Cleer Arc 5: Two-minute review

Almost every one of the best open earbuds I’ve tested, has been designed for sports users. They let you hear your surroundings at the gym, remain aware when running in a busy area, and keep alert when cycling on a road. I don’t think Cleer missed this memo – the brand’s intentionally going for something completely different.

The Cleer Arc 5 are open earbuds designed not for sports, but for the rest of us. I was skeptical when I first saw them, but they’ve surprised me — in both good and bad ways.

The presence of Dolby Atmos and THX Spatial Audio means these are suited for watching a TV show or movie on your commute, and their support for a range of better Bluetooth codecs, including LDAC and aptX Adaptive, shows Cleer is aiming for audiophile-quality earbuds here. Those are some exceptional features for a form factor that naturally competes with loads of extraneous background sounds.

Cleer’s app hides loads of other features too, including a posture test which uses the buds’ positional tools, and the ability to set sedentary reminders if you’re too often stuck in one spot.

The design department makes it clear that these aren’t sports buds. Though surprisingly sturdy during a run, the buds are much bulkier than your average svelte runners’ wear. And the presence of an on-case display, full of controls and settings, clearly signposts this as not for active users. When I go to the gym or for a run, the case is always left at home.

Unfortunately, despite the impressive specs and clear focus on listening quality, the Achilles’ Heel of these earbuds is the sound quality. There’s a real lack of expansie through the soundstage, and both treble and bass feel poorly defined. The open-ear form factor doesn’t help here, especially with a max volume that’s simple not loud enough, but many similar earbuds I’ve tested sound a lot better.

It’s a shame that these don’t sound fantastic, and is surprising too when you see the price tag. For some users, I see the feature set trumping the sound quality. The fantastic battery life, health features and spatial audio might trump below-average sound. But it begs the question who these are designed for, if not audiophiles or fitness fans.

Cleer Arc 5 review: Price and release date

• Released in March 2026
• Made their debut at $219 (about £170 / AU$340)
• Some of the priciest within their category

The Cleer Arc 5 were announced on March 16, 2026, only four months after their predecessors. That was a quick turnaround!

You can buy the Arc 5 for $219.99 (about £170, AU$340 — no word on a release outside the US, as with the Arc 4). So these are some of the most expensive open earbuds out there.

To my mind only the Bose Ultra Open Earbuds and Shokz OpenFit Pro cost more, but they’re both explicitly designed for sports, while the Cleer is aimed at an audiophile market.

Cleer Arc 5 review: Specs

Cleer Arc 5 review: Features

• 12-hour battery life, 60 with case
• 8-band EQ, plus presets
• Loads of features including posture test

If there’s an area where the Cleer Arc 5 stand out, it’s in the feature set — it seems that this is what the buds were designed to do.

It starts with the basics: the battery life here is great for open earbuds. You’re getting 12 hours of listening per charge, with 60 hours once you factor in the charging case itself. Beyond a few endurance-focused earbuds, those figures are at the top of their class.

Boot up the Cleer+ app on your phone, and you’re getting a smorgasbord of tools — admittedly in a pretty confusing lay-out. You can use the app to toggle spatial audio, change between EQ modes and create custom ones, change what the touch and gesture controls do, change the case wallpaper, edit what tools are available via the case, and more.

The equalizer is an 8-band one, giving you some control over your sound, though in this day and age I’d say that 10-bands were more common. I preferred using this over the presets, which didn’t have a noticeable impact on a song’s sound.

The “and more” features I alluded to earlier are pretty out-there, hence needing a whole extra paragraph. They’re health ones: you can set up sedentary reminders to get you to move about, add volume limits to protect your hearing, and do a posture test which uses the gesture controls of the buds to evaluate whether you’re sitting straight.

For office workers, this latter is a genuinely useful feature, and I used it to ensure my seat and chair were level when working at my desk. However, for it to work properly, your phone needs to be at eye level too — I messed it up by leaving my mobile o,n my desk, and when I bent over to look at it, the test was ruined.

One feature you’re not getting in the Arc 5 is any kind of noise cancellation. It’s admittedly very rare in the open-ear space, but not unheard of (if you’ll pardon the pun).

• Features score: 4.5/5

Cleer Arc 5 review: Design

• Giant case has a touch screen
• Earbuds are on the large side, but fit solidly
• Only IPX7 protected

Let’s start with the Cleer Arc 5’s big new feature: its charging case. Big literally: it weighs 97g all on its own, and measures 8.3 x 6 x 2cm, making it one of the biggest earbud cases I’ve seen in years.

This size isn’t just to house some pretty big earbuds, but it does that with a few extra twists. It has built-in UV charging for the buds, and a mirror inside the case for some reason. For some reason, the left earbud is housed on the right, and vice versa, which was confusing for a while until I learnt to switch.

But no, the big selling point here is a screen build into the charging case. You can use it to flick between a few menus: battery, music controls, spatial audio settings, general settings, equalizer and remote camera shutter. The interface feels akin to a smartwatches’: very basic.

For changing quick settings like EQ or skipping songs, the case was quite handy: I didn’t need to dig my phone out of my pocket and get distracted by the 120 notifications from that group chat I forgot to mute. But you can’t use the case to change playlists, create an EQ or dig deep into settings, so it won’t replace your phone completely.

The earbuds also have touch controls too, which were quite easy to trigger with a tap anywhere on their body, yet never accidentally picked up an unintentional touch.

I suppose that brings us onto the earbuds. These are pretty huge, and heavy too, weighing roughly 24g each. I haven’t seen an open earbud quite this big, and was expecting them to fit pretty awfully; thankfully, I was totally wrong. I went on many runs with the Arc 5, and not once did they threaten to dislodge, or wobble more than the average open-ear does.

I’d put this down to some smart balancing of the bud and counterweight. They were always comfortable to wear, even if the weight didn’t exactly make them easy to forget.

The Cleer Arc 5 comes in black or white, and I tested the latter. They have an IPX7 rating, which makes them sweatproof but not suited to swimming. I would avoid taking them out in heavier rainfall too, just to be safe.

• Design score: 4/5

Cleer Arc 5 review: Sound quality

• Large 16.2mm driver
• Blunt and indistinct sound
• Max volume is too low for open format

I was expecting the Cleer Arc 5’s sound to be its outstanding feature. Between its 16.2mm drivers, support for LDAC, aptX Adaptive and aptX Lossless, and high price, it seems like these could be some of the best open earbuds yet.

I’m quite surprised to report that I was wrong, and I didn’t really love listening to tunes on the Arc. The quality isn't terrible, but it's not on par with the expectations you'd have from those aforementioned specs.

Music sounds compressed, with neither the high-end nor low-end differentiated in a way that gives any sense of sound stage or distinction. Snare drums lack bite, distorted-guitar walls turn into crunchy puddles, bass wobbles over plenty of other low- or mid- instruments. The buds would perhaps sound better if they were in-ears, but hovering a few mm over your ears, it doesn't fly.

Low-end is poorly defined yet too prominent in the mix: The Human Race by BYRNE starts with a harmony that sounded more like a glitching speaker than a bass singer. This line’s meant to repeat in the chorus with a bass guitar, and it completely overrides the harmony. In 311’s Good Feeling, the bass trips over all the other instruments, replacing the usually-energetic, fun chorus with the sonic equivalent of a stubbed toe.

Also affected is the treble, as vocals and higher lines lose prominence and energy. Take, for example, Morningsider’s Thinking it Over: a string motif is dropped in the mix in the introduction, and completely lost in the pre-chorus.

I’ll concede that if you listen to acoustic or folky music, you may not notice this issue as much. In songs like Caamp’s 26, the reduced instrumentation meant I could still basically hear everything.

Well, I could hear it until I stepped outside. The Arc 5 falls into a common trap with open earbuds: their maximum volume isn’t high enough to compete with noisy surroundings. When I was running near a main road, I could barely hear my songs.

• Sound quality: 3/5

Cleer Arc 5 review: Value

• Features may go some way to justify price...
• ... but audio quality doesn't

The Cleer has quite a few neat features. I really like what the case display achieves, and the fit is solid. Plus, the movie listening features offer tools that many other earbuds don’t.

However that’s a really high price for any earbuds, let alone open-style ones — and especially not for ones that, frankly, don’t sound amazing.

There’s no way that these buds offer you value for money; you can get better audio quality for a lot less, especially if you’re happy to buy non-open-style buds.

• Value: 3/5

Should I buy the Cleer Arc 5?

Buy them if…

Don’t buy them if…

Cleer Arc 5review: Also consider

How I tested the Cleer Arc 5

• Tested for one month
• Tested in a range of indoor and outdoor settings
• Used for music, gaming, calls movies and TV

I used the Cleer Arc 5 for roughly a month before writing this review of them. In that time, they were paired to a succession of Android smartphones, mostly the Samsung Galaxy S26 Ultra and Moto Edge 70 Fusion.

I listened to the Arc 5 on runs, walks around my neighborhood, office sessions, long trips on public transport and at home. I mostly streamed music via Spotify Lossless, and Apple Music, but also watched movies on a variety of streaming services, played games, and tested a few other music streamers.

I’ve been reviewing gadgets for TechRadar for over seven years now, including testing audio kit for nearly as long. In that time I’ve handled other Cleer gadgets as well as many, many other open-ear buds.

• First reviewed in May 2026

• Read TechRadar's reviews guarantee

While I might be exposed to many of the best headphones in my job, if money were no object, I’d be hitting on a pair of Bowers & Wilkins Px7 S3 over-ears without hesitation. And that’s without ever actually holding a pair in my hands, let alone listening to them.

So I’m thrilled to see that they’ve had their price slashed by up to 45% (depending on the colour) at Amazon SG for Prime Day, making them an easy recommendation for anyone seeking a premium set of cans.

• View the latest Amazon SG Prime Day deals

So, why am I so confident recommending them, having not actually heard them myself? My complete and utter trust in Simon Lucas, who published our Bowers & Wilkins Px7 S3 review. Not only did he heap praise on the headphones themselves, but he went one step further and claimed they were one of the company’s “very best products when judged on a pound-for-pound basis”.

B&W is a hi-fi brand steeped in history and really does know a thing or two about producing high-end audio products. All its expertise has trickled down into these over-ears, allowing them to deliver a wonderfully balanced sound profile, and are able to unearth extreme amounts of detail from recordings.

They’re well-specced when it comes to features too, with support for higher quality aptX Adaptive and aptX Lossless audio codecs, 30 hours of battery life and great, but not quite class-leading, active noise cancellation.

And, as you’d hope from a pair of headphones that normally retail for SG$699, they look and feel like they’re worth every dollar, especially in the Frost Blue colour that receives the biggest discount — Indigo Blue and Canvas White colours are available for an extra premium.

I don’t expect these deals to last forever, and they’ll very likely come to an end when Prime Day in Singapore finishes at 11.59pm SGT on Friday, June 26, so if you’ve been looking for a pair of seriously capable headphones, and a pair that will look a little more unique walking down the street, now’s the time to snap these up — do note that all pairs are shipped and sold from Amazon Germany, so may take a bit to arrive at your door.

I’ve been reviewing gadgets at TechRadar for years now, and it’s pretty rare that something stops me in my tracks and so violently defies my expectations. But sometimes, a special product comes along and totally stuns me: and that was well and truly the case with the Sennheiser CX 80U.

Now you might be thinking: really? A pair of wired earbuds? But yes, they really were that impressive. See it all comes down to quality vs price, and these earbuds genuinely sound way, way better than I expected given their typical cost of $39.95 / £34.99. If you want rich, detailed sound at a highly-accessible price-point, the CX 80U are all you need.

I’ll drill into the beauty of this product more down below, but the bottom line is: the CX 80U are what I’d recommend to anyone looking to go back to wired earbuds in 2026.

Low risk, high reward

I’ve already touched on the Sennheiser CX 80U’s low price (and they’re occasionally discounted for even less), but let’s discuss what exactly makes them so special.

These buds use a USB-C connector with a built-in DAC, opening up lossless audio — something that’s not truly possible over Bluetooth, which is an inherently lossy technology. By using USB-C as a connectivity method, the CX 80U aren’t only optimized for modern smartphones, tablets, and laptops, but they also won’t need to be charged like their Bluetooth counterparts — and I often keep them with me in case I forget to juice up my Sony WH-1000XM6 headphones or LG Tone Free T90S earbuds.

But as practical as the CX 80U are, the real highlight is their performance. They show impeccable attention to detail, and can easily illuminate elements such as subtle percussion or delicate vocal intricacies. However, they also nail the fundamentals, with well-balanced, agile bass, clear mids, and vivid treble.

Speaking of treble, I found this to be a real highlight on the CX 80U — highs have an impressive sense of space, and often sound as if they’re operating in a well-defined pocket, giving percussion in particular plenty of space to express itself. But during my time testing the CX 80U, I was impressed with their quality right across the frequency range, and regardless of what genre I threw at them, they delivered an enjoyable and entertaining listen each time.

As well as sounding great, the CX 80U manage to provide surprisingly substantial passive noise cancellation, and they come with various-sized eartips, so you can find the perfect seal. Whenever I use them, I also find that cable noise is pretty muted, and they’re comfortable to wear, even for longer listening sessions.

