felt the most authentic to the jet. The Sony was arguably the most impressive however, as its virtual Atmos positioning was more effective and convincing than I thought it would be.

Which to buy?

For their size and price, all three of these soundbars impressed me. While the Sony had a bit of an uphill battle, it’s still a seriously good soundbar for the money. When it comes to price, these soundbars have all been somewhere in the region of $399-$499 / £399-£499 / AU$799-AU$899 before. However, the Denon is generally the priciest in the US, sometimes hitting $699 and as much as I liked it, that’s a big jump over the other two models.

With the Sony tough to get hold of and the Denon that much pricier, the Sonos still reigns supreme in the US. Elsewhere, where prices are closer, it comes down to preference.

The Denon and Sonos apps perform similarly and both have ecosystems and extra speakers you can add, while the Sony is an impressive budget option. For me, if the price was right, I’d pick the Denon and its particular blend of power and positioning skills, but I wouldn’t be upset with any of these soundbars.

Recently, LG released its Sound Suite range, which it has described as the “world's first soundbar audio system powered by Dolby Atmos Flex Connect".

This tech enables you to experience optimized audio and Atmos effects, even if your speakers are positioned outside of the optimal 'forward left and right, rear left and right' placement. In order to do this, FlexConnect speakers use built-in microphones to map their position in a room, adjust their output accordingly to recreate a normal surround sound from wherever they are, and deliver the best home theater immersion possible in your particular space.

It’s a technology that could be game-changing for people with rooms that are ill-suited to the best Dolby Atmos soundbars requiring a traditional surround sound setup. And I’m intrigued to see whether LG’s rivals begin implementing it into their home theater tech too.

As I discovered when writing my LG Sound Suite Immersive Suite 7 Pro review, FlexConnect is more than a good idea in theory — it works well in practice too. However, that specific system combines a soundbar and sub with only two surround speakers. And I wanted to really push this system’s FlexConnect capabilities to the limit.

So, I tried the ultimate configuration: a soundbar, sub, and four surround speakers — and those are the most powerful LG M7 speakers. This set-up is known as the LG Immersive Quad Suite 7. It’s a 13.1.7-channel system packed with 29 speaker units and a whole lot of power. But is it actually good? And is it worth buying? Here are my thoughts after hours of testing.

Flexible Atmos that’s seriously striking

You may have already suspected this, the Quad Suite 7’s stand-out feature is its impeccable Dolby Atmos performance.

As I mentioned earlier, FlexConnect works very well, and helps to make Atmos effects feel supremely immersive. All I had to do was set the speakers up around our TV testing space, add them on the LG ThinQ app, and calibrate the system. I had to try this a couple of times to get the most accurate reading, but once the system was set up, I got access to some seriously impressive sound.

With a 4K Blu-ray of The Mask, I was blown away by the quality of Atmos — even compared to the still-powerful Immersive Suite 7 Pro. In a scene where The Mask himself hurtles through a glass door, he continues to spin around the screen in a tornado-like motion.

With the Quad suite, every part of his movement was mapped amazingly. I could hear the small discrepancies as he spun from the center into the left corner, and the sense of space of each movement was huge. It really sounded as if I could hear him spinning into the corners of our testing room, creating an almost tangible viewing experience.

Other details impressed me too. Tina’s dialogue was placed expertly when chatting to Stanley, for instance, and the sound of mobsters playing air hockey in the backdrop of another scene was replicated in a natural-sounding, authentic manner. This movie really was a great example of the phenomenal width that the Quad Suite could whip up.

But the Quad Suite is very adept when it comes to height effects too. I threw on my go-to for testing verticality, Top Gun: Maverick, and the system performed very astutely. In a scene where Tom Cruise flies his jet directly up and overhead, the system tracked the lift of his aircraft with total precision. Most soundbars or soundbar systems I’ve tested don’t completely nail that verticality — after all, Atmos in its truest form makes use of actual overhead speakers.

The Quad Suite served up a really strong showing, though, and mapped upward movements to great effect throughout the movie’s runtime. With flexibility, expansiveness, and impressive height, the Quad Suite 7 really is elite when it comes to Dolby Atmos sound.

Sound check

Atmos is great on the LG Immersive Quad Suite 7, but how does it sound more generally? Well, as you may imagine, it’s an extremely powerful system – the H7 soundbar has a maximum power output of 500W, with 220W for the W7 sub and 100W per M7 speaker. Combined, that means you’re getting a power output well in excess of 1,000W, which in turn provides listeners with seismic bass, direct-sounding dialogue, and energetic highs.

When tuning into a scene 2024’s Nosferatu, the deep, imposing voice of Count Orlok tore through me, and as tensions heightened, deep bass rumbled throughout the scene with gigantic impact, but still didn’t veil sounds elsewhere in the frequency range. Alongside that, eerie sound effects oozed from the four surround speakers, creating a real sense that I was right in the middle of a horror spectacle.

In another scene, I could hear chanting from each corner of the room, while the higher-pitched noise of scurrying rats sounded tonally convincing rather than shrill or tinny. This was followed by a gut-wrenching screech, which came through forcefully and sharply, highlighting the impressive dynamics of the system.

More generally, I found dialogue to be clear and easily discernible across various movies, and I never felt the need to dip out of the standard sound mode. See, there’s a couple of AI sound settings, but to me, these actually sounded less nuanced and balanced, so I’d advise against them.

Even if we stray from movies and tread towards the music domain, the Quad Suite 7 performs pretty well overall. When listening to a Dolby Atmos mix of Brick House by the Commodores, I could hear drums playing in the left corner of the room, guitars strumming on my right, and vocals flowing from the center. The system provided a nuanced presentation with well-placed instruments, but the overall sound was still cohesive.

Unsurprisingly, I felt that the Quad Suite setup provided a significantly more expansive and enveloping music listening experience than the Immersive Suite 7 Pro, although one small nitpick I had carried over to the larger build, which was my feeling that some sounds in the mid-range — typically vocals — sometimes lack the separation I’d expect from a more premium hi-fi setup.

Wait, how much?!

Anyway, it’s clear that the LG Immersive Quad Suite 7 is a very strong performer overall, and it really is awesome for movie-watching, in the truest sense of that word. That full-bodied, spatial sound basically demands your attention. But you may be wondering just how much this all costs, and spoiler alert: it’s a lot.

OK, so LG isn’t selling the Quad Suite 7 as a whole package — at least not yet. Instead, you’ll have to buy its constituent parts separately, and… it’s about to get pricey in here. The system’s core, the LG Sound Suite H7 soundbar, comes in at $999 / £899, but you’ll also have to splash out $599 / £599 on the LG W7 sub, and $399 / £399 per LG M7 speaker. You could go for the cheaper LG M5 speaker instead, which are $249 / £249 a pop, but I can’t speak to their quality.

So, let’s say we’re going for four M7 speakers here — in that case, you’d be looking at a spend approaching $3,200 / £3,100.

But look, as expensive as that is, the real question should be about value for money. Even if the LG Immersive Quad Suite 7 costs more than $3,000 / £3,000, is it still worth it? Well, for most people, I’d probably say no.

Sure, the FlexConnect technology is amazing, and the audio you’ll experience — especially for movies — is seriously gripping. But you can regularly scoop up a traditional surround sound system — such as the phenomenal Samsung HW-Q990F or almighty JBL Bar 1300MK2 — for essentially half the price.

OK, these systems lack FlexConnect, and they have two smaller rear speakers as opposed to four larger alternatives. But as someone who’s tested both, I can say with confidence that they still sound spectacular, and for half of the money? I think I’d have to skip on the Quad Suite 7, assuming you can place the speakers in the correct positions.

Having said that, if you’ve got the cash, you’re willing to go all out, and the ability to place speakers wherever you want is useful to you, it’s hard to look past the Quad Suite 7.

Its integration of Dolby Atmos FlexConnect tech makes it genuinely unrivaled in terms of versatility, and the power you get from four M7 speakers — alongside the sleek-looking W7 sub and expansive H7 soundbar — is palpable.

So yes, if you’re looking for an incredibly immersive home theater experience, the Quad Suite 7 is almost certain to impress – but for most people, I’ll continue to recommend more cost-efficient alternatives.

LG Sound Suite Immersive Suite 7 Pro review

Dolby Atmos FlexConnect is well and truly here. And the LG Sound Suite Immersive Suite 7 Pro is among the first systems to make use of this technology. This sound system – composed of an LG H7 9.1.6-channel soundbar, two 2.1.1-channel LG M7 wireless speakers, and the LG W7 sub, all available separately too – is a powerful, dynamic, and expansive-sounding system. But is it capable of outdoing the home theater big boys — particularly Samsung?

Well, let’s start by tackling the Immersive Suite 7 Pro’s unique feature: its Dolby Atmos FlexConnect capabilities. This enables you to enjoy optimized sound and Atmos effects even with your speakers in non-optimal positions for traditional surround setups – the speakers map their position in the room, and adjust their output so you'll still get as close to 3D sound as they can provide. So, if your living room isn’t suited to having rear speakers to the left and right behind you, this could be a real solution.

And FlexConnect works really well in practice on the Sound Suite, helping it to stand out among the very best soundbars. I tried placing the two M7 speakers – which can work wired or wirelessly – across various spots in our TV testing space, and I was treated to clear, impactful, and balanced sound with each configuration. All you have to do is recalibrate the speakers each time you change their position, which is quick and easy to do in the LG ThinQ app.

More generally, the calibration tool provides accurate, streamlined sound, no matter where you’re seated. I had to retry this a couple of times during testing for the most accurate reading, but this wasn’t too troublesome. I did experience a couple of errors later on in my testing, but was almost certainly due to a network issue in our weird corporate network in our test rooms, so setup is likely to be straightforward if you’ve got stable home connectivity.

I want to talk about the Suite 7 Pro’s sound more generally now, because it really impressed me. Surround sound is phenomenal, and I often felt like I was truly enveloped in the movies or music I was playing. When viewing a 4K Blu-ray of 2024’s Nosferatu, I truly felt like I was at the center of the action — the movie's eerie score came through with immense power and control, high-pitched screeches pierced through the center channel and never sounded tinny or distorted, while bass was rippling yet regimented.

In addition, I was struck by the accuracy and expansiveness of the Suite 7 Pro’s Dolby Atmos performance when switching over to The Mask on 4K Blu-ray. At one point, the titular character flung through a glass door like a tornado with a truly palpable smash, and the system mapped his wild movements across the screen with tremendous precision.

Something that a lot of Dolby Atmos soundbars struggle to nail is height effects, but that’s not the case for the Suite 7 Pro. I threw on Top Gun Maverick, and during the scene where Tom Cruise flies his jet over Ed Harris, the verticality of the move was captured with commendable fidelity. The continued upward movement was traced well too, making for a highly immersive viewing experience.

One audio feature that some people may miss is support for DTS audio, meaning there’s no decoding of DTS HD or DTS:X onboard here – but that was to be expected after LG dropped DTS from its TVs in 2025. If your TV or video player supports decoding DTS, that should be fine.

But let's take it back to the fundamentals, where the Suite 7 Pro performs admirably. Dialogue is clear and direct, bass is intent-filled but doesn’t overwhelm other sounds in the frequency range, and treble is both clear and expressive.

I didn’t think music sounded perfect on this system, though, with vocals in the mid-range sometimes getting slightly obscured in the mix. Still, tunes generally sounded strong with clean bass and the Suite 7 Pro made great use of its various channels, especially with Atmos tracks. There’s AI-powered upmix mode if you want to convert a stereo audio signal into an expansive multi-channel format.

