Anker Soundcore Space 2: Two-minute review

Everyone I’ve spoken to who’s used them has spoken glowingly about Soundcore’s over-ear headphones, and the latest cans from the Anker sub-brand hark very closely to their predecessors. So, are the Anker Soundcore Space 2 contenders for the best budget headphone market?

Well, not much has changed compared to the Soundcore Space One – pedants may be wringing their hands at the jump from integer to lexical name, and I concur – and these headphones will look and feel very familiar to owners of the Space One Pro too. Meet the new boss, very similar to the old boss.

That’s no shame, though, because it means the previous cans’ strongest point is back in force. The active noise cancellation (ANC) here is absolutely fantastic — I don’t think I’ve used a pair of headphones at this price point that comes close. It’s zealous in wiping out any noise, near or far, around you.

Though barely changed from previous generations, the distinct look and comfortable fit of the Space 2 help them stand out from other alike headphones. These might be the first pair of cans I’ve tested that my girlfriend actually recognized with any kind of familiarity.

What has changed, though, is the price: there’s been a significant step up in cost from the Space One. I know, I know, it’s 2026 and every review talks about price hikes. But it’s big enough to lift the Soundcore out of the aforementioned best-in-class competition, and higher expectations aren’t matched by a greatly improved package.

Take, for example, the sound. Treble is fantastic and sparkly, but there’s a distinct drop-off when you get towards the mids, and bass is indistinct and unbalanced. They’re far from the worst over-ears I’ve tested, even at this price, with the high quality going some way to retaining the excitement at listening to music. But audiophiles won’t be impressed.

Anker Soundcore Space 2 review: Price and release date

• Released in April 2026
• Debuted for $130 / £130 (about AU$250)
• Price hike over predecessors

After being unveiled at MWC 2026 in early March, the Anker Soundcore Space 2 were put on sale nearly two months later on April 21.

You can pick up these headphones for the retail price of $130 / £130 / about AU$250. That price pushes them into mid-range waters, meaning that, unlike their predecessors, they’re not quite budget cans any more.

For some context, the Soundcore Space One cost $99 / £99 / about AU$200, while the Space One Pro went for $199 / £149 (about AU$300). So the new headphones offer a fairly significant price increase.

Anker Soundcore Space 2 review: Specs

Anker Soundcore Space 2 review: Features

• Fantastic ANC
• 50-hour battery life with ANC off
• Decent range of features including listening test

I’m not sure if the ‘Space’ in the Anker Soundcore Space 2 name refers to the silent vacuum of the cosmos, but it certainly could do, because the noise cancellation on these things is incredible for the price. I was constantly surprised by how adept the Space 2 were at cutting away noisy background sounds: the overground train running behind my house was impossible to hear, even when I was on it, and busy roads became quiet country lanes.

The quoted battery life is 50 hours with ANC on, or 70 hours with it turned off. Neither of those are lengths to write home about — hundred-hour-plus headphones come out pretty frequently now, usually at this price point — but they’re still solid listening times.

The Space 2 offer a selection of extra tools via the Soundcore app. There’s toggle-able wear detection, multipoint pairing, the ability to change what the noise cancellation and play/pause buttons on the ear cups do, and volume limits to stop you harming your hearing. Of the bunch, that latter stands out as one you don’t often see, so props to Anker for including it.

A listening test called HearID combines a hearing check, to pick out which tones you can hear, with a preference barrage to cater for your chosen type of music. I’ve not seen this latter factor considered before, and it solves a big problem with these listening tests — even if repeating the same song six times to check out different sound mixes is a gruelling experience.

There’s enough to recommend downloading the Soundcore app, even if I didn’t use it too much outside of testing.

I’ve previously heard complaints about the wear detection on Soundcore’s headphones. Here it reliably paused a song if I removed the cans, but wasn’t too hot on resuming it when I put the Space 2 back on my head.

• Features score: 4/5

Anker Soundcore Space 2 review: Design

• Funky blue color and distinctive look
• Light, comfortable to wear
• No IP rating

I test plenty of cheap and mid-range headphones that are personality-less black semicircles, so have to give praise to Soundcore. The Space 2 look unique among peers with a funky color, curvy edges, abundance of soft padding and tapered connectors between the headband and cups. Sure, they look basically the same as their predecessors, but if it ain’t broke don’t fix it.

They’re nice and light, at 264g, and felt supremely comfortable to wear. That’s partly the weight but also the aforementioned padding overload on your ears and head. They fit securely, not wobbling when I was walking or turning my head quickly.

On the right cup there’s a play/pause button and volume rocker, while the left one has a noise cancelling toggle, power button, USB-C port and 3.5mm audio jack. That latter’s a nice addition you don’t always see at this price point.

You can fold the Space 2 down to make them more portable, with a cloth bag coming in the box, but I couldn’t find any information about an IP rating. So you may want to be careful when wearing them in the rain.

• Design score: 4.5/5

Anker Soundcore Space 2 review: Sound quality

• Uses 40mm driver
• Bright treble, bass and mids suffer
• Supports hi-res standards, LDAC and SBC

The Soundcore Space 2 have a 40mm driver, the same size as in the vast majority of over-ear headphones, enhanced with a double diaphragm for clearer audio. I’ll admit, this end goal has been achieved; you can appreciate the lilt of a vocalist’s voice, the squeal of a guitar solo or the timbre and tremolo of a violin.

You’ll notice that these examples are all ones which sit right in the treble and high-mid space, and that’s because this is where the Space 2 shine. They're energetic, bright and fun; I was initially won over by the cans’ sharp, clear higher-pitched sounds, but the more I listened, the more I realized something was missing.

That something missing is… well, anything lower. Distorted guitar riffs, punchy bass licks and acoustic instruments all lack sparkle, prominence and clarity – it really feels like there’s a hole in some songs where a kick should be. The acoustic guitar of Niko Moon’s King of the Island felt far too far back in the medley, and the hook of My Number by Foals or Save a Horse (Ride a Cowboy) by Big & Rich sounded akin to a moving company removing furniture from your upstairs neighbors.

The audio graph suddenly resurges towards the bass and sub-bass side of things, giving some oomph to songs, but it’s often ill-defined or muddy, and sometimes overblown. In Tame Impala’s The Less I Know the Better it sounds insecure, popping up now and then without distinction, while in Troye Sivan’s Rush it’s not well-defined enough to stop it overpowering everything else.

Many music fans forget that there’s more than treble and sub-bass, and the sparkling former might distract many listeners from the Space 2’s shortcomings. I was in that camp for a while, and I still have a good time when I listen to the cans. But if you want a nuanced or natural sound, you’ll find this V-shaped audio pretty severe.

Back to some technicals: the high-quality sound the Space 2 provide is helped by support for LDAC and SBC, as well as Hi-Res Audio and its Wireless counterpart.

• Sound quality: 3.5/5

Anker Soundcore Space 2 review: Value

• Decent value for money
• Matches price hike

The price hike of the Soundcore Space 2 is a shame, because at the Space One’s MSRP, they’d be fantastic value.

They’d be best-in-class budget cans if they came out below $100 / £100 / AU$200, but for a little more, there’s a lot more competition, and much higher expectations. They’re still good, but not instant-must-buy value for money like they would be.

• Value: 3.5/5

Should I buy the Anker Soundcore Space 2?

Buy them if…

Don’t buy them if…

Anker Soundcore Space 2 review: Also consider

How I tested the Anker Soundcore Space 2

• Tested for 3 weeks
• Tested at home, on walks and on public transport

I used the Soundcore Space 2 for roughly three weeks ahead of their release date, in which time they were paired with my Samsung Galaxy S26 Ultra. I listened on a range of music and video streaming services, as well as in calls and playing games.

Testing was done in a pretty wide range of environments including on public transport, on walks around various neighborhoods, and at home.

I’ve been testing audio products for TechRadar for years, including some past Anker devices like the Aerofit Pro 2.

• First reviewed in April 2026

• Read TechRadar's reviews guarantee

Dali Sonik 1: Two-minute review

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

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

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

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

Dali Sonik 1 review: Price & release date

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

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

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

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

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

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

Dali Sonik 1 review: Specs

Dali Sonik 1 review: Features

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

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

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

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

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

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

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

• Features score: 5/5

Dali Sonik 1 review: Sound quality

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

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

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

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

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

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

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

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

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

• Sound quality score: 5/5

Dali Sonik 1 review: Design

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

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

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

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

• Design score: 5/5

Dali Sonik 1 review: Value

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

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

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

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

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

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

• Value score: 5/5

Dali Sonik 1 review: scorecard

Should you buy the Dali Sonik 1?

Buy them if...

Don't buy them if...

Dali Sonik 1 review: Also consider

How I tested the Dali Sonik 1

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

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

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

First reviewed: April 2026

Read more about how we test at TechRadar

Shokz OpenFit Pro: Two-minute review

Shokz knows its way around a pair of open earbuds. At the time of writing, the brand has three entries in our best open earbuds with good reason — it is one of the few companies out there dedicated to the fitness headphone/bone conduction market.

With the OpenFit Pro, though, Shokz seems to be courting new customers. Whereas the OpenRun Pro 2, clip-on OpenDots One and our market leader the OpenFit 2+ were targeted at a sports-specific market where audio accompaniment of any kind saves us from the monotony of a freezing early-morning January run or a rain-lashed cycle commute, the OpenFit Pro are different.

Sure, they're still tailor-made for runners, cyclists and general sporty types — including tennis, in my case — but the OpenFit Pro are pushing the barriers of what open earbuds can be for dyed-in-the-wool audiophiles. Want Dolby Atmos with head-tracking tehcnology? They've got it. Want customizable EQ profiles, in addition to the five provided by the Shokz app? They've got them. Want support accessories for an even more secure fit? Yep, them too.

Even want active noise cancellation? OK, they've not quite got that — these are still open earbuds, after all — but they do have what Shokz calls 'noise reduction', courtesy of a synchronized dual-diaphragm driver and triple-mic system with the Shokz ear-adaptive algorithm. This is incredibly rare in open earbuds and the results are mightily impressive. Sure, they can't block out everything in the way a pair of in-ears with active noise cancellation can, but in 'noise reduction mode' they do a damn good job if you need to keep regular life at bay and concentrate.

With Bass Boost selected from one of the five EQ presets, they deliver a punchy, nuanced sound that is impressively clear and detailed. The Dolby Atmos with head tracking is a welcome addition, especially in an office environment when turning your head from side to side to speak to colleagues, and delivers responsive sound to the ear that is closest to the source device.

Design-wise, the carry case is small enough to fit into your pocket, battery life is superb-to-relentless and the comfort akin to wearing air. On more than one occasion, I'd forgotten I was wearing them. While exercising, I never felt like they would slip, let alone fall out, especially after I fitted the rubber o-ring for extra stability.

The Shokz OpenFit Pro, then, are audiophile-friendly open earbuds that fully warrant their place in the best we've tested. They may be a little on the expensive side compared to the competition, but when you consider the aural additions these feature that almost no other open ears possess, they're worth it.

Open earbuds used to be the sole preserve of runners or cyclists who wanted to listen to background music without getting mown down by traffic. Not any more.

Shokz OpenFit Pro review: Specifications

Shokz OpenFit Pro review: Price and availability

• Released January 2026
• Priced at $249.95 / £219 / AU$399

The Shokz OpenFit Pro launched at CES in January 2026 and went on sale immediately. You can pick up the OpenFit Pro for $249.95 / £219 / AU$399 RRP, though there are some discounts available already via some retailers.

That makes them a fairly hefty chunk more expensive than our class-leading Shokz OpenFit 2+ ($179.95 / £169 / AU$350), but still (just about) cheaper than the Bose Ultra Open Earbuds at launch. So the big questions are what bang do you get for your extra buck(s), and are they worth the expense?

In order: lots, and yes.

Shokz OpenFit Pro review: Features

• 12-hour battery life, 50 hours with case
• Noise reduction, not cancellation, is excellent
• Bluetooth 6.1; IP55 for water- and dust-resistance

The biggest criticism usually laid at any open earbuds' door is their lack of versatility. Sure, they're great if you want to listen to something while working out — that's why a sporty type, like me, is doing this review while TechRadar's brilliant audio editor Becky Scarrott, who did the initial experiential, is indisposed with a frozen shoulder — but you would want something much punchier and full-blooded for everyday listening. They're a second pair, nothing more.

The Shokz OpenFit Pro want to be more, and we'll come on to that, but first let's deal with their fitness side. I hate anything jammed into my earhole, so their open-ear design is perfect for me, and allowing external ambient sounds through is essential for the running and cycling I mostly did while wearing them during a month-long stint working at the recent 2026 Winter Olympics in Milan.

While cycling, your ears are your mirrors and the balance between listening to Only God Knows by Young Fathers and hearing traffic behind me was about perfect. When running, especially the 3.5km between hotel and office at the Winter Olympics, I could at all times hear the maniacal Milanese drivers who would otherwise have mown me down without a second's thought had I been too zoned in on Fontaines D.C.'s Romance LP.

Connection, that includes multi-point pairing, was never a problem thanks to the Shokz' uber-stable Bluetooth 6.1 technology and nor was getting extra sweaty with their IP55 rating good for water and dust resistance.

In my (windowless) office in Milan, I also used the OpenFit Pro to transcribe athlete flash quotes and take reliably crystal-clear calls from reporters despite the high-pressure, higher-noise newsroom environment surrounding me. The same was true when calling my fiancée — your aforementioned Techradar audio editor, no less — from a packed pizzeria and an evening watching figure skating from opposite ends of the arena (it's a long story).

The battery life is more than above average and borders on the relentless. Shokz promise 12 hours of listening from a single charge, plus another 50 hours from the slimline and lightweight case, which I found to be about bang on. On a couple of occasions I ran into the office with only the earbuds, used them regularly to listen to and transcribe interviews on a 10-hour shift and ran back to the hotel. They lasted all day and even got me back into the office the following morning (this time with the charging case in my back pocket).

In a bit of rush? No problem, 10 minutes of fast charging will give you four hours' listening. Wireless charging is also an option, albeit at a slower pace. Sure these figures come down a bit when you turn on 'noise reduction' mode — six hours from a charge, another 24 from the case — but we're still talking about listening periods firmly in the 'every day' territory.

Time to talk about why you'd want to. That 'noise reduction' mode really is excellent for a pair of open earbuds. It's basically impossible for the Shokz to have ANC but the noise reduction technology, helped by the brand's SuperBoost technology, ear adaptive algorithm and synchronized dual-diaphragm driver, does a great job of blocking out more of the world.

The companion Shokz app is also a boon. It's home to five EQ presets, plus two options to create your own sound profiles, and is also the destination to turn on 'noise reduction' (touch control toggles are also available), Dolby Atmos and head tracking technology. You can also customize those multi-point connections and use the very useful 'Find My Earbuds' function.

The overall impression is very positive. Sure, closed earbuds have a bigger feature set in general — but the fact that all this exists in a set of open earbuds, is pretty impressive indeed.

• Features score: 5 / 5

Shokz OpenFit Pro review: Sound quality

• Noise reduction excellent for open-ear design
• Dolby Atmos and head-tracking technology
• Treble can overwhelm

The difference in price between the Shokz OpenFit Pro and the vast majority of their competitors can be explained in how they sound, or at least, how they try to sound. Remember, at a price touching $250, Shokz are going after an audiophile market here.

For the most part, they succeed. The detail at the low end — especially with EQ preset Bass Boost turned on in the Shokz app — is impressively dynamic, and weighty enough to almost make you forget that these are open earbuds. Wet Leg's Chaise Longue loses none of its lustrous early bass power thanks to that synchronized dual-diaphragm driver, while Age of Consent by New Order enhances the propulsive force of Peter Hook's four-string.

If treble is your bag, you're also in luck, but you've really got to love it. Treble Boost brings forward guitars and vocals — only accentuated further if you switch on the Vocal setting in the app – which sound at their best for semi-spoken word songs like Go! by Public Service Broadcasting but for my money it's to the detriment of the overall sound profile.

Bass gets lost and the treble overwhelms to the point it sounds a little tinny, rendering a song as good as The Concept by Teenage Fanclub almost unlistenable — so much Norman Blake and Raymond McGinley rhythm guitar and almost no Gerard Love woozy bass.

You can also create your own EQ in the app, which, though a little fiddly, does do a good job in establishing a Goldilocks setting just for you. In the end, though, I listened almost exclusively in Bass Boost mode and felt all the happier for having done so.

The OpenFit Pro's aforementioned noise reduction mode does as good a job as can be expected from a set of open earbuds. Helped by a triple-mic system (up from two in the OpenFit 2), Shokz's ear-adaptive algorithm can predict external noise and delivers a solid reduction in what you hear. In the app, you can also select how much noise reduction you actually want with a toggle, although I didn't notice much difference. You will, though, have to crank up the volume to a Spinal Tap 11 if you want to block out the world around you — in doing so, I had a notification on my phone telling me I had "exceeded the recommended limit for audio exposure" over the previous seven days. This has never happened to me before.

I tended to use noise reduction only when in an office environment and needed to focus — I'm not the biggest fan of ANC in general and found the noise reduction here too manufactured to the point of slight nausea — but it's easy to turn on and off with either the buds themselves or using the Shokz app. On my flight home, it also made an appreciable difference to both aircraft and wailing baby noise, albeit nothing compared with my Cambridge Audio Melomania P100s, which combine an over-ear seal with ANC.

Elsewhere, the combination of Dolby Atmos and head-tracked spatial audio is a winner. It upscales TV on the Radio's Wolf Like Me without sounding too muddy, while listening again to Tidal's Dolby Atmos version of Wet Leg's Chaise Longue was a transformative experience. With both Dolby Atmos and head-tracking switched on, the bass-heavy intro is punchier, with extra clarity, and you feel 'in the mix' much more throughout.

When a breathy 'what?' halfway through the first verse appeared from apparently behind my right ear, I genuinely turned around, certain a prank was being played on me by a sleep-deprived Olympics colleague. Only when the same happened moments later in my left ear, having turned my head, was I finally assuaged that it was vocalist Rhian Teasdale with some Dolby Atmos help. You might think it's a gimmick, but it genuinely felt like she was in the room.

• Sound quality score: 4.5/5

Shokz OpenFit Pro review: Design

• Super-comfortable and endlessly tactile
• Portable charging case
• Sound leakage at upper volume a problem

The best thing to be said about the OpenFit Pro's design is that on numerous occasions after pausing a track to deal with a work enquiry, I simply forgot I was wearing them. They really are that comfortable, especially over long periods. They sit snugly around your ear, too, with a handy demonstration from the Shokz app of how to fit them if you're a luddite like me.

Weighing 12.3g, each bud may be a little heavier than our current open-ear market leaders the OpenFit 2+ (9.4g) but, typical of the Shokz oeuvre, the OpenFit Pro's general silicone stylings are supremely tactile. The driver housing is made from an 'aerospace-grade aluminium PMI dome cap' which adds security and a well-positioned nub that sits perfectly to direct sound straight into the ear. It's the same with the charging case, which feels premium and is small enough to fit in your pocket — whether jeans or even running shorts, as I found.

Thanks to the OpenFit Pro, for the first time in my 30 years' playing competitive tennis (yes, my name really is Andy Murray), I listened to music during match training. How your opponent hits the ball is your biggest clue to their shot — its pace, its spin and even its trajectory — and despite listening to Queens of the Stone Age banger The Lost Art Of Keeping A Secret, while warming up I could still hear and track the ball in the way I always have. I wouldn't wear the Shokz for anything more than a 15-minute warm up — my addled brain can only cope with doing so many things at once — but they brought a new way of interacting with a sport I love.

Unlike running and cycling's repetitive movements, tennis' reactive twisting and turning really gave the OpenFit Pro a stability workout to stay on my ears. And they managed it. In tougher rallies, I found my right earbud feeling slightly unstable, but attaching the supplied ultra-soft silicone o-rings to the inside of earpiece sorted that in a heartbeat. I always wear a baseball cap when playing tennis, as well as a helmet while cycling, and neither interfered with the Shokz sitting snugly around my ears.

I regularly put on and took off jumpers, T-shirts and sportswear without having to take out the buds. As if to prove a point, I just put on a hoodie while writing this sentence. The fit really is excellent. The buds, that is. The hoodie has probably seen better days.

Whether in white or the review sample black I tested, the OpenFit Pro look sleek, smart and unobtrusive — numerous colleagues in Milan were surprised when asking me a question and I'd respond by either taking off the Shokz or using the buds' touch controls to pause.

Those touch controls are great, by the way. Each bud has an easily accessible nub, which does everything. One quick press on either bud for pause, and answer and end call; double click for skip track; triple click for previous track; a quick press followed by a continuous hold does volume up (right) and down (left); and press and hold to toggle noise reduction. These are all customizable in the Shokz app, too. Listening to Fontaines D.C.'s Starburster over and over with that triple click saw me through a couple of 3.5km PBs.

Only in one design area does the OpenFit Pro suffer, and it's one familiar to any regular open earbuds wearer. Despite the clever noise reduction mode, to really block out the world around you'll need to crank the volume, making sound leakage a problem. At 50% volume in a silent room it's barely audible, but start to push things further to drown out external stimuli and it's immediately obvious.

On the morning commute this shouldn't be a problem if you don't want your neighbor to know you're getting your groove on to Chappell Roan's Pink Pony Club, but while my fiancée was watching TV, she could hear my dirty secret from across the room when I tried to drown out her weekend Homes Under the Hammer catchup. Nor does the 'Private' EQ setting particularly help – there's only a negligible improvement for your companion and the bass suffers significantly for you. I wouldn't bother.

• Design score: 4.5/5

Shokz OpenFit Pro review: Value

In the general scheme of things, the Shokz OpenFit Pro aren't that expensive, it's just that for nearly $250 they come in at the north end of the open earbud market, albeit not quite as pricy as the Bose Ultra Open Earbuds. With noise reduction, Dolby Atmos and head-tracking technology, though, Shokz seem to be targeting these as the only buds you need in your listening arsenal.

So, are they worth it? In audio terms, absolutely. You quite simply won't find a better-sounding set of open earbuds with this feature set, and as sturdy a battery life. I wouldn't necessarily throw out your regular over-ears or ANC in-ears just yet, though. There are times when you need to zone in and hear nothing of the outside world.

That being said, as a pair of sports-specific open earbuds, I don't think you'll find better.

• Value score: 4.5/5

Shokz OpenFit Pro review: scorecard

Shokz OpenFit Pro: Should I buy them?

Buy them if...

Don't buy them if...

Also consider

How I tested

I tested the Shokz OpenFit Pro for well over a month, which is longer than our regular testing period at TechRadar.

The buds were paired to an iPhone for the entirety of the testing, using Tidal's high-res and Dolby Atmos audio outputs. I used them at home at work and also on runs, while cycling and even playing tennis, at which I've competed at a high level for 30 years.

Read more about how we test

• First reviewed: April 2026

LG G6 OLED TV: Two minute review

The LG G6 OLED TV is the successor to the excellent LG G5 elite OLED, and it's a worthy follow-up. It uses a new-gen Primary RGB Tandem 2.0 OLED panel with a new Alpha 11 AI Gen 3 processor to help it deliver better picture quality and performance. Feature packed and able to handle anything thrown at it, the G6 sets the standard for OLED in 2026, in more ways than one.

Picture quality on the G6 is excellent. It delivers punchy, vibrant colors that appear more natural and accurate than its predecessor, while also delivering powerful contrast with rich blacks and refined brightness.

The real game changer is its reflection handling, which does a fantastic job of limiting mirror-like reflections while maintaining better black levels than the Samsung S95F, which we rated as the best OLED TV for bright-room viewing… until now.

Detail is exceptional, with crisp textures, while motion handling is smooth and natural. The G6 is a truly impressive TV to look at.

The G6’s built-in sound has had some big changes, with a drop in the number of sound modes available for the 4.2-channel speaker system. I preferred using the AI Sound Pro mode, which has had its sound profile altered compared to the G5’s version of this mode.