One more thing I love about the CX 80U is their build quality. They look more premium than their price suggests, and I’m drawn to their rounded buds, slim wires, and enticing silver details. Classy.

So, if you’re on a budget but looking to get into the wired earbuds game, then it really doesn’t get much better than the Sennheiser CX 80U. Go on, give ‘em a go!

Sennheiser Momentum 5: two-minute review

The Sennheiser Momentum 5 are noise-cancelling headphones with lossless connectivity, spatial audio, and a promised battery life of 57 hours of battery life per charge with ANC engaged. They also offer heaps of sound personalization features, a smooth sliding scale between 100% noise cancelling and 100% transparent and customizable Sound Zones that allow you to automatically apply sound profiles and ANC settings when you enter predefined locations.

The Sennheiser Momentum 5’s look is clean overall, even if it’s not that adventurous a design, with a build mostly fashioned from plastic with metal highlights. The cushioned headband and faux leather ear cups do feel super comfortable, although I did find the slight ridge inside the cup made my ear to ache during long listening sessions. Otherwise though, they fit well and feel solidly built.

I’ve got to be honest though: when it comes to performance, I found the Sennheiser Momentum 5’s sound out of the box to be on the disappointing side, compared to the best headphones out there. Bass feels decent enough — I dropped Listen by Pola & Bryson & goddard. and not only did that distorted, snarling bass sound substantial, but the synths felt well rounded and there’s some good sub there, especially if you slip the headphones Bass Boost on.

However, when it comes to higher frequencies, the Momentum 5 too often felt like they were pulling punches. Rosewood by Bonobo sounded unusually muffled in the higher mids, with the usually punchy percussion and hats sounding really inert to me. Meanwhile, treble is similarly milquetoast, with the rhythmic static loops of The Gloaming by Radiohead lacking the crispness I’d expect and feeling unnecessarily rolled off.

Fortunately, this is something you can fix, thanks to the Momentum 5’s powerful EQ tools. There are eight EQ presets to choose from, including everything from Rock to Hip-Hop, but I found I was able to get far better results out of whipping up my own tunings.

Both Sound Check presets and Sound Personalization started the same way, allowing me to pick my favorite tweak by listening to three alternative tunings five times. Where they diverge is how you tweak the resultant profile, with the former letting you adjust it based on an eight-band EQ and the latter a matrix that lets you independently boost or duck bass and treble. With the latter I was able to get pretty great sound out of the Momentum 5, feeling warm in the low end while feeling crisp and dynamic in the high end — I just wish it didn’t require so much tweaking to get the Momentum 5 to sound their best.

On the plus side, the Momentum 5 offer an excellent soundstage. They give real breadth even to stereo mixes, with each instrument meticulously well positioned in the stereo field. And the headphones deftly handle Dolby Atmos — don’t get me wrong, some masters still feel a little hollow in this kind of spatial format, but Sennheiser’s cans do a fine job of situation each element in the space around you.

Speaking of being surrounded by sound, another area the Momentum 5 didn’t quite live up to my expectations was their noise cancelling. Now, not every set of headphones can quite live up to the Bose QuietComfort Ultra Headphones’ commotion-quashing capabilities but I found Sennheiser’s often struggled to fully hush everyday conversation or completely stifle traffic noise. Sadly, they can’t compete with much of the market on this front.

Elsewhere, though, the Momentum 5’s features are more impressive. Connectivity is strong — they’re Bluetooth 6 ready, with the standard due to to come to the headphones in a future update, and they offer aptX Lossless, which means those with compatible phones can effectively stream CD quality sound on the go. And Sennheiser's Sound Zones is also a fun feature, allowing you to set the Momentum 5 to switch to certain EQ and ANC profiles automatically based on your location.

One last thing that warrants a special mention is the Momentum 5's battery life. While the Sony WH-1000XM6 offer a decent 30 hours and the AirPods Max 2 offer a pretty disappointing 20 hours with ANC on, Sennheiser's headphones blow right past them, offering up to 57 hours. This was consistent with my testing, meaning you can absolutely rely on these cans to last you days and days without needing a top up.

All told, the Sennheiser Momentum 5 are a solid set of noise-cancelling headphones, with some impressive features, long-lasting battery and spacious high-quality sound. But they’re also frustrating, as without certain missteps like their unbalanced default tuning and weaker ANC, they could be something truly remarkable. As they stand, they’re a good pair of headphones for their price, particularly once you’ve tailored their sound to your taste, but they won’t topple the best noise-cancelling headphones out there.

Sennheiser Momentum 5 review: price and availability

• Launched June 16, 2026
• List price of $399.95 / £329 / AU$749
• Available in Black, White, and Denim

Launched on June 16, the Sennheiser Momentum 5 are available now. They’re available for a list price of $399.99 / £329 / AU$749 — that definitely puts them in the higher-end bracket, although they’re obviously nowhere near as premium as the $549 / £499 / AU$999 AirPods Max 2 or the $649 / £550 / AU$999.95 Sony 1000X The Collexion.

They come in three colorways: Black, White, and Denim. Before you get too worried about having to match that last one to your outfit, don’t: it’s really just a dark indigo hue. All three colorways look decent enough to me, although I definitely think Sennheiser could have given us a little more choice here — at least one stand-out option like mauve or mint might have just helped provide an option for those that like to stand out from the crowd.

Sennheiser Momentum 5 review: specs

Sennheiser Momentum 5 review: features

• aptX Lossless compatible — but no LDAC or ALAC
• Versatile EQ & sound personalization
• Sound zones

First off, let’s take a look at what they’ve got going on under the hood. The Momentum 5 are rocking the same 42mm transducers as their predecessor — that’s a considerable step up compared to something like the Sony WH-1000XM6’s 30mm dynamic drivers and even an improvement over the Bowers & Wilkins Px8 S2’s 40mm. Hopefully that should mean the Momentum 5 can muster up more substantial bass and a broader soundstage.

Connectivity is very strong on the Momentum 5 too, especially if you’re listening from an aptX compatible device. Not only do they currently run Bluetooth 5.4, they’re Bluetooth 6.0 ready, with it due to arrive by a future firmware update. It’s compatible with AptX Lossless, which gives you access to near CD-level quality playback — although sadly not ALAC or LDAC, which means you won’t be enjoying lossless audio on your Apple or Samsung device.

The Momentum 5’s touch controls are easy enough to use and feel pretty intuitive. A single tap to play / pause, swiping forward and back to skip forward and back, up and down to increase / decrease the volume, each control is intuitive and easy to activate… in fact, possibly too easy to activate. As can often be the case with headphones that rely on touch control, it’s really easy to trigger functions on the Momentum 5 when you’re adjusting them or removing them from your head and I’d often pick them up from my desk and realize I’d already set them playing.

The touch controls aren’t the only way to control the Momentum 5 though. Once you’ve paired them with your phone, Sennheiser’s SmartControlPlus app gives you more granular control over many of the headphones settings. As well as switching Dolby Atmos content on and off, you can also use it to tailor noise cancelling to your preferred level — it offers a smooth slider that allows you to gradually shift from 100% ANC to 100% transparency, as well as offering a toggle to turn on Anti-Wind mode in ANC.

You can use one of eight EQ presets from Dance to Jazz or you can create your own using its eight-band EQ. More unique though is Sennheiser’s Sound Check EQ presets: basically it allows you to pick which you prefer out of multiple different profiles like an eyetest for your ears. After you’ve selected your preferred option five times, it shows you the resultant preset. This feels like a really neat idea, allowing people who aren’t au fait with tweaking audio frequencies to still create their own custom sound.

But even more flexible in my eyes is Sennheiser’s Sound Personalization feature, which has been carried over from the Sennheiser Momentum 4. It runs you through the same setup as the Sound Check EQ but rather than presenting you with a range of EQ bands to adjust after, it instead presents you with a matrix that allows you to independently boost or reduce the bass and treble frequencies to polish your own preferred sound profile. That feels nicely intuitive and seems far easier to tweak on the fly than a standard graphic equalizer.

Lastly, the inclusion of customizable Sound Zones isn’t unique to Sennheiser’s cans — for example, being offered by the last few generations of Sony’s WH-1000 line — but it still feels like a pretty neat feature. Being able to automatically set noise-cancelling to maximum when I hit the office, switch up to a bassier sound profile when I hit the gym or increase the transparency when I’m out of the house saves a lot of effort. While it’s not necessarily trailblazing, it’s useful and really helps to make the Momentum 5 feel very fully featured.

Finally, the Momentum 5’s battery life is seriously impressive, with Sennheiser claiming they’ll last you up to 57 hours with ANC enabled. To test out its claims, I set the Momentum 5 to play music continuously with ANC on at 50% volume for six hours, during which time their battery dropped just 10%. As a back of the envelope calculation, that would put their total life at 60 hours — even though battery discharge curves are rarely linear, 57 hours seems very credible to me.

All in all, the Momentum 5 has a very strong feature set. Perhaps none of them are truly groundbreaking but when taken together, they make these cans feel very well appointed and ensure that you’re getting a great user experience.

• Features score: 4.5 / 5

Sennheiser Momentum 5 review: sound quality

• Disappointing default tuning, with weak treble
• Impressive soundstage and Dolby Atmos
• Ineffectual ANC

As an audiophile, I’ve been a loyal user of Sennheiser’s headphones for years. A good part of the reason for this is that the brand’s cans are known for having a reliably balanced frequency balance, meaning that whether I’m listening to music or producing it, I’ve come to trust that Sennheiser headphones will give me a largely accurate picture of how recordings should sound.

In light of this, I’m a little surprised at how uneven I find the neutral tuning of the Sennheiser Momentum 5. I know preferences vary and some like more bass or more treble, say, but for me this goes beyond simple differences in taste. The default sound here feels like it has some actual deficits, which I find odd from a brand of Sennheiser’s pedigree.

Let’s focus on the most positive stuff first. Bass is pretty creditable here: for example, when listening to No Skin by Frameworks & Mild Minds, I found that the Momentum 5 gave its sustained bassline some wonderful warmth and while there wasn’t quite as much sub as you’ll get from the most premium headphones, it still felt dynamic and punchy enough, especially with the Momentum 5’s bass booster on.

Higher up in the spectrum though, things feel more unbalanced. Playing You Can Call Me Al by Paul Simon, all of the elements are present and correct but feel slightly muffled — particularly the toms and the exuberant brass section feel slightly rolled off, with their upper-mid frequencies feeling like they’ve been sanded off. And this is even more noticeable in the treble range: in 236e jour by Marc Leclair: the bouncing, scrape-edged synths end up feeling far duller than they should, while the shuffling hats just lose a little of their cut through.

Now you can obviously go someway toward ameliorating this using EQ. While I found Go Your Own Way by Fleetwood Mac to be pretty dull in places on the neutral tuning, with the vocals in particular feeling totally enfeebled, I was able to cast around in the EQ settings to improve it. The Rock preset, if anything, made the problem worse, making the sound even more baggy and focused around the middle. But creating a Sound Check EQ profile, I was able to crisp up the high-end a little and reintroduce some of the presence it had lost.

By far the best results I achieved though was when using Sennheiser’s Sound Personalization algorithm. After running through the five steps, sound already felt a little more balanced — but it was during fine tuning that I was able to add a bit more warmth to the bass and a soupçon more brightness to the treble. The difference was like having my ears syringed: Outside (Parra for Cuva Remix) by Henry Green suddenly sounded like the sustained bassline was more resonant and satisfying, while the snare and hats punctured through the mix far better.

So the Sennheiser Momentum 5 can absolutely sound strong for their price, if you’re prepared to put the work in. But I do find it a little frustrating that they require you to spend so much time redressing sonic missteps in their engineered sound when other headphones in this price bracket like the Bowers & Wilkins Px7 S3 put their best foot forward with their default sound.

Once I’d found a sound profile I was happy with though, my experiences of the rest of the Sennheiser’s audio quality was far more positive.

For example, the audio feels very clear and expressive, even over lower quality connections. Even using the lossy AAC codec via Apple Music on my MacBook Pro and iPhone 16 Pro, the vocal, strings and piano of Wasting My Young Years by London Grammar shared the spotlight graciously, avoiding sounding over-compressed. But when listening to it using aptX Lossless via Tidal, it feels like there’s even more dynamic range, allowing far more space for that gorgeous vocal to rise up above the rest of the mix without smothering the rest of the instrumentation.

The Momentum 5 also have a really impressive soundstage, even compared to headphones like the Bowers & Wilkins Px7 S3 that are known for their agile handling of mixes. When I listened to Recomposed by Max Richter: Vivaldi, The Four Seasons: Spring 1 (2012) by Max Richter, Daniel Hope, Konzerthaus Kammerorchester Berlin & André de Ridder, the way the stirring, dancing strings are spread out across the stereo field is stunning. It genuinely does feel a lot like being sat right in front with the orchestra pit spread out in front of you.