In fact, there are quite a few sound modes available, including an AI Sound setup, bass, and voice settings. Personally, I enjoyed the standard sound mode the best— it felt like the most balanced and revealing of the available options to me. But the options don’t stop there. You can adjust channel levels to suit your preferences, adjust the lighting on the rear speakers, and even activate Sound Follow mode, which centers audio on you, rather than a position in the room.

Combine all of that with Wi-Fi connectivity — which opens up hi-res 24-bit/96kHz audio and supports for the likes of Tidal Connect and Spotify Connect — and you’re looking at a feature-rich system. You’ve also got Bluetooth 5.4 connectivity at your disposal.

One thing that didn’t quite bowl me over was the Suite 7 Pro’s look. Don’t get me wrong, it’s still a nice-looking system overall and I appreciated its display, but the H7 bar itself does look a bit basic, lacking the sleek, modern look of a Sonos model or the eye-catching luxury of a bar like the Marshall Heston 120.

I did quite like the curved W7 sub, though, which can stand upright or lay flat. It's not the smallest, but that’s to be expected for a model that reaches down to 25.9Hz and packs a maximum power output of 220W. The mighty M7 wireless speakers are pretty appealing too, and their customizable downward lighting really won me over. On top of that, the included remote feels as if it's built to a very high standard, and it's highly responsive.

What I was a little disappointed by, however, was the lack of HDMI passthrough. See, when you use a soundbar system like this, you already have to sacrifice your TV's eARC port for enhanced sound. And given that many modern TVs only have two HDMI 2.1 ports, this means you can be pretty limited there – if you’ve got a couple modern consoles, say, then that may prove to be inconvenient. That’s something where the Samsung HW-Q990F outdoes the Suite 7 Pro, given that the former supports 4K 120Hz passthrough.

It would be remiss of me not to mention price, too. The H7 soundbar is priced at $999 / £899, with the W7 sub costing $599 / £599, and the M7 speakers coming in at $399 / £399 a piece. That means you’ll be fronting almost $2,400 / £2,300 for the Suite 7 Pro.

Sure, this is an almighty system, rammed with 21 speaker units, a swathe of height channels, game-changing FlexConnect technology, and excellent all-round audio. And given that we’ve tested models like the Yamaha True X Surround 90A, which comes in at $3,499 / £2,199 — a model with fewer channels and no FlexConnect — I don’t think the price is totally unwarranted.

But when you can grab a sensational system like the aforementioned Samsung Q990F for almost $1,000 / £1,000 cheaper, the Suite 7 Pro’s price could prove to be a difficult pill for some to swallow.

With that said, the LG Sound Suite Immersive Suite 7 Pro is certainly something special. It uses Dolby Atmos FlexConnect tech to great effect, its audio performance is very admirable indeed, and the speaker configuration opens up exceptionally immersive movie watching.

Yes, the lack of HDMI passthrough is a shame, and it comes at a very premium price, but if you’re looking for a system that’s designed to suit your specific needs, then this is about as good as it gets.

LG Sound Suite Immersive Suite 7 Pro review: price and release date

• Sound Suite H7 soundbar priced at $999 / £899 (about AU$1,400)
• Sound Suite W7 sub costs $599 / £599 (about AU$840)
• Sound Suite M7 speakers are $399 / £399 (about AU$560) each
• Whole system will set you back approximately $2,400 / £2,300 (about AU$3,400)

The LG Sound Suite Immersive Suite 7 Pro is pretty pricey, coming in at about $2,400 / £2,300 (around AU$3,400) in total. The individual components of this system got a price drop ahead of release, making it pretty competitive over the likes of Sonos, which also offers different parts of its system individually.

You can connect up to four of the M7 or the cheaper LG M5 speakers up to the Suite H7 soundbar, or connect speakers directly to your TV if you have a compatible model, like the LG G5 or LG C5.

LG Sound Suite Immersive Suite 7 Pro review: specs

Should I buy the LG Sound Suite Immersive Suite 7 Pro?

Buy it if…

Don't buy it if…

LG Sound Suite Immersive Suite 7 Pro review: also consider

How I tested the LG Sound Suite Immersive Suite 7 Pro

• Tested across the course of a week
• Used at our TV testing space at Future Labs
• Played 4K Blu-Ray, streamed movies and streamed music over Wi-Fi

I spent a week testing the LG Sound Suite Immersive Suite 7 Pro, using it alongside the LG G5 OLED TV via HDMI eARC. I tested the system using various configurations, and tried the system with the wireless speakers across many parts of our TV testing space at Future Labs.

During my testing time, I viewed and listened to a wide variety of content. I began by throwing on some movies via Netflix Premium, as well as higher-quality 4K UHD Blu-rays, which I played using the Panasonic DP-UB820. I also connected my phone up to the Suite 7 Pro and listened to some tracks via Tidal Connect, using both Dolby Atmos and stereo formats.

Of course, I made sure to exhaust the Suite 7 Pro’s various features as well. I listened using all of the different sound modes, messed around with Dolby Atmos FlexConnect, and tried out the Sound Follow feature.

More generally, I've tested a load of soundbars here at TechRadar, and have tried out everything from ultra-cheap models like the Sony HT-SF150 through to luxurious alternatives like the JBL Bar 1300MK2. My experience testing rival models means that I know exactly what it takes for a soundbar system to stand out, in what is a highly competitive market.

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

Some of the best soundbars on the market are surround sound systems, with the likes of Samsung, Sonos and JBL serving as notable names in the market. These mean you can get truly immersive Dolby Atmos at home, without relying on virtual Atmos from smaller soundbars or having to resort to dedicated height speakers – the soundbar delivers expansive sound across the front, a subwoofer kicks in the bass, and the rear speaker complete the surround experience.

I recently tested one of these soundbar systems: the Yamaha True X Surround 90A. It's a premium piece of gear, priced at $3,499 / £2,116 / AU$4,499, so I expected mind-blowing performance. And while I got it in some areas, one stuck out as lackluster: the rear speakers – and got us talking on the TechRadar team about how it's often the smaller parts of a package that make the whole thing come together perfectly.

Yamaha surround speakers lack the punch

The Yamaha True X Surround 90A demonstrated truly brilliant sound, especially when it came to power and accuracy. The Batmobile scene from The Batman was spectacular, with the Surround 90A accurately delivering the huge rumble of the Batmobile’s engine. I also found when watching The Mask that the Surround 90A mapped the Mask’s whirlwind sound effects as he tornadoes around a room, plus capturing the cartoon-y sound effects of hammers, clocks and punches.

But it was The Mask that also revealed the Surround 90A’s weakness in its rear speakers. While The Mask got up to his antics, I found that portions of the sound field – more subtle effects and music – were notably muted compared to the Samsung HW-Q990C I’d used for testing the 4K disc as part of my Blu-ray Bounty feature.

Another surprising omission was the Yamaha’s rear speakers' lack of a height speaker. Other flagship brands, such as Samsung and Sonos, have included height channels in their rear speakers, which helps deliver more effective height effects for Dolby Atmos.

Rear speakers – the unsung heroes

While rear speakers may be the smallest component of a lot of surround sound systems, they are pivotal – and it's a let-down if they don't match the rest of the system.

While the front channels may handle major sound effects relating to what's on-screen and speech and the subwoofer handles bass, the rear channels will handle more subtle sound effects, some dramatic circular or front-to-back motion, and sometimes the score depending on the soundtrack’s mix: all extremely important for creating the immersive sound.

One major example where I found this was during my testing of Chungking Express as part of the Blu-ray Bounty. The movie’s 5.1 DTS-HD mix sounded fantastic through our reference Samsung HW-Q990C soundbar system in our setup and I noticed just how much one market scene relied on the rear speakers.

The clanking of plates, ringing bells and shouting stall owners all came through the rear speakers, and these sound effects are what made the scene feel so alive.

Another scene I have used for testing soundbars is the Death Star attack run from Star Wars IV: A New Hope. Again, the rear speakers were crucial for delivering a balanced, immersive experience by handling the pursuing TIE Fighter’s infamous groans, laser fire and even John William’s iconic score. If these elements are lost in the mix, the scene doesn’t have the same thrilling impact.

Rear speakers that succeed

Some of the best Dolby Atmos soundbars come from some of the big names I’ve mentioned already: Samsung, Sonos and JBL. These are just three examples of brands whose big, flagship soundbar systems deliver on all areas, including the rear channels.

Samsung’s flagship soundbar, most recently of which is the Samsung HW-Q990F, have delivered strong, immersive sound for years and the Q990F is no different. Big power, excellent control and of course, detailed and punchy rear speakers. As these rear speakers also include a height speaker, you really get the full surround sound experience, great for movies like Top Gun: Maverick that have a lot of different sound effects.

Sonos takes its rear speaker setup approach differently. As speakers can be grouped and added and removed as users want to, there are a couple of different options, namely the Sonos Era 300 and the Sonos Era 100. The Era 300 is the beefier, more dynamic sounding of the two, with upfiring speakers. Pairing the Era 300 with the Sonos Arc Ultra and the Sonos Sub Gen 4 will give you a mighty surround sound system where the rear speakers really feel like a crucial part of the impressive sound signature.

The JBL Bar 1300MK2 is a flagship soundbar that adds a twist on the rear speakers: they're battery powered, and can be stored on the front soundbar itself for charging. This means space-saving without having the effort. They performed well during our testing as well, again demonstrating excellent clarity and impact without overshadowing other elements in the mix. The Mask once again served as an excellent tool for showing what the rears could do.

Being pricier doesn't automatically mean better

At $3,499 / £2,116 / AU$4,499, the Yamaha Surround 90A is a premium soundbar. Some of its rivals I mentioned are cheaper: the Samsung HW-Q990F ($1,699 / £1,499 / AU$1,099) and JBL Bar 1300MK2 ($1,699 / £1,299 / AU$2,299.95). Even a full Sonos surround system with its top-tier products is significantly cheaper in the US, priced at $2,399. It’s pricier in the UK at £2,499, but it’s a more powerful system than the Yamaha overall. In Australia, it'll set you back roughly the same money as AU$4,596.

While the Yamaha thrived in so many areas, it’s such a shame that Yamaha overlooked the depth needed for this crucial component. It’s made me appreciate rear speakers more, and is a reminder – whether you're building a soundbar system or a dedicated home theater setup with separates – that you can't take any element for granted.

Don't spend all your money on big front speakers and thing cutting corners on the rears is a good investment if you're buying individual speakers at home; and the exact same advice goes if you work for a soundbar company.

• Headphone Dust is a new platform to buy audio with your pick of mixes
• Songs mixed into Dolby Atmos, 5.1 surround, available in MKV and FLAC
• Far from a full platform yet, but shows how it can be done

A new music-downloading platform called Headphone Dust shows has been created by Grammy-nominated Porcupine Tree front man and solo artist Steven Wilson to show the big music services how it could be done – giving users an amazing choice of audio formats.

Wilson is, relevantly, known for remixing records into Dolby Atmos and 5.1-channel mixes. He's upgraded Elton John, Black Sabbath, King Crimson and Guns N' Roses tracks this way.

Headphone Dust is a platform for this kind of track, as a storefront to buy music mixed to such audiophile standards – not only in these formats, but also in full uncompressed audio quality (unlike the biggest streaming services).