It’s more direct, punchier and more accurate now. But ultimately, while the G6’s sound is solid, I’d still add one of the best soundbars for the full cinematic experience.

LG’s OLEDs are always among the best gaming TVs on the market and the G6 is no different. With four HDMI 2.1 ports supporting a full suite of features — 4K 165Hz, FreeSync and G-Sync variable refresh rate certification, HGiG HDR, Dolby Vision gaming — plus a new ultra-low measured input lag of 8.9ms, the G6 is a fantastic gaming set.

LG's webOS continues to be one of the better smart TV platforms available, and webOS 26, the latest iteration, is another great instalment. There's a rich suite of picture settings, the navigation and layout is intuitive, and actually useful AI tools for content recommendations and user quality-of-life. It’s not perfect, with bulky ad space on the home screen, but there’s little else to complain about here.

At $3,399 / £2,999 / AU$4,999 for the 65-inch model I tested, the G6 is a premium-priced TV. Its US launch pricing is consistent with the G5’s launch pricing last year in the US, and is a little cheaper in the UK — and I don’t expect it will stay at these prices for long, because TVs always start dropping soon after launch. It delivers good overall value thanks to the performance you’re getting for the price, but it remains at the top end of the TV market.

If your priority is having the deep cinematic dark tones that OLED is known for, but viewable in as many lighting conditions as possible, the LG G6 is elite.

LG G6 review: Prices & release date

• Release date: March 2026 (US/Aus) / May 2026 (UK)
• 48-inch price: $N/A / £TBC / AU$N/A
• 55-inch price: $2,499.99 / £2,199 / AU$3,999
• 65-inch price: $3,399.99 / £2,999 / AU$4,999
• 77-inch price: $4,499.99 / £3,999 / AU$7,499
• 83-inch price: $6,499.99 / £TBC / AU$9,999
• 97-inch price : $24,999.99 / £TBC / AU$29,999

The LG G6 is one of LG’s flagship OLED TVs for 2026, alongside the ‘Wallpaper’ LG W6. It sits above the mid-range LG C6 (and new LG C6H, which is the version of the C6 at larger sizes) and entry-level LG B6. It is widely available in 55, 65, 77 and 83-inch sizes.

There is also a smaller 48-inch model in the UK, and a larger 97-inch model in the US and Australia (though you should expect different performance results from these panels — especially the 97-inch model, which uses a much older OLED panel rather than the Primary RGB Tandem 2.0 panel in the other sizes).

Prices have remained consistent with the G6’s predecessor, the G5, in the US and Australia, but in a surprising turn of events, the G6's launch prices in the UK are cheaper than the G5's were in three key models: 55, 65 and 77-inches, with all three coming in £200-500 cheaper than their predecessors.

LG G6 review: Specs

LG G6 review: Benchmark results

LG G6 review: Features

• Primary Tandem RGB OLED 2.0 panel and Alpha 11 Gen 3 AI Processor
• 4K 165Hz for PC gaming with full VRR support
• New LG webOS adds more AI features and tweaks some settings

The LG G6 is equipped with the Primary RGB Tandem 2.0 OLED panel, the second generation of the redesigned OLED panel first introduced in the G6’s predecessor, the G5. It delivers higher brightness, and LG has added better reflection handling on top of that.

The G6 also features the new Alpha 11 Gen 3 AI Processor, which features Brightness Booster Ultimate, a ton of AI features including AI Search and AI Chatbot, and faster processing speeds.

New features also include 12-bit color processing and 13-bit output (the final 1-bit is a brightness boost), Dual AI Super Resolution, Dynamic Tone Mapping Ultra and enhanced AI Sound features including Object Enhancement.

The G6 supports Dolby Vision HDR, but as usual does not support HDR10+. It also supports Dolby Atmos sound, but again there is no DTS support. It also supports Chromecast and Apple AirPlay 2. LG says there are currently no plans for Dolby Vision 2 support.

Gaming is well supported on the G6, with 4K 165Hz, full variable refresh rate options including AMD FreeSync and Nvidia G-Sync, HGiG HDR, auto low latency mode, and Dolby Vision Gaming all supported across four HDMI 2.1 ports. Game Optimizer mode features as usual with plenty of settings available to tailor the gaming experience.

For audio, the biggest change is the reduction of available sound modes — from eight to four — with more of a focus on AI sound modes. The TV comes with the same 4.2 channel speaker system as last year’s G5 and again supports the AI Sound Wizard first debuted in last year’s Alpha 11 Gen 2 processor.

As before, there's no support for DTS decoding in the TV, so it's best if your source device or soundbar can handle this.

As for the latest iteration of LG’s own smart TV platform, webOS 26, there have been alterations to the AI features from last year, such as a more refined AI Concierge which can use Generative AI as well as a new layout for major settings in menus that prioritize users more.

The Quick Menu can also be customized to add more personal features such as Game Optimizer. Quick Cards return, and more have been added such as Home Office and Music.

• Features score: 5 / 5

LG G6 review: Picture quality

• Rich and especially natural color reproduction
• Excellent contrast and shadow detail, even by OLED's standards
• Surprisingly effective reflection handling that's a big step up

Beginning with some brightness measurements, the LG G6 hit 2,471 nits HDR peak brightness in Filmmaker Mode and 2,454 nits in Standard mode. While the Filmmaker Mode number is roughly a 200-nit increase from the G5, the Standard mode figure is a massive 604 nits increase (the G5 measured 1,850 nits), which is far higher than the 20% increase LG had promised.

Fullscreen HDR brightness has received the most meaningful boost, with the G6 hitting a measured 455 nits in Filmmaker Mode compared to the G5’s 331 nits. In Standard mode, it measured in at 373 nits, again a nice jump from the G5’s 297 nits in the same mode, meaning pictures should appear far brighter overall.

Color reproduction is arguably the G6’s greatest strength, though. Although colors don’t appear as 'bright' on the G6 compared to its predecessor, the LG G5, LG told me this was "by design" and I think the tweak has paid off: colors are simply stunning on the G6 while looking totally natural.

Watching the market scene from The Sound of Music, where orange, yellow and fruits sit front and center on screen, all these colors looked rich, refined and still packed plenty of punch, while also appearing true-to-life. Other scenes which feature green hills and blue skies, such as the ‘Do Re Mi’ scene, also demonstrate the G6’s excellent color accuracy.

Switching to an animated movie, The Wild Robot, the G6 again delivers gorgeous hues. A scene where Roz is surrounded by multi-colored butterflies shows excellent color balance between neutral and bolder colors, but crucially still delivers the richness you’d want from an animated movie.

Measuring the G6’s HDR color gamut coverage, it hit 99.3% of the DCI-P3 color space and 82.7% of the BT.2020 color space. These are both superb results and help explain why the G6’s color reproduction stands out — it's capable of showing pretty much everything that HDR video has to offer. It also registered a 1.4 delta-E SDR color accuracy in Filmmaker Mode: another brilliant result, meaning its colors are indistinguishable from 'perfect' to the human eye out of the box.

The G6’s contrast is another high point. Watching various high-contrast scenes from The Batman, such as the investigation in Mayor Mitchell’s house and the subway fight scene, the G6 delivers powerful contrast with deep, rich dark tones of the dark wood surroundings balancing with punchy highlights from light sources.

This is also true in Alien: Romulus, where shots of space show ‘perfect’ blacks mixed with refined highlights of stars and suns. Next to the G5, these shots are not only more balanced but more controlled, demonstrating minimal clipping in the lights.

Shadow detail is also excellent on the G6. In The Batman’s many dark scenes, details such as Batman’s armor, the panelling of a column on the subway platform, and even the portraits on the walls of Mitchell’s house are all visible without the need for raised brightness.

One area where the G6 really impressed was its reflection handling. Playing dark movies such as The Batman, Nosferatu and Alien: Romulus with overhead lights in our testing lab turned on, I was surprised by how much of the picture was visible and even how few mirror-like reflections there were. Not even the ‘torture test’ of The Batman was muddied on the G6.

It’s the black retention that also impresses, as I found when testing the G6 next to the Samsung S95F, with its anti-glare matte screen. While the S95F can cut out mirror-like reflections totally, its black tones can end up looking gray compared to the G6 in some lighting conditions, while the G6 manages to balance both reflections and black accuracy.

The G6’s motion handling is fantastic. Testing various sports including basketball, tennis and football, pictures are smooth and responsive throughout with no signs of motion artefacts such as ghosting. Either the Cinematic Movement or Natural motion settings, located in the TruMotion menu, worked well during my testing, though I did find motion settings necessary as some mild judder would occur with these settings turned off.

Motion handling for movies was also great. I personally found that my preferred setting was the Cinematic Movement setting, which did a good job reproducing a panning scene of a rocky hillside from No Time To Die with only minimal judder (which is expected). Throughout the succeeding chase scene, fast motion camera shots appeared smooth.

A DVD of The Amazing Spider-Man shows just how impressive the G6’s upscaling is. The picture on the 65-inch model was bright, clean and had crisp textures compared to some cheaper TVs I’d seen. I already knew how impressive LG’s OLEDs were at upscaling based on the G5’s performance in this area in last year’s four-way OLED showdown I did, but the G6 took it a step further, adding even more detail.

• Picture quality score: 5 / 5

LG G6 review: Sound quality

• 4.2 channel speaker array with four sound more options
• Great accuracy, good detail and solid power
• Soundstage isn't that wide compared to a soundbar

Testing the G5 last year I found myself drawn to the AI Sound Pro mode as well as the Cinema setting. With the removal of the latter in the G6 this year, I settled on AI Sound Pro as my favorite after testing the G6’s built-in 4.2 channel speaker system. AI Sound Pro upmixes sound to an 11.1.2-channel configuration with the aid of the Alpha 11 Gen 3 Processor. Dolby Atmos is supported, but there’s no DTS support of any kind.

LG has altered the AI Sound Pro profile for the G6 and it results in a more direct, bassier sound than last year’s G5. The sound profile itself also focuses on more mid-range tones, which I found more appealing than last year’s brighter G5.

Using the Batmobile scene from The Batman, the G6’s speakers deliver punchy bass, capturing the rumble of the Batmobile’s engine during ignition accurately. Mapping between sound and the action on screen is precise, with the swerving tyres and car horns of passing cars sounding authentic. This is also true during The Mask. As The Mask himself tornadoes around, the G6 does a good job with the directionality of the sound.

While the G6 also delivers a respectable soundstage, with sound sometimes extending beyond the screen, it all still feels quite contained. The speakers don’t have the punch of a soundbar or of TVs with larger speaker systems such as the Sony Bravia 8 II or Panasonic Z95B. The G6 is good for general movie and TV viewing, but its sound doesn’t match the sheer brilliance of its picture.

• Sound quality score: 4 / 5

LG G6 review: Design

• Wall-mount and stand options for some sizes
• Premium, sturdy build on the whole TV set
• Remote still feels cheap in comparison

The LG G6 carries a lot of the same design over from the G5. It still has a metal frame that looks premium and feels reassuringly sturdy, along with a heavy, gray and metal pedestal stand that can be placed at two heights to make room for a soundbar. There’s a cable-tidy option at the back of the TV as well.

The G6 also comes with a slim-fit wall-mount in the box in some sizes (depending on region) for those that want to wall-mount their TV. The G6’s screen itself has a near-bezelless design, meaning the picture takes up basically all of the front — something that's not so true with Samsung's new 2026 flagship OLED TV.

LG’s Magic Remote returns here, and while the US remote benefits from a somewhat slimmer build with a more streamlined button layout, the UK is stuck with the old-style magic remote with a wheel.

The latter still feels light and cheap: not something you want for a TV at this price. LG could take some lessons from brands such as Philips and Hisense, whose remotes feel far more premium.

• Design score: 4.5 / 5

LG G6 review: Smart TV & menus

• Uses LG's webOS 26 smart TV platform
• Expanded Quick Cards and customizable Quick Menu are useful
• More and enhanced AI features are actually welcome

The G6 comes with webOS 26 as its smart TV platform, which is the latest iteration of LG’s own smart TV. Some of the returning highlights features include the Quick Menu, which is a handy tool for easily changing picture and sound presets, and the Quick Cards feature, where apps can be organized into a relevant category 'card' on the home screen. For 2026, these cards have been expanded to include even more options.

The system also has an excellent array of accessibility options, which are also in their own quick card.

The AI Concierge, which previously helped you find tailored content recommendations based on searches and watch history, can now use Generative AI for other tasks, such as making travel plans.

Other AI tools introduced last year, such as Voice ID (which can activate a person’s profile with their customized settings simply by recognizing a voice), AI Search (for AI-assisted content search) and AI Chatbot (for troubleshooting) all return. There’s also an AI Art feature, where artworks can be generated, though you'll have a limited number of credits.

As for menus, webOS 26 is easy to navigate, clearly laid out and has enough options to customize picture and sound settings without being overwhelming. One downside is that the webOS 26 homepage has over a third of its top space taken up by banner ads, which can be an eyesore, but it's far from alone in this. It still remains one of the best smart TV platforms on the market.

• Smart TV & menus score: 5 / 5

LG G6 review: Gaming

• 4K 165Hz, AMD FreeSync and Nvidia G-Sync all supported
• Ultra-low 8.9ms input lag time measured using a Leo Bodnar 4K meter
• Four HDMI 2.1 ports with full support for all gaming features

Following in the footsteps of LG’s previous OLEDs, the G6 is a phenomenal gaming TV. It comes with four HDMI 2.1 ports that have all the features gamers will be looking for: 4K 165Hz, VRR with both AMD FreeSync and Nvidia G-Sync supported, HGiG, Dolby Vision Gaming and auto low latency mode.

It also features the Game Optimizer menu where settings can be tweaked, including an 'Input delay' option. Activating Boost mode (for lower input lag), the G6 registered an 8.9ms measured input lag, beating the years of 9.2ms in its predecessors.

Playing Battlefield V, gaming performance on the G6 is razor-sharp and responsive. Whether it was a fast-paced mission driving a tank around war-torn Berlin or running from enemies in France, movement felt smooth and targeting was snappy and easy. There was never any stutter or delay during the most chaotic moments.

Gaming also looks gorgeous on the G6, with the rich contrast, bold colors and crisp detail it delivered for movies translated over to gaming. Once again, the G6 has set the bar for a gaming TV in 2026.

• Gaming score: 5 / 5

LG G6 review: Value

• Good overall value compared to other flagship OLED TVs
• Consistent pricing with predecessor in the US, and cheaper in the UK
• Still very much a premium TV

The LG G6 is a premium-priced OLED TV, with the 65-inch version I tested costing $3,399 / £2,999 / AU$4,999 at launch. It delivers the premium experience OLED fans will want, with excellent picture quality and superb gaming performance, but it is undoubtedly a top-end TV.

While it also is an improvement over the G5 in terms of picture quality, the G5 is better value at the time of writing, as it nears the end of its first year of life. You can pick up a 65-inch G5 for $2,199 / £2,249 / AU$3,199, so if you’re desperate for a new G-series, the G5 is your best bet in terms of value for money. If you can wait, the G6 is the better TV to go for once prices drop.

Still, the G6 is a fantastic TV, really showing what flagship OLED can do. If you have the budget, the G6 is worth the investment.

• Value score: 4 / 5

Should you buy the LG G6 OLED TV?

Buy it if...

Don't buy it if…

LG G6 review: Also consider...

How I tested the LG G6 OLED TV

• I tested the LG G6 over three weeks, watching streaming, 4K Blu-ray, regular Blu-ray, and DVD
• Tested in various lighting conditions in our TV testing labs
• Measurements taken using Portrait Displays Calman color calibration software

I first tested the LG G6 OLED TV with some casual viewing to establish its best picture modes, settling on Filmmaker Mode for SDR, HDR and Dolby Vision sources.

I then conducted real-world viewing tests using both SDR (DVD and broadcast TV) and HDR (4K Blu-ray and 4K streaming) where I analyzed the G6's picture quality. I focused on color, contrast, shadow detail, motion and upscaling (for lower resolution sources such as DVD).

I also tested the G6's built-in sound by using reference scenes to test its sound performance, such as The Batman and The Mask, on top of other viewing.

Once these subjective tests were completed, I did some objective testing by taking measurements suing specialized equipment. I used the Klein K-10A colorimeter (after meter profiling with the Jeti 15VA spectroradiometer), Murideo Six G 8K Metal test pattern generator and recorded results using Portrait Displays Calman color calibration software.

I measured the G6's brightness in both Filmmaker Mode (its most accurate mode) and Standard picture modes, in both SDR and HDR. I used white window test patterns ranging 1-100%, focusing on 10% (peak brightness) and 100% (fullscreen brightness).

I also measured its HDR color gamut coverage, using both BT.2020 and UHDA-P3 color spaces, hoping for a result of over 95%. I also measured its SDR color and grayscale accuracy by taking the average of the Delta-E results (the margin for error between the test pattern signal and what's shown on screen), hoping for results below 3 (anything below can't be distinguished by the human eye).

I then measured the G6's EOTF in 1,000, 4,000 and 10,000 nits brightness, which shows the accuracy at which the G6 displays in both dark and light areas.

I also measured the G6's Spectral Power Distribution using the Jeti spectroradiometer, which shows the G6's color performance.

Finally, I measured the G6's input lag using a Leo Bodnar 4K HDMI Input Lag Tester, measuring this is milliseconds (ms).

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

H20 Audio Ript Ultra: Two-minute review

Our list of the best workout headphones is largely populated by earbuds, and there are scant over-ear options that are designed specifically for exercise. Enter the H20 Audio Ript Ultra, which are very very exercise-oriented.

These over-ear headphones come from a dedicated exercise audio brand, which also gave us the likes of the Tri Run bone conduction headphones and Sonar 2 Pro swim buds, and it generally focuses on simplicity and affordability.

Check one for the Ript Ultra, but cross the other. These are headphones that fix a few big pain points for gym-goers or runners, but at a high cost that non-exercise cans can easily undercut.

The selling point here is that the Ript Ultra are totally sweatproof: their silicone ear cushions are enclosed so no liquid can get to the drivers, and they can also be removed to be cleaned easily. Not to be sniffed at, that.

I also liked how tight and reliable a fit the H20 Audio cans provided: on runs and at the gym, they stuck reliably and resolutely in place, without slipping or falling as other headphones, even workout-specific cans, have. They rarely became uncomfortable, though my ears did get quite hot under the thick cups, so they might not be suitable for long summer runs (which is probably precisely what you'd want them for. Sorry).

As exercise cans go though, these do a great job at fixing the problems that make the best headphones poor tools for the task. But they also miss off several key perks that their 'standard' brethren too.

The audio quality is nothing to write home about sadly, and the noise cancellation is good but not great. The cans feel a little bit cheap in the hand, due to their using the same kind of hardy plastic regularly seen in budget tech, and there's no companion app for your phone to let you fine-tune the sound or enjoy extra features.

None of these is categorically a deal-breaker, especially in headphones designed for use when you're on the go in workout gear. But ultimately the rather high price of these headphones can, and should, have you asking for a little more.

H20 Audio Ript Ultra review: Price and release date

• Released in mid-2025
• Debuted for $249 / £244 / AU$410
• Cheaper now

The H20 Audio Ript Ultra are priced akin to some pretty premium non-workout headphones. Debuting for $249 / £244 / AU$410, they ain't cheap.

Since their mid-2025 release, they've dropped in price a little bit. In the US they've dipped towards the $200 mark at times, and in the UK they're reliably below the £200 bar. But even with price cuts, they're still pricey against direct rivals — see for instance the workout-specific Skullcandy Crusher 540 Active, with bass slider, which also launched in summer 2025, but at a cheaper $209.99 / £169.99 / AU$349.99. Oh, and they too are now also seeing discounts here and there.

The default models of Ript Ultra are black or gray, but two other models are available if you hunt around. There's a pink Betty x RIPT model, with a skull-and-butterfly logo on the cup (I couldn't work out who, or what, Betty was), and an orange Zwift x RIPT model themed around the cycling app. These versions seem to only differ in design colorways, not feature set.

H20 Audio Ript Ultra review: Specs

H20 Audio Ript Ultra review: Features

• 50 hours of battery life
• Slight ANC complements the PNC
• No extra features from app (because there is no app)

The quoted battery life of the H20 Audio Ript Ultra is 50 hours (presumably with ANC off, lower with it on). With cans often pushing the 100-hour mark these days, that's far from best-in-class, but I'd imagine it's still more than enough juice for most users. You'd have to forget to charge for quite a few marathons to run dry.

It's a little tricky to know how much battery you actually have, though, as the headphone voice simply says "battery: high" or similar. Luckily my Android phone can tell me the charge of paired accessories, so I could see the Ript's percentage, but others might need to rely on this vague reportage.

Because of the thick silicone cups, the Ript Ultra has pretty solid PNC, or passive noise cancellation, which can strip out loud background sounds without taking up any of your battery charge. There's ANC too; turning this on made a small impact on noise, and it's probably worth leaving off if battery is a concern.

There's no smartphone app to give you extra controls over the Ript Ultra: what you see is what you get. No equalizer, no 'find my' function, no listening tests. None of these are mandatory on headphones, but when you're paying a high price, you'd hope for a little more than 'zilch'.

• Features score: 3/5

H20 Audio Ript Ultra review: Design

• Solid clamping force — secure, not uncomfortable
• Sweatproof & cleanable, removable ear pads
• They do get hot during workouts

The entirety of H20 Audio's sales pitch rests on its design, and I must say: job well done. Immediately, I noticed a workout cans pet peeve of mine was fixed: these things clamp on your head tight, and in all my hours of running and gym-going with them, they never fell off.

The main draw is their sweatproof design. While there's no IP rating, they're meant to be totally immune to perspiration: the silicone ear cups won't disintegrate like leather ones will, and can be removed to be cleaned easily. I found all these sales points to be totally accurate.

Silicone isn't the most comfortable material to wear, though, as it gets very warm. Frequently on runs, my ears would heat up and the area would get quite sweaty. The pads are also a bit thicker, and heavier, than alternatives I've used, but looking at the grand picture, these are also some of the most reliable workout headphones I've used because of the ear pads.

In the box, you do also get some other ear pads: they seem like leather to me, and they're softer. I wanted to test the default, more sweatproof option, so I didn't use these much, but it's a nice move that H20 is giving you regular alternatives.

On the left cup, there's an ANC button and USB-C port, and the right one has a power button, volume up and down buttons plus, perhaps surprisingly, a 3.5mm jack. That's right, you can plug these puppies in if you want better audio quality.

The Ript Ultra fold down, and come in a carry case for extra protection. According to my kitchen scale, they weigh 304g, but I'd say they fall in the general category of 'slightly heavier than normal over-ears'. The plastic they're made from feels a little cheap, and creaks a little in the hand, which initially made me worry that they were real cheapies. I was wrong those; having tested them for days now, I'm quite sure this plastic was actually used deliberately as it's more durable than other solutions.

• Design score: 4.5/5

H20 Audio Ript Ultra review: Sound quality

• Custom 45mm driver
• Decidedly flat, occasionally muddy audio
• Lacking the crisp bass injection I'd have liked for workouts

Since H20 Audio packed the Ript Ultra with a custom 45mm driver, I was expecting a pretty unique sonic experience. But it was unique in the way a weekend at Glastonbury is: muddy.

The headphones have a pretty flat audio output, not offering scooping (or overdriven) bass as many many exercise fans would like, or treble to offer something a little different. Audio lines sound a little indistinct, smushed together, and music has... whatever the opposite of an expansive soundstage is. A congested presentation? Yes, a little.

The overall sound profile is generally warm, with lower-frequency sounds given prominence, but not clarity. Bass blends and bleeds into the rest of the mix: in Kasabian's Underdog, I couldn't tell what was bass and what was kick-drum.