And this extends to their handling of Dolby Atmos mixes. For example, Blue Monday (2023 Digital Master) by New Order sounds appropriately immersive, with its drum rolls scattering around you and its riser-style FX before the final drop swirling a full 180 degrees. All in all, its spatial audio effect is probably even more pronounced than that of the AirPods Max, although the latter doesn’t succumb to the one shortcoming of the Momentum 5’s Atmos: a slight void that opens up in front of you, a not uncommon effect on some headphones when elements from a stereo mix are spatialized.

So the Momentum 5 do still have some serious talents when it comes to making noise. However, it’s a shame that they’re not as talented at its antithesis: nixing background sound. Their ANC can just about cope with typing noise or reducing my boiling kettle while I’m streaming content while cooking. But riding the bus home from work a few days ago, I was subjected to every detail of a conversation about the sex lives of some of my fellow passengers’ colleagues. C’mon, Momentum 5: you’re supposed to protect me from things like this.

This isn’t an isolated event either: I can often overhear fellow TechRadarian’s conversations in the office, even with noise cancelling dialed up to 100%. Even the AirPods Max, not known for their unimpeachable noise cancelling, recently totally saved me at a festival by silencing the enormous Funktion-One rig I was camped 100 feet from, whereas the Momentum 5 struggle with conversations some 50dB quieter.

• Sound quality score: 3.5 / 5

Sennheiser Momentum 5 review: design

• Refined if unadventurous looks
• Super-flat profile
• Wearing for long sessions made my ears ache

Unlike the huge redesign from the Sennheiser Momentum 3 to the Momentum 4, there’s not been a massive revolution when it comes to the Momentum 5’s looks. The oval-shaped groove that ran around the exterior side of the earcups has been banished, giving them a cleaner look. Meanwhile, Sennheiser’s logo has been updated with a circular badge, while the grilles covering the ANC mics have been picked out in metal. But if you’ve spent any time with the Momentum 4, you largely know what to expect here.

Broadly speaking, I really like the look of the Momentum 5. Don’t get me wrong: they’re not going to win any prizes for originality, having a slight whiff of Sony’s WH-1000XM6 about them. But this is a common trope in the headphones space — if you disagree with me, see how you get on with our spot the difference between the Sonos Ace and the Sony 1000X The Collexion. And the Momentum 5 still have the most refined look Sennheiser has given its wireless headphones to date, so I’m definitely here for it.

Both the padded faux leather ear cups and cushioned headband feel pleasantly soft, while they have sufficient clamping force that they felt stable on my head without applying excessive pressure. Adjusting their fit is also super easy, even while they’re on your head — their arms extend smoothly and can cater for a wide range of head sizes, whether you’re more new potato or pumpkin-headed.

However, an ongoing issue I have with Sennheiser’s headphones is that they tend to make my ear cartilage ache during extended wear, thanks to odd lumps on the inside of the earcup, and the Momentum 5 are no different. None of the mid-range headphones from other brands I’ve used over the last five years have suffered from this issue, so it does make me wonder why Sennheiser continues to stick weird ridges and hard lumps on the inside of its cans.

I have a bit of a love-hate relationship with headphone cases. They seem to veer wildly between the neat — the Sony WH1000XM6’s handy magnetic holder — and the ridiculous — the AirPods Max’s ludicrous handbag. So when I say I’m a big fan of the Momentum 5’s case, know that’s high praise indeed.

Like the AirPods Max, the Momentum 5 don’t so much fold up as fold flat, but, thanks to the earcups’ low profile, that is really rather flat indeed. As a result, even though they don’t concertina up into a compact package, their case has a very slim profile, making it much easier to slip alongside your laptop and tablet in your bag. It doesn’t have loads of padding, so you might not want to be slinging your bag around like it contains a bunch of bricks, but the case should protect your headphones from most damage.

• Design score: 4 / 5

Should I buy the Sennheiser Momentum 5?

Buy them if…

Don’t buy them if…

Sennheiser Momentum 5 review: also consider

How I tested the Sennheiser Momentum 5

• Tested over two weeks
• Tried them out with a wide range of genres
• Tested different bit-rates and listened to multiple Dolby Atmos mixes

I tested the Sennheiser Momentum 5 over the course of several weeks. When it comes to sound quality, I made sure to test them out with a range of different quality streams, from aptX Lossless from Tidal to AAC from Apple Music. To get a sense of how they performed with a wide variety of frequencies, I made sure to try them out with a wide variety of genres across the TechRadar testing playlist and my own go-to testing tracks, whether that’s rock, EDM or classical.

To try out the Momentum 5’s features, I spent a lot of time trying out different EQ and sound personalization profiles with different artists. I assessed Dolby Atmos performance by listening to a variety of Spatial Audio tunes from Apple Music, and I tested their noise cancelling in a range of settings, from TechRadar’s chatty offices to walks along busy roads. Finally, I tested their battery by playing music constantly with ANC on for 6 hours and using how much battery they lost to extrapolate how long they could last.

In terms of personal experience, I’ve spent years assessing the performance of audio gadgets, with a particular focus on headphones and speakers. On top of this, I produce music in my free time, which has given me a keen understanding of balancing frequencies and how to assess the dynamic performance of audio.

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

OneOdio Studio Max 2: Two-minute review

Despite the number in the name, I’ve taken to considering the OneOdio Studio Max 2 to be more like a ‘pro’ version of the originals rather than a completely new pair of headphones. I’ve been testing them for several weeks, and the experience doesn’t feel hugely changed (even though the price is).

The originals upon which they are based were released in early 2025, and after I finished my review, I found myself using them daily. They’re always plugged into my guitar amp or keyboard for when I want to do some music practice; a few select features made them uniquely handy for making music.

The OneOdio Studio Max 2 are, mostly, a very similar proposition. They’re not designed for audiophiles so much as DJs, studio musicians and other music-makers — but they have enough of a consumer-friendly bent that they’re not just for the studio. If you’re an amateur musician or music producer, and want cans for the task in hand but also for general use, you’re the target audience.

Like their predecessors, I wouldn’t strongly recommend these for general use, though. They’re big and chunky, so I felt self-conscious wearing them in public, and the fit was unreliable, so they shook when I was walking. On top of that, the audio quality is pretty poor, and you won’t get noise cancellation. There’s a reason the old pair stayed tethered to my instruments.

That sounds like a deluge of criticism, and an odd one given the score above, but the Studio Max justify themselves with their tools for professionals or music creators.

These puppies connect to other devices in four ways: there’s both a 3.5mm jack and a 6.35mm one, so you’ve got more cable versatility than most other cans. Of course, you’ve got Bluetooth, but there’s also an audio transmitter included in the box that can connect to any analog source.

With the transmitter, you can get 9ms latency between the headphones and audio source. This is OneOdio’s pitch for why they’re great DJ headphones — with no transmission delay, you won't miss your bass-dropping cue. OneOdio isn't the only brand to offer this feature, but crucially, its headphones are the cheapest to do so.

Upgrades to this transmitter also form the main upgrades over the original Studio Max. The latency has been halved from 20ms and the bitrate has been increased, but the transmission distance has been halved to 10m. Given that the price has increased, though, it might not be a tempting upgrade for many buyers of the original.

For music producers or performers, the foldable form factor is appreciated, as is the massive 120-hour battery life over Bluetooth (and the battery life when using the transmitter has been doubled to 50 hours in this model). I can see it being particularly useful for touring musicians for this reason, who can’t charge regularly — although IEMs will still rule supreme for that.

More so than most headphones I test, the OneOdio Studio Max 2 are situational, and niche. I wouldn’t recommend them to people on the market for the best headphones for general use, nor would I suggest professionals buy them over specially-designed studio kit.

But there’s a small overlap in the Venn Diagram between those groups, in which the cans may find appreciative buyers. That's included me, as a dedicated user of the original model — but check the price of the original OneOdio Studio Max 1 before you buy, though, because if it gets price drops, it might be the better-value buy.

OneOdio Studio Max 2 review: Price and release date

• Released in May 2026
• They sell for $189 / £179 (about AU$360)
• Come with carry case as well as cables and transmitter

The OneOdio Studio Max 2 were unveiled on May 11, 2026 — that’s a year and three months on from the release of their predecessors.

The official price of the Studio Max 2 is $189 / £179 (about AU$360, but they don’t seem to have enjoyed an Australian release at the time of writing).

In the box you get the headphones, transmitter, various cables (loads of cables) and a handy carry case. It’s the complete package, and I’ve never felt the need to root around in my drawers for other wires.

For context, the original Studio Max released for $169 / £135 / AU$275, so there’s been a price hike here, which varies quite a bit by region.

OneOdio Studio Max 2 review: Specs

OneOdio Studio Max 2 review: Features

• No noise cancellation, and basic phone app
• Massive 120-hour battery over Bluetooth
• Many connection options including low-latency transmitter

Let’s address the elephant in the room, or lack thereof: there are some features missing here, which some music listeners might miss. There’s no active noise cancellation, for example, and the app is quite barebones. It has three EQ presets (normal, monitoring and bass), and a 10-band custom mode, as well as a few extras such as wear reminders, volume limiters, and a way to pan the sound to the left or right ear cup only.

What you do get is pretty rocking though. Take the battery life: 120 hours equates to five straight days of music playback. No, not five hours. Five days. That figure matches the original pair, and I can’t name another option which lasts that long.

Another key feature is the range of connection options. Naturally, you can connect them via their 3.5mm port, or the 6.35mm jack so they can connect to professional audio kit easily. The Studio Max 2 support Bluetooth 6.0, allowing for more reliable wireless connection than the old pair.

But perhaps the key selling point here is the transmitter, which comes included in the box. Using OneOdio’s RapidWill+ 3.0 technology, this transmitter lets you cut the response time between your source and the Studio Max 2 to just 9ms. It uses 2.4GHz connectivity, and all you need to do is plug it into your output device, and your headphones can pick it up.

All the cables you need are included in the box, so it's a plug-and-play style situation. The transmitter needs to be charged via USB-C, and lasts for 50 hours per charge.

• Features score: 4 / 5

OneOdio Studio Max 2 review: Sound quality

• Uses 45mm drivers
• Music is muffled and tinny
• EQ doesn't help fix things

OneOdio has used a 45mm driver in each Studio Max 2 cup, and the headphones are certified for Hi-Res Audio and Hi-Res Audio Wireless, with LDAC compatibility too. Unfortunately it's not quite the recipe for success it would appear to be on first glance.

The Max 2 sound muddy and muffled, with rumbly and ill-defined bass stomping over over lines of a song. Any semblance of a soundstage is forgotten, instead presenting your music as one amorphous sonic boulder.

Glorious by The Hoosiers is presented like a confused mush of synths, and the bass in Charlie Mars' She Ain't Coming Back veers between drowning out everything else, and being inaudible.

They also offer a sound that's tinnier than anything else at this price point, with noticeably compressed hi-hats and distorted guitars that really shouldn't be distorted. I'd usually cite a song here as an example, but you can basically insert any song that has instruments here.

Usually I'd turn to an equalizer to try to fix problems like this, but you've got three options: the default, a Bass Mode (that's not going to fix the problem), a custom EQ and Monitoring Mode. Those latter two both gave music a crunchier feel, so I stayed far away.

It's worth noting that criticism I levelled here, I also put against the Studio Max 1. As far as I can tell, the sound hasn't changed much.

• Sound quality: 2.5 / 5

OneOdio Studio Max 2 review: Design

• Industrial look
• Rotatable cups and foldable arms
• Plenty of ports and dials

Don’t buy the Studio Max 2 if you’re looking for svelte, lightweight or fashionable over-ear headphones. They’re bulky and large, with a design that’s quite industrial. You’ve seen the pictures, you know what they look like, and I felt self-conscious wearing them outside the house.

The cups and headband are pretty soft, yet they weren't too comfy to wear, perhaps because of their 353g weight. At least they're good at at catering for different shapes of head, thanks to how versatile they are: the cups rotate around different angles. This also makes them easily-foldable for bags, and handy to form for review pictures.

However, and likely as a natural side-effect of the size, they didn't stick in place reliably. If I was walking, they'd sway a tiny bit, and I imagine they'll wobble if you're an active DJ enjoying your own set.

Adorning each Studio Max 2 cup is a range of buttons and ports. The left cup has a 6.35mm port, while on the right you're getting volume up, volume down and power buttons, a 3.5mm jack, a slider to toggle between Bluetooth and ultra-low latency, and a USB-C port for charging too.

Two things to point out that images don't convey. Firstly, these things creak quite a bit; I'm used to this being a symptom of cheap plastic used in the design, but it doesn't feel like the case here. I think the many moving parts are to blame. Secondly, the back of the cups are grooved to resemble vinyl records; a neat touch, but if my previous pair are any indication, they can be huge dust magnets.

• Design score: 3 / 5

OneOdio Studio Max 2 review: Value

• Too expensive to be consumer cans
• Value for money if you need transmitter

If you’re looking at the OneOdio Studio Max 2 as consumer-friendly headphones, it’s hard to argue that they offer you good value for money. There are great cans for music fans at a third of the price — from OneOdio itself, as well as other brands.

That’s also true if you’re looking for general studio headphones, for that matter.