Each album is available in two-channel stereo, or spatial Dolby Atmos, or mixed to 5.1 surround sound, or in a special headphones-specific version – and sometimes with accompanying 4K video too.

You don't stream the tracks from the site; you can download them in FLAC, and it uses the MKV format to make it possible to choose which of the above formats you want to listen in.

The albums cost £14.99 or £18.99 (roughly $20, AU$30 or $26, AU$36), so it's a cheaper option than physical releases tend to be. For now, though, there's a couple of catches.

Limited offerings

At the time of writing, there are six albums available via Headphone Dust: four remixed Steven Wilson albums, one newly-mixed live album from the artist, and one album from Wilson's solo project Bass Communion.

This isn't an accident, with Wilson confirming that Headphone Dust will, initially, be for his own catalogue. He does posit using it to release work he's mixed for other artists and bands, but that'll likely depend on various deals and arrangements made later.

That's obviously quite a limitation to its popularity, but we're featuring it because it stands as a lifeline for audiophiles, offering a way to download high-resolution music that'll sound as close as possible to the original master, but with the option of more interesting mixes if you have the equipment to make the most of them.

But that's also the other limiting factor to the idea right now: not only do you need the correct equipment, it needs to be connected to your PC, if you're relying on the MKV format to choose which version of the track to listen to.

There are obviously lots of people who have one of the best headphone DACs plugged into their PC, so that's one way to get your music out of it at least – but how many people have a laptop connect to their Dolby Atmos system as standard?

We hope that Wilson can find a way to deliver his idea of uncompressed music with selectable mixes through a more user-friendly system – and can get other musicians on board, of course – because it's a great idea. Ownership of the media, control of the format, maximum quality… even if this doesn't take off, it at least gives us something to point to and say 'Look! It can be done! That's what we want!'

• Majority unveils four affordable soundbar systems
• Includes a surround option with wireless rear speakers and Dolby Atmos
• From £89.95 to £169.95 – US launch will be later in the year

Affordable audio specialist Majority has introduced a quartet of new soundbars including two halo models – and I mean that quite literally, because the new Bowfell range includes two soundbars called Halo. The other systems are called Bowfell Axis.

The four subwoofers come in two distinct flavours: 2.1-channel Dolby Audio, and 5.1-channel Dolby Atmos.

The Halo models are the most expensive ones here but that's relative: the priciest model, the Bowfell Halo Atmos, has an official price of £169.95 (about $230 / AU$330). It's the flagship model, such as it is, and I think that's the pick of the range here: it's a 5.1 channel, 300W Dolby Atmos setup with a wireless subwoofer and dual wireless rear speakers. That's a lot of power for a pretty modest price tag – and it's a super-small size, perfect for more compact spaces.

You'll note that there are no upfiring channels here, so any height will have to be virtualized – but having real surrounds is really the biggest win, and in what looks like a pretty slick design.

Bowfell Axis and Bowfell Halo soundbars: key features and pricing

The next model in the range is the Bowfell Halo Dolby, which is £119.95 (about $160 / AU$230). It too is a 5.1 system, but power output is 180W and it's Dolby Audio, not Dolby Atmos. This time the subwoofer and rear satellite speakers are wired.

In addition to the 5.1-channel Halo models, Majority has also made two 2.1-channel options. The Bowfell Axis Atmos is £129.95 (about $175 / AUD$250) and has 200W output and a wireless subwoofer, while the Bowfell Axis Dolby is £89.95 (about $120 / AU$170) and puts out 120W. It too has a subwoofer, but this one is wired.

All four new Bowfell models have HDMI ARC, Bluetooth 5.3 and both USB and AUX playback, and all four come with a remote control.

All of these soundbar systems launch on 16 February 2026 in the UK, and Majority tells us that a US launch is planned later in the year, with exact prices yet to be confirmed.

• 2025 LG C5, G5 and CS5 models can now work as Dolby Atmos FlexConnect hubs
• Full compatibility with LG Sound Suite wireless speakers and sub
• Supports 22 configurations of speakers and subwoofers

LG has upgraded its 2025 C5, CS5 and G5 TVs to support Dolby Atmos FlexConnect as a hub, working with LG's new Sound Suite speakers, which enables you to put your speakers pretty much anywhere in the room and still get accurate audio positioning as if you had them in the normal surround sound positions at the front and rear.

The update brings Dolby Atmos FlexConnect to the three models, enabling them to connect directly to the Sound Suite M5 and M7 wireless speakers and the W7 subwoofer, combining the TV's speakers with the other speakers. As FlexConnect hubs, the TVs analyze the audio from the speakers and adjusting their output so they sound good no matter where you've placed them – I'll explain more about FlexConnect in a moment.

The one downside is even though Dolby Atmos FlexConnect will be available on speakers from multiple manufacturers, LG's TVs will only work as hubs with LG's compatible speakers.

What is FlexConnect?

Dolby Atmos FlexConnect – you need the full name as there's an unrelated system called FlexConnect in wireless networking is essentially a kind of room calibration for more flexible home theater audio where you don't need to worry about where you've placed the speakers.

Wireless speakers broadcast their location to the hub so it can adjust timings and frequencies to deliver accurate spatial audio positioning. In theory that means you can put your speakers anywhere at all and still get correct positioning of sound objects in Dolby Atmos soundtracks and music.

LG says that there are up to 22 possible configurations with one of the compatible TVs and its M5/M7 speakers and W7 subwoofer – you can have up to four speakers, plus the subwoofer.

What does that mean in practice? It means you can have a surround sound setup that's as big, or small, or weird as you like, so for example you might have just one rear speaker instead of two, or have multiple speakers on the left because that's where you have shelving. FlexConnect will identify where they are and configure its output accordingly to create cohesize whole sound.

LG has gone big on Dolby Atmos FlexConnect but other firms are getting involved too: TCL was the first big name to unveil a FlexConnect product, the TCL Z100 speaker system, and since this is a Dolby technology we should see more brands getting on board – but as I mentioned above, LG told TechRadar that it only has plans to support its own speakers.

I haven't heard FlexConnect yet but my colleague Matt Bolton has, and he tells me it sounds fantastic. This is definitely an audio tech to keep your eye (and ears) on: while there are currently only a few products to choose from their numbers should increase considerably in the coming months.

Sonos had a quiet 2025. After the company got a new CEO, having fired the one who oversaw the app update debacle that turned the brand's most ardent fans against it, it's been licking its wounds. It canceled an ill-fated streaming TV device, and didn't announce any new hardware at all last year – its last consumer product was the Sonos Arc Ultra.

But now it appears that Sonos is ready to get back to business, and reportedly "hardware launches will ramp up in the second half of its fiscal 2026" – which in Sonos' case, means between April and September.

Sonos has already started by unveiling the Amp Multi, which is a niche music amp designed for custom-install needs, capable of powering lots of speakers in multiple Sonos zones from a single box.

There haven't been many leaks on what to expect for more mainstream releases (which is maybe a sign things are changing for Sonos on its own; it used to leak like a particularly structurally compromised sieve ), but here's what I'm hoping to see.

1. A 'Sonos Era 500' hi-fi focused speaker

The Sonos Five has been around for a long time, and is surely due for its retirement. The Sonos Era 300 isn't quite the same kind of thing – its focus on spatial audio means that's impressively expansive, but it doesn't have the pure focus on detail and depth that a real hi-fi speaker offers.

Sonos' Sound Motion bass speaker is the cool addition I hope to see as the foundation here. It debuted in the Sonos Arc Ultra, and is basically an ingeniously small dual-diaphragm low-end speaker with a force-opposing design, so it can move a lot of air in a small space, without shaking the unit.

I'd love to see this used with a traditional forward-facing driver system, rather than the angle speakers of the Era 300. Allowing this driver to handle the low end would leave the other drivers to handle mid-range without also needing to wade into the low-end, hopefully allowing for really strong mid detail reproduction, but with a bigger dynamic range overall.

And I'd be happy for this speaker to borrow the compression driver and horn system used in the Era 100. This is the kind of system used in studio monitors, so would be a great fit for a hi-fi focused speaker.

Naturally, I hope that instead of needing a dongle to connect a turntable or other wired input (as the Era 100 and 300 do), this would just have a range of inputs on it, like the Sonos Five does.

2. A Sonos Beam Gen 3 soundbar with Sound Motion and upfiring speaker

The Sonos Beam Gen 2 is still a great soundbar that we highly recommend, following its price drops. It produces impressively full sound from its small frame, but it's a shame its Dolby Atmos support is totally virtual, when the Bose Smart Soundbar is able to fit in real upfiring speakers for a better 'dome' of sound effect.

I hope a new Beam could use the Sound Motion bass driver again to add even richer bass, but in a small space that hopefully leaves Sonos free to add upfiring speakers, and to make even better use of its forward speakers.

I'd personally also love if Sonos would finally start adding HDMI passthrough ports to its soundbars, but that seems like a distant dream, alas. I'll settle for the audio upgrades.

3. A wireless home theater HDMI dongle

Speaking of soundbars, for the last few years, they've slowly but surely been going wireless. Samsung and LG both offer wireless connections from their TVs to their soundbars, and LG in particular has gone to the next level by offering Dolby Atmos FlexConnect in its new soundbar and speakers. TCL is also on board with Dolby Atmos FlexConnect's wireless speaker skills. You can get wireless surround speaker system from both Sony and Hisense.

Sonos clearly should have been the leader in fully wireless home theater (sort of its raison d'être, you know?), but lacking the ability to transmit from the TV to its soundbars/speakers means it hasn't made progress. All it needs to start is a little HDMI attachment, so I'm hoping we'll see one soon.

I'd also love for this attachment to offer the ability to have wireless surround sound using satellite speakers only, no soundbar – and this apparently was on the cards with the canceled streaming box, and I said at the time that the company shouldn't abandon this feature.

4. A portable speaker between the Roam and Move

Sonos has two portable speakers: the Sonos Roam 2 and the Sonos Move 2. The former is pretty small and costs $179 / £179 / AU$299, while the latter is large and costs $449 / £449 / AU$799. So there's a big gap in terms of both size and price for something else – something closer to the JBL Charge 6.

Maybe this is a good size to include a mini version of the Sound Motion speaker, which Sonos told me it's exploring: "We're exploring all kinds of applications, whether it's more bass, more compact form factors, more energy efficiency."

One of the nice things about the Roam and Move is that they can work as a home speaker most of the time, and then you just grab them to go out. There's definitely scope for something with a meatier sound than the Roam but a lower price than the Move that could fill the bedroom, office or kitchen of most people.

5. An Era 100 with a screen

The WiiM Sound is a direct competitor to the Sonos Era 100, with a nearly identical speaker setup and multi-room skills – but with the addition of a touchscreen on the front to add some personality and easy control options to the whole package. And we really liked it!

It made it notably more expensive than the Era 100, so we still preferred Sonos' option for value. However, just as WiiM then followed that up with the Sound Lite, which omits the screen and competes with the Era on price, we'd love to see Sonos go the other way and offer an Era 100 with a touchscreen.

The screen doesn't need to function like a full Sonos app, but the Sonos app already has a 'Favorites' bar, so it could replicate that part only on the touchscreen, so you can easily find your favorite streaming stations, playlists or artists – and control which speakers the music is playing on.

6. A big party speaker

The Sonos Move 2 is a very powerful portable speaker, but I've been told by many audio companies that huge party speakers are getting more and more popular – the kind of thing that sometimes comes with wheels, and is for mid-size events (parties in a hall, weddings, and big outdoor parties) more than home listening. The likes of JBL, Anker Soundcore, LG and many more make these.