If the planets align, you can get some lovely shaking bass with the headphones; Niko Moon's Paradise To Me offered a really lovely sub-bass. But the few exceptions made the rule even clearer. In the chorus of Sam Fender's Hypersonic Missiles, you'd think every instrument was recorded from the exact same microphone, for how even they sound.

Now, the great caveat: do people care about clarity and detailed audio in exercise headphones? I have no doubt that many will ignore this section. But some gym-goers or runners will want that extra bit of bass to help them knuckle down, or the sparkling treble to underpin that fantastic chorus that gets you to the finish line. I don't think muddy audio like this will inspire people to greatness or shave any time off your 10k PB.

The headphones connect via Bluetooth 5.2 — not 5.4, as H20's website lists — and there's no support for additional high-resolution codecs. What you hear is what you get. And if that's OK with you given the sweatproofing, fine. But it's not better than fine.

• Sound quality: 3/5

H20 Audio Ript Ultra review: Value

• Mid-range price for headphones
• Other options get you more for your money

I've referred to the H20 Audio Ript Ultra as being a pricey pair of headphones; they certainly are, but it's worth noting that workout cans tend to be a little pricier than their standard counterparts. That's what you're getting for longevity.

Despite that note, though, the Ript Ultra do feel a little expensive for what you're getting. The lack of tie-in app, middling audio and ANC are all a little hard to swallow when you're paying a premium.

So what price would you put on protected headphones? If price is no concern, then these are fine for you, but there are alternatives that offer you more for your money. I've seen some reports online that this model is prone to breaking — although do note, that was not my experience — but it's always worth thinking about how you'll use them before spending the cash.

• Value: 3.5/5

Should I buy the H20 Audio Ript Ultra?

Buy them if…

Don’t buy them if…

H20 Audio Ript Ultra review: Also consider

How I tested the H20 Audio Ript Ultra

• Tested for a month
• Tested at gym, on runs of various lengths, on walks and on public transport

I used the H20 Audio Ript Ultra for the best part of a month in order to write this review. They mostly saw use during my exercise (gym or runs around my borough), several times per week, but on occasion I used them in other settings like public transport and trips to the shops.

For the testing process, the headphones were paired to my smartphone, listening to music on Spotify Lossless, Tidal or installed media, as well as watching videos on YouTube and Prime Video, as well as making calls.

I've tested a plethora of exercise headphones for TechRadar in the past, as well as other audio products and fitness tech. These include some products cited in the competition section.

• First reviewed in April 2026

• Read TechRadar's reviews guarantee

Meze Audio Strada: Two-minute review

Visually, the Meze Audio Strada are more than a little reminiscent of the company’s much more expensive Liric II planar magnetic over-ear headphones. In terms of the most important technical aspects, they share quite a bit with the brand’s 109 Pro open-back model. But despite all this apparent cross-pollination, the closed-back, dynamic driver-toting Strada manage to be a distinct and individual proposition. And not only because they’re only available in a combination of ebony hardwood and a delightfully deep, slightly metallic green.

The materials that have been deployed — magnesium, PU leather and memory foam as well as that good-looking quantity of Macassar wood — feel luxurious and utterly fit for purpose. The standard of build and finish cannot be argued with. It’s even possible to overlook the rather unsophisticated ‘adjustment rod’ mechanism that alters the fit — although it is not possible to overlook the fact that even at their smallest adjustment these are quite large headphones. The smaller-headed music-lover can probably stop reading now.

Those listeners who aren’t physically swamped by the Strada, though, are in for a treat — a spacious, detailed and deliciously informative treat that only the best wired headphones can deliver. By the standards of the closed-back configuration these headphones sound large and airy, and create a well-defined and expansive soundstage. The have plenty of dynamic headroom, great neutrality where both tonality and frequency response are concerned, a proper facility with rhythmic expression thanks to excellent control over the deep and textured low frequencies they generate, and an overall sense of refinement and sophistication that is bound to satisfy a whole lot of customers.

In fact, if they didn’t play the ‘refinement’ card quite so strongly, even when dealing with the most unrefined music, they could conceivably snatch that extra half-a-star.

Meze Audio Strada review: Price & release date

• Released January 21, 2026
• Priced $799 / £799 / AUS1,499

The Meze Audio Strada (stylised to 'STRADA' in the company's marketing materials) are on sale now, and in the United States they sell for $799 per pair. They’re £799 in the United Kingdom, and AU$1,499 in Australia. Which means they have so very stiff competition, from both inside and outside their parent company, to overcome if they’re going to be a hit…

Meze Audio Strada review: Specs

Meze Audio Strada review: Features

• 50mm dynamic drivers
• 5Hz - 30kHz frequency response
• 111dB sensitivity

There are very few pairs of passive headphones that have a long list of features, and the Meze Audio Strada are not among them. The one significant feature they do have, though, has quite obviously come in for an awful lot of attention.

The 50mm dynamic drivers Meze Audio has used here are derived from the drivers fitted to the company’s open-back 109 PRO model — but naturally it’s been finessed in order to suit its new closed-back environment.

So each driver features a ‘W’-shaped dome made from carbon fibre-reinforced cellulose composite — it’s a combination that offers light weight and durability, and is designed to reject most of the resonances that can cause audible distortion. The torus surrounding the dome is made of semicrystalline polymer that’s been beryllium-coated; the coating adds to the durability of the component, and because it adds stiffness without any knock-on effects where weight is concerned it doesn’t hamper transient response. The torus also features some grooves positioned at carefully calculated angles to further boost its effectiveness. And there’s a copper-zinc alloy stabiliser surrounding the membrane that absorbs unwanted vibrations and reduces distortion yet further.

This painstaking arrangement results in a frequency response, says Meze Audio, of 5Hz - 30kHz, which in real terms means ‘staggeringly deep’ to ‘inaudibly high’. The 4ohms impedance measurement is nothing to be alarmed by, but a sensitivity rating of 111dB (SPL/mW @ 1kHz) seems to suggest a fairly powerful DAC or digital audio player will be required to get the best out of these headphones.

• Features score: 4.5 / 5

Meze Audio Strada review: Sound quality

• Spacious, organised and detailed sound
• Seem comfortable with pretty much any style of music
• Could conceivably sound a little more demonstrative

If you’ve read the words ‘closed-back’ during the course of this review and have assumed the Strada are going to sound intimate, direct and quite, well, closed then I can’t really blame you — that’s how the vast majority of closed-back headphones sound, after all. But what’s most immediately striking about these Meze Audio is how open and spacious their presentation is. They can do ‘direct’ and ‘conspiratorial’, sure — a listen to a nice big FLAC file of Elliott Smith’s Between the Bars lets you know they can communicate on a very one-to-one basis. But switch up to Shabaka’s Ol’ Time African Gods as a 24bit/48kHz file and it quickly becomes apparent the Strada create a big, well-organised and airy soundstage on which pretty much any recording gets the space to stretch out and express itself.

Tonally, the Meze Audio are almost entirely neutral from the top of the frequency range to the bottom. There’s the tiniest suggestion of heat at the lowest frequencies, but it’s not even close to making you want to take your pullover off. And the frequency response they muster is similarly even-handed — though they dig very deep into the lowest frequencies, and have great shine and a polite amount of shine at the opposite end, they neither under- nor overstate any particular area of the range. And in between those two extremes, they communicate in the most unequivocal manner — listen again to that Elliott Smith tune and the eloquence of his voice in unarguable.

These headphones seem able to turn their hand to pretty much any type of music, too. They have the sort of dynamic reach to put huge distance between the quietest and the most intense passage of Bernstein’s rampage through Gershwin’s Rhapsody in Blue, they are deft enough to tease out the harmonic over- and undertones that exist within the squeal and grind of The Stooges’ I Wanna Be Your Dog, they have the power and the facility with rhythmic expression to make the heavily sedated skank of Dr Alimantado’s Best Dressed Chicken in Town roll by in the most natural and convincing manner.

Really, about the only meaningful criticism I can level at the Strada is not so much about the nuts and bolts of music reproduction but more about attitude. There’s a slightly self-conscious sense of refinement to these Meze Audio headphones, a grown-up and unflappable character that’s very pleasant and welcome right until the moment that it isn’t. If there’s energy in a recording, the STRADA do more than just allude to it, but at the same time, they seem unwilling or unable to properly sink their teeth in. I get the impression they think this sort of behaviour is both juvenile and a bit beneath them — if they could sound a little more demonstrative when it’s absolutely crucial, they’d be holding all the cards.

• Sound quality score: 4.5 / 5

Meze Audio Strada review: Design

• Macassar hardwood ear cups
• Magnesium frame
• PU leather ear pads attach magnetically

The Strada are, at a glance, a dead ringer for Meze Audio’s (much more expensive) Liric II over-ear model. The fact the pricier headphones use planar magnetic technology to produce sound, rather than the dynamic drivers that are fitted here, goes a long way to explaining the price difference — certainly there’s nothing about the way the Strada are designed, built or finished that suggests penny-pinching.

The magnesium frame contributes towards a very acceptable 300g weight (without cables attached), and the carefully considered hanger arrangement and clamping force also helps the comfort quotient. Or, at least, it does if you’re not one of the smaller-headed among us — the Strada, like almost every pair of Meze Audio headphones I’ve encountered, are large.

The rather prosaic ‘adjustment rod’ mechanism that alters the fit of the headphones allows the size to run from ‘quite large’ to ‘very large indeed’.

As well as being quite large, these headphones are quite wide — and the generous nature of the PU leather-covered memory foam earpads makes them larger still. Happily, the broad headband (which is covered on the outside with more PU leather) is much more judiciously padded on its fabric-covered inside, and the layout of the padding allows air to flow and prevents your head from warming up too quickly.

The outside of the ear cups are, just as with the Liric II, made from some handsome and actually quite tactile Macassar ebony hardwood. The lustre of the wood contrasts nicely with the colour of the frame — it’s a mildly metallic variation on British Racing Green, it’s applied by hand (all four coats of it) and it’s your only option when it comes to the colour of the Strada.

The headphones arrive in a fairly large, rigid EVA travel case, and there’s a little pouch inside containing two 1.8m lengths of braided Kevlar OFC cable. Each has two 3.5mm terminations at one end (both Strada earcups must be wired), and at the other end there’s either a single-ended 3.5mm connection or a 4.4mm Pentacon alternative. Plug in both ear cups, plug the other end of your preferred cable into your source of music, and away you go.

• Design score: 4.5 / 5

Meze Audio Strada review: Value

• Aesthetically very similar to much pricier Meze Audio cans
• …and luckily, they sound very good too

If you’re judging purely on looks, it’s hard to argue against the value that’s on offer here — after all, the $799 / £799 Strada look very, very similar indeed to the $2,000 / £1899 Liric II. If you’re judging on engineering prowess and integrity of construction, it’s similarly tricky to suggest the Strada don’t represent value. And then when you consider the sound quality that these headphones are able to serve up, their case becomes even more watertight.

• Value score: 4.5 / 5

Should I buy the Meze Audio Strada?

Buy them if...

Don't buy them if...

Meze Audio Strada review: Also consider

If the closed-back configuration isn’t essential for you, then the Meze Audio 109 PRO are well worth considering — they have much of what makes the Strada so compelling, and they’re not green.

You can also consider the five-star Grado Hemp — great sound, interesting materials and a decent saving over the Strada, but hardly the last word in luxury.

If closed-back is your thing, though, then the Audio Technica ATH-W1000 (for a little less money than the Meze Audio) and the Audeze LCD-2 (for more-or-less the same price) should be on your radar.

How I tested the Meze Audio Strada

I use the cable with the 4.4mm termination to connect the Strada to an iBasso DX340 digital audio player, and also (although obviously not at the same time) to an iFi iDSD Diablo 2 headphone amp/DAC that’s hooked to an Apple MacBook Pro via USB-C. Additionally, I connect them to the 6.3mm headphones socket of an Eversolo DAC-Z10 pre-amp/DAC (using a 6.3mm adapter on the 3.5mm cable) — this way I get to hear music delivered by a Technics SL-1300G turntable, a Rega Apollo CD player, and an Arcam ST25 network streamer.

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

Sivga Robin SV021 Pro: Two-minute review

The Sivga Robin SV021 Pro are some primo-looking over-ears, designed to compete quite handily in a febrile market of Middleweight Listener Headphones That Tend To Feature Some Kind Of Wood In Their Construction. True to their mission, everything about the SV021 Pro is, at the very least, good — if not great — albeit with some caveats.

I went from absolutely loving them to pretty assuredly ‘meh’-ing them, and back again, multiple times during the course of my review. Even now, I don’t quite know what to make of them. They look the part, but sometimes feel a bit flimsy; they’re extremely comfortable, but might not fit smaller heads as well as mine; they sound great with respect to mids and highs, but the bass is off-kilter to the point that a quite-good soundstage is often choked. Every action, an opposite reaction (if not equal, per se).

Through all that, and on average, they quietly and not-so-surprisingly get decently strong grades – all the way to getting a good spot at the local polytechnic, and a dependable job with a reputable multinational firm. A win by technicality. A VAR victory.

What does this mean? That I’ve probably been a bit mean about them; that they’re pretty good, both in general and for the price. I think? But among the best wired headphones on the market? I'm not sure.

Sivga Robin SV021 Pro review: Price and release date

• Released February 2026
• $179 / £179 / approx. AUS $339

Sivga is a Chinese hi-fi brand, one which has been carving a space for itself in the wearable audio world since 2016. It sits pretty within a (relatively) new coterie of of industry-disrupting Chinese audio brands, leveraging experience and regional manufacturing capabilities to undercut a lot of the big names.

Indeed, Sivga has clearly taken aim at a handful of key operators in the headphones space, at least with its latest tranche of wood-plated objet d’audio. They seem pointed to the general space otherwise occupied by such listener-chic over-ears as the Meze Audio 99 Classics — and designed to undercut them quite handily.

The Sivga Robin SV021 Pro, are a successor set of closed-back over-ear headphones, improving on the OG SV021s with an smooth redesign and some quietly upgraded innards. They retail at $179 / £179 / AU$339 (approx.), making them some of the cheaper wood-flecked headphones available on the market, save for some tight competition from compatriot hi-fi disruptors like FiiO.

That’s a hotly contested price range for headphones more generally, but not so much for this new breed of bougie-aesthetic, headphones-as-statement home-listening accoutrements — headphones designed to be thought of differently.

So, do the Sivga Robin SV021 Pro compete?

Sivga Robin SV021 Pro review: Specs

Sivga Robin SV021 Pro review: Features

• Fetching wood-backed ear cups
• 45-ohm impedance
• 50mm aluminum-diaphragm dynamic driver

The Sivga Robin SV021 Pro are a pair of passive, closed-back over-ear headphones and, hence, there’s not much to say on the features front. They do one thing, and one thing only: receive sound from your amplified sound source of choice.

How it does that, though, may be of note. The Robins are equipped with 50mm dynamic drivers, utilizing an aluminum composite diaphragm that gives them a sort-of trademark upper-register solidity. These are powerful performers with respect to high mids and treble, as we’re about to discover.

The frequency range remains the same as the OG SV021, at a relatively unremarkable 20Hz - 20kHz. That said, the new driver design yields a slightly higher impedance of 45 ohms. By asking for a just a little bit more juice, the Pros give a little more richness in return.

Each ear cup is separately addressed by a 3.5mm TS connector; the SV021 Pro ship with a braided dual 3.5mm TS to 3.5mm TRS cable, terminated with some very suave-looking matte-aluminum connectors. They look the part, and they certainly don’t get in the way sonically.

The bigger USP here, really, is the visual design, more on which shortly. For now, though, the SV021 Pro come in two distinct colorways — beechwood and zebrawood. The former features bright wood earcups with silvery hardware and Wes-Anderson-chic tan fabrics, while the latter pairs a streaky walnut-esque wood finished with smoky metals and executive-chic black fabrics.

Both come with the requisite cable, a 3.5mm - 6.35mm adapter, and a nice hemp pouch to keep them in. That being said, I don’t think the bag would do much to protect them from the rigors of public transport, nor do I think these headphones are particularly travel-friendly in general.

Ultimately, there’s not much to complain about. Audiophiles might be upset at the lack of potential for balanced outputs, and I might be upset at the somewhat-hamstrung frequency range on offer, but everything else points to an above-average performer at a below-average price point, as far as passive headphones go.

• Features score: 4 / 5

Sivga Robin SV021 Pro review: Sound quality

• Tight, clear treatment of mids and highs
• Immersive soundstage
• Irrepressible and unfocused low-end representation

The SV021 Pros are, put simply, a mixed bag. There’s a great deal of good here, from a decently spacious soundstage to a general, non-fatiguing brightness in their representation, which lends even more to that soundstage.

In fact, it’s the Sivga SV021 Pro’s handling of high-end that sets it apart. Something like Pile’s Blood, a minimalist guitar-and-ambience ode to agnosticism, sounds as excitingly tactile, brittle and frail as it should. There’s an airy sheen here, thanks to which voices sound absolutely phenomenal.

Mitski’s latest album Nothing’s About To Happen To Me was on heavy rotation in my final few days' reviewing these headphones, both at its Hi-Res 24-bit/96kHz best on Qobuz and at its analog best on vinyl. It was an absolute joy to scrutinize through the SV021 Pro, if only for giving a little more space to Mitski’s satin-silk vocal timbre. I’ll Change For You is every bit the tear-jerking ballad it was written to be, vocal front, center and soaring. Where’s My Phone? simply has 'the juice'.

There’s a delightful tightness to transients, tissy hi-hats and high-tuned snares alike. Reedy instruments benefit from both that air and tactility, as do soft-played pianos — all of which speaks to a slightly more even-handed frequency response than the sharp V-shaped profile of the OG SV021s. There is still some prominent V-ing going on here, though, as demonstrated by the double-edged sword that is the SV021 Pros’ handling of bass.

It’s refreshing to hear a set of headphones with a supple low midrange; it lends gravitas to crooners like Mitski, and gives a lot of welcome energy to the rockier stuff. Despite the brighter sound profile, listening to Queens of the Stone Age’s Songs for the Deaf, revealed no ‘lack’ in heft. In fact, the transient response gives a little more grit to the brighter guitars of No One Knows, and some gratifying growl to the bass.

Unfortunately, the low end is as much a problem as a presence. I’d go as far as to say that the SV021 Pro overcompensate. When injecting them with any amount of audio-volume welly, the bass builds into a bulging mess of directionless energy.

Something as delicate as Mitski’s Dead Women, a soft-sold Trojan horse of rich and unsettling bassy weight, is run a little roughshod by the Robins; subby energy quickly becomes overwhelming, choking the dynamics and ultimately feeling to cramp the soundstage with pillows. Feed the Robins a little too much in the way of sub, and you may even catch some distortion.

That said, they are capable of handling more curated instances of bass fairly well. Mitski’s I’ll Change For You has a thick-thumping kick and a woolly electric bass, which benefit greatly from that upward EQ tilt towards the lower reaches.

All told, I don’t think I’ve had a more confusing experience evaluating a set of headphones. There’s a lot to love, and to love a great deal, about the SV021 Pros’ upper register definition and even-handedness; about their transient reproduction; about how all this comes together without creating a fatiguing listening experience. And yet, there’s a big bassy elephant in the room, that loves to stand right in your peripheries making things feel awkward and a bit small, actually.

For their sins, the SV021 Pro are quite an enjoyable listen. Whether it’s the kind of balanced, sensitive listen their wood-backed home-listener aesthetic is selling, I’m not quite as sold.

• Sound quality score: 4 / 5

Sivga Robin SV021 Pro review: Design

• Exceedingly comfortable to wear
• Easy-to-like aesthetics
• A bit rattly at times

As far as aesthetics go, the SV021 Pro are absolutely a winner. My review headphones were the beechwood variant, bearing bright earcups and tan fabrics in the way of a tight velour and a soft pleather – all mounted in matte aluminum hardware. The fabrics suit my tastes to the ground, and the wider look of the headphones is great (if a little school-cafeteria-furniture-y, in certain lights).

They are a little lighter in weight than they look, which I initially interpreted to be a not-so-good thing, but which actually turned out to be a Very Good Thing Indeed. Particularly so for the fact that they’re so dang comfortable to wear.

The earcup cushions are pillowy as anything, and that soft velour fabric around your head is supremely soft. The pleather that furnishes the inside and outside of each cup is surprisingly soft, too. The only reason for which I ever felt even slight discomfort wearing them was for their closed-back nature – after a while in any set of closed-backs, you can expect your ears to get a little claustro.

There’s a ratchet system attaching each earcup to the headband, by which height is set. The system is reassuringly secure, if a little bit rattly when not on your bonce. I am the recipient of a surprisingly small head, and the very lowest setting for each ear cup is about perfect for me; others with smaller heads may encounter some difficulties.

Another minor complaint comes from the placement of the output terminals on each earcup — at the bottom, facing straight down — which isn’t great in practice. There’s a great deal of sound transferred to the cups through the cord, so you’re practically guaranteed to hear the consequences of those braided cables rubbing on your shoulders whether you stand or sit.

• Design score: 4.5 / 5

Sivga Robin SV021 Pro review: Value

• Good price for their niche
• Great value, comfort-wise
• Hard to recommend for active listeners

I wasn’t sure where I’d fall on the Sivga Robin SV021 Pro, and, writing this up now, I’m still not. Ultimately, they’re decent. Initially, they didn’t blow me away, but with time I found real magic in certain areas. Yet, for each parcel of magic, I found a bit of a nuisance counterargument. Broadly, they certainly don’t fall short of what they’re promising.

They strike me as a less-expensive alternative to something like the Meze Audio 99 Classics; a budget-conscious option for more-than-serviceable over-ear hi-fi, that doesn’t also do away with any sense of rarefied visual design by virtue of price. A distinguished pair of listener headphones for the entry level.

In this sense, the SV021 Pro succeed. For the money, you get a highly dependable set of headphones that look the part, are remarkably easy to wear for long stretches, and don’t give you much reason to complain while you’re wearing them — provided you don’t push them too hard. If you like the look of them and like the look of that price point, you’re probably going to like them a lot.

But. If you’re the kind of person that generally desires a little ‘more’ from passive headphones like these, in any sense of the term, you might be left wanting. Their EQ balance and low-end handling leaves a little to be desired, and, smart as the design is, there are a few missed opportunities from a quality-of-life standpoint. In particular, the transmission of vibrations through the cable, and the solidity of the ear cups as they attach to the headband.

Maybe I’ve been spoiled by other iterations of this ‘hygge’ headphone style, and maybe I’ve been a bit of a curmudgeon in the process of reviewing these, ultimately, extremely serviceable over-ears. Their comfort and quality, overall, already go some way to justifying that asking price. Everything else, for me, is just a bit of a juggle.

• Value score: 3.5 / 5

Sivga Robin SV021 Pro review: Should you buy them?

Buy them if...

Don't buy them if...

Sivga Robin SV021 Pro review: Also consider

Sivga Robin SV021 Pro review: How I tested

• Tested for 4 weeks
• Used at home, through a Volt 4 audio interface and Vestax mixer/amp
• Predominantly tested using Qobuz and vinyl records

Much of my testing took place in my attic studio, where I listened primarily to lossless audio using the streaming service Qobuz, as well as audio from my digital library. This was through a Universal Audio Volt 4 audio interface, and also through the headphone output from a pair of Edifier MR5 monitor speakers.

I also spent a little time listening to vinyl records, played on a Vestax PDX-D3 turntable through the headphone output of a Vestax PCV-275 mixer.

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

Audio-Technica ATH-ADX7000 review: two minute review

The ATH-ADX7000 are Audio-Technica's flagship open-back headphones, with a lightweight design that's strong but just 270g. They deliver exceptional low-end power and a wide, precise sound stage, with a confidence and clarity no matter what kind of music you throw at them. They're astonishingly expensive, but if you can afford a pair you'll be very pleased with your purchase. Some of the best wired headphones around then? Oh, emphatically.