What you’re paying for is the transmitter, to allow for low-latency wireless music from any source, including instruments. If you need a gadget like it, the Studio Max 2 undercuts its rivals — if not, then these aren’t the cans for you.

• Value: 3.5 / 5

Should I buy the OneOdio Studio Max 2?

Buy them if…

Don’t buy them if…

OneOdio Studio Max 2 review: Also consider

How I tested the OneOdio Studio Max 2

• Tested for one month
• Tested alongside PC, guitar amp, synth, smartphone
• Used all connection options

I used the OneOdio Studio Max 2 for roughly a month before writing this review.

During the testing process, they were connected to a wide variety of devices including my guitar amp, my keyboard, my PC and my smartphone. Across this board, I used every connection option possible.

Mostly, the testing was done for music playback, but I also used it for a variety of other tasks including audio mixing, video editing, playing my own music and, for one weekend, audio recording alongside a field recorder and boom mic.

I've been reviewing gadgets for TechRadar since early 2019, and in that time have tested plenty of audio products including the original Studio Max 1 (the number is in the name, I've not added it!).

• First reviewed in May 2026

• Read TechRadar's reviews guarantee

• Upcoming Beats headphones show up, again
• They have appeared around neck of World Cup player, again
• Fans are trying to come to terms with that color

When currently-unannounced Beats headphones were spotted in social media posts from Spain player Lamine Yamal ahead of the 2026 World Cup, I said "there's a good chance we'll see more of them". Well, I called it, because it happened again.

A series of Instagram posts from South Korea midfielder Lee Kang-in, posted to celebrate the team's 2-1 victory over Czechia in its first match of the tournament, gives pride of place to the same Beats headphones as we saw before.

This time though, instead of a rose hue, they come in white and... a neon yellow I'll politely not refer to as 'Sourz vomit', although it looks like the result of one too many alcopops. How to describe it other than 'slime' or 'puke' though?

I know what you're thinking: maybe they gave it to Lee to match his team's colors? Nope, South Korea plays in red and black, with an occasional violet-slash-lavender away kit for the 2026 World Cup.

Some commentators are using this peculiar color combination as evidence that the cans will have replaceable cups, clearly hoping that Beats will let them ditch the pads for something else, but that feels like grasping at straws.

There's no actual evidence of this, and the faint hint of a yellow headband behind Lee's neck suggests that these are just two-tone cans, instead of it being a choice on his part.

The vantage gives us a better look at the rounded build of these new cans, which swaps out the noughties-chic of Beats' previous cans with a CMF Headphone-looking tiered build. Beyond the choice color options, they actually look pretty suave.

The most appealing part of the redesign to me is the band, which looks much thinner than before, and circular, so it'll potentially be much more comfortable to wear. We'll have to see, but a launch will likely come hot on the heels of this World Cup catwalk.

Has anyone outside of a World Cup squad used them yet?

Just like when we saw them alongside Lamine Yamal, Lee Kang-in doesn't get snapped actually using the new Beats headphones, although he does keep them closer to his person.

While Yamal kept them at arms' length, hooking them to his bag and only being photographed with them around his neck once, Lee has them around his neck several times.

Neither of these soccer players has been seen actually using the new Beats headphones. Maybe owning, but not actually using, headphones is the fashionable thing to do. Or maybe they saw our critical Beats Solo 4 review and want to keep the new pair at arms' length.

It's unlikely that Apple has chosen two specific players out of hundreds to give its headphones to, so as the group stages of the World Cup progress, we'll probably see more sightings of the Beats.

We've glimpsed pink, and white-yellow, and hopefully we'll see a few more color options show up.

Soundcore Liberty 5 Pro: Two-minute review

Anker's Soundcore sub-brand may not have a reputation for releasing the best earbuds that everyone raves about, but they tend to be solid pieces of kit. We gave the Soundcore Liberty 5 (yes, take care, because that's not these — and there's also a Pro Max to swerve in favor of these) a 3.5-star score, and that tends to be par for the course. Until now, that is.

With the Soundcore Liberty 5 Pro, there's been a change: it really feels like the brand is coming into its own, and it knows what buyers really want.

These are incredibly feature-stuffed headphones, with an app that'll boggle your mind given how many tools it offers. And they're all useful too: the ANC is very good, the listening test is handy and the array of array of little extras is impressive.

Particularly special is the quiet calling feature, so people you're speaking to on the phone can't hear what's going on around you. I hear many brands boast about their buds’ quiet call quality, with algorithms and microphones designed to wipe background sound from your voice in calls. Most of the time it’s bluff and bluster, but the Soundcore Liberty 5 Pro are the real deal.

I know this because, part-way through the review process, my mother called me while I was in a busy coffee shop. I apologized for the pop music being blasted over the speakers – I could barely hear myself think for Outkast’s Hey Ya! – and she asked me what music I was talking about. She’d have had no idea I was in a noisy space, had it not been for my telling her. If two thumbs up from my mom isn’t a glowing endorsement of tech, I don’t know what is.

I'd be remiss not to mention the Soundcore's fit too. The buds are nice and lightweight, with a ridge to help them lock in your ear. I never had any fit problems with them, and they stayed in place during runs and workouts.

What about the sound? The buds offer warm, bass-heavy music that'll please people who like thumping heavy rhythms. The audio quality won't endear the Soundcore Liberty 5 Pro to audiophiles (do wireless earbuds at this level ever excite audiophiles?) but nevertheless it isn't at all bad. Sound quality may not be the highlight of these buds, but I still enjoyed listening to them during my testing.

My main gripes with the Soundcore Liberty 5 Pro bypass the earpieces and their talents and really only concern the case. It has a small touchscreen strip, but it doesn't do enough to justify its existence (nor is it responsive enough for that). And the case is bigger than it should be as a result; I would've loved to see it lose the strip and shrink a little.

At least it's not the Liberty 5 Pro Max, with a giant case and big touchscreen. I tested that too, and you can read more about it later, but it's decidedly more of a professional-targeted device. Most buyers looking for some great earbuds would do better with these Pro-only earbuds: they're cheaper and you're only missing a few features — ones I think you may not use anyway.

Soundcore Liberty 5 Pro review: Price and release date

• Released on May 21, 2026
• They sell for $169.99 / £149.99 (about AU$300)
• Sitting between Liberty 5, and Liberty 5 Pro Max

The Soundcore Liberty 5 Pro were announced alongside a slew of other Anker products at the brand’s annual Anker Day, on May 21, 2026.

You can pick them up for $169.99 / £149.99 (about AU$300), so unlike many of the brand’s other pairs of earbuds, they’ve crept over the line: these aren’t budget buds, rather solidly mid-range ones. For a little context, the non-Pro model launched for $129 / £99 / AU$169, but went on sale a year prior, so have seen some discounts.

They launched alongside the Liberty 5 Pro Max, which sell for a fair bit more: $229.99 / £199.99 (roughly AU$400). We’ll get into these a little later; it’s best to treat them as a ‘Pro’ model to the Liberty 5 Pro (despite that being a little confusing), with a few extra tools for professionals, but no major advantage.

Soundcore Liberty 5 Pro review: Specs

Soundcore Liberty 5 Pro review: Features

• Impressive noise cancellation and clear calling
• Middling battery life, at 6.5 hours
• Absolutely loads of features via app

In the introduction to this review, I already waxed lyrical about the Soundcore Liberty 5 Pro's quiet call tools. Suffice to say, it's just as impressive as it was when you read about it a few minutes ago: a real stand-out feature of the buds.

Quiet calls is one of the many benefits brought from the use of Anker’s Thus chip, with the brand’s decision to home-brew its own internals, and thus get to design its software and hardware in tandem, paying dividends.

Another example is noise cancellation, as the Liberty 5 Pro has some of the best I’ve used in a set of earbuds at its price point. It is able to eradicate the low, rumbling background hum of life, and drastically reduce louder sounds too — it even took a big chunk out of my coffee shop’s streaming of Hey Ya!.

In theory, battery life is another department that should benefit from Thus, and Anker puts the listening time per bud, with ANC on, at 6.5 hours. From my own testing, that’s an optimistic figure — my own listening time was a little south of that mark. The same is true with the overall case battery life, which Anker states as 28 hours. Don’t get me wrong: the battery life here is fine, but it’s nothing to write home about either.

If that sounds like a nice little haul of features already, just wait until you download the Soundcore app. If my editor didn’t think this section was too long already, just wait until we list what else you get with the buds.

This has all the basics: the ability to change between noise cancelling modes, customizable touch controls, Dolby Atmos, EQ presets, multi-point connection, fit tests, find-my earbuds, and an eight-band custom equalizer.

But you get a whole lot more: there's a listening test for custom EQ, a load of ambient soundscapes and listening modes, and even a built-in chat-bot called Anka which can give you suggestions for settings to change. There's a lot going on.

If anything, the app's a little confusingly laid out. If you select your earbuds, where most apps would put all the settings, you can only see a few. To find more, you need to press a little Settings cog which is easy to miss. And for many more options, you have to back out all the way to the main menu.

• Features score: 4.5/5

Soundcore Liberty 5 Pro review: Design

• Kidney bean-shaped bud with tip and fin
• Reliable in-ear fit
• Touchscreen-toting case is a little bulky

Anker has opted for a kidney bean-shaped look for the Soundcore Liberty 5 Pro earbuds; they bring to mind Samsung’s bean buds, but with a tip that you can use to put them in your ear. You can pick them up in blue, pink, white or black, and the buds and case come in the same hue.

Each earbud weighs 7g, is made of a solid-feeling plastic, and the other design feature of note is a little wing at the top to keep them locked in your ear. To be clear, the fit is much better than those older Samsung buds. That little wing works magically, and I took them to the gym and on countless runs without any inkling of them falling out.

The buds are IP55 protected, which means they’re protected from dust and low-pressure water jets (like rain or sweat) but aren’t suitable for swimming. You get touch controls on each bud, but you need to tap multiple times to achieve anything, and I found them unreliable for multi-tap commands.

Now onto the case; the 0.96-inch display on the front isn’t as much as selling point here as the Pro Max’s larger one is, but it’s not as much of a gimmick as to put off people who aren’t interested.

It sort of makes the case look like a very small '90s alarm clock. You can use its screen to quickly check the charge of the buds and enabled certain features; I found it pretty unresponsive and gave up using it for music control quite quickly, but perhaps a more patient user could persevere. I can see the quick access to EQ presets being pretty handy for certain people.

Due to its touchscreen, the Liberty 5 Pro's case is a little larger than most rivals', even if at 70g it's not unduly heavy. I found it a little on the large side to slip into my pocket; not perfect for people who like a tiny case. The sliding mechanism to reveal the buds felt quick and easy, but I'm curious about how long it'd lasting in the long term. Even over several weeks of using the buds, the sliding plane started to feel a little wobbly.

• Design score: 4/5

Soundcore Liberty 5 Pro review: Sound quality

• Using 45mm drivers
• Music is muffled, and tinny
• EQ doesn't help

Anker has put 9.2mm drivers in the Liberty 5 Pro Max, which I'm inclined to believe are the same pieces of kit that it used in the non-Pro buds. As with those other models, these aren't audiophile earbuds — the sound is way too warm for that — and instead they give the people what they want.

That's to say, they're bass-heavy and energetic buds, focused more on snappy lower frequencies and tender higher ones than an objectively natural, integrated hi-fi sound. Given how commonly this kind of sound profile is used in affordable and mid-range buds, I'm inclined to say it's popular, and Soundcore's done a great job hitting that target.

If you like lower-end clout in your sound, you'll be happy here. Any genre I tried, from rock to pop to dance, fared well. It was even solid for listening to genres that don't revel in excess bass, like classical, acoustic and jazz.

Bass injection is clearly the name of the game here, but for the most part, trebles and mids are just as forceful, offering an enjoyable amount of detail. Shane Smith & the Saints' Coast has a lovely delicate timbre in the acoustic guitar which you often miss, and some lovely harmonies in Last Sunrise In The Wasteland by At The End Of Times, Nothing came to the fore.

I'm not going to claim that these buds are perfect. At lower volumes, the Liberty 5 Pro lose trebles and mids at a disproportionate rate.

But the real 'problem' will likely come from the sound being divisive. The Liberty 5 Pro's bassy sound might not please everyone. It's right on the border of 'too much', sometimes offering a lovely thumping sound, but occasionally stepping over the line.

In songs like Gabriel Kelley's You Kill Me, bass guitar can overstep its role as an accompanying instrument, and step to the fore in a way that throws the song out of whack. At other times, it can just override some of the more sensitive instruments. More so than in most earbuds I test, you're going to have to get familiar with the EQ presets, and use them depending on which genre you prefer to listen to.

If that wasn't a problem for audiophiles, perhaps the relative lack of Bluetooth codec support is. You're getting Hi-Res Audio Wireless certification, but seemingly no bone thrown for LDAC, aptX or anything similar.

• Sound quality: 4/5

Soundcore Liberty 5 Pro review: how about the Pro Max?