It'd be great for Sonos to get in on the action too – waterproof, beefy, great sound quality, and perhaps a classier design than most of these have. It could be another good fit for Sound Motion – maybe in a bigger guise, or even multiple of them to provide a ton of bass kick – but it'd also be fun to again see Sonos use the pro-like compression drivers used in the Era 300, to bring a touch more 'studio' accuracy to the sound than these big speakers usually strive for.

Those are the picks from me and the TechRadar AV team – we'd love to hear what products you hope Sonos will launch or update in the comments!

Klipsch Flexus Core 100: review

If you’re short on space, but still want to experience the wonders of Dolby Atmos, then the Klipsch Flexus Core 100 could be the soundbar for you. This 2.1-channel model aims to supply “immersive, spatial sound” in a single, compact bar, using virtualized Atmos.

Let’s start with a bit of a reality check. The Klipsch Flexus Core 100 has some key limitations that hold it back from delivering the expansive, three-dimensional sound that larger models offer. It uses a fairly basic 2.1 channel configuration, with four main drivers – two front-firing 2.25-inch speakers, and two built-in four-inch subwoofers.

Unlike most of the best soundbars for Dolby Atmos, the Flexus Core 100 doesn’t have up-firing drivers, which are required for ‘true’ Atmos. There’s also no center channel on offer, and as a fairly narrow bar, this thing’s not going to plate up the width you’d expect from a full-length model.

With all of that said, the Klipsch Flexus Core 100 is a pretty good-sounding model. When watching a 4K UHD Blu-ray of Top Gun: Maverick, I was impressed by accurate dialogue in the opening scene – which sounded well-defined, and maintained the echoey effect you’d expect in a wide open space.

On top of that, Maverick showcased the low-end talents of the Flexus Core 100. The rumble of jet engines was more impactful than a lot of bars in this size category – and other parts of the frequency range didn’t sound obscured as Tom Cruise’s character prepared for take off.

I will say, though, that when the jet flew up and overhead, the verticality of the move was very limited. And more generally, this soundbar struggles to conjure up a sense of height – it's understandable with its technical limitations, but it’s going to be an issue for those wanting great Dolby Atmos in a small package.

In spite of its unremarkable height effects, the Flexus Core 100 still provides a decent amount of width for such a narrow model. In The Mask, the soundbar commendably replicated the cartoonish spin of the titular character across the screen. As he smashed through a glass window, the combination of a low-end thump with a high-pitched shattering also came through with clarity and impact, capturing the surprising nature of the move brilliantly.

One small issue I picked up on was during a scene where two B-rate mobsters are playing air hockey in the backdrop. Here, the left and right channel separation seemed overzealous and choppy – likely a result of there being no center channel, as this isn't something I experienced on a 5.1 bar like the Marshall Heston 60.

As well as movies, I tried listening to some music over Bluetooth using Tidal. And like a lot of small soundbars, the Flexus Core 100 isn’t particularly talented in this department.

In Black Eye by Allie X, I was satisfied with the depth of the bass, although it wasn’t particularly agile. Meanwhile, vocals were clear enough, but not separated all too much from other sounds in the mid-range. Percussion wasn’t the most precise either, and it lacked a sense of space. Overall, I got a relatively clean listen, but one that lacked nuance or detail.

With Atmos music, it was a similar story. Dream of Arrakis by Hans Zimmer offers solid low-end punch, but the attack of percussion was fairly blunt, and vocal elements weren’t all too clear in the mix. The expansiveness of this master was also pared back quite a bit compared to what I’ve heard on more premium compact bars, like the Sonos Beam Gen 2.

Something else I realized when playing tunes, was that the soundbar didn’t automatically switch to Music mode – something I’ve become relatively accustomed to from most modern soundbars. You have to select the appropriate mode with the included remote or the Klipsch Connect Plus app.

Still, the two modes are decently differentiated, and if you want to make additional changes, you can make use of an equalizer in the companion app. And EQ options aren’t bad at all – you can manually adjust bass, mids, or treble, or switch between presets, including: Flat, Vocal, Bass, Treble, and Rock.

More generally, I was a big fan of the Klipsch Connect Plus app. It’s brilliantly responsive, well laid-out, and pretty feature-rich. On the main screen, you can change source, activate a genuinely great multi-level voice enhancement setting, activate night mode, and more. An additional settings menu also opens up channel level adjustment, surround and subwoofer pairing, and display brightness adaption.

The only thing I was really missing on the app was some kind of room calibration tool to optimize the Flexus Core 100 to my listening space – something you’ll find on soundbars like Sonos Beam 2nd Gen and Marshall Heston 120.

I touched on the Flexus Core 100’s display a moment ago, and I have to give Klipsch some kudos here – it looks absolutely fantastic. Rather than relying on a basic lighting system, there’s a large display with full letters and numbers to let you know which mode you’re using, source you’re connected to, and volume level you’re at. This is incredibly clear, and makes for a much smoother user-experience.

On top of a neat display and seamless in-app experience, setting the Flexus Core 100 up really couldn’t have been easier. You’ve just got to connect it to a power source, and hook it up to your TV over HDMI eARC or digital optical – easy as pie. You can also build your system out at your own pace by connecting a compatible wireless sub, or a wired one via the soundbar’s ‘sub out’ port. You can also purchase Flexus Surround speakers for a more three-dimensional listening experience.

In terms of functionality, the only major miss in my view is the omission of Wi-Fi streaming. Personally, this is an absolute must for me. I love being able to use Spotify or Tidal Connect to enjoy my music in higher quality than Bluetooth streaming allows. Some may also lament the lack of DTS support, which is less common than Dolby Atmos for streaming, but is often used on Blu-rays.

We’ve spoken a lot about the technology involved so far, but how does the Flexus Core 100 fare in the looks department? In my opinion, this soundbar is a little on the average side. The large logo on the right side isn’t the most attractive, and the fabric speaker grille doesn’t quite give off a premium impression. Still, the model is well-made, and I’ve already raved about its excellent display.

One thing I’ve not mentioned yet is the Flexus Core 100’s price-tag. And this is pretty competitive, all things considered. It comes in at $349 / £299 / AU$645, which is less than a 2.0 channel rival like the Denon Home Sound Bar 550 and considerably less than compact Atmos titans like the Sonos Beam Gen 2 and Bose Smart Soundbar.

In the end, then, the Klipsch Flexus Core 100 is a solid soundbar overall. It won’t deliver the most amazing Dolby Atmos, it’s not the best-looking model I’ve seen, and I’m also still sad about the omission of Wi-Fi streaming.

But its great bass levels, clear dialogue, impressive companion app support, and ease of use are all highly commendable. If you’ve got the cash, I’d suggest going with either Sonos or Marshall’s compact soundbars, but if you’re on a tighter budget, this model is well-worth considering.

Klipsch Flexus Core 100 review: price and release date

• $349 / £299 / AU$645
• Launched in April 2024

The Klipsch Flexus Core 100 was released in April 2024, and is part of a product line that also features the Flexus Core 200 and the exceptional Klipsch Flexus Core 300.

It has a list price of $349 / £299 / AU$645, making it the cheapest product in that lineup, and very competitively priced against other compact Dolby Atmos models like the Sonos Beam Gen 2, for instance.

Klipsch Flexus Core 100 review: specs

Should I buy the Klipsch Flexus Core 100?

Buy it if...

Don't buy it if...

Klipsch Flexus Core 100 review: also consider

How I tested the Klipsch Flexus Core 100

• Tested with movies and music across multiple hours
• Used in our TV testing space at Future Labs
• Mainly played 4K Blu-rays for movies and streamed via Tidal for music

When testing the Klipsch Flexus Core 100, I had the soundbar connected up to the phenomenal LG G5 OLED TV via its HDMI eARC port.

I spent the majority of my time with the soundbar watching 4K UHD Blu-rays – predominantly viewing them via the Panasonic DP-UB820. However, I also watched some shows on Netflix, and streamed music through Tidal using the Dolby Atmos and stereo formats.

On top of this, I made sure to exhaust all of the Flexus Core 100’s features, and cycled through all of the settings in the Klipsch Connect Plus app, including the various sound modes and EQ calibrations.

More generally, I’m an experienced tech reviewer with a particular focus on audio-visual gear, and have tested a wide range of soundbars. During almost two years at TechRadar, I’ve covered everything from budget models like the Sony HT-SF150 through to premium Dolby Atmos soundbar systems, such as the JBL Bar 1300MK2.

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

Pink Floyd: Live at Pompeii - MCMLXXII is coming to 4K Blu-ray courtesy of Sony Music Vision, and is set for release on February 27th 2026.

The iconic 1972 concert film, which features tracks such as Echoes, One Of These Days and A Saucerful Of Secrets, receives the 4K treatment, which is restored from the original 35mm footage. It promises enhanced colors, fine details and "every frame was meticulously reviewed and repaired by hand", with restoration efforts led by Lana Topham, Director of Restoration for Pink Floyd.

For sound, there are three mixes on offer: Dolby Atmos, stereo and 5.1. The new home entertainment mix by Steven Wilson (of Porcupine Tree fame) has enhanced the original soundtrack, but Wilson aimed to "remain faithful to how the band would have sounded in 1971."

This 4K release comes off the back of a big 2025 for the band. Pink Floyd: Live at Pompeii - MCMLXXII returned to theaters worldwide in the spring, and a 50th Anniversary edition of the band's iconic album Wish You Were Here was released in December with a new Dolby Atmos mix.

The 4K Blu-ray is available for pre-order now, and can be pre-ordered here. Prices are expected to be $32.99 / £29.99 (roughly AU$49.99). Pink Floyd: Live in Pompeii MCMLXXII is also available on CD, Vinyl and Blu-ray.

The arrival of 4K Blu-ray music films

While physical media has been struggling over the past few years, 4K Blu-ray certainly seems to be finding its audience still. Every time I visit my local HMV store here in the UK, the 4K Blu-ray section seems to be getting bigger, with more limited edition releases from the likes of The Criterion Collection and Arrow filling the shelves.

It's no surprise then that with the enthusiast support for 4K Blu-ray and the rise of Dolby Atmos and spatial audio music, that more concert films are being brought to 4K Blu-ray, providing a premium home theater experience.

Pairing one of these discs with the best TVs and the best soundbars leads to magic, as I discovered when viewing Hans Zimmer: Live in Prague as part of the July 2025 Blu-ray Bounty.

Pink Floyd now join the growing list of artists bringing iconic concert films to 4K Blu-ray which already includes Peter Gabriel, David Bowie, The Rolling Stones and Prince. My colleague Matt Bolton also wrote a list of Dolby Atmos movies that really focus on the music, including concert films, if you want some recommendations.

I expect in 2026 we'll see that list get even bigger and as a 4K Blu-ray fan, I'm here for it.

• Marantz expands its premium AV line-up with a new preamp and amp
• Dolby Atmos, DTS:X, AURO-3D and 8K
• $4,000 / £3,500 (about AU$7,020) each

If you thought last year's Marantz AV 20 and AMP 20 were desirable, wait until you see (and hear) what the legendary audio brand decided to make next. The new Marantz AV 30 and AMP 30 are even more sophisticated – and they're more affordable too.

"Affordable" is relative here – you're still looking at $4K / £3.5K for each – but that's significantly less than the AV 20 and AMP 20, which launched at $6,000 / £4,750 (about AU$9,880) apiece.