The key features here include Audio-Technica's new HXDT driver design, which is a large 58mm diaphragm with concentric alignment of the baffle plate, magnet and voice coil. The voice coil is located in the middle of the housing for what Audio-Technica says is "the purest motion and sound possible".

These are very high impedance headphones — 490 ohms — and that means you'll need an appropriately powerful amp to drive them. But get that right and they'll reward you no end.

Audio-Technica ATH-ADX7000 review: price and release date

• $3,499 / £3,000 / AU$4,999
• Launched October 2025

The Audio-Technica ATH-ADX7000 headphones were announced in October 2025 and went on sale that same month with a price tag of $3,499 / £3,000 / AU$4,999.

That pricing means these are very much in audiophile territory; this is a flagship set of serious headphones made for people who want the very best of everything and can afford to pay for it.

Audio-Technica ATH-ADX7000 review: specs

Audio-Technica ATH-ADX7000 review: features

• New 58mm HDXT driver with aligned circular components
• 490 ohm high impedance voice coil
• 1/4-inch stereo and 4-pin XLRM cables, both 3m

The Audio-Technica ATH-ADX7000 headphones feature HDXT drivers, which are precision-molded to deliver a perfectly round diaphragm. The main driver is 58mm with aligned circular driver components (the baffle plate, magnet, voice coil and diaphragm) for what Audio-Technica says is a more accurate, dynamic and detailed sonic performance. It's teamed with a 490-ohm high-impedance voice coil that promises fast transients and defined low end.

The ATX-ADX7000s come with two detachable nylon-wound 3m (9.8') cables, one balanced with a 4-pin XLRM connector (but not a 4.4mm balanced connector; the expectation is that you'll be using a desktop or hi-fi amp here) and one with an unbalanced 6.3mm (1/4") gold-plated stereo plug. Both cables connect to the headphones with gold-tipped A2DC connectors.

• Features score: 4.5/5

Audio-Technica ATH-ADX7000 review: sound quality

• Exceptional clarity and precision
• Superbly punchy bass without losing detail
• Excellent in all kinds of genres

With a frequency response of 5Hz to 50kHz, the ATH-ADX7000 have a very impressive low end and airy highs, delivering a neutral overall sound with a little bit of warmth. Irrespective of genre or format I didn't need to reach for an EQ on any of my vinyl, CDs or files; even fairly cluttered, complex sounds like Mojo from Mike Patton's Peeping Tom project, which drops massive squelching sub-bass in the chorus with distorted guitars on top and which has defeated many headphones, didn't stress the Audio-Technicas at all.

These are very high-impedance headphones and on the Mac my SSL2 interface struggled to drive them; while it happily drives most demanding headphones it wasn't strong enough for these, and it felt like I was getting six out of ten when I needed eight or nine. Swapping it for my iFi Zen 2 DAC improved things dramatically, not just because of the extra power but because the ATH-ADX7000s could really breathe. What was already entertaining became an absolute hoot.

I laughed out loud when the bass dropped in SOPHIE's Reasons Why, and Beastie Boys' Root Down moved so much air it felt like I'd strapped big speakers to my head. Little Simz' Point and Kill was beautifully detailed, its snaking bassline, intertwining vocals and bursts of brass perfectly positioned. Radiohead's Reckoner had incredible presence, the Audio-Technicas giving the layered vocals great separation as guitars chimed in the left channel and the ride cymbal splashed in the right. Led Zeppelin's When The Levee Breaks was the best I've ever heard it, every part of John Paul Jones' bass distinct from John Bonham's thunderous drums and Jimmy Page's slide guitar.

Bass was something of a recurring theme in my testing because the ATH-ADX7000 headphones deliver it so well, whether it's the thumb-slaps and slides in The Blue Nile's Tinseltown in the Rain; the arpeggiated synth in Robyn's Dopamine; the dubstep thump in BLACKPINK's Go; Adam Clayton's grinding bass in U2's Vertigo; or Tony Levin's percussive, metronomic bass pulse and melodic walks in the live version of Peter Gabriel's Digging in the Dirt. Listening to and feeling Horace Pace's glorious Precision bass in The Specials' Ghost Town was close to a religious experience.

• Sound quality score: 5/5

Audio-Technica ATH-ADX7000 review: design

• Exceptionally lightweight honeycomb grille
• Choice of velvet and alcantara ear cups
• Lightweight but strong magnesium frame
• Functional rather than flashy

The Audio-Technica ATH-ADX7000 headphones are very visibly open-back thanks to a handmade honeycomb-punched aluminum grille that looks as if it's barely there when you're looking straight at it — although it is very strong and does also block unwanted side ventilation.

The large ear pads come with a choice of velvet and Alcantara cushions that promise to subtly alter the sound — velvet for "well-balanced" audio and Alcantara for more warmth — and the headphones use a lightweight magnesium frame with a wide, open headband. I found the headphones to be exceptionally comfortable even during long listening sessions. And unlike on-ear designs they stayed put when I was at my desk working in front of a big display.

Each pair of ATH-ADX7000 is laser-etched with its serial number and comes in a hard aluminium carrying case.

• Design score: 5/5

Audio-Technica ATH-ADX7000 review: value

• Undeniably expensive
• Exceptionally good bass
• Wonderfully comfortable

These are the best over-ear headphones I've ever tested, delivering the incredible clarity and realism of open-back headphones with the kind of low-end punch you'd normally need closed-backs for. Their light weight, wide headband and comfortable ear cups make them a real pleasure to wear for long listening sessions, and the sound they produce means that every listening session will become a long one.

Unfortunately they're also very expensive: $3,499 / £3,000 / AU$4,999 is twice what you'd pay for a Grado Signature pair, about three times the price of the equivalent Sennheisers and about seven times more than I've ever been able to spend on a pair of headphones. That price tag means they're simply out of reach for many of us.

For many musical products the difference between budget and mid-range models is much more dramatic than the difference between high end and super high end – so for example a $1,000 guitar will be much better than a $250 one, but as you move up the price range the differences start to become much more subtle. I think that's the case here. If you can easily afford these headphones you'll love them, but many headphones costing half as much are hardly horrific.

• Value score: 4/5

Should I buy the ATH-ADX7000?

Buy them if…

Don’t buy them if…

Audio-Technica ATH-ADX7000 review: also consider

The Sennheiser HD 800's revoiced, more bassy successor the HD 800 S is among the very best wired headphones, and retails for roughly one-third of the price of the Audio-Technicas. And while the fit wasn't right for me, when I reviewed the Grado Signature S750 open-backs I really loved their sound quality and clarity. Our current favorite among the best high-end headphones, the Meze Audio 105 Silva, are even cheaper while delivering a superb sonic experience.

How I tested the Audio-Technica ATH-ADX7000 headphones

• Tested for two weeks
• Used with stereo amp, audio interface and headphone DAC/amp
• Vinyl, CD, streaming, and hi-res audio files

I tested the Audio-Technica ATH-ADX7000 for two weeks across a range of sources and genres: vinyl records via an Audio-Technica turntable and an Onkyo A-910 stereo amplifier; CDs with the same amp and a Marantz CD6007 CD player; and streaming, lossless and hi-res audio on a Mac mini via an SSL2 audio interface and an iFi Zen 2 DAC.

I've detailed some of the music I used in the main review but I tested across a range of artists and genres including acoustic and hyperpop, electronica and EDM, classic rock, alternative rock and chart pop.

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

JBL Live 780NC: Two-minute review

I was not expecting to be as impressed by the JBL Live 780NC as I ended up being. Even out of the box, it looked like another good but not great $200-range pair of headphones that excel in certain areas but end up making compromises elsewhere. But really the only compromises are the lack of a charging cable and the fact you can’t remove the ear pads.

But dig a little deeper and the JBL Live 780NC start to shine. The feature set rivals that of the best wireless headphones out there like the Sony WH-1000XM6. Sure, most wireless headphones now come with active noise cancellation and an ambient mode, but many don’t come with Auracast, as powerful of an EQ (and personalized EQ), or Dolby Atmos and Hi-Res support. At least, not at this price.

I’ll throw in the obligatory these-aren’t-perfect counterpoints — and there are a few. The bass can sometimes get a little out of control to the point where I usually had the bass cut through the EQ when listening. And the Dolby Atmos feature is a bit underwhelming for music, not to mention that only a handful of streaming services provide Dolby Atmos content. Still, the JBL Live 780NC get high marks from me. And if you give them a chance, you’ll probably feel the same.

JBL Live 780NC: Price and release date

• Priced $249.95 (about £190 / AU$360, but currently launched in US only)
• Launch date March 12, 2026

With a March 2026 launch date in the US, the JBL Live 780NC are the newest addition to JBL’s lineup of over-ear headphones, having landed alongside their 680NC on-ear counterparts. And despite being among the more expensive of JBL’s offerings (only out priced by the JBL Tour One M3 Smart Tx and the JBL Quantum One), they’re firmly in the mid-tier price range for over-ear wireless cans in general, coming in at $249.95 (about £190 / AU$360). They’re also available in five colors: black, green, blue, white, and champagne.

Unfortunately, at the time of writing, the JBL Live 780NC are only available in the US. However, considering their predecessor, the 2023-issue JBL Live 770NC, can be purchased in the UK and Australia, my guess is that it’s only a matter of time before these headphones will become available in those regions as well.

JBL Live 780NC: Specs

JBL Live 780NC: Features

• Multipoint and Auracast available
• Personalizable EQ according to what you can hear
• Deep EQ manipulation

The JBL Live 780NC may be as feature-filled as any other pair of headphones on the market. Not only do they come with multipoint connectivity, but allow for use with Auracast where you can connect multiple headphones to one source, as well as Bluetooth with LE Audio (something Apple doesn’t currently support). They even do that thing where they stop playing when you take them off your head.

The active noise cancellation and Ambient (sometimes referred to as transparency) mode are fairly deep. You can set levels of both using a slider, as well as turn on an adaptive mode for the ANC. TalkThru, basically an ambient mode hyperaware of human voices, is also an option here. And they work pretty well too.

The ANC was able to completely block out ambient noise with music playing at 50%, while the ambient mode was able to still allow me to fully understand a conversation on TV while listening to music at 60%.

Of course, while you can cycle through the types of “Ambient Sound Control” as JBL calls it with a press of a button on the headphones, the real fine tuning happens in the JBL headphone app. The app has a number of additional features and ways of customizing your experience.

For instance, Personi-fi 3.0 is a cool feature that tests how well you can hear a series of frequencies on both ears and then adjusts the EQ to offset any hearing loss you have. I also appreciated that I could toggle it on and off after going through the process.

Speaking of EQ, there are six presets available through the included Equalizer function with the ability to add more. More importantly, however, is the fact that I can create a completely custom EQ with a seemingly infinite amount of points (I stopped at 17) where you can boost or cut up to 6 dB.

Spatial sound gets its own set of three presets – Movie, Music, and Game – though there isn’t any more control other than selecting between them. There’s also a left / right balance, and a Low Volume Dynamic EQ setting so that audio still sounds present even when turned down.

I also appreciate the number of settings for better sounding calls, even allowing you to hear your own voice if you want.

Lastly, it also comes with a relax mode that allows you to play any combination of up to five relaxing sounds from one to sixty minutes (selectable along a slider). It’s a nice if slightly gimmicky feature.

• Features score: 5/5

JBL Live 780NC: Design

• No charging cable included
• Comfortable, (if slightly tight) fit
• Plenty of on-unit controls

When unboxing the JBL Live 780NC, a couple things popped out to me. I was a little disheartened to see that JBL didn’t include a charging cable, though not too much, since it uses USB-C and anyone with a modern smartphone can use the same cable to charge these headphones. More appreciated was the inclusion of a carrying pouch, albeit a fairly thin one, as well as the USB-C to aux cable for more analog listening.

Mostly though, I liked the fact that the JBL Live 780NC, while not reinventing the wheel, don’t look like every other pair of over-ear wireless headphones out there. Not only do they come in the five different colors mentioned above (my test unit is black), but the earcups have a rounded almost-retro-but-not-quite shape to them that with oversize earpads give it an accessible yet slightly elevated look.

The earpads might not be removable but they are plush as is the headband, while the rest of the Live 780NC are a combination of durable plastic and sturdy metal – most notably the hinge. JBL doesn’t give an exact measurements, but each earcup looks to have an adjustment range of about an inch and a half giving these headphones the flexibility to fit on just about any head. Plus, the earcups can swivel flat as well as fold, which make them easier to carry.

The headphones sit tight on the head without too much pressure for a secure and comfortable fit. And if you try these on and find them too tight, adjusting the ear cups will alleviate the pressure. At 260 grams, they’re not light. But I didn’t find them fatiguing to wear for long listening sessions. Though they’re not really meant for active wear, I even tried them on while going for a run and found them comfortable the entire time.

I also like the fact that cloth covering the 40mm drivers has a sizable “L” and “R” etched into them to indicate sides. I’ve experienced more than one pair of headphones that hide the left and right indicators in some forgotten crevice, making me spend a few extra seconds figuring out the proper headphone orientation (first world problems).

Typically, many wireless headphones have all the controls on one side. That’s not the case with the JBL Live 780NC. The right side does have more on it, containing the power / bluetooth slider and ANC / AmbientAware button along with the USB-C port. You can also tap the outside of the ear cup for various additional controls like play / pause, mic mute, call answer, and voice assistant cycling. The left side is a little more minimal but does have the all important volume controls.

• Design score: 4.5/5

JBL Live 780NC: Sound

• Really impressive sound, except for overly pronounced bass
• Spatial audio is a treat, if a bit underwhelming
• Ridiculously long battery life

Having spent quite some time testing the JBL Live 780NC, listening to all sorts of genres through Apple Music with Dolby Atmos and lossless on (and therefore able to listen to music in Hi-Res and with spatial audio on), I’ve come away quite impressed.

The sound quality here is better than I was expecting it to be considering the more mid-range price tag. Regardless of what I listened to, the mids and high end came through very clearly.

The mids have a good amount of body so rock and more mid-forward music retains its edge, while the high end has the kind of clarity to keep sounds like cymbals coming through with a crispness they deserve.

The one place that the audio quality lines up more closely with my experience of headphones in this price range is the bass. For instance, I’ve never listened to U2 and thought there was too much bass.

That is until I tested these headphones and put on Until The End of the World in an effort to find some kind of rock in Dolby Atmos. I also tested with some hip hop, like Duckwrth and J. Cole, where that big bass worked better, but as soon as I turned on the bass boost EQ preset, it completely overwhelmed the rest of the audio. If you’re a bass head and welcome hearing damage, you might like that.

I did appreciate the ability to play Dolby Atmos through these headphones, though the availability of this content is limited to only a handful of streaming services. Yet, the spatial audio effect is more limited than it is with a physical atmos system. On the bright side, it is more impactful when watching shows or movies (or gaming), giving content a more three dimensional experience.

Still, everything does have more clarity to it with more separation between aural elements like instruments and backing vocals. Part of that is listening in Hi-Res lossless audio but some of it is also the Dolby Atmos since it allows for a bigger sense of space in the soundstage. It is a virtual approximation since these headphones rock just one 40mm driver per side. That said, this is still incredible audio for $250.

Using the headphones for calls is almost as impressive. As the wearer, I was able to hear calls clearly. And due to the dual beamforming mics — there are four mics total — coupled with an AI-trained algorithm, the caller on the other end could hear me just as clearly, stating that they wouldn’t have even known I was speaking through the 780NC if I hadn’t told them.

What probably blows me away the most — at least in terms of how far headphones have come in a few years — is the ridiculously long battery life. A five minute fast charge garners four hours use. And though it takes two hours to fully charge from empty, once charged, the JBL Live 780NC can last up to 80 hours, 50 if you’re always using ANC. I’ve charged these headphones once since I got them and that’s only because they arrived with a 50% battery life out of the box.

• Performance: 4.5/5

JBL Live 780NC: Value

• JBL Live 780NC sound better than their price
• Similar features in other headphones cost more
• Only a few headphones come with better battery life

Aesthetically and design-wise, the JBL Live 780NC look like the mid-tier headphones that they are. But, the amount of features on hand as well as the superb sound quality (as long as you’re okay with a big low end) and impressive battery life feel like they belong in a more expensive pair.

If we look at other wireless headphones out there, the Sony WH-1000XM6 are one of the first ones to pop up on any best of list. While their ANC is probably the best out there (along with Bose’s top options), they also go for a much heftier $449 / £399 / AU$699. They also have a more limited battery life, lasting 30 hours with ANC on. And they’re a bit more limited when it comes to other features. They would get a little bit of a pass regarding the limited features since they’ve been out since 2024, but the prices haven’t really come down much since their release. You might find them at around $400, but not really any less than that outside of a sales event.

You can find some headphones with better battery life like the Cambridge Audio Melomania P100, which provide up to 100 hours of battery life. But those are more expensive, at $299 / £249 (AU$510 approx.), and don’t offer spatial audio support. On top of that, the ANC is not as good on the Cambridge as it is on the JBL.

• Value: 4.5/5

Should I buy the JBL Live 780NC?

Buy them if…

Don’t buy them if…

JBL Live 780NC: Also consider

How I tested the JBL Live 780NC

• Tested over a two-week period
• Tested with different music as well as video streaming and gaming
• Tested the various features

I spent two weeks using the JBL Live 780NC as my daily headphones. While using them, I listened to all sorts of genres from electronic and hip hop to rock and acoustic music to compare the frequency range and soundstage. I also tested them with streaming video, video games, and used the various settings such as ANC, transparency mode, EQ, and multipoint.

I’ve spent the last few years reviewing audio equipment and have spent even longer using my critical ear as a listener and musician to understand what does and doesn’t sound good.

• First reviewed in April 2026

• Read TechRadar's reviews guarantee

Samsung Galaxy Buds 4: Two-minute review

When I sat down and first started listening to the Samsung Galaxy Buds 4, sitting at my desk at home, I was mildly pleased with their audio performance. But when I started using them out and about in the world, not in my cosy chair, these quickly became some of my least favorite headphones to test in recent months. Some of the best earbuds around for the cash-savvy buyer? Sadly, no.

That’s a surprise; I gave the Samsung Galaxy Buds 4 Pro an almost-perfect review score, and expected these affordable alternatives to fare just as well. But I have been loathe to use them during the testing period, for one simple reason.

These earbuds just wouldn’t stay in my ears. When I was sitting still at home, they’d more or less work fine – although they’d often slip from their default position so the drivers were further from my ears than they should be. If this was the entirety of my testing, I’d give them a perfectly fine review, but life’s not just about sitting still.

When I went on walks with the buds, they’d slip constantly, and I’d have to readjust them several times each minute to push them back in. I like to walk, and went on multiple hour-long rambles during the testing time. Imagine how long I had my hands in my ears, fidgeting and fixing slippage.

They also fared incredibly poorly on public transport (too shaky), when I was in bed (too angled) and even sometimes when I’d rotated my swivelling office chair. I didn't dare take them to the gym or on a run.

Even if the things weren’t flung from my ears multiple times per song, they have a truly awful battery life; with ANC and other features turned on, I’d get about three hours per charge. And that's before I even mention the meagre ANC performance – because of the poor fit, the active noise cancellation algorithm here has absolutely zero chance of stopping you hearing the sounds around you.

There are some elements of the Galaxy Buds 4 that you might like: they offer really high-quality music, and do look classy. And if you’re lucky enough to have ears like vices, you might not have the same fit issues I did – but I’ve never had issues quite like this in other similar buds, and know Samsung’s earbuds have a reputation for poor fit, so I really don’t think it’s a me problem.

A quick Google search shows that users had the same issue with the Buds 3. It's easy to find reports of them slipping out of the ears, so it's clear that this is a recurring issue which the company hasn't fixed. I try to avoid reading coverage of products I'm testing, but I've already seen reports of Buds 4 users having the same issue.

If you’ve got the money and a Samsung phone, the easier fix is to splash out a little more on the Galaxy Buds 4 Pro, with their ear-tips offering a more secure fit (though not a perfect one). But honestly, there are countless great wireless earbuds for this much or less, that won’t jump from your ear at every opportunity.

Samsung Galaxy Buds 4 review: Price and release date

• Announced in February 2026, released March
• Sells for $179 / £159 / AU$299
• No price change from past models

The Samsung Galaxy Buds 4 were announced at Galaxy Unpacked on February 25, and have been available to buy from March 11, just like the Pro model and the Samsung Galaxy S26 series.

The retail price of the buds is $179 / £159 / AU$299, which is a mid-range price for earbuds like these, though they seem affordable when compared to the $249 / £219 / AU$399 Buds 4 Pro. There’s been no price hike over the Galaxy Buds 3, which is always good to see.

I know what you’re wondering: ‘how does that compare to Apple?’. The AirPods 4 with ANC cost $179 / £179 / AU$299, a very similar price point: the same in the US and Australia, but pricier in the UK. But if you don’t need ANC, the standard AirPods 4 cost $129 / £129 / AU$219, so they’re cheaper.

Samsung Galaxy Buds 4 review: Specs

Samsung Galaxy Buds 4 review: Features

• Buds last about 3 hours per charge
• ANC has limited effectiveness
• Range of handy features

The Samsung Galaxy Buds 4 technically do have noise cancellation, but due to their open-fit design (think Apple EarPods), they don’t plug up your ear to stop outside noise leaking in. So practically, they reduce very little noise. I could notice some noise cancellation when turning the feature off and on, but only a marginal amount.

Sometimes when I had the buds in but wasn't listening to music, I could hear them try to compensate for loud noises by pumping out what sounded like white noise. Not only did it fail to stop the background noise, it added a little extra layer of annoyance. Don’t buy these if you need good ANC.

Don’t buy them if you need a long-lasting battery either; their play time is abysmal. With ANC turned off you’re only looking at 6 hours of listening; Samsung’s official figure puts ANC-on listening at five hours but in my own testing, with features like SSC (Samsung Seamless Codec) turned on, I was barely scraping three.

You can get about five recharges from the case, which isn’t amazing, but didn’t affect me too much during my testing weeks. Just remember to plug them in regularly.

But now we can move onto the other features, and there’s a lot more to like there. The buds support Bluetooth 6.1, with support for codecs like SSC, AAC, SBC and LC3 (no LDAC). I had a few Bluetooth dropouts during my time with the buds, but not so many that it couldn’t have been environmental.

The buds offer a range of tools like call sharpening profiles, spatial audio with head tracking, a nine-band equalizer with presets, volume normalization, adaptive sound to cater for how you wear your earbuds (i.e., at what stage of falling out they’re at) and so on. You can even use the buds to tap into nearby audio broadcasts.

The only major omission is multipoint connection, but that’s not even a feature I’d consider mandatory in earbuds. There’s also no listening test, like in the Pro, but I didn’t find it wholly useful in those buds so again, no (further) marks docked.

• Features score: 3.5/5

Samsung Galaxy Buds 4 review: Design

• Swanky 'Blade' look
• Charging case is small and light
• Buds aren't designed for sticking in ear

I’ve got to say, I really like the Samsung Galaxy Bud 4’s charging case. It’s a lightweight, see-through square box, that the buds easily slot into. It weighs just 45.1g and measures 51 x 51 x 28.3mm, and really disappeared into my pocket.

The buds themselves look pretty good too, with their refined ‘Blade’ designed from the Buds 3 stripping out the lights and much of the fuss. The polished silver metal band on the white buds I tested looks great, but there’s also a black model you can pick up.

Unfortunately, that’s basically all I can praise about the Buds 4’s design, because for the three weeks I tested the buds, their build was the bane of my existence.

I’ve already spent much of the introduction to this article moaning about the Galaxy Buds 4’s fit, but in case you skipped that: these things just don’t stay still in your ears. If they’re not outright falling out, they’re moving around so that the drivers are pointing any which way, making music sound worse.

This'll no doubt be worst for people with big ears, but a few design decisions ensure that they won't be a good fit for anyone. The lack of a tip means you can’t just wedge the Buds 4 in your ears and hope for the best, and the material of the body is so smooth and friction-free that it fails to keep them anchored in ears.