• Pro Max cost a little more
• Sound quality and battery life are identical
• Pro Max has larger case, one or two extra tools

Beyond being an absolute mouthful to say (or, in this case, write), the Anker Soundcore Liberty 5 Pro Max are very similar earbuds to the Pro. So much so, that instead of writing an entire separate review on them, I decided to give them a section of the Pro review. And why not the other way around? That's because the Pros are, in my opinion, the best buds for most people.

The Pro Max earbuds are exactly the same as the Pro's, in terms of design, sound quality, battery life and feature set (mainly). The Max comes in thanks to two additional features: you can use the case to record audio and provide quick transcripts, and for instant voice translation.

They're solid features, all right, but with more limited appeal. I can see them being handy for business users, but not so much for the average buyer.

Your other upgrade here is in the carry case: its display now takes up the entire top of the buds, and it offers loads more features. You can add a custom wallpaper, and use it for various tools, settings and modes, including (but not limited to) the aforementioned extra features.

Again, useful additions, but at the cost of an even larger carry case. It wasn't comfortable to keep in my pocket, that's for sure.

I'm not disputing that the Soundcore Liberty 5 Pro Max are better earbuds. But for most people, I don't think they're enough to justify the extra cost. Only consider these if you'll really use

Soundcore Liberty 5 Pro review: Value

• Too expensive to be consumer cans
• Value for money if you need transmitter

The Soundcore Liberty 5 Pro are reasonably priced, but you get what you pay for. There’s nothing wrong with that, but a good discount would tip these into the ‘amazing’ value for money camp.

The noise cancellation, sound quality and feature set are all really good for the price… but there are loads of other rivals at around the same price point that all offer suites that are good for the price. I've tested a few earbuds for even less, that impress me just as much.

At least the Anker Liberty Pro are better value money than the Pro Max. You’re paying more money, and getting a very similar product. For business users maybe, but I can’t see myself recommending them to most people, when the Pro is right there.

• Value: 3.5/5

Should I buy the Soundcore Liberty 5 Pro?

Buy them if…

Don’t buy them if…

Soundcore Liberty 5 Pro review: Also consider

Want to see what other earbuds your money can get you? Here are some alternatives for roughly the same price.

How I tested the Soundcore Liberty 5 Pro

• Tested for three weeks
• Paired with Android phone for variety of tasks
• Also used alongside Pro Max

I used the Anker Soundcore Liberty 5 Pro for three weeks before writing this review. I tested them alongside the Pro Max model.

During the testing process, the earbuds were connected to my Android smartphone. I used them for streaming Spotify Lossless music as well as Tidal and Apple Music, playing various games, streaming videos, conducting voice calls and going on video chats.

That listening went on at home, while at the gym, during runs, and on walks around my neighborhood. For certain areas, like ANC and sound quality, I have reference tests I conduct which lets me compare various earbuds.

I've reviewed earbuds and headphones for TechRadar for many years, including previous Anker products like the Space 2 over-ears earlier this year.

• First reviewed in June 2026

• Read TechRadar's reviews guarantee

• AirPods are getting a universal custom EQ at last
• You'll be able to see the results live as a song plays
• It's set to come in iOS 27, as part of the AirPods' Settings screen

Apple just announced that one of the longest-requested features from AirPods users is finally coming as part of iOS 27: a custom EQ. Announced during the WWDC 2026 keynote, Apple hasn't revealed full details of the feature, but we did get a first glimpse.

There will be a screen that looks like the image at the top of this page, and if you tap 'Custom' then a blue line is overlaid on the frequency graph. You appear to be able to move the blue line to increase or decrease the frequency bands.

There's a live waveform that plays, so it appears that you'll be able to see the result on the sound signature live, as well as hearing it, obviously.

In the past, it's been possible to make some changes to AirPods' sound using accessibility tools, but this really isn't designed for making subtle changes to your music profile, it's designed for the hard of hearing to boost frequencies they struggle with.

There's also been an EQ in Apple Music, but that doesn't help if you use another app for music, and doesn't preserve the EQ when you switch devices or other apps in general.

There are interesting differences in the sound of different AirPods models. The original AirPods Max are much more neutral than the AirPods Pro 3, for example, and I can easily see that some people might choose to give the over-ears a little extra poppy punch at times — or might want to just take a slight edge off the earbuds.

However! The obvious thing that's missing in the images we've seen so far is a clear option to save presets, so the scenario I've described above might not be that easy. This might be in the final version, of course, or there might be a way to create this using Shortcuts.

However, I wouldn't be surprised if Apple keeps this pretty basic. The screen doesn't really encourage you to make changes: the description in the setting says, "AirPods are designed and engineered by Apple to faithfully represent music, TV shows and movies, and calls. If you prefer a different sound profile, you can customize how AirPods represent any audio played."

Still, given that the original AirPods model launched in December 2016, I'm just glad we're getting finally getting it as an option at all.

Shokz OpenDots 2: One Minute Review

Shokz, the company specializing in bone conduction and open-ear buds, returns to the clip-on form factor with the Shokz OpenDots 2. It’s worth noting that the OpenDots 2 are one of two pairs released at the same time: they arrive alongside the cheaper Shokz OpenDots Air, which are missing a few features like wireless charging, waterproofing and bone conduction mics.

The clip-on earbud form factor offers both pros and cons. On the one hand, the shape is light and comfortable to wear day-to-day, and doesn’t interfere with glasses in the same way an over-ear hook might. They look almost jewellery-like, with my testing pair sporting a metal-and-pearl off-white sheen, sitting like a helix piercing over my ears.

On the other hand, they’re much less stable than over-ear hooks, with some brands being very wobbly or prone to dislodging. While the OpenDots 2, like most clip-on headphones with big drivers at the back, do suffer from being easily dislodged by the accidental brush of a hand or a hood (you’ll want to take extra care during commutes if you’re crammed into someone’s armpit on the train), they tend to stay in when left alone.

You might think that without a seal around your ear canal the OpenDots 2 might come up short on sound, and compared to market leaders like Apple’s AirPods that’s largely true. However, for open-ear headphones, the sound quality is excellent, with powerful bass despite the lack of a seal, and very little leakage. A dedicated Private equalizer mode also reportedly works to reduce leakage, although during my tests, even on Standard my office colleagues couldn’t hear any sound leakage at all, even when I had the volume turned up to Spinal-Tap-11 levels. Other EQ modes in the Shokz app include Vocal and Bass, and a Smart EQ option also exists, with users taken through six ‘A or B’ comparisons to find their optimal EQ mode.

Battery life is strong, with Shokz citing “up to 40 hours” from a full charge of the case. Wireless charging takes 3.5 hours, and a full wired USB-C charge takes two hours.

The launch of the OpenDots 2 sees Shokz attempting to push its way into a crowded category. One Shokz representative told me the company was hoping to eventually ‘replace AirPods’, and while I can’t see that happening anytime soon, the OpenDots 2 are probably the strongest clip-on earbuds I’ve ever tried; certainly in terms of sound quality, they’re up there with the Bose Ultra Opens while surpassing them in the fit stakes. They’re high-quality, durable, attractive-looking, and stable when left alone — just be careful when pulling your hood down.

Shokz OpenDots 2: Specifications

Shokz OpenDots 2: Price and availability

• $199.95 in the US
• £179.99 in the UK
• AU$339 in Australia

The Shokz OpenDots 2 cost $199.95 in the US, £179.99 in the UK, and AU$339 in Australia. That’s not cheap, and comparable to the cost of AirPods 4 with ANC ($179 / £179 / AU$299) — and the OpenDots 2 aren’t as versatile, considering that they’re effectively always in ‘transparency mode’ due to their design. If most people are going to drop this sort of money on a pair of wireless earbuds, it’s likely to be on a set that can both block out noise entirely and allow it to filter through when needed.

That being said, they’re not badly pitched (sorry) in value, being cheaper than the Bose Ultra Open Earbuds, which cost $299 / £299 / AU$449.95, at launch, and of similar quality. If you’re looking for cheaper options, the Shokz OpenDots Air are available at $129.95 / £129.99 / A$219, or you could opt for the Huawei Freeclip series.

• Value score: 3.5/5

Shokz OpenDots 2: Design

• Clamshell case
• Comfortable fit
• Some instability if knocked

The Shokz OpenDots 2 are designed in a similar way to most clip-on earbuds now: there’s a battery cylinder at the back featuring sensors with a tactile button, a driver designed to hover over the ear, and a band connecting the two, and gripping the device to the ear’s helix. In the case of the OpenDots 2, the speaker is in fact a sphere with two 11.8mm drivers facing inwards towards each other, creating a ball of sound, and a hole from which the sound is projected towards the eardrum.

From an aesthetics standpoint, the OpenDots 2 look very similar to the Bose Ultra Opens, right down to the mix of plastics and metallics on the buds and the clamshell case. That’s not a bad thing; they look very premium, and are extremely comfortable to wear. As a glasses wearer, I experienced none of the chafing or earache over-ear hooks give me, even when wearing the OpenDots 2 for long periods or during sweaty workouts. As mentioned, they can be knocked loose easily, and there’s no getting around this, as it’s simply a design issue with almost all clip-ons. Pulling a hood back immediately risks pulling out your expensive earbuds and sending them clattering to the floor.

The controls are intuitive — you can pause, play, adjust volume or cycle through tracks by pinching the barrels or tapping the bridges of the earbuds. The OpenDots 2 pack IP55 waterproofing, meaning they can withstand sweat, rain and dust but are unlikely to survive prolonged submersion or high-pressure washing. The case isn't waterproof either, so don’t leave them in your pocket and put them in the washing machine!

• Design score: 4.5/5

Shokz OpenDots 2: Features

• Four EQ modes
• Multipoint connectivity
• Custom EQs to tailor sound to your liking

Despite being focused on open-ear products, Shokz is clearly working on sound and pitching the OpenDots 2 at everyday audiophiles rather than athletes. With four equalizer modes — Standard, Bass, Vocal and Private — plus a Custom EQ option, you’re able to tweak the sound to suit your needs and preferences.

After going through the custom EQ setup, which asks you six times to choose between two different versions of the same track, I noticed only a very minor difference to Standard, with slightly more powerful bass and clearer mids. This probably speaks to the quality of Shokz’ already excellent sound mixing, particularly on an open-ear bud.

Multipoint connectivity allows for two devices to connect via Bluetooth simultaneously, and I’ve been switching seamlessly between my phone and laptop with no issues. The option to use wireless charging is nice too. AI-powered call noise reduction with dual bone-conduction and ‘air conduction’ microphones makes calls sound nice and clear.

The OpenDots 2 are not packed with features such as live translation and heart rate sensing like Apple’s AirPods Pro 3, but they’re certainly not bad for the price.

• Features score: 4/5

Shokz OpenDots 2: Performance

• Great sound
• Stable fit, apart from on contact
• Good battery life

The sound delivered by the Shokz OpenDots 2 is excellent, considering that these are open-ear headphones: they’re meaty and bassy, with minimal leakage even at higher volumes. In the office, I wore them comfortably all day while using my laptop, transitioning to my phone when I left the office, and only removing them to show curious colleagues, or pausing via a tap to have a conversation. Most outside sounds were blocked in a way that they aren’t with bone conduction headphones, as you have a driver sitting right over the top of your ear canal pumping vibrations down to your eardrum, whereas with the likes of the OpenRun Pro 2 your canal is left truly open.

However, while on a 10K run I kept my headphones on a low-to-middle volume, and I was still able to hear the bells of passing bikes and the occasional twitter of birds, so the open-ear design still does its job admirably. On my very sweaty run, the buds didn’t feel like they were pendulously wobbling, and I was able to pound the pavement and even shake my head without being afraid that they would dislodge. Only a nudge of my hand would cause them to come loose.

I find the OpenDots' listed battery stats to be largely accurate: I’ve been using these headphones for the better part of a week as I write this review, and only now is the case at 10% battery, with the buds themselves still on a full charge, and good for a further 10 hours.

• Performance score: 4.5/5

Shokz OpenDots 2: Scorecard

Shokz OpenDots 2: Should I buy?

Buy it if...

Don't buy it if...

Also consider

How I tested

I wore the Shokz OpenDots 2 for a week in different scenarios. I used them on my commute, in work, on a 10K run, in the gym, and even while sleeping, making use of the custom EQ functionality, asking colleagues if they could hear the audio I was listening to at various volumes, and testing their multipoint connectivity features.

First reviewed: June 2026

This week, I’ve been wading through the endless sea of incredible audio gear at 2026’s High End Vienna, and I’ve seen plenty of sensational-sounding, innovative, and eye-wateringly expensive stuff.

One area I found myself glued to above all, was the World of Headphones hall, which featured some newly-announced sets with truly cutting edge capabilities. For instance, I managed to go hands on with a pair of Wi-Fi headphones, and also tried a unique triple-driver set with ultra-advanced personalized EQ options.

So, I’m here to share the four sets of headphones that impressed me the most at High End Vienna — including some pairs announced at the show, as well as a few 2026 releases that I tried for the very first time.