Marantz AV 30 and AMP 30: key features

The AV 30 features the most powerful Analog Devices SHARC dual-core DSP chipset, which is coupled to high-quality 32-bit DACs. It supports Hi-Res Audio, Dolby Atmos, IMAX Enhanced, DTS:X and AURO-3D, and it features Audyssey MultEQ XT32 room calibration and optimization. There's optional Dirac Live, Dirac Bass Control and Dirac Active Room Treatment too, with support for up to four fully independent subwoofers.

All seven of the AV 30's HDMI inputs support up to 8K/60Hz or 4K/120Hz, and there are multiple analog and digital inputs. The HDAM SA-2 preamplifier stage can deliver up to 11.4 channels via RCA or XLR, and it runs Marantz's HEOS system with Roon Ready, Spotify Connect, TIDAL Connect, Qobuz Connect, AirPlay 2 and Bluetooth.

The AMP 30 is a six-channel, cool-running power amp with 200W per channel into 8 ohms, and it supports reconfiguring 200W amp channel pairs into bridged-tied-load configurations with up to three channels of 400W. It also supports bi-amping up to three speakers, and it can be used to upgrade an existing AV 10 or AV 20-based system for large-scale home theater setups.

The Marantz AV 30 has a recommended price of $4,000 / £3,500 (about AU$7,020) and the Marantz Amp 30 is also $4,000 / £3,500 (about AU$7,020).

We know Ultimea well for its super-affordable soundbars, which bring improved audio and even solid surround sound for super-cheap prices. We rate the Ultimea Poseidon D50 among the best soundbars on a budget, for example.

But the company also leans towards the high-end sometimes, and I got very interested by the unusual new soundbar system it teased for CES 2026, so I tracked it down at the show.

The Skywave X100 Dual is a 9.2.6-channel Dolby Atmos system, which is a very unusual system to get in a single home solution – and it's doubly unusual because the setup uses four satellite speakers with a soundbar at the front to deliver all these channels, plus two beefy subwoofers. The main competitor in this way is the Nakamichi Dragon 11.4.6.

Ultimea's booth at CES was playing Top Gun: Maverick's bombing and air defense scene on the system, which was perfect for me – we regularly use this exact scene for testing surround sound, and I've highlighted it as being one of the best Dolby Atmos movies to see what your system at home can do.

So I sat on a sofa, with two speakers at the sides behind me, two immediately to my left and right, and the soundbar and subs in front by the TV – and the surround effects are easily the most convincing I've ever heard for a soundbar system.

Elite soundbar setups like the Samsung HW-Q990F do a fantastic job of bouncing sound around the room to simulate side speakers, but there is no substitute for having an actual speaker firing directly to the side.

The connection between the front and rear speakers is immediately clearly better than my elaborate home Sonos surround system – missiles blast from the screen, snake right past my ear, and then whip behind me.

And the impact of the dual subs is obviously massive as well – non-directional bass just fills the space, gripping your ribcage when it wants your attention.

My only area of concern based on this demo is the soundbar at the front. I wasn't getting the same scale of width from it during my time there, but I think that may be partly just due to how the booth was set up. The sofa was quite far from the soundbar, but with the surround speakers right next to the sofa, the soundbar may have been interfered with more by sounds from the rest of the expo.

And at the same time, there was a solid wall to my left that the soundbar could use to bounce audio off, but nothing to my right at all. It's not really the environment it's designed to operate in, so I'll reserve judgment on that aspect.

What I can say for sure is that, as someone who's used to a four-box soundbar system (soundbar, rears, sub), switching to this seven-box system has me absolutely hooked and wanting to try it out more with more movies.

And one of the best parts of this system is that I could have it at home, even in my small living room. No big home theater space is needed – the satellite speakers are all super-slim, and the soundbar is just regular-sized.

It supports DTS:X and Dolby Atmos, has 2,000 watts of total power, and has 4K 120Hz HDMI passthrough for good measure. This could be THE home theater setup for those of us desperate for real surround sound in a small space.

Now, the Skywave X100 Dual doesn't come anywhere near as cheap as the company's other soundbars… and yet, it's still kind of a bargain in the grand scheme of things.

It will cost $2,200 full price when it hits retail, which I think is pretty reasonable for something with this many speaker boxes, and it'll probably get discounts during Black Friday.

However, it's actually going to launch with huge discounts too. It will launch on Kickstarter on March 12th, 2026, and will be available for just $899 at an 'Insider Price', or for $999 as a 'Super Early Bird Price'. We never recommend products when they're in the Kickstarter phase only, and obviously, I'm FAR from giving this a full review, but if you, like me, are a home theater nut with limited space, I think it's worth keeping a close eye on this.

TechRadar is extensively covering this year's CES, and will bring you all of the big announcements as they happen. Head over to our CES 2026 news page for the latest stories and our hands-on verdicts on everything from wireless TVs and foldable displays to new phones, laptops, smart home gadgets, and the latest in AI. You can also ask us a question about the show in our CES 2026 live Q&A and we’ll do our best to answer it.

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

Peacock is already one of the best streaming services for its breadth of content, offering everything from Wicked to Minions, plus SNL, Bravo shows, cult favorites like The Office, and a wide range of live content, from the NBA to the NFL, with WWE in between. Now, it’s deepening its ties with Dolby to help ensure that whatever you’re streaming looks its best.

Announced at CES 2026, Peacock is diving deeper into Dolby’s technology across both picture and sound, adding support for Vision and Atmos even on live sports streaming – something Peacock is continuing to dive headfirst into in 2026 with the upcoming Winter Olympics in Milan, along with the NBA, NFL, and even wrestling.

That means whether you’re streaming a AAA movie, the latest episodes of The Real Housewives of Salt Lake City, or even live sports like the NBA (National Basketball Association) or NFL (National Football League), you’ll be able to take advantage of Dolby Vision and Dolby Atmos.

Not only that, but Peacock will support Dolby Vision 2 and Dolby AC-4, which are expected to launch later in 2026 – these are the next-gen formats for better image quality and audio options through Dolby's tech.

Dolby Vision 2 will help eliminate judder in movies, but also the dreaded soap opera effect – when your TV’s processing applies too much motion smoothing – and will help retain detail in both extremely dark and extremely bright scenes. My colleague Matthew Bolton, TechRadar’s Managing Editor of Entertainment, had the opportunity to demo Dolby Vision 2, and it was impressive.

I’m keen to see it roll out and make an impact for Peacock subscribers, helping content truly shine. It’s an impressive technical lift, but we haven't known until know where we'll be able to watch Dolby Vision 2 movies and TV – but now we know Peacock will support it across both on-demand content and live broadcasts.

Dolby AC-4, meanwhile, is the new audio encoder used to deliver Dolby Atmos, replacing the AC-3 codec used for streaming today. It not only enables more efficient streaming, but also enables you to customize the audio mix to your needs, potentially adding options such as dialogue enhancement into the original audio, rather than your TV handling that. I’ll be curious to see how Peacock rolls this out.

However, we don't know exactly when this will roll out, or what movies and shows will use the more advanced options in Dolby's next-gen tech.

All in all, it’s an exciting development to see a major streaming service fully embrace Dolby with support for Vision 2 and Dolby AC-4 – and hopefully one that other streaming services will follow.

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

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

CES 2026 is about to start, and I'm going to be on the ground and in the fortunate position to go and see all the tech coming this year that I'm most excited about. I lead TechRadar's AV coverage, and I have no shame in admitting to being a total nerd about the latest OLED panel construction, speaker design innovations, and home theater upgrades.

A huge part of the fun of CES is finding things you had no idea existed, but obviously, I also see things I either expect to see or know I'll see. As I'm about to head into the show in the next few days, here's what's top of my list of things I'm looking forward to, and that I recommend you keep an eye out for more information about if you're an enthusiast like me.

TV tech

1. LG's next-gen OLED TV panel

LG hasn't announced its next-gen OLED TV yet, but we already have a good idea on what to expect from its flagship TV. For a start, a next-gen Primary RGB Tandem 2.0 WOLED panel has been announced by LG Display (the part of the company that makes OLED panels), which is the successor to the tech in the magnificent LG G5 flagship.

But there's also been a leak about the LG G6, revealing higher brightness and lower reflectivity, meaning it'll have even more punch. I can't wait to see this TV and its new panel in action in person.

2. RGB TVs from everyone

RGB LED TVs are the next big thing – pretty much all the big companies will launch affordable versions of this new kind of screen tech this year, and I've run down what to expect in a full article here.

Compared to existing mini-LED TVs, the new tech promises even brighter TVs (or the same brightness with less energy use), more vivid colors, and potentially better contrast. With Samsung, LG, Hisense, TCL all either confirmed or very likely to show these TVs off during CES, I'm really looking forward to seeing what they can do.

4. Samsung's mysterious new ultra-high-end OLED

Samsung hasn't confirmed any OLED TV plans before CES, but a leak has revealed that we should expect several new Samsung OLED TV models this year – not just replacing last year's options, but actually new model numbers that seem to indicate upgrades we haven't seen before.

Top of my list to see from this leak is the Samsung S99H model. Previously, Samsung's flagship OLEDs have been 'S95', and based on Samsung's usual naming schemes, 'S99' would be even higher-end than that. What kind of tech would make something even more elite than the Samsung S95F, which we crowned as our TV of the Year 2025?

The only thing I would guess with any degree of safety is that it'll use the Zero Connect wireless video box, as seen on The Frame Pro and Samsung Q990F last year. I'm looking forward to seeing what else it might do.

5. Dolby Vision 2's next steps

Last year, Dolby Vision 2 was unveiled, promising to improve HDR further for budget TVs, making pictures even more accurate for high-end bright TVs, and fixing motion smoothing for good measure.

I got to see Dolby Vision 2 in action, and it looks genuinely impressive, but we had very little info about when and where we'd see it in our homes. I'm hoping we'll get more confirmation at CES about streaming platforms and TVs that will support it – we know Hisense will, and TCL very heavily implied that it will, so we may hear more about that. LG was much more cagey, but perhaps that'll be confirmed, too. Samsung is unlikely to change its stance on not supporting Dolby Vision.

Home theater sound

6. Samsung's Sonos Arc Ultra competitor

Ahead of CES, Samsung has announced its next two flagship soundbars. One is an all-in-one bar that's a square shot across the bow of the Sonos Arc Ultra, as an all-in-one that doesn't come with or need a separate subwoofer to deliver impactful sound.

It promises 7.1.2 channels of sound with Dolby Atmos support, meaning seven forward and angle 'surround' channels, two upfiring height channels, and bass provided by four dedicated woofers.

It can lie flat on a TV surface, or can be mounted to the wall in an upright configuration, and adjusts its sound automatically whichever way you have it. It's Samsung's first go at a high-end single-unit soundbar that I can recall, so I'm eager to hear what its audio engineers can do. We consistently rate its other soundbars among the best soundbars on the planet, after all.

7. LG's Dolby Atmos FlexConnect soundbar

Dolby Atmos FlexConnect is one of the most interesting bits of home theater tech of the last few years, but it's had a very gentle start to life. The idea is that it enables you to be way more flexible with where you position speakers for your sound system – you pick the location, and the system will detect where they are, and recalibrate how sound is output to match them, creating immersive sound even if you don't have room for speaker position in the usual front left, front right, center, rear left and rear right positions.

LG is launching the first wireless soundbar with FlexConnect at CES this year, with compatibility built into its upcoming TVs, too, and this could be the breakthrough the technology needs.