It feels like the weighting of the buds is wrong too, so their own heft causes them to list and then fall from the ears. They’re not heavy, at just 4.6g, but the amount of ear-pirouettes they managed suggests the center of gravity is off in some way.

On the Buds 4’s stem, there’s a touch control: swipe up or down for volume, or pinch to play and pause your music. I quickly discovered that swiping was just another way for me to fling the buds out of my ears, but pinching is great: a light click lets you know that your demand was registered.

• Design score: 2.5/5

Samsung Galaxy Buds 4 review: Sound quality

• Single driver per bud
• High-quality streamed music
• Detailed sound

The Samsung Galaxy Buds 4 have a single driver per ear; it’s one of the big downgrades from the Pro, with the bass-focused woofer absent. It’s a shame, because extra bass oomph is needed: it might go some way in mitigating how quickly you lose it when the earbuds start to slip…

Generally speaking, and when you’re sitting still with the Buds 4 angled perfectly, they sound about as good as you’d expect for the price. They’re bright and detailed; the acoustic guitars in Only the Good Die Young by Billy Joel sparkle and the keys in the piano introduction to Tiny Dancer by Elton John had just as much personality as the rocket man’s own voice did.

The lack of a dedicated woofer hurts, when comparing these to the Buds 4 Pro. Bass isn’t as scooping and defined as I’d like, instead sounding muddy indistinct. If you listen to Phosphorscent’s C’est La Vie No.2 by Phosphorescent or The Rocketeer by Foxy Shazam, the bass just melts into the band and loses its edge.

Detail and quality really is the name of the game here, as for all their strengths and weaknesses, you’re hearing it all… at least, if you’re using a Samsung phone, which allows for the SSC-UHQ codec. This allows for 24-bit/96kHz transmission, and makes an audible difference over listening on other devices.

So the Galaxy Buds 4 aren’t the best earbuds I’ve tested, even at the price, but they’re decent. But remember everything I said about the fit? Yeah – between the slow slipping and leaking background sound, I very rarely got the best from the buds. When I used them while walking, or on public transport, the bass vanished pretty quickly and often the mids were drowned out by noise, leaving only some hi-hats and vocals to enjoy.

The buds have a fairly high max volume, but I noticed something odd: the bass would audibly drop from the mix as I got near the top. Every time I pressed ‘volume up’ from five steps off max, every instrument would get louder, except for the bass which would step back. It meant two or three presses of my volume keys would result in a drastically different sound mix, and it was much tinnier-sounding at the top than I’d expect.

• Sound quality: 4/5

Samsung Galaxy Buds 4 review: Value

• Mid-range price for buds
• Other options get you more for your money

The Samsung Galaxy Buds 4 aren’t cheap, and honestly, you’re within your rights to expect a little more from your earbuds.

A single driver? A sub-movie-length battery life? A design that doesn’t seem well thought out? If these were budget buds I’d understand, but $179 / £159 / AU$299 is far from cheap in the varied world of wireless earbuds.

There are other similar-priced options out there which offer you a lot more for your money, or give a similar package to the Buds 4 but at a fraction of the cost.

• Value: 3/5

Should I buy the Samsung Galaxy Buds 4?

Buy them if…

Don’t buy them if…

Samsung Galaxy Buds 4 review: Also consider

How I tested the Samsung Galaxy Buds 4

• Tested for a month
• Tested at home, on walks and on public transport

I tested the Samsung Galaxy Buds 4 immediately after the Pro model, so they were a natural comparison. I used them paired to a Samsung Galaxy S26 Ultra phone for the duration of the testing process, and listened to audio on Spotify, internal storage, various streaming services and games.

The test process for the buds was around three weeks, though I used them occasionally for a week prior when I received them at the same time as the Pro.

I've been reviewing gadgets at TechRadar for about 8 years now, including plenty of earbuds and Samsung gadgets (including the Buds 3 Pro too).

• First reviewed in March 2026

• Read TechRadar's reviews guarantee

Sennheiser CX 80U: review

Recently, one of my esteemed colleagues shared a brand new term with me: “friction-maxxing”. The term – coined by columnist Kathryn Jezer-Morton – concerns the practice of rejecting modern digital conveniences, and building tolerance for discomfort while resisting the temptations of technological ease. I assure you, all of this is relevant to my verdict on the retro-feel Sennheiser CX-80U wired earbuds — just stay with me a little longer.

So, all of this friction-maxxing talk got me thinking about tech and its role in our lives. Previously, we’d head to a Blockbuster or a local library to hunt down a movie we want to see, whereas we now bear witness to an unending wall of films on Netflix. Once we would have gone to a record store or entertainment outlet, and purchased a new vinyl pressing or CD, but now we just stream tunes via Spotify. And we used to queue up outside video game stores eagerly awaiting a new release, while now, you can pre-order a title from a digital store instantaneously.

We’ve taken so many inconveniences away, but has it come at the expense of the human experiences that stick with us forever? Maybe. But all is not lost. We can still bring some friction back into our lives. For instance, Sennheiser is here, and it’s plugging the wires back into your earbuds, and transporting you away from the ultra-convenient Bluetooth earbuds that dominate today’s market. Yes, I present to you, the Sennheiser CX 80U – a budget-friendly pair of USB-C in-ear headphones, aiming to compete with the best wired earbuds in their price bracket.

The Sennheiser CX 80U are a USB-C adaption of 2021’s Sennheiser CX 80S – essentially the same buds, but ones that use a 3.5mm connector. Like the CX 80S, Sennheiser’s new earbuds use 9.7mm dynamic drivers, with a frequency range of 17Hz-20kHz. The result? Clear full range sound, with powerful bass, clean mids, and vibrant treble. Given that they’re on sale for less than $40 / £35, I was really impressed with the sonic capabilities of these buds and, after two weeks of testing, I’d argue that they’re among the best I’ve tried in the budget category.

When I tuned into Timeless by Shinchiro Yokota, I was treated to full-sounding, impactful bass and exciting yet controlled percussion in the treble range. Piano and vocal chops came through with plenty of clarity in the mids too, and as the track built, the individual layers never got muddied or convoluted.

I was especially pleased with the sense of space that treble sounds have. Highs often sound as if they’re operating in a well-defined pocket, giving them plenty of room to express themselves. For me, this created a great sense of immersion in my tunes, something that many budget rivals fail to offer. Even at peak volumes, the CX 80U’s treble never sounded harsh or tinny, and solid dynamics were maintained at all times.

As a regular user of the Sennheiser IE 200, I like the way that Sennheiser approaches the low-end on its more budget-friendly products. It never feels like bass is bloated or over-emphasized for an attention grabbing, but unbalanced sound. Instead, products like the IE 200 favor an agile, clear interpretation of low-end sounds – a punchy sound, rather than an untamed one. And it’s a very similar story on the CX 80U.

These wired buds offer responsive, clean bass that grabs your attention without spoiling the party for sounds in the mid and treble ranges. For instance, when I tuned into Fascinator by Max Dean, although the sub-bass was a little subdued, mid-bass sounds were rapid and full-sounding, never sounding lethargic or ‘boomy’.

It would be rude not to give the mids a bit of airtime too, so let’s discuss them for a bit. Now, I’ll be upfront, I don’t think you’re getting the most nuanced or detail-oriented mids around with these earbuds. However, they certainly sound clear, and well balanced and very robust for buds in this price-range.

For instance, when I listened to Ventura Highway by America, acoustic guitars in the intro came through with beautiful tonal accuracy, and sounded surprisingly expressive too. But as vocals entered the mix, I couldn’t help but realize that they didn’t sound perfectly separated from those guitars, and lacked the definition in the mix supplied by pricier rivals. This really is a nitpick, though. These budget-friendly buds sound absolutely fantastic, and I’d never expect them to compete with $100 / £100 models.

I’ve spoken about sound pretty extensively now, so let’s talk about something else that will affect your enjoyment of these buds – their comfort. Now, I have to say that I found the CX 80U to feel very pleasant in-ear. I happily engaged in multi-hour listening sessions, and never experienced discomfort or irritation. For reference, I used the medium-sized eartips, although small and large alternatives are included in the box, helping you to find your perfect fit.

And getting that ideal seal will be pretty important if you want to enjoy the CX 80U at their best. With the right fit, I didn’t only unlock high-level comfort, but surprisingly strong passive noise isolation. When people were chattering away in my office, I genuinely couldn’t hear a word they were saying at around 70% listening volume. On top of that, typing sounds and doors closing barely broke through at all.

That’s pretty amazing when you consider that the CX 80U don’t use fancy foam eartips or any particularly advanced technologies to keep noise out. Sure, they won’t stop you from hearing surrounding traffic or the rumble of a jet engine if you’re taking a flight, but they’ll still dampen surrounding clamors nicely, and that in itself is a major plus.

Sennheiser’s in-ears are well designed in just about every other way too. For instance, I love their classy look, which is marked by rounded buds, attractive silver details, and slim wires. There’s an in-line controller here too, which isn’t too close to the face or too far down, and is attached to the right bud, so you know which side is which.

But unfortunately, the controller seems to house just about every issue I have with the Sennheiser CX 80U – even though my critiques are few and far between. First of all, I was puzzled by the lack of volume controls. There’s a single button that can be used to pause or play tracks or take calls, but that’s all. That meant that whenever I wanted to change volume, I had to pull my phone out – not ideal when you’re on the go.

My second point of criticism – which is admittedly pretty minor – concerns the controller’s built-in mic. I tried recording a voice note, and realized that there was noticeable background static in the recording throughout. My voice was decently clear, in fairness, and the mic isn’t bad overall, but it won’t provide the best call quality around.

But that’s about where my complaints end. Sure, it would be nice if the CX 80U had an IPX4 rating for some protection against raindrops, for instance, but it’s pretty common for buds in this price range to leave waterproofing out.

Otherwise, I have nothing but good things to say about the Sennheiser CX 80U. They sound spectacular for their sub-$40 / £35 price-tag, they’ve got a classy look, and their adoption of USB-C makes them a great fit for modern smartphones and laptops. If you want to bring some friction back into your life with a budget-friendly pair of wired buds, the CX 80U would be my top recommendation.

Sennheiser CX 80U review: price and release date

• $39.95 / £34.99 (about AU$57)
• Launched in January 2026

The Sennheiser CX 80U were announced in January 2026, alongside the Sennheiser HD 400U USB-C wired headphones. They have a list price of $39.95 / £34.99 (about AU$57), planting them firmly in the budget category. They’re available in a single black and silver colorway.

Sennheiser CX 80U review: specs

Should I buy the Sennheiser CX 80U?

Buy them if...

Don't buy them if...

Sennheiser CX 80U review: also consider

How I tested the Sennheiser CX 80U

• Tested for two weeks
• Used in the office and while out and about
• Predominantly tested using Tidal

I spent two weeks testing the Sennheiser CX 80U, and took them with me just about everywhere I went. I tested them at home, at the office, and even on walks, to really grasp their noise isolation capabilities.

Although I used them for streaming the odd bit of video, I predominantly used the CX 80U for music listening. When playing tunes, I predominantly used Tidal, and had them connected up to the Nothing Phone (4a). To begin with, I made sure to run through our TechRadar testing playlist, which features tunes from a wide array of genres. However, I also made sure to tap into some tracks from my personal library.

More generally, I’ve spent two years reviewing gadgets here at TechRadar, and audio gear is a key focus of mine. I’ve reviewed a lot of wired earbuds like the Master & Dynamic ME05 and the JBL Tune 310C, but I’ve also tested IEMs, like the Sennheiser IE 200 and IE 600. On top of that, I’ve gone hands on with some of the best noise cancelling headphones, like the Sony WH-1000XM6, Dolby Atmos soundbars such as the Samsung HW-Q800F, and Bluetooth speakers like the Marshall Kilburn III.

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

Soundpeats Cove Pro: Two-minute review

If you’re here because you’re interested in buying the best cheap headphones, let’s skip to the chase: these are now going to be the go-to pair I recommend for the foreseeable future. They’re not perfect, which is why there’s still over 1,000 words to this Soundpeats Cove Pro review, but for the money they're outstanding.

Soundpeats is constantly impressing me with its great-value audio offerings, like the indelible in-ear Soundpeats H3, or the reliable open Soundpeats Clip1, and so I’m not overly surprised that I’m giving out another glowing review to something from the company. It’s less versed in over-ears than other kinds of headphone, though, so there was always the chance of something going wrong.

The Cove Pro are fantastic headphones for people who just need any old pair of cans that’ll do the job, so you’ve got a way of listening to music when at home or on the go – they nail all of quality-of-life features you’ll want.

For example, the battery life is fantastic: 95 hours, or nearly four days straight. These aren’t going to give up the ghost during a long-haul flight, that’s for sure.

They’re also some of the most comfortable on-ears I’ve used recently, as the padding in the cups and headband is soft, and they’re not too heavy or pinchy over the crown of your noggin. What I'm saying is, you can leave them on your head for long periods of time without getting aches.

Audiophiles (or people who aren't sure of the title but are picky about their sound) might not be as impressed. The ANC is quite light-touch; the Cove Pro reduce sound more than ‘cancel’ it, and the audio isn’t as good as some other budget options I’ve tested. It’s a bit too warm and veers towards muddy, with a lower-end that isn’t as well-defined as on some alternatives. I wasn’t blown away, but bass-heads might still be happy.

Soundpeats Cove Pro review: Price and release date

• Released in January 2025
• Sells for $69.99 / £69.99 (around AU$140)
• Cheap, but not cheap cheap in today's market

Soundpeats announced the Cove Pro in January 2026, following the rush of headphones that followed CES at the beginning of the year.

You can buy the Cove Pro for $69.99 / £69.99 (around AU$140), so they're fairly affordable cans – best suited for people who want decent headphones that'll last a long time, but don't need the highest quality or audio or premium features.

They’re not the very cheapest headphones that are worth considering – I recently tested the OneOdio Focus A1 Pro which sell for $34.99 / £43.99 (about AU$85), and there are a few other super-budget options worth buying like the Sony WH-CH520. But they’re still certainly a budget option compared to the big names on the block.

Soundpeats Cove Pro review: Specs

Soundpeats Cove Pro review: Features

• 95-hour battery life
• The ANC is very light-touch
• Nice perks like Bluetooth 6.0, listening test and LDAC

Possibly the most eye-catching spec of the Soundpeats Cove Pro is the battery life: up to 95 hours of ANC-off listening. Very few headphones crack the 100-hour barrier, and anything close like this deserves props.

The endurance drops quite a bit if you turn ANC on: down to 58 hours. That's quite a sacrifice to remove some sound, though in the grand scheme of things ~60 hours is still decent.

The ANC isn't very powerful here; it'll strip out the worst of background noises rather than remove them in any meaningful way. There's also an ambient mode, but I couldn't hear a difference between this and Normal (ANC off).

The Soundpeats app is the Cove Pro’s all-but-mandatory smartphone app. It's worth downloading, even though it forces you to create an account, because it offers a few features unusual in lower-cost headphones.

The app offers an equalizer (presets or 10-band custom mode), find my headphones function, spatial audio, bass booster and even a custom listening test which builds you a bespoke EQ mix. It’s clearly in a very early state – the pictures and text refers to earbuds, and one menu was in Mandarin, but it did a decent job of tweaking my audio and wasn’t too hard to use.

Unlike many budget music-blowers, the SoundPeats supports a few higher-res Bluetooth codecs, including LDAC, SBC and AAC. It connects via Bluetooth 6.0, and in my testing it didn't stop out at all – there was one brief stutter, and that was it.

• Features score: 4/5

Soundpeats Cove Pro review: Design

• Light and comfortable to wear
• Useful on-cup controls, but no 3.5mm
• Bog-standard looks

When I pulled the Soundpeats Cove Pro from the box, I thought they were dead ringers for my old Sony WH-1000XM3s. Sure, there isn't a huge scope for variety in the world of headphone aesthetics, especially the budget market, but the design language is there.

These cans weigh 250g, with an IPX4 rating indicating that they’re splash-roof. The right cup has an ANC button, power button and volume rocker on it, and they're flush enough that I sometimes thought I'd missed pressing them until I got used to the feel of it. The exception is the power button, which has a little indent so you can easily differentiate it by feel.

The one thing I’d like to see is a 3.5mm port. As it stands, you can’t use an AUX cord to connect these to your music player.

I found the Cove Pro surprisingly comfortable; you can't always rely on the budget headphones for a good fit, but these felt great. The soft cups settle gently on the ears, and a large pad on the band keeps them nestled on your cranium. I could listen for long periods without any kind of strain or ache.

The headphones also feel surprisingly premium in terms of build quality. The plastic material feels a little more durable than the squeaky cheap stuff some rivals are made out of, and other traits of budget cans like rattly joins and a hollow-feeling body were all absent.

You can fold the Cove Pro in on itself to make it more portable, and they swivel and extend a fair amount to suit different sized heads.

• Design score: 4.5/5

Soundpeats Cove Pro review: Sound quality

• 40mm driver
• Messy low-end handling
• EQ can fix some issues

Like most budget headphones – actually, most cans at any budget – the Cove Pro have 40mm drivers. Soundpeats' website goes into detail on titanium-coated diaphragms, patterned dome drivers and magnets, all giving the impression of a thoughtful approach to audio – it’s all for naught, though, as they don’t sound any better than your average budget cans

Music is warm, sometimes too much – as I write this I’m listening to Old Ties and Companions by Watchhouse, and the timbre that should be created by the various acoustic instruments feels lacking because of the sound profile. Bass can sometimes blow out other parts of a song, especially with rock music, which can often see the bass guitar override guitars.

It’ll appeal to bass-heads for sure, and people who go to gigs so often that they don’t realize you’re not always supposed to hear and feel the bass above everything else. But I found it a bit too much – and using the Bass Reduction EQ preset sometimes wasn’t even enough.

Get through the bass, and you’ll find fairly detailed audio, though the lack of support for wired listening means these aren’t budget audiophile cans by any means. There’s a pronounced soundstage though, something you can’t always say about options at this price point, giving a little bit of extra sparkle to songs like T-Shirt Weather by Circa Waves and Such Great Heights by the Postal Service, which have bassless introductions so you can enjoy the atmosphere.

• Sound quality: 3.5/5

Soundpeats Cove Pro review: Value

• At best, exceeds expectations for price
• At worst, matches expectations for price

The Soundpeats Cove Pro aren't quite the cheapest headphones on the market – or that have wowed TechRadar’s team recently – but they're not far off. And they offer top value for money.

The build quality here is better than I've come to see expect from budget cans, even if the looks won't win any awards for originality. And the feature set is better than many same-price rivals, with tools that you'd normally find in cans twice as pricey.

In its weaker departments, the Cove Pro still deliver at the level you'd expect for this price; they sound no worse than the average budget headset, and deliver enough ANC to trump rivals which don't offer the feature.

• Value: 4/5

Should I buy the Soundpeats Cove Pro?

Buy them if…

Don’t buy them if…

Soundpeats Cove Pro review: Also consider

How I tested the Soundpeats Cove Pro

• Tested for a month
• Tested at home, on walks, on public transport and the gym

I used the Soundpeats Cove Pro for just over a month to write this review, immediately following a few of their big rivals.

I used the cans paired alongside my Android phone, listening on a variety of services. This included in a range of indoor and outdoor settings including, most challengingly, on a train ride home after a high-end audio show.

For TechRadar, I've already tested a wide range of budget headphones, including over-ear alternatives and other picks from Soundpeats.

• First reviewed in March 2026

• Read TechRadar's reviews guarantee

KEF Coda W: Two-minute review

KEF, it seems, has identified a customer for whom its existing lineup of wireless stereo speaker systems is not absolutely perfect. This customer can live without network streaming, but would like to be able to listen to a turntable. They don’t need their system to work on a desktop, but they would like it to be available in a fairly wide choice of finishes. And so here’s the Coda W.

As well as the network streaming/phono stage trade-off and the ‘regular’ size of the cabinets compared to the dinky dimensions of some predecessors, the Coda W has cutting-edge Bluetooth connectivity (the aptX Lossless codec is supported), an HDMI eARC input and properly hi-res functionality via its digital optical and USB-C inputs. Four discreet modules of Class D amplification power the 12th generation of the company’s Uni-Q driver array – 30 watts goes to each 25mm aluminium dome tweeter, 70 watts to each 130mm magnesium/aluminum mid/bass driver. And if that all sounds a bit tentative, there’s a pre-out for a subwoofer too.

In practice, it works either ‘pretty well’ or ‘very well indeed’, albeit maybe not quite well enough to sit among the best stereo speakers on the market. The phono stage is probably the least effective of the input options, which is a pity, when you consider it’s one of the real differentiators between this system and the slightly more expensive KEF LSX II LT, its most obvious stablemate. If, however, you switch to one of the digital inputs (either wired or wireless) and the Coda W has plenty going for it. There’s detail and drive, plenty of well-behaved low-frequency presence, a really even-handed attitude towards tonality and frequency response, and a level of energy and engagement that’s a match for the best that any even remotely price-comparable rival can muster.

Turn the volume down to the sort of level that conversation can easily be heard over, though, and quite a lot of this attitude is replaced by a more pedestrian, less energetic character that sucks some of the animation out of recordings. Mind you, if you want to listen at low levels in order to engage in conversation, it could be argued that this isn’t all that much of an issue.

KEF Coda W review: Price & release date

• $999 / £799 / AU$1449
• Released in October 2025

The KEF Coda W wireless active stereo speaker system is on sale now, and in the United States it costs $999. The asking price in the United Kingdom is £799, while in Australia it goes for AU$1449.

There are a few very credible alternatives around, of course, not least from KEF itself in the shape of its slightly smaller, slightly pricier, slightly differently specified LSX II LT wireless stereo speaker system. So does the Coda W have what it takes to, um, undermine its sibling and cannibalize its sales?

KEF Coda W review: Features

• 200 watts of Class D power
• Wireless and wired connection options
• 12th-gen Uni-Q driver array

In most respects, the Coda W is specified as extensively as seems reasonable, given the asking price. Then you consider the way its (admittedly more expensive) LSX II LT sibling is specified, and you realize you’re engaged in a game of ‘swings and roundabouts’.

Still, the gain outweighs the pain here more than a little. The Coda W is an active stereo speaker with 200 watts of Class D power available – naturally enough it’s divided half-and-half between the two speakers. Slightly unusually for an active – rather than a powered – system, is that only one speaker requires mains power. This ‘primary’ speaker connects to its ‘secondary’ partner via a supplied length of USB-C-terminated cable which transfers power as well as digital audio information.

The secondary speaker has just a USB-C input on its rear panel – it’s positioned beneath a bass reflex port that vents from higher up. The primary speaker, by way of contrast, is all action. It has a USB-C output for connection to its partner and a matching bass reflex port, of course, but in addition, the rear panel features (in no particular order): a connection for mains power and an ‘on/off’ switch, an HDMI eARC socket, a digital optical input, a USB-C slot for data transfer, a line-level stereo RCA input, a moving magnet phono input (also on stereo RCAs) with a ground post, and a pre-out for a subwoofer. There are also buttons to initiate Bluetooth pairing (the KEF uses Bluetooth 5.4 with aptX Lossless codec compatibility) and to reset the whole shebang. There’s a switch to turn the ground lift circuit on or off, too.

What’s missing? Well, there’s no Ethernet socket, and no Wi-Fi connectivity either. So network streaming is unavailable, which puts the Coda W at a disadvantage compared to the LSX II LT, although it hits back with its integrated phono stage. No network capability means no Spotify Connect, Tidal Connect etc, so if you’re using Bluetooth to enjoy some wireless tunes, it means your smartphone (or what-have-you) will be fully occupied.

The input resolution of the USB-C is 24bit/192kHz, while the digital optical is 24bit/96kHz and the HDMI eARC operates at 16bit/44.1kHz – analog signals are digitized on entry to 24bit/96kHz. All these wired sources are (re)sampled to 24bit/96kHz before being decoded to the analog domain the driver arrays can understand.