1. Meze Audio Arta

The Meze Audio Arta open back circumaural headphones are striking in just about every way imaginable. In our news coverage, we likened them to a supercar in the audio realm. They have an attention-grabbing, futuristic aesthetic, seismic sound, and a huge €6,000 (about $7000 / £5,200) price-tag. And while I’m not here to decide whether they’re truly worth such a fee, I’m willing to say that these headphones really wowed me.

It was recommended that I listen to Can’t Stop by Red Hot Chili Peppers, and it wasn’t hard to see why — the track really showed these headphones at their best. Leading vocals were exceptionally clear, the tonal accuracy of guitars was top-notch, and subtle clicks and percussion were weighted beautifully. Despite their highly insightful nature, the Arta also have quite an exciting sound signature; bass was very punchy and got my head moving in no time.

The planar magnetic drivers — which Meze says have the “highest-impedance” to date in any set of PM cans — provide almost tangible directionality, and elements like backing vocals were placed with great precision. You’ll need a good quality amp to drive these, of course, though I suspect that will be no issue for anyone spending €6,000 on headphones.

I spoke to Meze’s Acoustic Engineer, Alex Grigoras, about the headphones’ sound, and he highlighted that the Arta are “quite open compared to other products in our lineup,” pointing to their thin and light diaphragm. The aim, he told me, was to build on the legacy of Meze’s Empyrian line and almost capture the feeling of listening to a loudspeaker in a room.

2. Noble Audio FoKus Artemis

One of the most unique pairs of headphones I spotted out in Vienna was the Noble Audio FoKus Artemis, which are priced at $899 / £799. These noise-cancelling headphones use a triple-driver configuration: dynamic, planar magnetic, and balanced armature.

When I spoke to the team, they explained that although dynamic drivers are capable enough when it comes to handling bass and mids, this hybrid approach enables the headphones to offer enhanced highs, better articulation, and plenty of speed. And this was audible when I tried the Artemis for myself.

The FoKus Artemis were unlike anything I’ve heard before, with an incredible spacey, hypnotic sound. With Allie X’s Black Eye, I was impressed by incredibly clear, well separated vocals, precise highs, and impactful low-end sound. Thanks to their open quality, this track’s deep bass was also exceptionally immersive — it was almost as if I could feel it moving inside my head.

Through Noble’s work with Audiodo, the Artemis will also enable users to set a personal sound profile, rather than traditional EQ presets, making these headphones extremely personalizable and adaptable. Interestingly, the Artemis also have an IP rating — something of a rarity for over-ears. Sure, it’s only IP52 — meaning they’re partially dust resistant and protected against vertical drips of water akin to a light-to-middling rain-shower, say — but it’s good to see a manufacturer being more transparent about waterproofing.

3. HiFiMAN HE1000 Wi-Fi

Using the HiFiMAN HE1000 Wi-Fi marked the first time that I’d ever used a pair of Wi-Fi headphones, and I’m really interested to see if some of the major players in the audio space will adopt it. Wi-Fi enables better streaming quality than Bluetooth can, and is the main selling point of HiFiMAN’s $2,699 / £2,609 wireless open back headphones.

While I didn’t have the ideal listening environment for these headphones — I was in the middle of a fairly busy (and noisy) demo space, I was impressed by what these cans had to offer. In Bitches Brew by Miles Davis, I enjoyed the open, precise soundstaging, the tonality of leading trumpet, and the subtlety of finer percussive details. I was listening using the company’s HM2000 tablet, which enables a seamless Wi-Fi connection to the headphones, although the HE1000 can be used without this.

Although the HE1000 are fairly heavy and the earcups are large, I also found these to be surprisingly comfortable in-use, and the overall build quality here is very high to boot. They can only manage 6.5-7.5 hours of playback when Wi-Fi streaming due to the more intensive drain compared to Bluetooth, but I certainly enjoyed my brief time with these cans.

4. Audeze LCD-5s

One major piece of news out of High End Vienna was Audeze’s unveiling of the unveiling of the MM-520 studio headphones. That model packs 90mm drivers, an open back design, and Audeze’s proprietary SLAM technology for optimizing air pressure and refining low-end sounds.

But as cool as this new announcement was, I wanted to highlight another pair of Audeze headphones that were released in 2026, the LCD-5s. These premium open back planar magnetic headphones really wowed me. When tuning into A Tribe Called Quest’s Check the Rhime, I was stunned by the responsiveness in the treble range — percussion was super-snappy, with a rapid decay and high-level precision. Vocals occupied a neat pocket in the mix, and bass was balanced expertly too.

SLAM tech is present here too, as are the 90mm drivers, resulting in spectacular audio quality, regardless of the genre you’re listening to. On another note, I was a big fan of the LCD-5s’s look. The tortoiseshell details and leather headband were real stand-out elements, helping these headphones feel especially luxurious — a good thing, given that they come in at $4,500 / £3,999.

No matter which brand you prefer, the best phones are always improving. From the iPhone 17 Pro’s elite Fusion Camera system to the Samsung Galaxy S26 Ultra’s Privacy Display, expensive flagships routinely bring something new to the table. Except when it comes to design.

As we’ve discussed before here at TechRadar, the unfortunate truth is that phones have never looked more boring. Gone are the days of the motorized LG Wing and Oppo Find X, or even the flashy gold-colored iPhone 14 Pro — pick a modern flagship phone off the shelf and, more often than not, it’ll be some bland melange of glass and aluminum.

Nothing is the exception to this rule. Since emerging in 2021, the best Nothing phones have caught the eyes of tech fans with their bold and bizarre designs. The brand's arcane Glyph LED systems and Y2K-style see-through panels have made it a go-to for tech fans who want something unique, even definitive.

And to be fair, if you are trying to make something definitive, it helps to have the defining pop star of the 2020s at the center of your latest ad campaign.

I'm your number one

Last month, Nothing announced Charli XCX as its first global brand ambassador with a campaign simply titled NOTHING (CHARLI XCX).

In the campaign, Charli poses with a handful of Nothing phones and headphones, doing her usual thing of strutting, smoldering, and generally looking cooler than most of us could ever hope to look.

It’s genuinely difficult to explain the impact Charli XCX has had on popular culture in the last few years. After a brief flirtation with the charts in the early 2010s and close to a decade as an online cult icon, Charli conquered the mainstream in 2024 with Brat, an album so immense in impact that it spawned a tsunami of memes, two deluxe editions, the self-ironicizing movie The Moment, and even infiltrated political campaigns.

Needless to say, Nothing getting her on board — not just for this campaign but as a global ambassador who will, presumably, be sticking around — is a huge win.

Speaking on the campaign, Charli XCX said: “I’m always thinking about how my work will be experienced out in the world… [Nothing’s] ethos of prioritizing creatives is really something I look for when working with a partner.”

Nothing CEO Carl Pei added: “The tech industry has spent a decade making everything quieter, more minimal, more monotonous. Charli has spent her career going the other way in pop. We want Nothing to feel more like that.”

Indeed, the Charli collaboration is part of a wider trend in tech, as brands attempt to market increasingly streamlined products as fashion items as well as performance-based tools to a younger generation that cares more about vibes than anything else. It’s been true for a long time that most phones can do most of the things that most people need them to do, so phone makers look to trending celebs to capture the Gen-Z dollar.

For example, Euphoria actor Sydney Sweeney serves as Samsung’s brand ambassador, with a particular focus on the stylish Galaxy Z Flip series of folding phones. Oppo partners with Spanish midfielder Lamine Yamal to boost its image. And The Last of Us star Bella Ramsay featured in a string of Apple Intelligence adverts around the time of the iPhone 16’s release.

“The young people I teach are of a different generation — their emotion towards technology is much more intense. I would say it's love or hate, but somehow always addictive,” says Dr. Soomi Park, a designer and researcher who teaches at Goldsmiths, University of London. Her research concerns, among other things, design and its effect on social psychology

“Nothing has Charli XCX in that promotional role, towards a targeted audience of younger people with a contradictory mindset towards new technology, where they feel more and more isolated or more and more connected,” Park adds. “Perhaps having that admirable musician character could get them to think ‘why not try it?’”

Speaking personally, I think Charli’s partnership with Nothing does feel different from other celebrity endorsements. Yes, I'm a fan of her music, but there's something particularly authentic about this collaboration; Charli has decided to become a Nothing shareholder because of a genuine alignment between the two brands. Just as Charli XCX dominated mainstream discourse with 2024’s Brat after almost a decade in the indie pop scene, Nothing hit the big leagues with 2025’s flagship Nothing Phone 3 after years of courting enthusiasts and experimenting with design.

Nothing has built its entire brand on the back of its design philosophy. Its phones and other products are playfully weird without straying too far into the chaotic, and they're some of the only mobiles on the market that actively spurn symmetry, making them instantly recognizable and already fairly iconic.

In kind, Charli XCX is a fashion icon — her impact is as much about image as it is rhythm and melody, blending the slick electronics of post-pandemic pop music with Berghain-ready all-black outfits and appearances at the Met Gala. If the Nothing Phone 3 were a person, it might have a similar sense of style.

I Don't Care (about specs)

Fair warning to the TechRadar audience, innocent as you are, some of the images in this campaign are a little risqué, so you might want to avoid checking them out while at work. That is, unless you work in an office exclusively populated by open-minded, tote bag-wielding, matcha-drinking fashionistas — AKA this campaign’s target audience.

You see, as a tech nerd first and a Charli fan a close second, what I notice about this campaign is its near-total lack of detailed specs. While the video clip ostensibly centers on the long battery life of the Nothing Headphone (a), the rest of the campaign forgoes any mention of the things that light us up here at TechRadar; details on the sound quality of Nothing's headphones or the camera capabilities of its phones are non-existent.

Instead, Nothing has set itself a new goal with this exquisitely ‘brat’-ty campaign — make its products chic.

To my eye, this is an intentional break from recent trends in tech messaging. Silicon Valley has pivoted to talking about AI capabilities and compute power above all else. Even the best folding phones, all of which sit at the cutting edge of mobile design, are promoted in terms of their engineering and productivity prowess, rather than how they make you look — how they make you feel.

“Technology is inherently affective, even when it presents itself as neutral or functional,” designer, lecturer, and TEDx speaker Morchen Liu tells me, “and the devices we carry are never just tools — they shape mood, self-perception, ritual, attention, and social identity. They sit very close to the body, and very close to the self.”

“What campaigns like this do is make that more visible,” he adds, “they acknowledge that people do not only choose devices based on utility, but also based on feeling, symbolism, and the kind of person they imagine themselves to be.”

Liu’s work — which he shares with more than 30,000 Instagram followers — is deeply involved in the blending of fashion with AI tools, reflecting a wider prioritization of software in the tech industry due to plateauing hardware capabilities.

He continues: “Hardware has become harder to differentiate in purely technical terms, especially for consumers… one response is to make hardware feel culturally alive again. Nothing is essentially trying to reposition hardware as something expressive, not just a neutral container for software.”

Taking a step back, it seems that Nothing has been planning to cross over into the fashion space since the beginning. It's been partnered with Swedish tech and design firm Teenage Engineering since day one, and at the end of 2025, it hired Charlie Smith, previously head of marketing at luxury fashion house Loewe, as Chief Brand Officer, adding serious haute couture experience to its leadership.

By hiring Smith and working with Charli, Nothing has won headlines in titles not normally associated with mid-tier phone companies — there's been Vogue and Hypebeast on the fashion side, as well as music mags like MusicTech and Clash.

For curator Adam Murray, who teaches fashion communication, promotion, and image at Central Saint Martins, University of the Arts London, Nothing’s fashion focus and its campaign with Charli xcx could be an effort to garner Gen-Z support: “Appeal to the younger people and get them as loyal consumers into their 30s — that seems to be what Nothing is aiming for.”

He continues: “It’s about how significant Charli has been in the last two or three years — if she did a collaboration with Apple, you wouldn’t necessarily be that surprised that they could get someone like her, so for a relatively small brand to be able to get her is quite a coup. The way they’re presenting it makes it feel rather significant, and I’m sure that will garner lots of attention.”

“As a celebrity pop star, Charli is one of the most credible, and she’s still got that cool factor that a lot of them don’t have,” Murray adds.

However, Murray notes that, like all fashion campaigns, each element on display has been carefully engineered: "They're trying to align themselves with what Charli means to people. The authenticity aspect is constantly there with fashion, there's always this sense of trying to present the real [...] but it's all as constructed as everything else."

It helps that Nothing can offer some substance behind the shining lights. As our Nothing Phone 3 review, Nothing Phone 4(a) Pro review, and Nothing Headphone (a) review detail, this is a brand that’s really hit its stride in the last year or so. Nothing phones offer great value for money and reasonable performance for their price, even if they miss the odd cutting-edge component or next-gen feature.

Make phones SXC again

Back in 2025, I pondered that the then-unreleased Samsung Galaxy S25 Edge could represent a new era for smartphones by splitting the flagship category into two branches: one focused on thin designs and lighter builds, and the other going all out with performance and camera specs at the expense of bulk.

However, this hasn’t really come to pass. Though thin phones like the iPhone Air have their fans (TechRadar Phones Editor Axel Metz among them), it’s fair to say that the thin phone trend hasn’t taken off in the way that some (and certainly Apple) hoped, with reports of low sales since, effectively, day one for both the iPhone Air and Samsung Galaxy S25 Edge.