8. Ultimea's 9.2.6-channel sound system

We know very little about this yet, but as a home theater fan with a small house, I'm very intrigued by it. Ultimea is best known for cheap soundbars, and it makes some impressive ones – but it's launching a new, very powerful and intriguing model at CES.

Ultimea has teased a 9.2.6-channel surround system that looks like a super-immersive beast. A soundbar combines with four satellite speakers – side and rear – and dual subwoofers for a system that's really elaborate, yet appears to be very compact and simple.

I'm really looking forward to trying this – if it's affordable (and history says it will be, compared to anything remotely close to its configuration). It could be the dream option for home theater enthusiasts with very limited space.

Audio tech

9. Samsung's Music Studio speakers

Samsung is launching two wireless speakers at CES 2026 that, much like its soundbar above, seem to take aim straight at Sonos. They're called 'Music Studio', come in two sizes, and have a cool minimalist look I wouldn't normally associate with Samsung.

The Music Studio 5 has basically the same speaker setup as the Sonos Era 100, and is a similar size; the Music Studio 7 has basically the same spatial audio-friendly speaker setup as the Sonos Era 300.

Will they sound as good as these speakers and be priced competitively? I'm really looking forward to finding out.

10. New bargain, repairable buds from JLab

We don't have any leaks about this, but JLab is always high on my list of companies to visit. The company makes some of the best cheap earbuds out there, and regularly surprises me at events with some new set of buds that feature impressive tech for half the price you'd guess, even knowing the company is a budget specialist.

One thing we do know is that JLab is hot on the future of earbuds being repairable – I suspect that CES 2026 will bring models with replaceable batteries at the very least.

11. Soundcore's next wild creations

Anker Soundcore can always be trusted to bring something really interesting to trade shows. At IFA 2025, it was a portable projector with removable and foldable surround sound, and at CES 2025, it had one of the first speakers to use AI to remove vocals from any song for easy karaoke from any streaming source.

I don't know what to expect from CES 2025, but I know there's going to be something I've never seen before.

12. Japanese hi-fi greats Onkyo and Technics

The hi-fi world has a variable relationship with CES – there are plenty of dedicated audio shows for companies to launch at, so these companies don't always go hard at CES.

Onkyo and Technics tend to be consistent exceptions. At CES 2025, Technics introduced the new best earbuds in the world in the form of the EAH-AZ100, while Onkyo unveiled some impressive wireless speakers along with a whole new 'Icon' line of hi-fi amplification separates.

I don't know what the companies have planned this time, and there haven't been any big early leaks, but I always recommend keeping an eye out for their announcements.

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

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

• Ultimea will unveil a 9.2.6-channel soundbar surround system at CES
• Dual subwoofers and four satellite speakers
• Also available in a single-sub version

Ultimea makes some of the best soundbars at the cheaper end, such as the Ultimea Nova S50 and our current pick of the ultra-cheap soundbars, the Ultimea Poseidon D50. So wer're intrigued to see that the brand will be unveiling a new, premium soundbar surround system with up to seven speaker units at CES – the Skywave X100 Dual.

Ultimea describes the Skywave as its "flagship product for 2026" and it's been teasing two versions of the product on Instagram and Facebook: The Skywave X100 and the Skywave X100 Dual. The former is a single-subwoofer surround sound system while the Dual has two.

Ultimea Skywave X100 / X100 Dual: key features

So far Ultimea is keeping the details secret, preferring instead to show videos and images hinting at the design. But based on its CES preview image at the top of this post, the setup appears to be a 9.2.6-channel system with a central soundbar, four satellite speakers, and those two subwoofers, with Ultimea promising "cinema-grade bass" and "effortless simplicity."

If we zoom and enhance the picture above using advanced imaging technology (yes, it's Photoshop) we see the expected layout of the new system: soundbar at the front, two small satellite speaker at the side, two rear speakers, two subs on either of the soundbar, TV showing Edge of Tomorrow for demo-ing it (naturally).

I'm assuming that each of the small satellites packs one surround channel and one upfiring channel, with the soundbar suppling five surround channels and two upfiring channels.

Ultimea's current Skywave flagship is the X70 soundbar, which puts out up to 980W in a 7.1.4 configuration featuring wireless satellites and a 10-inch subwoofer. Although it's discounted now, the original retail price was $799 / £679 (about AU$1,192).

We've been very impressed by Ultimea's cheap soundbars, but if the X100 is coming in at this price point it needs to be very good as it's up against some of the very best soundbars including the Samsung HW-Q800D. That's 5.1.2 rather than 9.2.6 but there's more to a sound system than its channel count, and the Samsung is a superb-sounding system.

However, if Ultimea can pull off a super-immersive Dolby Atmos system (Atmos isn't mentioned in Ultimea's info so far, but it has to be) with multiple real surround speakers for a good price, it'll get a lot of interest from the TechRadar team, for sure.

The brand's livestream from CES should be interesting, not least because Ultimea says it intends to give out over $10,000 in "lucky draw rewards" to live viewers. It'll also feature more product announcements including "a complete home audio ecosystem" including "wireless home theater systems, bookshelf speakers, active subwoofers, music streamers, and karaoke machines."

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

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

• Samsung unveils new Music Studio wireless speakers ahead of CES
• Music Studio 5 has a woofer and two tweeters
• Music Studio 7 has a 3.1.1 configuration, and Hi-Res Audio support

Ahead of CES 2026, Samsung has revealed two new wireless speakers, right at the same time as it revealed its next two flagship Dolby Atmos soundbars for 2026.

These speakers are called the Samsung Music Studio 5 and Music Studio 7, respectively, and I was immediately struck by their looks.

They're available in black or white, and their simple form with the concave 'dish' shape and dot at the center looks fantastic to me – they make me think of the classic industrial design work of Dieter Rams (most notably at Braun), which inspired a lot of Apple's design, including the iPod. I think you can see a specific shared DNA in the larger Music Studio 7, especially.

Samsung states: "Each model shares a timeless dot concept by renowned designer Erwan Bouroullec, inspired by a universal symbol in music and art — and grounded in the Samsung signature aesthetic." Bouroullec has worked with Samsung before on the handsome Serif TV.

However, the configurations inside the speakers will be of interest to people looking for a new option among the best wireless speakers, because they quite closely match what Sonos has been doing in its Era speakers.

First is the Music Studio 5 (also known more formally as the LS50H), which features a four-inch woofer and two tweeters. This is the same basic speaker configuration as the Sonos Era 100, and actually is also what you'll find in the Sonos Move 2 and the Wiim Sound.

It's the smaller of the two Samsung speakers, but features plenty of tech, including AI Dynamic Bass Control that "deepens low frequencies without distortion," plus support for streaming to it over Wi-Fi, streaming directly to it from music services, and playing to it via Bluetooth.

Notably absent from the list is Hi-Res Audio support, which the other speaker supports, so let's get into that one.

The Samsung Music Studio 7 (AKA the LS70H) is a beefier option and has what Samsung describes as a 3.1.1 speaker configuration. What this means is that it has left, front, right, and upfiring drivers for "spatial sound", and presumably some kind of woofer system for bass (since that's what one of the '.1' numbers there means, but Samsung didn't specify this).

I don't want to shock you here, but that's more or less the exact same configuration as the Sonos Era 300 – I told you Samsung was really gunning for Sonos with these. However, I think this is much better looking than the Era 300.

Samsung says this model supports Hi-Res Audio (up to 24-bit/96kHz), and again features AI Dynamic Bass Control, plus casting and streaming over Wi-Fi – though Samsung doesn't mention Bluetooth support.

It's also oddly vague about exactly what "spatial audio" support to expect; the Sonos Era 300 works with Dolby Atmos, but that's not mentioned here at all.

However, Samsung mentions that the Music Studio 7 can be used as surround speakers for Samsung soundbars and TVs that support Q-Symphony (most of them). This presumably will support Dolby Atmos, and Samsung says that you can have up to five speakers connected to a TV now (no soundbar needed, if you prefer).

We'll probably have to wait for more details to be revealed at CES, and that includes the price, though I have to assume Samsung will be aiming to keep it close to the price of the Sonos speakers these compete with.

The Sonos Era 100 originally launched at $249 / £249 / AU$399, though it has since come down in price, while the Sonos Era 300 cost $449 / £449 / AU$749 at launch.

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

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

• Samsung reveals two new elite Dolby Atmos soundbars ahead of CES 2026
• The Samsung HW-Q990H replaces the current Samsung HW-Q990F
• The Samsung HW-QS90H is a 7.1.2-channel all-in-one soundbar

Samsung clearly couldn't wait for CES 2026 to reveal its new soundbars coming out next year: it's just announced two new models, though, sorry if you'd like to see what they look like, because the company didn't bother to release any images of them.

However, we have additional details, and I'll be on the ground at CES, where I'm sure I'll hear them in action and see them, so watch this space.

In the meantime, here's what you need to know: two new high-end soundbars are coming: the Samsung HW-Q990H and the Samsung HW-QS90H.

The first is no surprise; it's the successor to the five-star Samsung HW-Q990F, which we rate as the best soundbar for overall Dolby Atmos immersion.

The new model sounds very similar to the previous one, which isn't surprising, since these models don't tend to change much year-on-year. It's a soundbar system comprising four units: the main soundbar, two wireless rear speakers, and a wireless subwoofer.

The total system is an 11.1.4-channel Dolby Atmos setup, with the front soundbar delivering seven channels across it as well as two upfiring height channels. Each rear speaker has two angled surround speakers and an upfiring speaker.

The subwoofer will be a compact unit again, just like the current one, with dual eight-inch drivers.

Samsung has revealed little in the way of specs, but has said that this model debuts two new audio processing technologies: Sound Elevation and Auto Volume. The first "lifts dialogue toward the center of the screen for more natural sounding audio," says Samsung, which is something soundbars generally try to do anyway (and LG even includes a fifth upfiring channel in soundbars such as the LG S95AR to help with this), but I'm all for Samsung doing it better than ever.

But the feature I really like the sound of is Auto Volume, which "maintains consistent volume across channels and content for a smoother, more balanced listening experience", according to Samsung.

No more super-loud ads suddenly, or weirdly quiet old streaming movies? One consistent level without me riding the volume buttons? Love it.

There's no price or release date listed, but Samsung usually releases these in Spring, and the previous model launched at $1,999 / £1,699 / AU$2,099 – though the price started falling quickly.

The other soundbar is also a flagship, but of a different kind. The Samsung HW-QS90F is specifically an all-in-one soundbar, meaning that it's designed not to be used with rear speakers or a subwoofer (though knowing Samsung, it'll probably be possible to add these on – it hasn't announced this as an option currently, though).

It's a 7.1.2-channel Dolby Atmos soundbar with 13 drivers in total, including four bass drivers (Samsung calls it a Quad Bass Woofer system) to deliver convincing low-end without a dedicated subwoofer.

One interesting touch is that it can be used in two configurations: lying flat on a surface like most soundbars, or rotated upright for wall mounting. This isn't new for Samsung – the concept was used on the Samsung HW-QS700F in 2025, and we found it to be very effective in our testing.

This is basically a direct competitor to the Sonos Arc Ultra as an all-in-one soundbar option with deep built-in bass, though the speaker configuration is closer to the original Sonos Arc in some ways, which also used four bass drivers to create its low-end, while the Arc Ultra uses Sonos' new Sound Motion driver to create big bass in a smaller space, devoting more speaker space towards Dolby Atmos positional sound.