Unlike the LSX II LT, which features a compact version of the 11th generation of KEF’s instantly recognizable Uni-Q driver arrangement, the Coda W is packing the 12th version. There’s a 25mm aluminum dome tweeter behind an elaborate waveguide and positioned in the throat of a 130mm magnesium/aluminum mid/bass driver. Each tweeter is in receipt of 30 watts of power, while each mid/bass driver gets 70 watts. This arrangement, reckons KEF, is good for a frequency response of 41Hz - 20kHz.

• Features score: 4.5 / 5

KEF Coda W review: Sound quality

• Energetic and confident sound with detail to spare
• Loses some animation at low volume levels
• Phono stage is nothing special

At its best, the KEF Coda W sounds very, very good indeed. Unlike some of its most obvious rivals, though, getting away from ‘its best’ is not especially difficult to do.

With a genuinely hi-res (24bit/96kHz) FLAC file of Prince’s U Got the Look incoming via the USB-C socket, there’s plenty to enjoy about the way the system performs. It maintains a strictly neutral tonality, adding no discernible heat to any part of the frequency range and not cooling any part of it down either. The top end attacks with crisp determination, but despite what you might have read about metal tweeters, there’s no suggestion of hardness or glassiness to the treble sounds the Coda W delivers.

The transition into the midrange is smooth to the point of inaudibility, and once there the amount of detail the KEF is able to extract and contextualize allows both the voices in the recording to come across with all their attitude (horny, mostly) and character intact. Beneath here, the lowest frequencies hit hard but control their attack well, so the four-square rhythm is expressed confidently. As with the rest of the frequency range, detail levels down here are high, with plenty of subtlety and variation to go along with the straightforward punch available.

The frequency response is even-handed, with no area underplayed or overrepresented, and the soundstage the KEF creates is big and plausible. Like all the best Prince songs, U Got the Look sounds like an expensive demo, with great big spaces and silences playing their part. The Coda W has no problem laying the stage out coherently, and it gives just as much emphasis to the absences as it does the actual occurrences. Dynamic headroom is significant, and the lower-key dynamics of harmonic variation are also paid close attention. The KEF sounds keen to entertain, and it preserves all the energy the recording wants to communicate.

All of this is true, to a lesser or greater extent, when listening to the same song wirelessly via a FiiO digital audio player running the Tidal app or to a CD-borne copy of the song delivered into the system’s digital audio input. The Coda W remains a lively, informative and quite vibrant listen that seems to revel in the vivid and upfront nature of the recording.

It’s possible to move away from this best-case scenario, though, either by turning the volume down to a modest ‘background’ sort of level or by listening to a vinyl copy of the song through the integrated moving magnet phono stage.

The differences are probably less pronounced when playing the record, so I may as well start here. The phono stage fitted to the Coda W just isn’t anything special – for all of the cliches regarding the vinyl format and its facility with rhythm and tempo-management, the song sounds just fractionally lumpy and leaden-footed when heard this way. It’s from the 80s, sure, when every rhythm was mechanical and regimented, but there was always more swing to Price than the Coda W is willing to reveal via its phono stage. The knock-on effect is a minor dialling down of the energy in the recording, and a mild loss of engagement as a result.

Turning down the volume results in a slightly more fundamental shift in emphasis. I know it’s quite easy to argue that ‘background’ levels would tend to imply that not all that much attention is being paid to the music, and certainly no critical listening is likely to be happening, but there are more than enough systems around that don’t change their sonic character at lower volumes to understand that the changes that the Coda W goes through aren’t inevitable or, to a lesser extent, excusable.

Turning the wick down means a lot of the system’s previously vivid and energetic attitude towards music goes astray, replaced by a slightly matter-of-fact and unengaged alternative that’s not especially welcome. Particularly not when you know what the system is capable of if only it were playing a little louder.

• Sound quality score: 4 / 5

KEF Coda W review: Design

• 285 x 168 x 268mm (HxWxD)
• Choice of five finishes
• Optional SQ1 stand

The Coda W may cost less than the LSX II LT, but there’s more of them. At 285 x 168 x 268mm they’re bigger than their siblings in every direction – if you were hoping to position these on a desktop, think again. Unless you have a mahoosive desk, anyway.

A pair of speaker stands is the way to go. Any decent product will do, of course, but KEF will happily sell you a pair of its SQ1 stands that have been developed with the Coda W (and a few other KEF models) in mind.

The standard of build and finish is well up to standard. The Coda W may lack the exciting curves of their LS and LSX stablemates, but they look and feel good. And the choice of five finishes – my review sample's dark titanium, midnight blue, moss green, nickel gray and a vintage burgundy version that’s only available from very select outlets – means there really ought to be something to suit your mood and/or decor here.

• Design score: 5

KEF Coda W review: Usability & setup

• Truncated version of the KEF Connect control app
• Physical controls on the primary speaker
• Small remote control handset

KEF supplies a little remote control handset to operate the Coda W. It deals with ‘power on/off’, ‘volume up/down/mute’, allows you to cycle through the inputs and, if you’re streaming via Bluetooth, to access ‘play/pause’ and ‘skip forwards/backwards’.

The controls, with the exception of the Bluetooth stuff, are duplicated as touch-controls on the top of the primary speaker - although you can only scroll through your inputs in one direction, which is a (very) mild irritation.

There’s also a very brief version of the KEF Connect app available too. It connects via Bluetooth, offers input selection and volume control, allows you to check for updates, and also features a balance control and rudimentary EQ adjustment in the shape of ‘treble cut/boost’ and ‘bass cut/boost’ controls. It’s also where you can let the Coda W know if it has a subwoofer attached.

• Usability & setup score: 4.5 / 5

KEF Coda W review: Value

• Very high standard of build and finish
• Enjoyable sound quality...
• But it's variable depending on the output used

It’s difficult in the extreme to suggest the KEF Coda W is anything other than very decent value for money. It has some real highlights where specification is concerned, is built and finished to a very high standard, and is capable of uncomplicatedly enjoyable sound quality too.

The fact that it lacks some features available in a very similarly priced product from the same manufacturer is, ultimately, less concerning than the fact that its sound is quite variable depending on the input you’re using.

• Value score: 4 / 5

Should I buy KEF Coda W?

Buy them if…

Don’t buy them if…

KEF Coda W review: Also consider

How I tested the KEF Coda W

I positioned the speakers on a pair of Custom Design speaker stands, connected them together using the supplied USB-C cable and plugged the primary speaker into the mains.

Then I connected a Technics SL1300G fitted with a Goldring 1042 cartridge to the phono input (and also to the line-level input, having positioned a Cambridge Alva Duo phono stage between the two), and plugged a Rega Apollo CD player into the digital optical input.

I used an Apple iPhone 14 Pro and a FiiO M15S digital audio player as Bluetooth sources, and connected an Apple MacBook Pro (running Colibri software) to the USB-C input. After this, I put the speakers either side of my Philips 48OLED806 TV and connected them via HDMI. Lots of sources, meaning lots of content – and for quite a length of time.

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

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

FiiO KA15: Two-minute review

Is this little teal DAC one of the best headphone DACs around? You bet it is. The FiiO KA15 is the successor to the popular FiiO KA13, and it adds a small color display with a fun audio cassette-style animation during playback. It has high power output in desktop mode that enables it to drive even fairly demanding headphones, and it has both 4.4mm balanced and 3.5mm headphone outputs. The 3.5mm can also be used as an audio output.

One of the big pluses here is wide compatibility with smartphones, tablets, laptops, desktop PCs and handheld games consoles. For some devices such as iPhones you'll need to borrow a computer to configure the 10-band equalizer as FiiO's iPhone app doesn't connect to the KA15, but this is a relatively minor snafu.

I really, thoroughly enjoyed listening to all kinds of music with the KA15. It has a wide soundstage and delivers plenty of detail; it's warm without overly coloring the sound and there are tons of options to sink your teeth (read: ears) into, including switchable amplification modes and digital filtering.

FiiO KA15 review: Price and release date

• Released September 2024
• Priced $99.99 / £99.99 / AU$189.99

The FiiO KA15 was released in September 2024 with a retail price of $99.99 / £99.99 / AU$189.99. It sits just below the flagship KA17 in FiiO's portable DAC line-up.

This is an exceptionally competitive part of the market: it's where iFi has its also five-star GO Link Max DAC, for example. But the combination of low cost and high power output makes the FiiO KA15 very attractive. (As does the fact that it looks like a tiny cassette Walkman. And I stand by that.)

FiiO KA15 review: Features

• DSD256 and 768kHz/32-bit PCM support
• Dual Cirrus CS43198 DACs and SGM8262 op-amps
• Unbalanced 3.5mm and balanced 4.4mm outputs

The KA15 features dual Cirrus CS43198 DACS and dual SG Micro SGM8262 op-amps. It supports decoding of PCM audio up to 768kHz/32bit and DSD256 and has both 3.5mm and 4.4mm balanced outputs designed for headphones with impedances of up to 150 ohms and 300 ohms respectively.

You can toggle key settings such as EQ presets and amp modes via the display and physical buttons, but EQ is best left to the Android app or web control panel where you can also set a 10-band parametric EQ. I've written more about that in the "ease of use and setup" section.

The USB-C audio is switchable between UAC 1.0 and 2.0 for the widest possible compatibility, enabling the KA15 to work not just with smartphones, tablets and laptops but also handheld games consoles and older hardware.

The KA15 runs in two modes: normal and desktop mode. Desktop mode enables it to deliver considerably more power but, as the KA15 takes all of its power from the device it’s connected to, that mode is best suited to mains-powered devices such as desktop PCs and laptops that aren’t running on battery.

In normal mode the KA15 can deliver 50mW per channel into 32 ohms on the 3.5mm output and 170mW on the balanced output. In desktop mode both increase to 180mW per channel and 560mW respectively.

There are a lot of control options to choose from, including: ten EQ presets (three of which are for FiiO IEMs); Class H / Class A/B switching; channel balance; display brightness; display themes; display rotation; and five filters. The filters are non-OS (non-oversampling), Fast-LL (low latency), Fast-PC (phase compensated), Slow-LL, and Slow-PC. The fast filters are recommended for dynamic music and gaming and the slow ones for more complex listening.

Features score: 5 / 5

FiiO KA15 review: Sound quality

• Excellent warmth, detail and clarity, especially in desktop mode
• Customizable amplification and filtering
• You may need a computer to customize the EQ

If you're currently listening to your computer's headphone output or have a simple headphone dongle on your phone or tablet, the FiiO KA15 is a significant audio upgrade – especially if you use it on a computer and have it set to desktop mode, which massively increases the output power.

The FiiO KA15 has a neutral sound signature with clean, punchy but not overly exaggerated bass, and you can adjust both the amplification mode and the audio filter settings to suit your preferences. I liked it best in Class A/B mode with filtering set to Slow-PC and the EQ off, which I felt was warmer and slightly more spacious than Class H, fast filtering and any of the preset EQs. However, the lack of an iPhone app or on-board EQ customization was an irritant on IEMs, where many vocals were too sibilant as I turned the volume level up.

Despite listening across multiple genres and decades of music I didn't feel the need to change the EQ or filters with my closed- or open-back over-ears: whether it was U2's 30th anniversary remaster of Achtung Baby, Stevie Wonder's Superstition, Little Simz' Point and Kill, Talk Talk's New Grass or Robyn's Dopamine I had tremendous fun listening loud, hearing previously buried elements in every mix and only encountering distortion around the low end at unsafe listening levels.

The FiiO delivered excellent clarity and detail across genres. The aforementioned Little Simz track was a great example, a thrilling mix of snaking bassline and beautifully close voices; when the backing vocals came in in the second verse my goosebumps got goosebumps.

Sound quality: 5 / 5

FiiO KA15 review: Design

• Brushed aluminum with small color LCD
• 152 x 25 x 11mm (HxWxD)
• 21g and in case I didn't mention, it looks like a tiny cassette Walkman

The KA15 is slightly smaller than its more powerful sibling, the KA17, and it is a little bit smaller than a standard 9V rectangular battery. Its dimensions are 152mm x 25mm x 11mm and it weighs a titchy 21g, and it comes in a choice of two brushed aluminium finishes: black and a silver/turquoise mix.

Both versions have a large black lozenge on the front with a small 0.96-inch rectangular color LCD display embedded in the centre, and both feature a delightful animation that makes the display mimic a cassette tape complete with moving reels. You can change its colours in the KA15's theme menu. It comes with an extremely short USB-C to USB-C cable designed for use with a phone, and there's an optional MagSafe clip that can snap it to the back of one.

The KA15 looks and feels well-made, and its design is very minimal. There are three tactile buttons on top for navigating the screen and a toggle switch for desktop mode that feels solid. The USB port is on the bottom and the 3.5mm single-ended and balanced 4.4mm outputs are on top. The single-ended output is also switchable to S/PDIF.

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

• Plug it in and you're good to go
• Interface can be a little fiddly
• No iPhone app

The stripped-back design does mean the KA15 is a little fiddly to configure: there are just three buttons taking care of everything. If you hold the KA15 upright, the topmost button is volume up, the middle button is volume down and the lower button is play/pause. Tap that button twice to turn the display on and off, and long-press it to go into the KA15's settings. In that mode the volume buttons move you left and right through menu items and the lower button cycles through each section and confirms your selections.

There is one big problem with the KA15 if you're using it with an iPhone or iPad: you can't customize its 10-band equalizer from the on-board menus, and FiiO's companion iOS app doesn't work with the KA15. That means for iPhone/iPad users you'll need to plug your device into a Mac or PC and use the FiiO Control webpage in a browser such as Opera (Safari on Mac doesn't support the necessary hardware control). This web page enables you to create personal EQs and if you wish, to share your creations with others and vice-versa. It also enables you to download any firmware updates in a process that took me less than one minute.

If you're using a Mac and intend to listen to Hi-Res Audio you'll need to enable higher quality USB output via the Audio MIDI Setup app in your Applications > Utilities folder or your KA15 will be limited to 48kHz audio.

Usability and setup score: 4 / 5

FiiO KA15 review: Value

• It's cheap and it'll make you cheerful
• A significant audio upgrade for smartphones and computers

If like me 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.

Value score: 5 / 5

Should I buy the FiiO KA15?

Buy it if...

Don't buy it if...

FiiO KA15 review: Also consider

If you don't need a screen or high power output, the iFi GO Link Max is even more compact than the KA15, and it's cheaper too. It puts out up to 241mW of power and features dual Sabre DACs.

FiiO makes plenty of other DACs, and if you need something with a higher spec than the KA15 the next step up is the FiiO KA17. That's roughly 30% more expensive and boasts dual ESS ES9069 DACs, maximum output of 650mW per channel and support for DSD512.

Want something just as small and almost as retro-cute, but wireless? Look to the matchbox-sized iFi Go Blu Air.

How I tested the FiiO KA15

• Hi-Res FLAC and multitrack Logic Pro projects
• Lossless and lossy streaming
• Beyerdynamic and Philips over-ears, Soundmagic IEMS

I tested the iFi KA15 over two weeks with a variety of headphones and IEMs including BeyerDynamic DT990 Pro and Philips Fidelio X2HR open-back headphones, DT770 closed-back headphones, and SoundMagic E11C IEMs.

I tested the DAC with music from multiple audio sources including hi-res FLAC files via the Vox music player on Mac; lossy and lossless streaming on desktop, iPhones and iPad; and my own multitrack Logic Pro X music projects.

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

iFi GO Blu Air: Two-minute review

The iFi GO Blu Air is a solution to tech firms taking away headphone jacks: it enables you to connect your wired headphones to Bluetooth streaming sources, and it features a 4.4mm balanced and a 3.5mm standard headphone output. It's impressively powerful and runs for up to 10 hours between charges, delivering excellent bass and a spacious sound stage that's particularly enjoyable on well produced music.

The GO Blu Air is exceptionally small and light and that means features have been kept to a minimum: there's no USB DAC functionality and you don't get on-board EQ, although there are switches for iFi's subtle but effective XBass and XSpace audio enhancers.

As we've come to expect from iFi, the GO Blu Air is well made, does exactly what it sets out to do and won't break the bank. It sounds great and is surprisingly powerful for such a small device, but its small size and low price means it lacks some features of rivals such as a display, on-board EQ and USB DAC functionality. It's emphatically one of the best portable DACs provided you don't need that wired connectivity.

iFi GO Blu Air review: Price and release date

• Released August 2025
• Priced $129 / £129 / AU$229

The iFi GO Blu Air Bluetooth DAC was launched in August 2025 and is available now. In the UK its recommended retail price is £129; in the US it's $129; and in Australia it's AU$229.

The GO Blu Air is cheaper than its predecessor, the iFi GO Blu: that model was $199 / £199 / AU$399. A lower-priced model is a smart move in a sector that's becoming increasingly competitive.

iFi GO Blu Air review: Features

• Up to 24-bit/96kHz over Bluetooth
• Cirrus Logic Master Hi-Fi DAC
• "S-balanced" 3.5mm and balanced 4.4mm outputs

The iFi GO Blu Air is based around a Cirrus Logic Master Hi-Fi DAC and features iFi's own XBass bass expansion and XSpace audio expander. There are also standard and minimum phase digital filter options to shape the sound further.

The headphone outputs deliver up to 165mW into 32 ohms on the 3.5mm out and up to 262mW into 32 ohms on the balanced output. iFi calls the 3.5mm output "S-balanced", with dual-mono headphone amplification all the way to the output socket. You can read iFi's tech note about it, but essentially the company says it's particularly useful for ultra-sensitive IEMs. SNR (or signal-to-noise ratio) on both outputs is a highly respectable ≥110dBA and battery life is up to 10 hours via the internal 450mAh battery, dropping to about 7.5 hours if you're using the LDAC codec. Recharging takes less than an hour.

The iFi GO Blu Air has Bluetooth 5.2 (up from the 5.1 of the GO Blu) with LDAC, LDHC and aptX Classic, aptX HD and aptX Adaptive as well as the obligatory AAC and SBC codecs. It supports resolutions of up to 24-bit/96kHz. Unlike the previous GO Blu the USB-C port is purely for charging; this model doesn't double as a wired DAC.

Features score: 4 / 5

iFi GO Blu Air review: Sound quality

• Tons of fun on IEMs and over-ear headphones
• No on-board EQ to tame high-end harshness
• Audio enhancers are subtle but effective

The iFi GO Blu Air is a lot of fun with both headphones and IEMs, delivering an inviting soundstage and excellent clarity from a range of audio sources. It's particularly good on well-produced, spacious tracks such as Bob Marley's Could You Be Loved, Peter Gabriel's Shaking The Tree, Christine and the Queens' Tilted or The Blue Nile's Tinseltown in the Rain, delivering a consistently enjoyable, revealing and dynamic listen.

The GO Blu Air doesn't have its own equaliser, and I did find myself reaching for software EQ when I listened to fairly trebly recordings such as Junior Varsity's Cross The Street, Sugar's Changes and Kygo & Selena Gomez's It Ain't Me: getting the bass to smile-inducing levels in my IEMs made their high frequencies a little too prominent for my taste, although that was less of an issue in my less excitable over-ear headphones.

I'm wary of bass and space enhancement options as they often color the sound in too-noticeable ways, but I was pleasantly surprised by both XBass and XSpace here. Their effects are subtle, with the former adding a little more low end that gave my open-back headphones more of a closed-back punch without introducing distortion at sensible listening levels, overpowering the other frequencies or overly changing the sound. XSpace impressed me too, making the likes of Talk Talk and acoustic music more subtly spacious.

Sound quality: 5 / 5

iFi GO Blu Air review: Design

• Similar to GO Blu but more plasticky
• 3.5 x 33.7 x 19.5mm (WxHxD) and just 30g
• Magnetically attached clip is surprisingly strong

I'd suggest that the Air looks a little less premium than the GO Blu, but I'm not a fan of that model's rather 1970s-cigarette-lighter appearance – and if a slightly more plastic appearance is part of the reason why the new model is cheaper, I'm all in favor.

The GO Blu Air is very compact at 3.5 x 33.7 x 19.5mm (2.11 x 1.33 x 0.77”) and it weighs 30g. There is a single rotary volume/transport controller, which iFi calls the ChronoDial, on the right. The dial is multi-mode: turn it to adjust the volume, press to play, pause or skip, and long-press to activate your phone's voice assistant. Below the dial is a button for enabling or disabling Xbass and Xspace, for setting the digital filter and for Bluetooth pairing; on the other side there's a single button for power on/off and Bluetooth format announcement. Up top you'll find a 4.4mm balanced headphone output and a 3.5mm output plus the status light for Xbass, Xspace and Bluetooth.

One of the design features I like is the detachable magnetic clip, which saves you having to buy a clip-on case: you can use the clip to attach the GO Blu Air to your clothing, bag or belt. I'd like it even more if I could use the magnet to clip the GO Blu Air to the back of my phone; I did try, but while it does attach it's not strong enough to clamp through my phone's case.

Design score: 4 / 5

iFi GO Blu Air Review: Usability and setup

• Effortless Bluetooth pairing
• No display: color status lights instead
• Remembering what buttons do is hard at first

It's very easy to set up the GO Blu Air: simply switch it on and it enters pairing mode the first time you use it. You can then connect it in your device's Bluetooth settings and you're good to go.

The lack of a display is understandable in such a small device, but it does mean trying to remember what the status light colors mean and which button does what can be tricky. It doesn't take long to learn but the inclusion of a pocket-sized quick start guide comes in very handy.

Whether you're working from the guide or from memory it's all straightforward: single button presses take you from no enhancement to XBass only, to XSpace only, and to both XBass and XSpace; a spin of the ChronoDial adjusts the volume while a short click takes care of play/pause and a longer click skips to the next track.

Usability and setup score: 4 / 5

iFi GO Blu Air review: Value

• Competitively priced but some rivals have higher spec
• Previous model is now discounted so price gap is smaller
• A good buy if you don't need a USB DAC

If the lack of a USB DAC isn't a deal-breaker this is a very good Bluetooth dongle for a very good price. But it's a very competitive market, and I'd suggest looking at some alternatives too – including the GO Blu Air's predecessor.

The GO Blu Air is effectively a GO Blu without the USB DAC and as a result it has a significantly lower price tag, but at the time of writing I found the original GO Blu discounted to just under £169 so there's less of a price gap than the two devices' MSRPs suggest.

Value score: 4 / 5

Should I buy the iFi GO Blu Air?

Buy it if...

Don't buy it if...

iFi GO Blu Air review: Also consider

The iFi GO Link USB DAC is an excellent and affordable wired headphone DAC, and if you want USB and Bluetooth capabilities the GO Blu is still available and often discounted.

The key rivals here include FiiO’s KA13 and BTR15. The former is a screen-free wired USB DAC and the latter is both USB and Bluetooth. It's marginally cheaper than the iFi: at the time of writing the BTR15 is £114 in the UK, $119 in the US and $219 in Australia.

How I tested the iFi GO Link Max

• TIDAL, hi-res music files, vinyl and Logic Pro projects
• Beyerdynamic and Philips over-ears and SoundMagic IEMs

I tested the GO Blu Air over two weeks with a variety of headphones and IEMs including Beyerdynamic DT990 Pro and Philips Fidelio X2HR open-back headphones, Beyerdynamic DT770 closed-back headphones, and SoundMagic E11C IEMs.

I connected the GO Blu Air to a Samsung Galaxy S25 for hi-res streaming services over LDAC and listened to locally stored lossless audio and my own multitrack Logic Pro X projects via AAC from my MacBook Pro. I also connected my Audio-Technica turntable, which transmits aptX.

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

Skullcandy Method 540 ANC: Two minute review

For all that companies try to squirrel AI chatbots into every gadget possible, I’ve yet to see many buyers who genuinely want this kind of addition. In fact more often than not, the infiltration of artificial intelligence makes the tech worse — many companies are starting to realize this and take a step back. But there’s now a new victim of the AI war: the Skullcandy Method 540.