And while top-tier phones like the Oppo Find X9 Ultra and Samsung Galaxy S26 Ultra have pushed the limits of mobile performance more than ever, these are much more expensive than the already costly slimline phones they sit above in their respective lineups.

Nothing’s campaign with Charli has got me reconsidering my position. Rather than thinness as the crucial counterweight to heavier photo-focused flagships, maybe it’s more about style.

Indeed, while we have seen a slate of iPhone Air clones hit the market, we’ve also seen middleweight brands getting creative in what seems like a backlash against the stagnating designs of Apple, Samsung, and Google.

The Xiaomi 17 Pro, for instance, features a full-width display on its rear panel, while the liquid-cooled RedMagic 11 Pro gaming phone looks like something plucked from the set of Alien. The aforementioned Oppo Find X9 Ultra is basically a point-and-shoot camera with a phone attached, while Motorola’s Razr Fold has put a geometric spin on tablet-style foldables.

I’m all for a future of weirder phone designs and fashion-first advertising. The big brands — namely Apple, Google, and Samsung — are well overdue for a design philosophy makeover (see the barely different Samsung Galaxy S24, S25, and S26, and the physically identical Google Pixel 9a and Pixel 10a).

Thanks to its partnerships with pop culture icons and luxury fashion experts, Nothing is well placed to capitalize on this shift towards aesthetics — working with Charli XCX feels like a natural extension of the groundwork the company has sought to establish since the very beginning.

As Morchen Liu explains: “The overlap between fashion and tech is increasingly natural; it’s becoming a core part of how products are positioned. I absolutely expect more brands to invest in this space, but the most successful ones will understand fashion not just as styling or campaign imagery, but as a system of identity, ritual, aspiration, and social signalling.”

The 2026 High End audio show is in full swing in Vienna. The show is a key fixture of the hi-fi enthusiast's calendar, and was previously held in Munich — this year, it made the big move over to the Austria Center on the banks of the Danube, and TechRadar followed it.

We've had our audio team on the ground, rapidly learning how not to get lost in the new layout and exploring the mix of returning companies and new players who've jumped on board as part of the change.

We explored as many listening rooms and headphones booths as we could, to identify our favorite products in the audio areas we cover here on TechRadar, so naturally we've got a mix of speakers, streamers, a soundbar-that's-not-a-soundbar, and headphones, rather than hi-fi cables and pre-amps.

So here, in alphabetical order, are the products our team picked as the products that really stood out to us at the end of the show days, all chosen based on listening to their performance.

Astell & Kern SP4000T and Clarus

Let's start with a double winner — we got to test these together, and while each seems phenomenal, the combination was the most impressive part. The SP4000T DAP is an upgraded version of the already fantastic A&K SP4000 player, now packing four vacuum tubes for a taste of the analog.

The Clarus are wired earbuds with nine drivers per bud, using a bunch of different technologies, each targeting different frequencies.

The combination of the two really leans into the 'clarity' suggestion in the Clarus' name — we were instantly taken by the pin-sharp attack in their dynamic range, and the fine detail that they were able to bring out of the music, all while giving every listener a huge sense of scale that feels well beyond something handheld or that fits right in your ear conch.

Bowers & Wilkins 801 D5

Bowers & Wilkins is celebrating its 60th anniversary, so what better time to release its new flagship 801 D5 loudspeaker? This model features B&W's famous Diamond Dome tweeter and an upgrade to its internal Matrix bracing, including a new Space Frame Bracing extension.

The aim is to deliver even more incredibly natural, generous, and immersive sound. During our demo with the 801 D5, we were blown away by life-like vocals, brilliantly regimented deep bass, and super-defined treble, as well as its sophisticated soundstage and spacious presentation.

Cabasse Pearl Pelegrina Édition Atelier

The High End show is always full of bonkers speaker designs, and Cabasse's spherical Pearl design is old news to hi-fi fans — but we can't help but be taken by the Pelegrina version's 'alien eyeball squid has come to Earth to negotiate a new intergalactic peace' design — and what's new this year is the Atelier system, meaning that you can have any finish you want on them, to make them fit your spaceship listening room perfectly.

But what's most important is the astoundingly powerful sound from a speaker cabinet that's actually amazingly compact. The front driver is a tri-coaxial system, meaning it's actually three drivers nested inside each other, and there's a hefty custom-design woofer on the rear capable of especially high excursion.

The end result is a set of speakers that look like an art installation, but can party like a warehouse rave. They can thump the low-end with the best of them, while delivering super-rich and detailed sound that wraps across the room despite their compact 'pupils'. And they're active speakers, so you can put them wherever you want in your home and just start playing.

Cambridge Evo 300

This is the artist formerly known as Cambridge Audio's new, more powerful compact streaming amp — if you've got a really beefy speaker. Still, if you don't want to dedicate too much space to components, then the 300W per channel you can get from the Evo 300 might be exactly what you want.

That's paired with Cambridge's excellent, super-comprehensive streaming platform and digital skills, so you've got easy access to Spotify, Tidal, Qobuz, Roon, and Deezer, with various casting options from your phone and aptX Bluetooth if you prefer. There are two sets of speaker outputs, plus a sub out; for input, you've got XLR, HDMI eARC, and analog options including an MM phono input.

It's just the ultimate all-in-one modern amp if you've got big speaker ambitions — and here in 2026, why shouldn't you?

Canvas Hi-Fi Canvas L

This is basically a pair of floor-standing speakers disguised as a soundbar for Halloween. You've got a stereo setup where each side has a tweeter, a midrange driver, and an 8-inch bass woofer with a matching 8-inch passive radiator. There's 1500W of amplification behind that, as well a necessarily well-braced cabinet — all of which are designed to attached to the rear of your TV using a mounting bracket, with the speakers sitting underneath the screen.

And it's in this list because it sounds like two excellent floorstanding speakers. It delivers unbelievably deep and resonant bass for a floating speaker bar, with the low end dispersed well throughout the room. There's phenomenal texture and realism to vocals, and it's all brilliantly musical and full of excellent rhythmic energy. It's delicate when it needs to be, but our overarching takeaway from listening to music is just how firm and 3D every instrument feels.

We didn't get to try it with music, but this is the first time we've heard something claim to be an audiophile soundbar and responded, "Yep, that's fair". It was electric, musical, and kind of addictive.

iFi iDSD GR 2

The iFi iDSD GR2 portable DAC is a considerable upgrade on its beloved predecessor, the venerable xDSD Gryphon, in a number of ways. It delivers far more amplification power, longer battery life, and even a touchscreen for a more user-friendly experience.

After trying it out at the show, we loved how it more seamlessly helps you to bring the very best out of a pair of premium headphones, and with K2HD tech for enhanced harmonics alongside a whole load of connectivity options, the GR2 has just about everything an audiophile needs, whether listening at home or on the go.

Meze Audio Arta

These new planar magnetic headphones come from a brand known for bringing high-end sound to a very reasonable price — but this time, Meze Audio just went all out, price be damned.

The result is one of the biggest and most cohesive soundstages we've ever heard from a pair of headphones. From the tinkliest treble with heavy sub-bass, these headphones deliver it all with total control and clarity, all at the same time if they have to. It's that cohesion that stands out, partly because it means individual parts don't stand out — everything sounds simply 'correct' in a way that deeply satisfies the brain. They deliver total audio order — a perfect, seamless whole.

Noble FoKus Artemis

These are wireless active noise-canceling headphones, from a company that most people will probably know best for putting improbably powerful driver arrays into earbuds. Well, it's now put an improbably powerful driver array into over-ears, including a dynamic driver, a planar driver, and a balanced armature — and somehow, the end result is pretty lightweight and comfortable, with a 50-hour battery life.

The end result is probably the most revealing noise-canceling headphones we've ever tried. They're utterly impeccable at picking out every nuance of instruments, even in the most dense mix, and even with the ANC mode activated (which is pretty good too).

There's a huge dynamic range, and really steep level of attack to them: every drum is hard, and every plosive is picked up with precision in a voice. The sound is maybe a little cooler than most people will be used to from ANC headphones, but that will be exactly their strength — they create the silence, and then fill it with tiny details you'd never heard before.

Ruark R710

The Ruark R710 streaming amplifier blends a beautiful retro-style look with an expansive suite of modern features — as well as some not-so-modern ones that we very much welcome. It builds on Ruark's previous R610 in a number of ways, packing in more power for the speakers, along with an integrated CD player, which has apparently been included by popular demand (and is hidden in the handsome wooden front grille, making it a fun secret touch).

When listening to the streamer alongside Ruark's new Talisman R speakers, we were impressed by the warmth and tonality of vocals, the high caliber of instrument separation in the mix, and the striking power of the overall presentation from a compact box.

Yamaha NX-70A

Yamaha's new active speakers have a very sleek and stylish look, but generally seem quite unflashy and demure — though in our demo at the show, they seemed like something of a wireless wonder.

They offer a lively, precise sound with really well-honed handling of transients, which helps them to build an excellent stereo spatial presentation. The diffusion of ambient sounds into the room while holding the tension on the sharper central sounds makes them a really exciting listen. There's so much detail, creating a really physical sense of texture to something like the hum of a saxophone reed. Add the pleasingly weighted bass response, and you get a set of active speakers that really grab your attention, in the best way.

• Open ear headphones company Shokz is working on new products outside of bone conduction or sports headphones
• These include smart glasses, in-ear AI assistants and hearing aid solutions
• They are all in various stages of development, with none planned for release anytime soon

Shokz is well-known in fitness circles as the maker of some of the best bone conduction headphones and best running headphones in the world. Go to any running or cycling race event, and you'll spot more than a few Shokz users in attendance. While the company has branched out into true open-ear headphones for daily life such as the OpenFit and OpenDots series, Shokz' top brass has confirmed it's working on more pivots into smart glasses, hearing solutions and (of course) AI.

Smart glasses like the Meta Ray Bans and Oakley Meta Vanguard pack directional speakers and microphones into the arms of the glasses themselves. This use of open-ear audio tech might make the smart-glasses form factor a natural fit for Shokz.

At a press conference in China, CEO Ken Chen said: "Smart devices, especially smart glasses, are a significant challenge for everyone in the industry. For glasses specifically, we have already gone through several iterations, and we see AI glasses as a category that is still at a very early stage. It is a complex product that requires many elements to come together."

While Shokz debuted a very early concept for its smart glasses at this year's CES conference in Las Vegas, this is the first confirmation that several versions of the glasses are, or have been, in active development.

It's interesting to note the phrase 'AI glasses' mentioned there, too. Chen said Shokz is "closely following developments in AI, and we are actively exploring how they may shape future wearable products."

Vincent Xiong, head of North America, confirmed in a separate speech that Shokz was also working on AI open-ear headphones, stating "AI will further accelerate the trend towards prolonged headphone usage... For the AI assistant, people need audio input, and there are no better devices than headphones. I don't think people will be able to stay away from AI."

Xiong went on to describe an AI assistant that could "record everything you say" presumably to be used to add context to an AI chatbot's replies, adding: "because of [an] NDA, I can't give you a lot of detail, but what I can share now is that we are working with one of the industry leaders in the United States for AI headphones."

Bone-conduction hearing loss solutions

As a specialist company focusing on headphones that allow you to retain spatial awareness, Shokz is also looking at hearing aid solutions. Chen said: "we’ve been exploring hearing-related devices for quite some time, although we want to be careful with the term 'hearing aids', since that is a medical term and carries regulatory implications.

"We already have some activities underway in China and Australia, and we want to do more in other areas. The work is still at an early stage... we don't have a specific timeline to share at this point."

Shokz went on to show journalists a film of a US teenager who suffers from unilateral (one ear) hearing loss. After contacting Shokz, the company was able to create a device to help her overcome the hearing loss using bone conduction and a microphone.

As an over-the-counter solution, Shokz' future device could have similar functionalities to the Nuance Audio Hearing Glasses, which uses omni-directional mics to help users with bilateral (both ears) hearing loss.

This ties in nicely with Shokz' admission that it's working on smart glasses, although wireless earbuds like the Shokz OpenFit Pro would likely be preferred for those with unilateral hearing issues, as one bud or both could be worn depending on the user's hearing needs.

House of Marley Smile Jamaica USB-C review

In 1976, Bob Marley & The Wailers released Smile Jamaica, an upbeat reggae tune bursting with soul and positivity. And the House of Marley Smile Jamaica USB-C earbuds are aiming to replicate those qualities, boasting a vivid design, and apparently “vibrant sound”.

But just how good are these wired USB-C earbuds? Well, at $19.99 / £14.99 / AU$24.95, I wasn’t expecting anything magical, but there are a lot of major positives to discuss. So, here’s what I made of my time with the Smile Jamaica USB-C.

To begin with, I have to talk about the design of these wired in-ears. As soon as I took the Smile Jamaica out of the box, I was struck by their unique, enticing build. They’re made of a few materials, including recyclable aluminum, renewed PeT, and bamboo. Not only does this blend look fantastic, but it’s a lot more sustainable than a huge proportion of the competition — even some of the best wired earbuds.