It'll be interesting to see how the two compare – especially because Samsung will likely avoid some of the issues I had with the Arc Ultra when I reviewed it, including its lack of HDMI passthrough and DTS support… though, once again, Samsung hasn't actually announced this for the new soundbar yet, because info is still light.

It's unclear whether this model will support the Sound Elevation or Auto Volume features – Samsung only mentioned them for the Q990H model, but they seem equally useful here.

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

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

• Cleer Arc 4 are Hi-Res aptX Lossless open earbuds with THX certification
• Arc 4+ model adds Dolby Atmos with Dolby's own head-tracking
• Arc 4 costs $99.99, Arc 4+ costs $129.99

Cleer Audio has launched the world's first THX-certified open earbuds, the Arc 4 and the Arc 4+. The Arc 4+ is particularly interesting because that model comes with Dolby's own head-tracking for Dolby Atmos, a feature previously reserved for over-ear headphones.

These aren't the first head-tracking earbuds by any means. But rival earbuds use their own tracking setups, whereas these Cleers use the official Dolby version – just like the Sonos Ace headphones, where it works excellently.

Cleer Audio Arc 4 and Arc 4+: key features and pricing

Both sets of earbuds are lighter and thinner than previous Cleer Arc models: 10% lighter and 45% thinner than the Arc 3 series, apparently. Cleer says they sit closer to the ear canal for better clarity and comfort,

The Arc 4 are tuned by THX engineers to align with THX's optimal frequency response curve, and the standard model features Dolby Audio and Qualcomm's Snapdragon Sound. They deliver Hi-Res Audio with a frequency range of 65Hz - 40kHz with Cleer's DBE bass enhancement. Bluetooth is 5.4 with aptX Lossless and multipoint connectivity.

The Arc 4+ takes the same specification and adds Atmos with Dolby head tracking, using on-board sensors to adjust the audio experience based on the position of your head. Having tested this feature in the Sonos Ace, we're familiar with how responsive and immersive it is – my colleague Matt Bolton still says the Sonos Ace are the best headphones for movie viewing, because of their spatial audio.

Both sets of earbuds are IPX7 rated so they're great outdoors, and battery life is a promised 32 hours in total, with up to nine hours from the earbuds alone for the Arc 4, and 34 hours in total for the Arc 4+.

The Arc 4 are available now in black or white for a recommended retail price of $99.99 (about £74.50 / €85 / AU$150) while the Arc 4+ will come in black, white or pink for $129.99 (about £97 / €110 / AU$195).

As a veteran of more Black Fridays than I can count, I've learnt that the best way to grab a genuine bargain on something like one of the best soundbars is to plan in advance. That's partly because a bargain on something you didn't really want isn't really a bargain. But it's more because if you choose your shortlist carefully there's a very high likelihood of getting what you want for the price you want to pay.

So how do you do that?

I'd say the first thing to do is to skip the most recent releases: a soundbar that only launched last month is unlikely to get any good discounting (although sometimes there are surprises). Whereas products that have been out for a while are ripe for discounting – and if they're from a big brand with wide appeal, that improves the chances of getting a decent deal. Many retailers like to lure you into their Black Friday events by offering deals on desirable brands in the hope that you'll end up buying more things too.

Don't ignore less well-known brands, though: some of our favorite budget buys already punch way above their price tag, and could get even more affordable during what's become the key pre-holiday shopping event. Here are three soundbars I'd suggest for your shortlist.

Sony HT-2000: A Sonos alternative with a surprisingly big sound

In our Sony HT-2000 soundbar review we gave this excellent soundbar four and a half out of five stars: it's reasonably priced and delivers a surprisingly big sound from its compact chassis. It's particularly good at handling dialog in movies and the bass is much better than many similarly priced rivals.

The headline features here are impressive Dolby Atmos and DTS:X performance thanks to Sony's clever audio processing, and while there are a few limitations – if you want to use it as a streaming speaker you're limited to Bluetooth quality, and there's no voice assistant support – neither of those things would be a deal-breaker for me, because I just want a soundbar that sounds excellent and doesn't cost too much money. And this Sony delivers on both fronts.

I'm pretty certain you'll see Black Friday deals on this model, because they've already started: at the time of writing Amazon UK is listing it for £299, down from £449, and Amazon US is listing it for $298, down from $499.

Sonos Ray: the smallest Sonos soundbar packs a punch

We think that the Sonos Ray is the ideal affordable soundbar for older or smaller TVs: it's a good fit for TVs between 24 and 50 inches. It's an excellent upgrade for those TVs' audio systems, and it's particularly good for movie dialog. With four speaker drivers plus bass ports, it adds the low-end thump as well as overall clarity that so many smaller TVs lack.

In our Sonos Ray review we said it is a "massive, massive upgrade over TV speakers" with decent bass and very clear speech. It's really good for music – we thought it was best-in-class for that in its price bracket – and features "top-tier" wireless streaming over Wi-Fi.

At full price – it launched at £279 / $279 / AU$399 – we felt that it was a very solid buy if not a bargain. But the street price has dropped considerably since then and I'd expect it to go lower this month.

Ultimea Poseidon D50: surround sound for an ultra-low price

I'm seeing multiple discount deals on this ultra-affordable soundbar already, so this is shaping up to be a huge Black Friday bargain: the D50 initially launched at £169 / $219 but the official has since dropped to £149 / $119 (about AU$180) and deals have driven the price down even further.

Even at its original price, this soundbar system was extremely cheap – and cheap in this case doesn't mean nasty. In our Ultimea Poseidon D50 review we gave it four stars and said that it was a refreshing product: it's not particularly bothered about looking pretty or wowing you with a list of features you'll never use; it simply gives you a solid overall package comprising a main soundbar, a subwoofer and two surround satellite speakers.

The D50 doesn't do Dolby Atmos or DTS:X but it's way louder and much more bassy than the speakers in most TVs and makes movies and gaming much more fun. We enjoyed its performance in live sports and liked the whooshing fighter jets in Top Gun: Maverick, and it does a decent job in music too. If you'd like to upgrade your TV's audio without breaking the bank, this is one of the most affordable ways to do it.

More Black Friday deals in the US

• Amazon: 45% off TVs, AirPods, air fryers & vacuums
• Apple: iPads, AirPods & MacBooks from $119
• Best Buy: $1,000 off TVs, laptops & headphones
• Home Depot: 40% off appliances, furniture, grills & tools
• Lenovo: 45% off laptops & tablets
• Lowe's: up to 30% off appliances, holiday decor & tools
• Target: 40% off Christmas decor, clothing & furniture
• Walmart: furniture, cheap TVs & vacs from $69
• Wayfair: 54% off Christmas, furniture & decor

More Black Friday deals in the UK

• Amazon: up to 66% off tech & essentials
• AO: up to £500 off Dyson, Bosch & Hisense
• Argos: up to 50% off appliances, tech & toys
• Currys: deals on Ninja, Shark & Lenovo
• Dell: laptops from £279
• Dyson: up to £550 off vacuums
• John Lewis: up to 50% off tech & fashion
• Ninja: up to 30% off air fryers & blenders
• Samsung: deals on appliances & phones
• Shark: up to £130 off vacuums & fans
• Very: up to 40% off tech, toys & fashion

• Mu-so Hekla has 15 speaker drivers in a 7.1.2 system with 660W of power
• Dolby Atmos (but no DTS), HDMI eARC, Ethernet and Wi-Fi
• Coming in 2026 for $3,600 / £3,000 (about AU$6,030)

The merger of French audio specialist Focal and British hi-fi specialist Naim continues to bear thrilling fruit: the new Mu-so Hekla takes its name from an Icelandic volcano and promises a similarly earth-shaking level of power for your home theater setup.

With 660W routed through 15 speaker drivers, this one-box 7.1.2-channel Dolby Atmos system is incredibly powerful; Focal says it's ideal for rooms up to 40 square meters.

That power comes with a big practical consideration though – this thing is a lot heftier than the rest of the best soundbars. In contrast to the way something like the Sonos Arc Ultra can sit in front of your TV on a TV unit, this is more like the size of the old soundbases (remember those?) – only you can't put a TV on top of it. It's 4.65 x 39.37 x 11.61 inches (11.8 x 100 x 29.5cm) – is your living room space ready for it?

The Mu-so Hekla is launching this week, but at first it'll only be available in the South Korean and Chinese markets. It'll be launched globally in the first quarter of 2026 with a recommended retail price of $3,600 / £3,000 / €3,300 (about AU$6,030).

Mu-so Hekla: big sound, big box

There are seven speakers on the front of the Mu-so Hekla, two on each side and four on top, and the sound benefits from the Focal/Naim "Sphere" system, a combination of beamforming and crosstalk cancellation technologies.

The soundbar features the latest streaming board from the Naim Pulse platform, with access to the key streaming services, and it uses the same Focal and Naim app as the firm's other streamers with widgets, smartwatch and voice assistant compatibility for both Apple and Google. It also supports multi-room and Party Mode.

Dolby Atmos is supported, but there's no mention of DTS on the spec list, which may frustrate home theater fans – if you're spending this much on a soundbar promising high-resolution sound, you've probably got 4K Blu-rays you want to hear in the best possible quality. The Hekla does include built-in intelligent room tuning for its sound, though.

Inputs are HDMI eARC (but there's no HDMI passthrough port, annoyingly) and optical TOSLINK, and there's also Wi-Fi and an Ethernet connector for wired networking. There's also Bluetooth in basic SBC and AAC format, but… that's barely in the spirit of this beast, is it?

RCA outputs enable you to team your Mu-so Hekla with a subwoofer for even bigger audio.

• New "Wide Stage Technology" for an expanded sound stage
• 10 drivers and 10 amplifiers to drive them
• 3 finishes and an ultra-rare Haute Edition

Bang & Olufsen has unveiled a new elite soundbar, the Beosound Premiere. With 10 custom drivers driven by 10 individual amps it's extraordinarily powerful, and as you can see from the photos, it's also extraordinarily beautiful.

Bang & Olufsen describe it as a three-dimensional sculpture "that mirrors the three-dimensional sound it produces" and in addition to its precision-machined casing it features 90 LEDs that promise to deliver "an ethereal glow inside the soundbar".

The soundbar is made from pure aluminum and comes in a choice of natural, gold tone or black anthracite, and there's also a very limited Haute Edition of just 25 units with a precision-milled pattern that B&O says takes 17 hours to complete.

Beosound Premiere: key features and pricing

The Beosound Premiere introduces Bang & Olufsen's new Wide Stage Technology. That's a spatial audio processing system that the brand says expands the soundstage far beyond the speakers' physical form.

The circle in the middle of the soundbar is an up-firing tweeter "designed to capture the eye like a jewel", and it's certainly striking. Less obviously, there are exactly 1,925 precisely machined perforations on the up-firing driver to mark the year when Bang & Olufsen was founded.

In addition to the new Wide Stage Technology's signal processing, the Beosound Premiere can also be teamed up with other Bang & Olufsen speakers to create a full 7.1.4 surround sound system, complete with Dolby Atmos support.

The Beosound Premiere will be launched in stages. The Natural Aluminium model will be available from December 2025 and can be ordered from today for expected delivery from 3 December; the Gold Tone will be available in February 2026; and the Black Anthracite will be available from March 2026. The Haute Edition is available now, but not for long given the small production run.