For context, let’s look at some earbuds that would have gotten onto our list of the best cheap earbuds if not for how competitive 2025 was. I’m talking about the Skullcandy Method 360, which were some of my favorite buds of the year: they fit great, sounded fun and were fairly affordable. The 540 are the updated model of 360, with Skullcandy apparently not taking a leaf from Microsoft’s naming playbook – don’t get your hopes up for a Method One and then Method Series X, then.

New models should, ostensibly, bring upgrades over the previous iterations. However the Skullcandy Method 540 have the same design, drivers and carry case design as the previous model. They’re incredibly similar buds, yet cost about 25% more.

So what’s actually new? Well, there are a few tiny tweaks here and there, but the flagship ‘feature’ is compatibility with Skull AI. This is Skullcandy’s AI assistant, built on Bragi AI which in turn is built on Open AI. So for all intents and purposes, you’re paying more for a built-in chat-bot…

…except that you’re not, because Skull AI is available as a separate subscription, which you have to pay for either monthly, at $4.99 / £4.99, or annually (at $49.99 / £49.99). Skull AI is one of the better AI chatbot names I've heard, but I'm not including an evaluation of the chatbot itself in this review: it’s very much a separate, optional product to the Method 540.

If you use AI chatbots, perhaps the Method 540 is worth considering, but the vast majority of buyers are going to wonder if there are any other spec improvements to justify that price bump, or if this is another case of AI implementation taking precedence over actual upgrades. Spoiler alert: it’s the latter.

The specs are identical – in fact, I copied and pasted the specs table from my 360 review to save time. In some cases, keeping things similar is great: the buds are comfortable and fit incredibly well, making them great for runners or gym-goers. In some cases, an upgrade was needed: I liked the Method 360’s sound, but budget buds have come on leaps and bounds in just one year, and the Method 540 aren’t as competitive.

Since I gave last year’s Skullcandy earbuds four stars, and these are basically the same thing, some might be wondering where half a star went. That was removed because the Method 360 was good for the price, and the 540 price hike makes them a less appealing prospect.

Given the increased cost, the lack of upgrades and the shoehorned AI mode, it’s just hard to get as enthused about the Method 540. And so it’s harder to recommend them, given how many low-cost rivals there are in 2026.

Skullcandy Method 540 ANC review: Specifications

Skullcandy Method 540 ANC review: Price and availability

• Announced in January 2026
• RRP $149.99 / £129.99 (roughly AU$250)
• Skull AI costs $4.99 monthly

The Skullcandy Method 540 ANC were unveiled on January 8, 2026, at the annual CES tech conference. That release falls only nine months after the release of the Method 360.

You can pick up the earbuds for $149.99 / £129.99 (roughly AU$250, though there’s no word on an Australian release just yet). That’s a notable price hike over the Method 360, which sold for $119 / £99 / AU$189, and are even cheaper now thanks to some discounts.

That retail price doesn’t even take into account the monthly cost of Skull AI. Access to this AI assistant costs $4.99 per month or $49.99 per year – regional pricing wasn’t available at the time of this review – but it’s worth noting that Skull AI is optional and starts with a 3-month free trial.

Skullcandy Method 540 ANC review: Design

• Chunky carry case
• Incredibly reliable in-ear fit
• Only black or white options

You know how wireless earbuds makers constantly one-up each other to make svelte little carry cases? Skullcandy didn’t miss the memo – it received it, laughed at it, screwed it up into a ball and threw it away. The Method 540 buds come in a tube, and you slide out the central column to reveal them.

The 360 used the same mechanism, although it’s a little thinner this time around: it measures 3.6 x 2.9 x 10.2 cm, and weighs 72g. At the time of writing, the buds only come in black or white, but Skullcandy often releases funky colors for its products, and hopefully it’ll follow for the 540.

This is not a convenient way to carry earbuds – the monolith doesn’t fit well in trouser pockets. But honestly, I don’t mind – I ended up just putting it in my jacket or bag instead. Perhaps I’ve grown used to these chunky cases from testing other such buds, or maybe petite carry cases are overrated. Plus, a magnetic mechanism makes sure it stays shut tight when not in use, a carry hook means you can attach them to your keys or bag, and unlike in the 360 the charging port is out in the open.

My biggest annoyance with the old model remains, though: putting the buds in the case isn’t convenient, as you have to put them in, in a very particular fashion. It takes quite a bit of maneuvering and flipping to make sure they’re in right, and quite often I’d only realise I’d bungled the job when the case wouldn’t shut properly.

Skullcandy has trimmed the fat of its carry case, but it hasn’t touched the earbuds from the last-gen models – and it didn’t need to. Like the 360, the buds fit snugly and reliably, thanks in part to the grippy eartip material, but mostly due to the fins which wedge the buds into your ear. I went for runs with the buds and took them to the gym, and they never threatened to fall out.

They’re not that light, at 11g, or protected, with IPX4 (no protection against dust, only protected against splashes). But they’re not going to fall out into a puddle thanks to the lovely fit, so it doesn’t really matter.

Each bud has touch controls if you tap on their body, which generally felt okay to use, once I got used to tapping the right spot.

• Design score: 3.5/5

Skullcandy Method 540 ANC review: Features

• ANC is solid, not best-in-class
• Battery life is above average: 11 hours from the buds/29 including the case
• App misses some basic features

Technically, these buds are sold as the Skullcandy Method 540 ANC, and so naturally these buds have Active Noise Cancellation. It’s no more advanced than on the 360: pretty solid, but not best-in-class. Loud noises will cut above the silence, though the background hum of city life will get stripped away.

Stay-Aware falls into the trap that many transparency or surround-hearing modes do, in that it seemingly amplifies more than it strips. Thankfully, Skullcandy has included an Intensity slider in the app, so you can turn down its effects.

According to Skullcandy, the Method 540 lasts for 9 hours with ANC on, or 11 hours with it off, and I’d concur with those estimates. That goes up to 23 or 29 hours when factoring in the extra power offered by the case. And that's good, honestly – any earbuds capable of lasting over 7 hours with ANC on represent above-average stamina.

You’re required to download and use the Skull-iQ app in order to use the 540’s extra features – not the standard Skullcandy one, something I only discovered after downloading the wrong one. I made the exact same error with the 360, but if I say it now, hopefully I save a few of you from making the same mistake.

The app lets you toggle ANC modes, play with a 5-band equalizer, turn on low-latency mode, use the earbuds as a remote phone camera trigger, enable Spotify Tap or set up multipoint pairing. Oh, and the main menu has two separate options for Skull AI. Notably missing perks include the ability to customize touch controls, any kind of fit or listening tests or a find-my-earbuds feature. Any one of these would be a more useful addition than an AI chatbot, as would a more advanced equalizer, or extra presets beyond the three available.

During testing, I had a few temporary Bluetooth drop-outs, but they all resolved themselves quickly.

• Features score: 3.5/5

Skullcandy Method 540 ANC review: Sound performance

• 12mm drivers and Bose tuning
• Less bassy than Skullcandy norm
• EQ tweaking is mandatory

On paper, the Skullcandy Method 540 match their predecessors in terms of audio specs: 12mm drivers, tuning by Bose, and a total lack of support for any Bluetooth or high-res streaming codecs.

It’s fair to say I was complimentary of the 360’s sound, but I can’t quite say the same about the 540. Partly, it could be because my ears have been spoiled by some fantastic budget rivals in the last year. But there also seem to be tuning differences too.

Skullcandy has a reputation for offering bass-heavy products, something that’s levelled either as a criticism or high praise, depending on the listener. People who sit in the former camp probably haven’t read this far into the review. The Method 540, however, seem to buck this trend. Simply put, they're not all about that bass.

These buds are relatively and surprisingly neutral for Skullcandy products. Treble is more powerful, the low end is sensibly is pared-back, mids are… well, we can’t hope for miracles. This new face would be an interesting twist, except that it reveals that there’s not much else going on under the surface.

Songs sound a little flat, with nothing to replace the lost bass injection, to add a little energy into proceedings. And it sounds like the top was lopped off to the detriment of some treble frequencies and musical passages; hi-hats, guitar stings and vocal flourishes do sound compressed.

There’s a lack of a meaningful soundstage, so instruments are tripping over each other to be head. When you listen to songs like Wake Up by Arcade Fire, or All My Friends by The Revivalists, what should be an encompassing cacophony of noise sounds more like a music track being played from a phone. I checked out Atmosphere by Joy Division after it was featured in The History of Sound, and even in the remastered version, it sounded like Ian Curtis was playing every single instrument. What about some noughties rock, right in Skullcandy’s core demographic? The guitar riffs of Yellowcard’s Ocean Avenue sounded heavy and dull – even if the wall of sound of the chorus picked up the energy a little.

Saving the Method 540 is the app. I always listened on Bass Boost, which went some way in restoring the Skullcandy sound – these things have the capability for decent bass if you can coax it out. I also dabbled with the equalizer. Though it only has five bands, it lets you add a bit of needed chutzpah to music. And the max volume is still high, so you can rock out at max power.

• Sound performance score: 3.5/5

Skullcandy Method 540 ANC review: Value

If you’ve been paying close attention, you’ll have noticed that the Skullcandy Method 540 earbuds don’t offer that many upgrades over the 360… well, other than the higher price, and optional chatbot.

Given that it’s basically the same product, but for about 25% more, the Method 540 don't feel like they offer great value for money. That’s doubly true given that the older buds have seen price cuts of around 30% off, depending on where you live.

• Value score: 3/5

Skullcandy Method 540 ANC review: scorecard

Skullcandy Method 540 ANC: Should I buy?

Buy them if...

Don't buy them if...

Also consider

How I tested

I used the Skullcandy Method 540 ANC for three weeks before writing this review.

The headphones were paired to a OnePlus phone for the entirety of the testing process. I listened to music from Spotify and Qobuz, played various games, conducted several video and voice calls, watched Netflix and listened to voice notes using them. Testing took place at home, while on runs, during cycling (Stay Aware mode, of course), at the gym, on various public transports, and on walks around different areas of my city.

I've been reviewing gadgets for TechRadar since 2019, including countless low-cost and mid-range headphones. That includes, of course, the Method 360 earbuds, as well as the Crusher 540 Active over-ears from Skullcandy.

Read more about how we test

• First reviewed: February 2026

Sony WF-1000XM6: Two-minute review

The all-new Sony WF-1000XM6 an impressive set of earbuds with a formidable set of features – especially formidable for tech journos such as me, who are obliged to stick within some sort of length limit for these reviews – but as Sony seeks to recapture class-leading greatness with its 1000X series lineup, I can't help but wonder whether at some point we'll reach a case of diminishing returns.

Here, for example, Sony once again provides us a smaller earpiece. It's 11% thinner but somehow contains a 1.5x larger antenna for better connection stability, an extra mic per bud to equal eight in total, and two processors. One of these is called the QN3E (to take care of the eight mics and facilitate a new auto ambient sound mode) and the other is the V2, to enable 32-bit audio support (with Sony's LDAC codec) using the new 8.4mm unique driver and introduce a new 10-band EQ tab with a 'Find your EQ' tech plus new 'gaming' EQ preset.

But how many mics per bud is enough to facilitate fantastic ANC? And how much do we need our earbuds to shrink before the listener decides enough is enough – because they're actually not sure it's made the product that much better?

But before I answer those questions, know that for sound quality alone, the Sony WF-1000XM6 are a very good set of earbuds.

Some of the best earbuds on the market then? Well, Sony has certainly sought to stuff these buds with every upgrade it can (and every feature you can possibly imagine) using its own proprietary technology.

But there's the rub; the company that brought us 360 Reality Audio with head-tracking would absolutely love for you to use it, but the format is no longer supported on nearly as many of the big music streaming sites as it used to be – Deezer dropped it in 2022; Tidal gave up its support for the 3D format in 2024.

And in terms of hi-res Bluetooth chops, LDAC is of little use to iPhone owners, although Sony's DSEE Extreme upscaler is here again and it does make Spotify streams sound a lot better.

So what's excellent about the WH-1000XM6, what's less so, and are they worth their refreshingly approachable asking fee? The design of the buds is now pill-shaped, and while the earpieces are thinner, the units are also taller with a little notch halfway up to help them fit.

Because they're slightly more raised from their charging nest and covered entirely in a matte plastic for better traction, they boast what Sony calls "easier pick up" from their case – and I can confirm that while I wasn't convinced about the overall fit in the ear, I didn't drop them while first grabbing them half as much as I did the older XM5.

Sadly, the active noise cancellation didn't live up to my expectations in real-world testing. That said, the battery life, at eight hours from the buds and up to 24 with the case – and yes, that is with noise cancellation deployed – isn't bad at all.

Do I love them? Having spent over two weeks with them, I like them a lot, and that new antenna does provide rock-solid connection that never falters. I also liked the new Background Music Effect perk much more than I thought I would – it's a great focus aid, allowing you to push the music back just slightly, so you can hear yourself think.

Also, Sony's Quick Attention feature, wherein you simply cover the left earbud to lower music and quickly filter in ambient sound around you, is a winner, although this isn't new for Sony – we've loved it on the Sony WH-1000XM6 and previous headphones too.

Ultimately for me though, the noise cancellation isn't the class-leading triumph it is billed as, and competing options such as the Bose QuietComfort Ultra Earbuds 2nd Gen (and Apple AirPods Pro 3, if you've got an Apple source device) are offering better access to spatial audio formats and that cocoon of silence noise-nixing you may prioritize.

Add in the Technics EAH-AZ100 as an alternative – offering triple device multipoint, clearer calls and a more comfortable fit – and ultimately, while the WF-1000XM6 are talented and capable earbuds in many respects, there are other buds I would still nudge you to reach for, at this level.

Sony WF-1000XM6 review: Price and release date

• Released on February 12, 2026
• Priced $329 / £250 / AU$499.95
• Available in Black or Platinum Silver

Thankfully, Sony's kept a lid on price increases here here. The older flagship Sony WF-1000XM5 launched in July 2023 for $299.99 / £259 / AU$499, so the WF-1000XM6 are only slightly more expensive in the US, and are actually cheaper in the UK.

That said, Sony's hand has been somewhat forced, because Apple's AirPods Pro 3 came with a $249 / £219 / AU$429 price tag when they hit shelves back on September 19, 2025 – ie. cheaper or the same as the AirPods Pro 2's $249 / £249 / AU$399 price tag in the UK and US (although in Australia, they did come with a more expensive launch price).

Other direct competition at this level? The closest rivals are most pressingly the aforementioned AirPods Pro 3, followed by premium offerings such as the Technics EAH-AZ100, which are $299 / £259 / AU$478 or the Bose QuietComfort Ultra Earbuds (2nd Gen) for $299 / £299 / AU$450. I might even mention the Bowers & Wilkins Pi8 although those are a fair bit pricier, at $399 / £349 / AU$599.

So as you can probably deduce, Sony has actually gone in quite aggressive with the asking fee here.

Sony WF-1000XM6 review: Specs

Sony WF-1000XM6 review: Features

• 10-band EQ tab with 'Find My EQ' and new Gaming preset
• DSEE Extreme upscaler, LDAC, LE Audio and 360 Reality Audio
• Background Music Effect is surprisingly useful
• …but the noise cancellation isn't the smash-hit it's billed as

Sony has once again stuffed these earbuds with all the perks and extras it knows, but a lot of them will be a case of "Yes, we know about that – what's new?" to fans of Sony's WF-1000XM lineup.

So what is new? The 10-band EQ tab (it used to be limited to five) is one upgrade, plus a specific Gaming EQ preset. Sony's more recent Sound Connect app is also newly used with the flagship lineup (this used to be the Sony Headphones app, until October 2024) but Sound Connect was already around for the budget-friendly Sony WF-C710N, which landed April 2025 – so anyone who owns those will be familiar with the 'Find My EQ' tab.

If you're not one of them, I can tell you that it's still good here: you tap on various sound profile bubbles and the software continues to supply more, based on your preferred listening choices, until it presents a personalized profile you can save as a preset.

But again, it's something that is also available in much cheaper Sony earbuds. It's also not a hearing test, as such (there are no diminishing tones to engage with; no analysis of your hearing and curation of a truly unique profile with augmented tones for you) and while you may not want a full hearing test, it's worth stating that competing options I've mentioned do offer it, for similar money. And if you're hoping for a huge app overhaul from the older Headphones app, you won't get it sadly.

For me, this companion app isn't the most intuitive. For example, the home screen is essentially a list of tabs – you can assign elements to be placed at the top of this, from the depths of the device settings, although for me this sometimes just further complicates things – but along the bottom are four smaller tabs labelled 'My Device' (the one you're brought to upon launching it); 'Scene', which attempts to work out what you're doing physically and also suggests profiles that can be deployed at specific times, such as 'Gym' or 'Commute Home', if you feel you need them; 'Discover' for your listening history (Sony likes to offer logs and 'badges' for listening) plus the option to deploy a gentler Safe Listening experience; and lastly, 'Menu'.

Now, you'd think 'Menu' is where all the good stuff lives, but this is basically just a home for the support bot, a 'Help' function, backups and 'About this app' info.

This means that what you need to do in order to get to any tweakable features is to scroll down to a small tab at the bottom of the 'My Device' toggle labelled 'Device Settings' and from there into the minutiae of customization tabs.

It just feels like a lot of taps. It also presents many chances for newbies to venture down the wrong route, to a dead end, and then wonder how to get back to what I like to call 'that long list I had before'. A reshuffle of the app might be sensible, to bring the user more quickly to the perks they actually want to find quickly.

At the top of these Device Settings is 'Noise Canceling/Ambient Sound', but although Ambient Sound has a manual incremental 20-step slider, a 'sensitivity setting' which can be either Standard, High or Low, an auto toggle, and an option to toggle on Voice passthrough (to filter in voices while still suppressing noise), your actual noise cancellation options are still just 'on' or 'off', which feels a little disappointing, especially given the extra mic per-bud onboard here.

Sony hasn't listed a figure for the noise-nixing power in decibels, but the company is keen to tell us that the WF-1000XM6 are the "best noise-cancelling" earbuds it's ever released.

Sadly, I need to manage your expectations here, because although certain sounds are indeed dulled when I deploy ANC, when I switch to the AirPods Pro 3 and it's a different level. Want that bubble of silence feeling where the noise drops and extraneous sounds simply melt away? The kind of ANC that makes you genuinely surprised at how noisy your immediate surroundings have become, when you remove them? Sadly, the Sonys are fairly good, but they're not that good – Bose and Apple both have them beat.

Call handling? This is also a bit of a let down – and not just because it's been so hyped by Sony in these new buds. Although Sony couldn't wait to extol the talents of the new mic on each bud, the new wind-nixing structure around them, plus a new AI algorithm with beamforming and bone conduction sensors to aid with both ANC and call-handling on those four mics per earpiece… in practice, callers said I sounded "muffled" when using them for voice calls, especially when compared to my regular Technics EAH-AZ100.

While I'm on the comparison, Sony's answer to Technics' excellent Sidetone tech, to amplify your own voice in calls, is an on/off toggle called 'Capture Voice' in the app, but I couldn't detect much difference either way when trying to use it. And because I had to really screw the earpieces quite far into my ears to get a secure fit (more on this later), I think I would have benefitted from more of a boost here.

All of this aside, a lot of things are really enjoyable about the WF-1000XM6 – and Background Music Effect is top of the list. To find it, you have to scroll down that thin tab at the bottom of the 'My Device' tab, labelled Device settings > Sound Quality/Volume > Listening Mode > Background Music – see what I mean about decent features being somewhat hidden away?

Only then will you be able to select from 'My room', 'Living room' or 'Cafe', which spreads and pushes your music just a little further away from your ears each time. I thought it'd be gimmicky; I was wrong. If you're someone who sometimes turns the TV on just for a bit of background noise to focus, or simply can't concentrate if lyrics are too prominent in your ears, say, this feature is for you.

I also like that the on-ear controls are now fully customizable, once you've delved into Device settings > Controls > Change the touch sensor function > Custom. The one caveat is that if you set a long-press of the left earbud to be volume decrease (which is always my preference) you lose Quick Attention, which is one of my favorite Sony-specific earbuds features because it's so useful – if someone starts talking to you or there's been an announcement about the late arrival of your train, say, simply press and hold the left bud and music is pushed low while ambient passthrough is boosted.

Other pleasing notable mentions go to the app's ability to corral my Apple Music subscription to the fold so I can see some playback information in the My Device tab, the 'Optimal Earbud Tips' wearer test (it's quite strict, you know) and the option to prioritize either a stable connection or audio quality. And I should probably mention that thanks to that bigger antenna, I never once experienced any dropouts in connection with this iteration (which was an issue with the older Sony WF-1000XM5 when I reviewed them, initially).

I've also long been a fan of Sony's DSEE Extreme upscaler, which takes your lossier music streams and does remarkable things to add detail and nuance. Here, it is very well implemented; I had to check more than once that I hadn't switched over from Spotify to one of the more audiophile-friendly streaming platforms, and that is something I don't say lightly.

There's also multipoint to two devices and Auto Switch, for handing off the audio from your buds to your Sony Linkbuds Speaker when you come home – but that's the only Sony speaker currently supported, so is pretty niche as an option.

Spatial audio? Ah. Yes, it's technically here, because you can have 360 Reality Audio – if you can find any content presented in the Sony-made format, given that Tidal and Deezer both dropped support a little while ago…

• Features score: 4 / 5

Sony WF-1000XM6 review: Sound quality

• Crisp bass that neither bloats nor overstates itself
• Plenty of texture through upper mids
• Beaten for dynamic nuance and detail across the frequencies

Switching all sound profiles to 'standard', with a neutral EQ and making sure I've selected the connection profile that prioritizes audio quality (rather than a stable Bluetooth connection) in the Sony WF-1000XM6, I cue up Sevdaliza's Mad Woman. The clock chimes in the opening of the song simmer beautifully initially, with razor-sharp leading edges of notes from the buds. And that note goes all the way down to the abyss without issue too, which is more than can be said for entry-level (and even most mid-range) earbuds.

I'm just missing an extra ounce of build and intentional distortion through the belly of the note that I know to be there – and it's confirmed when I switch to the Technics EAH-AZ100, which have no trouble revealing it.

If you've heard Harry Styles' new track Aperture, it's a similar idea; the timing ticks along beautifully and the Sony buds never shy away from a bass drop, but I can't help but notice when they gloss over a marginal inflection or pop within a gloriously imperfect synth note – because that wants to be remembered as such, and the buds aren't quite recreating it perfectly.

I'm being hypercritical, of course. The sound here is very good indeed – in fact, in instrumental works such as Nicholas Gunn's Campfire there's an expansive and emotive soundstage wherein each musical strand is held together in a cohesive and rewarding mix.

Human breath feels three-dimensional and, for want of a better word, real. It's just that when the flute comes in, I'm missing an iota of excitement as the soundstage builds in intensity and the shaker comes in.

That said, I'll caveat all of this with one potential reason: I did struggle to get the Sony WF-1000XM6 to fit perfectly, even after a week with them… but that's for the next section. If you can achieve a secure fit and seal, I do think there'd be very little in it between them and the best-sounding earbuds in their class.

• Sound quality: 4 / 5

Sony WF-1000XM6 review: Design

• On-ear controls are reliable and the headshell is grippy
• Divisive fit and ear-tip material – although plenty of tips are provided
• Case magnets feel a little weak

Sony has once again reworked the shape of its earbuds and I have to say that the company's commitment to tweaking and amending the fit in the pursuit of excellence is commendable. These earbuds are 11% thinner than the older model and are very much pill-shaped from above, but they are taller.

That means – and there's no pretty way to say this – they stick out of your ears a little more (as well as from their taller case), and there's a little notch or nub halfway up the housing, to nestle into your outer ear.

Far from being disappointing to me, this initially quite bulbous-looking fit can work very well (see the 'concha fit' style pioneered by the aforementioned Technics EAH-AZ100), however, in this thinner shape, I found that getting a secure fit did involve a fairly rigorous push and twist into the ear, to get them to 'lock in', as it were.