The standard editions of the Beosound Premiere are £3,900 /€4,900 / $5,800 / AU$,9400 and the Haute Edition is £11,000 / €13,000 / $15,700 (about AU$22,100). Bang & Olufsen also offers a selection of fabric covers and wooden covers, which increase the cost of the standard edition further.

At that price, I'm not sure it's going to find a spot in our list of the best soundbars – we have to assume it's going to be a little fringe when it comes to bang for your buck – but when it comes to pure presence, it looks like B&O has another huge design win on its hands.

• Dream launches 3.1.2-channel soundbar system with 500W total output
• And a 5.1.2-channel system with 630W of power
• Roughly $310 and $630, currently China-only

Nature, they say, abhors a vacuum – and it sometimes seems that vacuum cleaner firms would rather be making more exciting things too.

Following in the footsteps of Dyson, which decided to move into the headphone market with its OnTrac headphones, another vacuum manufacturer is embracing audio. This time it's Dreame, best known for its robotic, cordless and corded vacuum cleaners. But the firm also makes home entertainment products, and now it's moving into soundbars.

Let's get the joke out of the way, shall we? All together now… I hope they don't suck!

As with Dyson's headphones, the jump to soundbars is maybe not that odd if you think creatively: most of Dreame's products are about moving air around, and that's what speaker and headphone drivers do.

And Dreame's Pano S1 and S2 are designed to move a lot of air around, with the S2 putting out a whopping 630 watts.

Dreame Pano S1 and S2: key features and pricing

Both models support Dolby Atmos and have Bluetooth 5.4, and both are very loud: the more modest of the two, the Pano S1, still puts out a hefty 500W of power.

The S1 is a 3.1.2 system featuring a main soundbar with nine speaker drivers – three full-range, three tweeters and two Atmos up-firing speakers – and a 6.5-inch wireless subwoofer. The diaphragms in the drivers are plant-fiber composite and the tweeters are silk domes.

Connectivity is decent: HDMI with eARC; optical, aux and USB. Frequency response is 45Hz to 20kHz and there are three sound modes for music, cinema and gaming.

The more powerful Pano S2 is a 5.1.2-channel system with a larger sub: 8 inches to the S1's 6.5. It includes rear speakers, which have one tweeter and one full-range driver apiece, while the main soundbar has three full-range drivers, two Atmos up-firers and two tweeters.

The larger sub means lower bass – frequency response for the S2 goes down to 40Hz.

For now these are exclusive to the Chinese market, where Notebookcheck.net says they're priced at roughly $310 / £234 / AU$469 for the S1 and $630 / £477 / AU$955 for the S2 before shipping, tariffs and taxes.

Dreame has been breaking into the US and European markets, so perhaps there'll be a new competitor among the best soundbars soon enough.

I’ve reviewed countless pairs of wireless earbuds here at TechRadar, but it doesn’t take an expert’s eye to know that the market is incredibly convoluted. Even if you want a pair equipped with active noise cancellation, tons of smart features, and impressive sonic capabilities, you’ve got a lot of options to choose from.

But just over a year ago, I managed to get my hands on a pair of wireless earbuds that truly stood out – even among the best earbuds around. And still, this pair remains my go-to whenever I’m out and about, or if it’s too hot for wearing my over-ear Sony WH-1000XM6 headphones.

The model in question is the LG Tone Free T90S – earbuds you might never have heard of before. But believe me, they’re worth getting to know. With a truly unique feature-set, highly customizable audio output, and stylish looks, they’re a nailed down member of my audio gear rotation. Here’s why.

Features that stand out from the crowd

The LG Tone Free T90S boast an unorthodox, fleshed-out feature-set that’s kept me coming back time after time.

One of my favorite inclusions is Plug & Wireless – an option that enables you to connect the T90S charging case to a device, and hear its audio via the wireless earbuds. So, if you’re using an airplane entertainment system, or making use of a device that doesn’t support Bluetooth, you can access seamless wireless connectivity. How cool is that?!

Another thing that I’m a big fan of is the T90S’s use of LG’s UVnano technology. This basically sanitizes the buds while they're charging using UV lights, and LG states that this reduces bacteria by up to 99.9%. That’s something you won’t find on a lot of rival models, even flashy new buds like the Apple AirPods Pro 3 or Bose QuietComfort Ultra Earbuds Gen 2.

There’s more unusual goodness to sink your teeth into, though. For instance, Whispering Mode is on-board for calls. If you speak quietly, using the right earbud as a microphone, the T90S will ensure your voice remains clear to anyone on the other end of the line. That’s pretty handy if you’re in a busy space and want to keep the volume down, or if you want to communicate something private in public.

Of course, you get all the usual good stuff too. The T90S deliver solid ANC, with ambient sound modes available. They’ve also got wear detection, customizable touch controls, multi-point connectivity, and IPX4 waterproofing, meaning they’re safe from light rain, say.

Dolby Atmos in action

Perhaps the most exciting thing about the LG Tone Free T90S – and something I’m yet to mention – is their Dolby Atmos and Dolby Head Tracking support.

Whenever I watch Atmos-enabled movies using my T90S, I’m impressed by how effective the effects are. Elements such as footsteps and dialogue always sound well-positioned, ensuring more accurate, immersive viewing.

Head Tracking – tech that adjusts sound orientation depending on head movement – is also highly responsive. It's so satisfying to tilt my head around and hear sounds dynamically shift depending on my position. Of course, I’d recommend having Head Tracking off if you’re walking around, or if you’re just listening to music. But for those who want it for movies, it's a very welcome feature.

Even if you’re just listening to music, though, the T90S are very strong performers. There are a range of EQ calibrations available through the LG Tone Free app, which were designed in collaboration with audio manufacturer Meridian.

These include Bass Boost, Immersive, Natural, Treble Boost and – my personal favorite – 3D Sound Stage. Using the latter, you’ll be treated to an expansive, yet controlled sound, with impactful bass response, well-defined vocals, and energetic treble.

The T90S also support the aptX Adaptive codec. This opens up ‘hi-res’ listening over Bluetooth, with the earbuds capable of handling 24-bit, 96kHz sound. You will need a source device compatible with this codec, though, something accessible with many of the best MP3 players around.

Now, I think I’ve made it clear that I’d recommend these buds – but I’m actually more keen to do so now than I was a year ago. And that’s down to one key reason: price. Despite launching at $229 / £229 / AU$299, they’re often available for less now. In the UK, for instance, I’ve spotted the T90S going for just over £130. That’s amazing value for money when you consider all of the tech packed into this small-sized model.

You may also like

• Want to access higher quality audio over Bluetooth? Check out my explainer here
• Or maybe you’re looking for some buds with the greatest noise-nixing capabilities? If so, head on over to our list of the best noise-cancelling earbuds on the market
• LG impressed me again recently, this time with a great-sounding Bluetooth speaker – read more in my full LG xboom Stage 301 review

Achieving an authentic, cinema-like experience at home is a desire shared by many of us. Whether you have the space and budget for a dedicated movie screening room, or instead need to settle for one of the best TVs paired with one of the best soundbars in your living area, it’s always nice to be able to sit back, relax and experience excellent picture and sound quality from the comfort of your own home.

This feeling is front and center at TechRadar right now as it’s our Home Theater Week 2025. We’re publishing a series of features, reviews and other home theater-related topics, coinciding with the annual CEDIA Expo, which kicked off on Thursday, September 4.

The first article to go live was my Kaleidescape Strato E review. This deep-dive will let you in on my full thoughts about the high-end movie player (the quick of it is, it’s fantastic), but I wanted to highlight the exact moment I knew just how special a product the Strato E – and, by and large, the wider Kaleidescape product lineup – was. It has nothing to do with picture quality (although that’s mind-blowing), but it's all about the sound.

A love of film

I’m very fortunate that my partner shares my love of cinema. If anything, he loves it more, and without hesitation he can rattle off actor after actor, the movies they’ve done and the awards they’ve won. He’s an encyclopedia. What he loves more than anything, however, is sound. As for me, with over 10 years experience writing about home entertainment and hi-fi products, I also appreciate how much sound can affect the movie-watching experience and, further, my own emotions.

When I took delivery of the Kaleidescape Strato E, the first film I purchased from the Movie Store was Gravity. Even though it was only available in HD quality (a 4K Ultra HD Blu-ray was slated for May 2025 but has yet to come to fruition), it included a Dolby Atmos soundtrack. I was sold. Having watched the movie at the cinema when it was released in 2013, I’ve been waiting 12 years to see it again in comparable quality. With the Strato E at my disposal, that was now possible.

Despite being a movie that has little dialogue and, in comparison to many other releases, less sound overall, Gravity is a masterclass in object placement and a genuinely great advert for Dolby Atmos.

Had it have been released this year, I'm certain it would've made my colleague Matt Bolton's list of the 10 Dolby Atmos movies to test your home theater system.

Space for sound

I had the player connected to a full Sonos home theater system – Arc Ultra, 2x Era 300s for surrounds and a Sub 3 – and from the moment the movie started, my partner and I were there in space with Sandra Bullock and George Clooney. The two characters are first seen way off in the distance, but you can hear them talking, albeit quietly. Their voices were perfectly placed to the front right of my seating position. And, rather than coming through clearly as if they were right there next to us, the Atmos soundtrack superbly encapsulated the distance from the viewer.

As the two of them move closer and closer to the screen, the volume increases so naturally that you could easily forget you’re watching a movie rather than floating in space yourself.

A little further into the movie, the soundtrack gets more involved and pushes your system’s capabilities even further. Sandra Bullock and George Clooney’s characters get into a spot of trouble courtesy of debris from a cascade of satellite breakups, damaging their ship and sending them spinning out of control. Fragments are flying past and I could hear each piece swooping in from behind my seating position and out in front of me. Height channels are used effectively here, too, and it really does sound like you are enveloped in the same action as the two protagonists.

The music soundtrack is also full of dynamism here. It builds instantly and becomes so intense to really signify the danger the duo are in.

The movie is replete with excellent Atmos scenes from start to finish; the final one I’ll note is subtle but significant enough that it deserves a mention. When Ryan (Sandra Bullock) is left alone floating in space, scared and breathing heavily, the camera is positioned outside her spacesuit. It slowly pans inwards, ending up inside her helmet. When the camera moves inside, the soundtrack audibly changes as her breathing intensifies. It’s a subtle shift, but it really does show off what Dolby Atmos can do when it’s executed well, i.e. it really is as if the audience is sharing her experience.

Down to Earth

Now, I have to admit, I’ve yet to see the same movie on its regular Blu-ray release, which also includes a Dolby Atmos soundtrack, so I can’t vouch for any potential difference in quality. I would be confident in saying that, if you have a decent Atmos speaker system, you will unlock the full potential of this spatial audio gem.

Ideally, I’d recommend a soundbar or speaker system with dedicated rear speakers as you’ll get a much more authentic and effective enveloping effect. However, as you’ll see in our guide to the best Dolby Atmos soundbars, single-box solutions are constantly improving and are powerful enough to deliver height and scale.

Whatever solution you’re able to achieve in your home, make sure not to focus solely on image quality when creating a system. The soundtrack carries a movie far more in my opinion, especially one as good as Gravity’s.

You might also like

• 4 awesome 4K Blu-rays for evaluating your TV's picture
• One subwoofer, two subwoofers,16 subwoofers: What are the advantages of multiple subwoofers?
• Dolby Vision 2 is here for TVs – this time it’s fixing motion, bumping up HDR quality, and comes in two flavors