I worry that in the pursuit of a positive 'they're smaller!' goal, Sony hasn't quite achieved the aim of a better fit – although fit is a very personal thing.

I eventually achieved the best fit using the 'S'-sized small tips (not the XS, which is unusual for me), backed up by Sony's in-app ear-tip fit test tech, but after several hours of listening, the lower part of my antihelix and on to my antitragus did ache a little.

I also think there's a small chance that the shape of these buds affects the efficacy of the noise cancellation – their thinness perhaps means they didn't fill my outer ear fully, quite where they should? It's hard to know for sure, but as someone who's testing more buds than I can count, it felt a little off.

One good aspect of the taller buds, along with the fact that there's no shiny plastic involved in the design, is that I never once dropped an earbud while getting them out of the case, and that is a comment often levelled at the older XM5 buds.

The ear-tips are again memory foam in style, and while I like them a lot and found them very easy to switch out (particularly thanks to the little colored bands on the bottom, so you don't mix them up), unlike silicone options you do need to give them a moment to re-form if you inadvertently squish them while fitting.

The case is much more angular and a little taller, but maintains a USB-C charger and reset button on the back (it'll also charge wirelessly) plus a solo green LED light on the front. It can charge wirelessly too.

My only point on the case is the magnets that snap the case lid shut; given the extra height and bulk on the top, it feels as if they could be stronger. I did an initial drop-test and it did stay shut, but I didn't feel as confident of this happening consistently as I have with other class-leading buds.

In terms of battery life, their claim of eight hours from the buds with ANC and 24 from the case equals that of the AirPods Pro 3, which means it's good – but this is a standard rather than outstanding figure. In testing, I got a little less from them, at seven hours before they needed charging – but my testing does often involve boosting the volume above 50% and scrolling through features and profiles.

• Design score: 4 / 5

Sony WF-1000XM6 review: value

• Stuffed full of features and far from the most expensive buds around
• …but the ANC isn't class leading, and spatial audio might be hard to access

Do you want the best noise-cancelling earbuds on the market for noise-blocking power? If so, the WF-1000XM6 are not my first choice – but that's not at the top of everyone's list, and doesn't mean you should discount them.

For sound, there's plenty to celebrate. These earbuds offer an expansive and pleasing soundstage with neutrality and plenty of options to further tweak the sound to your liking. If pushed, I could've used a little more energy and oomph to allow for an extra ounce of dynamic nuance, but it's my job to nitpick and I maintain that for sound, they're still bang on the money. Buy them, and you won't be disappointed in the WF-1000XM6 sonically.

But do you want device- and streaming-service agnostic spatial audio profiles with dynamic head-tracking? That's more of an issue sadly, since 360 Reality Audio isn't what it once was (Deezer and Tidal no longer support the format) and as such, you might feel you're missing out – where options such as the Bose QuietComfort Ultra Earbuds (2nd Gen) do offer that, in various guises and in conjunction with tweakable ANC.

• Value: 4 / 5

Should I buy the Sony WF-1000XM6 review?

Buy them if…

Don’t buy them if…

Sony WF-1000XM6 review: Also consider

How I tested the Sony WF-1000XM6

• Tested for two weeks
• Tested at home, on a plane, on long train journeys, and while running (occasionally in the rain)

I used the Sony WF-1000XM6 for two weeks to complete this review. My testing process involved listening to new music on Tidal, Qobuz and Apple Music as well as podcasts and plus streamed TV shows from my Apple iPhone 15 Pro (I'm catching up on Married at First Sight UK, please don't judge me) on long train journeys to and from London. I also paired simultaneously to my MacBook Pro and both connections were easy and solid.

I listened at home, on a quiet train, on admittedly half-hearted runs in the constant UK rain, and I even taught myself to make natural soy wax candles from YouTube videos with the WF-1000XM6.

I've been testing audio products full-time since 2019, firstly at TechRadar's sister publication What Hi-Fi? as a staff writer, then as senior writer and now audio editor here at TechRadar.

My background as a professional dancer means I never tire of listening to music, and my still-insatiable need to move to what I'm hearing is what drives me to search for faithful timing, neutrality, precision, clarity, energy, and good old fashioned fun in recorded audio.

• First reviewed February 2026

• Read TechRadar's review guarantee
• Learn more specifically about how we test earbuds at TechRadar

Philips Fidelio FT1 turntable/CD player: two-minute review

There’s no school like the old school, right? Philips certainly seems to think so anyway, because it’s delivered a product you may not have even realised you needed: the Fidelio FT1 is a belt-drive turntable with integrated phono stage and a built-in CD player, that can act as a Bluetooth transmitter and features Auracast connectivity.

And it costs less than a stand-alone turntable or CD player that might easily be considered ‘entry level’.

Obviously the FT1 is not that last word in sturdiness or unburstable build quality. It’s perfectly well put together, though, looks quite good in its gloss-black finish (as long as you’re not the one who has to clean it) and arrives with a very decent Audio Technica cartridge pre-fitted to its aluminium tonearm. Add in a control app to complement its physical controls and you’ve got a ‘just-add-speakers (-or-wireless-headphones)’ plug-and-play device that covers several functionality bases.

In practice it’s not without charm. There’s plenty of drive and energy to the sound, no matter the source of the music you’re listening to, and the midrange communicates very freely. Dynamic headroom is significant, and the Philips controls its (solid, detailed) low frequencies well enough to express rhythms with real confidence. It’s strangely flimsy where treble response is concerned, though, and the bass does tend to sound rather estranged from the rest of the frequency range.

It’s nevertheless an enjoyable listen overall, though, and there’s a lot to be said for the amount of sonic enjoyment, as well as extended functionality, your money buys. One of the best turntables on the market? For this money, I really think it's hard to argue against it.

Philips Fidelio FT1 turntable/CD player review: price and release date

• Announced in September 2025, but released early 2026
• Priced $349 / £269 / (approx.) AU$429

The Philips Fidelio FT1 turntable/CD player/ Bluetooth transmitter is on sale now, and in the United Kingdom it sells for £269, while in the United States it’s yours for around $349. In Australia, meanwhile, the going rate is something like AU$429 – or, at least, that’s what today’s exchange rate suggests…

Philips Fidelio FT1 turntable/CD player review: features

• 33.3 and 45rpm turntable with Bluetooth transmission
• Integrated phono stage
• CD playback too

You can’t argue with the functionality that’s available here; certainly not at the asking price. In a chassis that’s actually a little narrower than your average turntable, Philips has managed to incorporate a record player with a switchable phono stage, a CD player and Bluetooth transmission. If you’re old enough to remember the whole ‘music center’ thing, you’re entitled to have a mild flashback just about now.

As far as the turntable section goes, the Fidelio FT1 is a belt-driven device that arrives with an Audio Technica AT3600L moving magnet cartridge pre-fitted to a straight aluminium tube tonearm. It has automatic speed-change via a dial on the plinth, and on the rear of the device there’s a switch to turn the integrated phono stage on or off.

The platter is of die-cast aluminium and there’s a rubber slip mat supplied too. The FT1 is a Bluetooth transmitter, and can convert an analog signal from your vinyl to a digital equivalent and then send it to a pair of wireless headphones or speakers via Bluetooth 5.4 using one of the SBC, AAC or LC3 codecs with which it’s compatible. Philips, understandably, considers its Fidelio FA3 wireless speakers to be the ideal partner for the FT1, but any Bluetooth receiver is fair game. It’s also Auracast-equipped – so it’s able to transmit whatever’s playing to as many appropriate speakers as you have access to.

There’s a compact disc drive built into the FT1 too. The tray into which CDs are loaded emerges from the front right section of the plinth – the tray door also features an LED display which gives confirmation of the selected input and the usual ‘track number, time elapsed, etc etc’ stuff when a CD is playing. The regular CD player modes (‘shuffle’, ‘repeat’, ‘random’ and so on) are available, and the drive itself is compatible with CD-R/RW and MP3-CD as well as your ordinary CDs.

• Features score: 5/5

Philips Fidelio FT1 turntable/CD player review: Sound quality

• Quite direct and energetic character
• Insubstantial treble response and slightly dislocated low end…
• …which can make the midrange seem rather exposed

There are, of course, perceived differences in the fundamental sonic signatures of vinyl and compact disc – but initially, one of the most most striking things about the Fidelio FT1 is just how consistent and itself it sounds no matter the source of the music it’s playing.

For better or for worse, its own sonic character seems to override those of the format it’s dealing with. So a CD of Barry Adamson’s Oedipus Schmoedipus is presented in much the same way as a vinyl copy of Doechii’s Alligator Bites Never Heal. The FT1 is an up-front, positive and quite energetic listen. It keeps a firm grip on the lower frequencies where attack and decay are concerned, so rhythms are expressed with confidence. There’s appreciable drive to its presentation, and a facility with dynamics that makes the up- and down-shifts in volume or intensity in a recording perfectly apparent.

Detail levels are respectable, even where the most minor and/or transient information is concerned. And the Philips discloses quite freely through the midrange, giving Doechii’s idiosyncratic delivery abundant character and attitude as well as revealing the goings-on of her technique and tone. This is further facilitated by the way the FT1 organises a soundstage – the midrange is nudged forwards, which further adds to both the intelligibility of voices and the overall sensation of direct communication.

Where tonality and frequency response are concerned, though, we’re on less solid ground. At the top of the frequency range the FT1 can quite readily become splashy and insubstantial, even at quite low volume levels – there’s a lack of body to treble sounds that never quite becomes edginess or hardness, but certainly serves to make the top end sound a little flimsy.

At the opposite end there’s no shortage of low-frequency substance, and a fair amount of tonal and textural variation – but there’s a sense of remoteness to the bass, a lack of unity with the frequency information above it that makes it sound a little distant.

The ability to stream wirelessly to headphones or speakers, or to physically connect to a system of some sort, is of course very welcome. But if you’re switching between the two you’ll need to be prepared to ride the volume control (either in the app, on your wireless speakers/headphones, or your amplifier), because the FT1 is noticeably quieter through its line-level output than it is through its Bluetooth equivalent.

• Sound quality score: 3.5/5

Philips Fidelio FT1 turntable/CD player review: Design

• 130 x 420 x 370mm (HxWxD, without dust cover)
• Plastic shell contains 20% recycled materials
• Detachable clear plastic dust cover

You can’t expect the Earth when ‘design’ is concerned when it’s obvious Philips has devoted the bulk of its budget to piling on the features – and sure enough, the FT1 is as pragmatic a piece of design as you’re likely to encounter.

The main box, on which the turntable platter sits (and in which the CD-related stuff lives) is built of hard, extremely glossy black plastic that features a fair amount of recycled post-consumer material. It’s shiny and reflective, as is all too obvious from my photographs – and even though the detachable dust cover is clear, rather than black, it’s just as keen to pick up fingerprints as the rest of the device.

Although the dust cover of my review sample doesn’t sit absolutely centrally on the plinth (it’s offset to the right just about enough to trigger my latent OCD), there’s no arguing with the standard of construction and finish here. Nothing feels vulnerable, even though the entire unit weighs less than 4kg, and the CD tray opens and closes smoothly.

The FT1 isn’t absolutely silent when it’s loading a disc or the turntable’s ‘auto start’ feature kicks in as the tonearm is taken from its rest and moved over the vinyl – but keep the asking price uppermost in your mind and there’s really not that much to take meaningful issue with here.

• Design score: 4/5

Philips Fidelio FT1 turntable/CD player review: usability and set-up

• Control app and physical buttons
• Auto-start and -stop
• Rapid Bluetooth pairing

Setting up the Fidelio FT1 is neither complex nor taxing. The die-cast aluminium platter needs to be put on its spindle, and the belt that’s attached needs to be put over the drive pulley. The tonearm needs its counterweight to be fitted and adjusted – Philips recommends a tracking weight of 1.5g or so. There’s a guard on the cartridge which needs to be removed. That’s your turntable section ready to go – for CD playback, just remove the transport tape holding the drawer closed and that’s all you need to do.

The FT1 can be hard-wired to an amplifier using stereo RCA connections – make sure the integrated phono stage is switched either on or off, depending on the input you’re connecting to. There’s a 3.5mm analog output on the rear panel too (not the most convenient location, but let’s not get bogged down in that), in case you’d like to connect a pair of wired headphones. Otherwise, the Philips can be quickly and easily paired with wireless speakers, wireless headphones or any other kind of Bluetooth receiver.

Control of the system is available via some physical buttons on the plinth. There’s a relatively big ‘power on/off’ button and a speed-control dial (choose between 33.3 and 45rpm). In addition, there are buttons handling Bluetooth pairing, source selection, Auracast, play/pause, and the opening and closing of the CD drawer.

The FT1 can be integrated into the Philips ‘Entertainment’ app, too. Here you’re able to duplicate the functions of the physical controls (apart from ‘power on/off’, weirdly), adjust volume, programme the CD player, adjust the clock or set a timer, check for software updates and plenty more besides. It’s not the most intuitive app around, in all honesty, but stick with it and it proves very useful indeed.

• Usability and setup score: 5/5

Philips Fidelio FT1 turntable/CD player review: Value

• Three separates in one, plus Bluetooth transmission
• If you can deal with a few sonic shortfalls, it's a lot of kit for the money

On the face of it, it’s hard to argue with the value represented by swapping $349 / £269 for an automatic turntable with integrated phono stage and CD player, especially not one that’s a Bluetooth transmitter and Auracast device too.

But of course, you didn’t buy the Fidelio FT1 just to admire its specification (or to constantly be dusting its high-gloss finish), did you? If you can live with its insubstantial treble response and, to a lesser extent, with its rather remote way with the low frequencies though, the Philips has plenty going for it.

• Value score: 4/5

Should I buy the Philips Fidelio FT1 turntable/CD player?

Buy it if...

Don't buy it if...

Philips Fidelio FT1 turntable/CD player review: also consider

The beauty of the Fidelio FT1 is that it’s currently Number One in a field of very, very few - and certainly the ‘Philips’ badge is more credible that that worn by any of its nominal competitors. So unless you want to trust your vinyl collection to a brand you’ve either never heard of or that has a less-than-stellar reputation, the FT1 is probably the way to go.

That's unless you can stomach the idea of a Bluetooth-equipped turntable – the Sony PS-LX310BT is a particularly impressive example, the Majority Folio is also worthy of a look – and an affordable CD player as a separate purchase. But then, of course, you can’t stream your CDs wirelessly…

How I tested the Philips Fidelio FT1 turntable/CD player

• Tested over the course of three weeks
• Tested its vinyl and CD performance, wired and wirelessly

Naturally I listened to both vinyl and compact discs during the course of my testing. I connected the FT1 wirelessly to a pair of matching Philips Fidelio FA3 wireless speakers (review incoming!), and I also connected it to my reference system using RCA cables and with its integrated phono stage switched on.

I used it with wired and wireless headphones. That’s the thing about products with as much functionality as this – it takes ages to investigate every aspect of their performance…

• First reviewed: February 2025
• Read more about how we test

Fluance Ri91: Two-minute review

The Fluance Ri91 floorstanding speakers are the third pair of Fluance's line-up that I’ve reviewed here at TechRadar with each model sounding better than the last – I don't mind sharing that this testing has turned me into a bit of a fan.

The Fluance Ri91 represent a modernized addition to the competitors for our list of the best stereo speakers – like the Fluance Ri71, they are a step up for the company since they include support for Bluetooth including aptX, plus an HDMI ARC input. Add in the reasonable price for what they are, and they're very tempting indeed.

There are issues with the Fluance Ri91, but they're minimal. Sure, the sound is a bit mid-focused, but most people looking for pleasing audio will appreciate this fact (and they sound great overall anyway). The lack of a phono preamp isn't a dealbreaker, and is easily remedied if needed.

The only real concern I have is about build quality, because the original pair of these speakers I received had an issue with the HDMI port (quite a major one: it didn’t work).

That said, the Fluance Ri91 speakers come with a warranty, and the replacement pair the company sent presented no issue during review.

Considering how expensive floorstanding speakers can get, I think these speakers at $799 (about £640 / AU$1,270) are very easy to recommend for any music lover or budding audiophile.

Fluance Ri91 review: Price and release date

• $799 (about £640 / AU$1,270)
• Released in March 2025

Being the big brother of the Fluance Ri71 I recently reviewed, the Fluance Ri91 is appropriately a bit more expensive, but thoroughly reasonable at $799 (about £640 / AU$1,270).

While the Fluance Ri71 is available in both the US and UK, the Ri91 reviewed here seems to only be available in the US.

At least these floorstanding speakers are available through a number of retailers like Amazon, Macy’s, and Walmart, as well as directly from the brand itself.

Fluance Ri91 review: Specs

Fluance Ri91 review: Features

• Comes with HDMI ARC input
• Bluetooth supports aptX HD
• Doesn’t come with phono preamp or Wi-Fi streaming

The feature set of these sorts of speakers – even active ones – is going to be pretty limited compared to what you find in the best soundbars, despite the addition of an HDMI port. But that’s because they’re not trying to do the same thing. The features here are focused on convenience and helping getting the best stereo sound possible.

Regarding convenience, it first should be noted that the Fluance Ri91 are an active set of floorstanding speakers, meaning that they don’t need an external receiver for power or connections. Also on the convenience front is the HDMI-ARC input, which is new for Fluance on the Ri91 and the Ri71 bookshelf speakers that were released at the same time.

There's Bluetooth 5.0 and aptX HD support for wireless streaming, with the allowing transmission of higher-res audio. That’s greatly appreciated for those using hi-fi-level streaming services – but not that there's no Wi-Fi, or for the highest-res support, except for wiring in the old-fashioned way.

These speakers pump out 150 watts of class D power using two 6.5-inch woven glass drivers and a 28x35mm AMT in place of a traditional tweeter. There’s no subwoofer, but there is a bass port at the bottom of each speaker cabinet.

All the connectivity is on the back of the active speaker, which is the right one by default, though you can hold the mute button down for three seconds and switch the configuration. Besides the ARC-supported HDMI port, there are also two RCA inputs, and a subwoofer out, along with the speaker wire hookups.

Lastly, while you can (and should) connect one of the best turntables to these speakers, the Fluance Ri91 do not come with a built-in phono preamp, so you’ll need to make sure your record player has one built in (or get an external one) to make sure the signal going to the speaker is loud enough.

• Features score: 4.5 / 5

Fluance Ri91 review: Sound quality

• Sound great when turned up and a little muffled when not
• Somewhat mid-focused
• Better for music than for movies

The Fluance Ri91 sound very good. And for any audiophiles out there, they sound like what you would expect from floorstanding speakers that cost about $800. They’re not going to wipe the floor with speakers that cost the price of a new car, but they’re good enough to blow away people that are not in the audiophile world, or are new to it.

I played all sorts of artists to test them, from John Coltrane to Kendrick Lamar to Smashing Pumpkins. I also listened to music from the ’60s and ’70s. After all my listening, a few things became clear.

First, as somewhat behemoth speakers, they don’t really come alive until you turn the volume up, in some instances even sounding a tiny bit muffled when lower. Also, when I was initially listening at lower volumes, I felt like I wasn’t getting a lot of low end. Turning them up fixed all these issues.

The sound was expansive when loud, with plenty of low-end, though you might want to add a sub if you listen to a lot of Hip Hop or EDM, as some songs didn’t translate as well. The high-end was clear and detailed, and the mid-range was rich, though it is a bit upfront.

Unfortunately, there’s no EQ for the mids, so you have to turn up the treble and bass a little if that bothers you (I prefer to cut the mids a bit when dealing with this problem, but obviously couldn't here).

I also used the Fluance Ri91 for some movie watching and gaming. The sound quality is there, but being a more traditional stereo setup makes this not as ideal for the immersive home theater experience.

With music, I can feel the wide stereo soundstage with accurate imaging when the speakers are correctly set up. With movies, it can feel a little one dimensional, especially at lower volumes.

Now, that’s not to detract from the Fluance Ri91, as they shine for a more traditional listening experience, and that’s what they’re really meant for. They do work well enough for movies and gaming, but using them right after testing a surround-sound system really highlights that these are speakers for listening to music first.

• Sound quality score: 4 / 5

Fluance Ri91 review: Design

• Tall and hefty as floorstanders
• Good connections and controls on one speaker
• Has EQ controls on remote

The Fluance Ri91 are fairly imposing, standing at just under 42 inches tall. And with a weight of about 40 lbs per speaker, they’re hefty as well. It’s a good thing that they look good (available in walnut, black, or white) since these aren’t the kind of speakers you can tuck away discreetly.

There’s a Bluetooth pairing button on the back, and two additional controls on the active speaker, one being the power switch. The other is a volume dial that sits atop the back of the speaker that can also be pressed in to change inputs.

But you’re more likely to use the included remote for any adjusting. The remote is pretty straight forward with all the usual stuff like volume controls, power, input, etc. But it also includes a Treble and Bass Boost and Cut that’s helpful for fine tuning the audio a little bit.

My only real issue with the Fluance Ri91 are some concerns about quality assurance. Not only were the styrofoam packing the speakers came in disintegrating, but the HDMI input didn’t work in my first pair, so I had to request another test unit.

The speakers were promptly replaced for me, and come with a two-year warranty for regular buyers.

• Design score: 4 / 5

Fluance Ri91 review: Setup and usability

• Setup is simple and straightforward
• Positioning the speakers takes some time but is worth it
• Using them is fairly intuitive

The functional setup of the Fluance Ri91 is very straightforward. Take each speaker out of the box, connect the active one to power, and connect the two speakers together with the included speaker wire. Then pop in the batteries for the remote and connect whatever sources you want. Flip the power switch and you’re good to go.

Of course, you should correctly set up the speakers to get the best sound and that can take a little time (and a measuring tape) – I found that you needed to be careful with positioning them next to walls. But it doesn’t take that long and it’s worth it.

Using the Fluance Ri91 is just as simple. The included remote is not all that complicated, and the color-coded LED indicator on the active speaker not only lets me know what source I’m on, but will flash when certain settings are reached, such as the mid, low, or high point for EQ settings.

• Setup and usability score: 5 / 5

Fluance Ri91 review: Value

• These are Fluance’s most expensive speakers
• Some other quality options at the same price
• The Ri91 are more feature-heavy than the competition

It's interesting to compare the Fluance Ri91 with the company’s previous floorstanding entry, the Ai81, which is a little cheaper at $599, versus to $799 for the Ri91. The Ri91 replaces the silk dome tweeter of the Ai81 with an AMT one, not to mention also includes an HDMI port.

Interestingly, the Ai81 reaches down to 30Hz instead of 40Hz like the Ri91, so does have a little more bass without adding a subwoofer. On the flipside, the Ri91’s 30kHz upper range is more impressive than the 20kHz of the Ai81 and is something I value more than the deeper bass.

Since Fluance generally fits into that budget-premium range, the Fluance Ri91’s price tag is about what one would expect. They’re not in the thousands like most boutique audio brands, but have some competition at the same price, such as the Q Acoustics M40 HD. The Q Acoustics were a little more expensive when released in 2024, but go for the same amount now, not to mention are also available in the UK and Australia.

Plus, the two products stack up fairly well against each other, though the Fluance Ri91 do include an HDMI port, 50 more watts of power, and a wider frequency response, probably thanks in part to those AMT tweeters.

• Value score: 4.5 / 5

Should I buy the Fluance Ri91 speakers?

Buy them if…

Don’t buy them if…

Fluance Ri91 review: Also consider

How I tested the Fluance Ri91

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

I used the Fluance Ri91 for a few weeks at home, listening to all sorts of genres of music – Hip Hop, EDM, Top 40 Pop, Rock, Jazz, and Folk, among others – to get a better feel for these speakers. They were also tested with some TV and computer games. I tested the various controls and ports as well.

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

• First reviewed: February 2025
• Read TechRadar's reviews guarantee