I really liked the Brass variant that I tested out, but you can also grab these in Copper, Signature Black, or even Rasta (a celebration of red, gold and green, with green ear tips, yellow branding and a cable that incorporates all three colors). Pretty cool.

The braided wires are pretty well-built, and I never experienced excessive cable noise when using the Smile Jamaica USB-C on the go. They’re also tangle-resistant, so I didn’t get a horrible wiry mess every time I retrieved the buds from my pocket. The inclusion of a USB-C connector also means you can connect these buds to your smart phone or just about any modern device, which is incredibly practical — no pairing, no charging, just plug and play.

If I was to be critical, I’d argue that there could’ve been more ear tip size options in the box — you only get one additional pair. This way there could’ve been more options for people with larger or smaller ears — although as someone with aggressively medium-sized ones, this wasn’t an issue for me. There’s also no carry case, but they should be safe in a pocket or small bag regardless.

The ear tips that do come in the box are fairly comfortable, though, and they passively block noise to decent effect. Don’t get me wrong, you’re not going to experience the noise-crushing effects that ANC will provide on the best wireless earbuds, but when listening to music in the office, sounds like typing and chatter were dulled relatively well.

One feature that’s missing, however, is volume controls. The in-line remote skips on these, meaning I had to remove my phone to alter loudness on the go, something that could be a tad inconvenient. According to the instructions booklet, some of the commands — bound to a single button on the controller — are also restricted to iPhone only, which was no good for a Samsung-owner like me.

Still, the in-line microphone is actually pretty decent, and when making phone calls, various people reported that my speech was clear and easy to decipher. When making a recording, I experienced a bit of feedback and a bit of sibilance, but I was pleased with the mic at this price-point.

Anyway, I know what you’re really here for. You want to know how these sound, right? Well then, I suppose I’ll indulge you.

It only feels right to start with a tune from Bob Marley & The Wailers, so I gave Jamming a spin, and the Smile Jamaica buds performed pretty well. Subtle percussive elements were well balanced in the mix, and had an impressive sense of space, and I never experienced any harshness or tinniness — even when listening at higher volumes. However, the bass sounded a little bloated at certain moments and Marley’s vocals lacked as much definition in the mix as I’d like, resulting in a fairly middling listening experience.

This proved to be a bit of a theme with these earbuds, as the low-end seemed as if it lacked refinement across a number of tracks. In Black Eye by Allie X, bass was a tad bloated once more, and was missing the agility I’ve heard from other budget in-ears. Given that bass is pretty prominent on these buds, I just wish it had a bit more punch and precision. Still, vocals remained clear enough in the mix, and energetic percussion came through with commendable expression. But if you’re expecting the most refined bass ever, you may find the Smile Jamaica to be a tad heavy-handed.

I was more impressed when tuning into Asama by Yuta Orisaka — a laid-back record that blends Japanese folk with reggae tones. Here, I found vocals to be pleasantly weighted alongside relaxed electric guitars and rhythmic percussion, and more subtle keys glided elegantly in the backdrop. Sure, you’re not going to get meticulous instrument separation or the most intricate detailing from a pair of ultra-cheap buds like this, but for the price, they do deliver a satisfying sound, all things considered.

At the end of it all, would I recommend the House of Marley Smile Jamaica USB-C? Here’s the thing: it depends on your budget. If you want some extremely cheap wired buds that sound totally serviceable but won’t blow you away, then yes. On top of their adequate audio, they are well-built, have a decent mic, and tangle-free cable, ensuring good bang for your buck.

However, if you can spend a little more, then you can get big returns. A model like the Sennheiser CX 80U will deliver considerably better sound, with much-improved detailing and balance across the frequency range.

Want a bit more finesse and grace? Something like the Sennheiser is for you — but for stable and dependable sound on a budget, the Smile Jamaica USB-C aren’t a half-bad option.

House of Marley Smile Jamaica USB-C review: price & release date

• List price of $19.99 / £14.99 / AU$24.95
• Released in September 2025

The House of Marley Smile Jamaica USB-C released in September 2025, about 13 years after the original 3.5mm version debuted. They have a list price of $19.99 / £14.99 / AU$24.95, landing them firmly in the budget category, and are available in a range of color options, including Copper, Signature Black, Brass, and Rasta. You can get them on sale in some regions fairly regularly — I even spotted them going for less than £10 in the UK when producing this review.

House of Marley Smile Jamaica USB-C review: specs

Should I buy the House of Marley Smile Jamaica USB-C?

Buy them if…

Don’t buy them if…

House of Marley Smile Jamaica USB-C review: also consider

How I tested the House of Marley Smile Jamaica USB-C

• Tested over the course of multiple days
• Mainly streamed music over Tidal
• Took with me to the office and on walks

I spent many days (rolling into weeks, actually) testing out the House of Marley Smile Jamaica USB-C earbuds, during which time I took them just about everywhere with me, to analyze passive noise isolation and convenience among other things.

When listening to music, I typically streamed tracks over Tidal using the Samsung Galaxy S25 Ultra. I started out by sifting through the TechRadar testing playlist, which features tunes from a wide variety of genres, but I also made sure to listen to hours worth of songs from my personal library.

More generally, I’ve tested tons of audio gear during my time with TechRadar, including a whole host of wired and USB-C earbuds. I had a few rival models at hand to compare the Smile Jamaica USB-C against, including the Sennheiser and Apple rivals mentioned in the ‘Also consider’ section.

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

An increasing number of wireless earbuds are landing in my inbox — and on my front porch — with touchscreens built into their charging cases. There are now enough to make it officially a growing and real trend rather than just a passing gimmick… but I'm not convinced.

Most recently, I tested Anker's feature-packed Soundcore Liberty 5 Pro series, which offer two different kinds of screen, but they're just the most recent. Earlier in the month, the JBL Live range was refreshed with plenty of screens, and I recently tested the open-ear Cleer Arc 5, which you can see at the top of this article complete with a sizeable display.

What's the point of these screens? Well, it varies by bud, but generally the premise is the same. The display lets you glean some instant information about your buds: battery life, noise cancellation status, volume, but also change features like EQ preset, Bluetooth codec, what you're song you're listening to, and so on.

This is all potentially useful, if the buds let you avoid using your smartphone and an app to change these features. That's all in theory, but in practice, it's not so.

Displays in earbuds generally bump up the price of the gadget, increase the case's footprint, and increase the risk of accidental pressing when you put the case in your pocket. So they really need to justify themselves, and I'm not sure they are right now.

Just use your phone

When I find an EQ preset I like, I generally stick to it, rarely changing. That's also true about other earbud settings; if I'm on anything but the highest ANC setting, someone should check me for a concussion.

So I don't need a carry case that lets me change these settings, because I rarely do. And when I do, I don't mind booting up the app; I need to justify downloading it in the first place, and changing EQ is much easier on the larger screen.

In theory, the music and volume controls of an earbud case are more useful, as these are things everyone uses. But on-bud touch controls exist — and if you're digging a gadget out of your pocket to change a track, it may as well be one you'll probably be using for other tasks too: your phone.

It doesn't help that, from my experience, charging case screens aren't hugely reliable. They remind me of cheap smartwatches and fitness trackers from years ago: they often need multiple taps, and seemingly some vocal coercing (well, I think it helps), to do anything. My phone isn't like that.

Finding a niche

I'm not going to make a blank ruling on earbud cases; in some situations they work.

Take Soundcore's Liberty 5 Pro series. In the base model, the display is a tiny window. You can use it to check some easy info, but it's not trying to replace your smartphone. Perfect.

In the top-end Liberty 5 Pro Max, the case is packed full of novel features, including a recorder-transcriber, and translation tool. It's not meant to replace your phone; it's its own thing.

That's where I see earbud charging case displays finding their niche: by offering features and functions to act as the earbuds' unique selling points, as an accessory that's useful to have separately to your phone.

This would generally be in top-end or professional-targeted buds, like how the Pro Max is ostensibly designed for business buyers.

But not every pair of the best earbuds needs a little LCD or OLED screen on the charging case. At the moment, it feels like they're becoming more prominent as a fad, but I think most us would rather just pay less or see that money go into battery innovations or other improvements — I only see them sticking around if makers find a way to justify them.

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

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

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

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

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

Momentum? You barely know 'em

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

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

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

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

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

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

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

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

Anker's Soundcore brand is just going harder and harder on releasing new models. Not content with the Soundcore Liberty 5 earbuds and Soundcore Space 2 headphones recently, the brand has unveiled two new pairs of earbuds based on the Liberty.

These are the Soundcore Liberty 5 Pro and Soundcore Liberty 5 Pro Max, and they're new premium pairs of feature-packed earbuds that, unlike many other Pro-titled products, actually feel targeted towards professionals.

I’ve been using both the Pro and Pro Max for a week now, to try to understand both buds, how they’re different, and which I’d recommend people buy. That's not enough time to have completed two reviews, which is why you're not reading those right now — but I’ve definitely used the earbuds long enough to answer all of my questions.

So here’s what’s different between the Liberty 5 Pro and Liberty 5 Pro Max and, crucially, which one I think most people should end up buying.

How do the Soundcore Liberty 5 Pro and Pro Max compare on price?

It’s important that we establish the main difference between the Soundcore Liberty 5 Pro and Pro Max first: it’s the price.

The Pro is, as you’d imagine, the cheaper of the two earbuds. To buy it, you’re paying $169 / £149 (about AU$300). So it’s a lot pricier than the Liberty 5, which sold for $129 / £99 / AU$169.

But that cost is nothing compared to the Pro Max. These sell for $229 / £199 (about AU$400), which is only a hair under the AirPods Pro 3’s $249 / £219 / AU$429 asking price.

I’m not going to treat the Liberty 5 Pro like the budget option, given its price, but you’ll soon read about how it’s probably the best option based on budget.

How do the Soundcore Liberty 5 Pro vs Pro Max compare on sound quality?

If you only want to know about the differences between the Soundcore Liberty 5 Pro and Pro Max, you’ll want to keep scrolling. These two earbuds both have exactly the same audio performance, but it's important to address them.

What are their specs? Well, nowhere in Anker’s promotional material for the buds, press pre-briefing ahead of their release or the buds’ packaging, is that actually mentioned. You’ll have take my word for it then.

I’ve quite liked how the buds have sounded, in my testing time. The audio is detailed and sharp, with a real oomph when it’s needed. However, at least in the default sound profile, I’ve found the bass a little too prominent, yet not quite as precisely defined as I’d like.

It’d be fine in earbuds at the price of the Liberty 5, but when you’re picking up a 'Pro' or 'Pro Max' pair of earbuds — and paying the price for them — I’d like a little more controlled lower-end.

Anker’s been heavily advertising the listening test available in both of its new earbuds, and I’ve yet to try that or the equalizer, so perhaps these will give me the sound profile I'm looking for — I’ll let you know in my full review later.

What are the differences in Soundcore Liberty 5 Pro and Pro Max's design?

Likely due to their identical audio specs, the Liberty 5 Pro and Pro Max earbuds are exactly the same. I could put the Pro Max earbuds in the Pro case, and vice versa.

The buds are certainly unique; they have a kidney-shaped body, not dissimilar to Samsung’s old bean buds, but with a tip to allow for the noise cancellation and give you a solid fit.

On that topic, these Liberty 5s both come with wings at the top of the bean, kind of like the Bose QuietComfort Earbuds Ultra 2nd Gen, and these are great for fit. I’ve been on multiple runs with them, and they’ve been a dream, even if they’re a little heavier than rivals at 7g each.

The real design difference between Anker’s new earbuds is the charging case. Actually, that’s the main difference full stop, at least it feels that way in my testing.

The Liberty 5 Pro Max have a pretty big charging case. It’s a squarish rectangle, with a lid that slides up to reveal the buds, and it weighs about 86g. What makes the case so large? That’ll be the screen, which takes up the entirety of the lid; it’s a big square that looks like the kind of panel you’d find on a squircle smartwatch.

You can use this screen to control music playback, change EQ presets, toggle between noise cancellation modes and activate a range of the buds’ features — more on that later.

The Liberty 5 Pro also have a touchscreen, but it’s smaller: a thin strip like the display on a fitness tracker. It’s much simpler, with battery indicators and small icons for a range of features. The case still has a slide-up lid to reveal the buds, like on the Max, and weighs a little less at 70g.

I’ve had some problems with the screen on both sets of earbuds. It’s a little less responsive than I’d like, often needing multiple swipes to change menu and repeated taps to enable a setting. It reminds me of fitness trackers of old, which needed coercing to work.

Soundcore Liberty 5 Pro and Pro Max features explained

It’s not the main selling point of the Anker earbuds, but I’ve been really appreciating the active noise cancellation on both the Pro and Pro Max. It’s among the best in any earbuds I’ve tested, proving effective at wiping out background sound in all conditions I've tried so far.

Likely to thank for this is a new chip Anker created, and debuted in these buds; it’s designed specifically for the Liberty 5 buds’ ANC and features, and adds support for Dolby Atmos audio.

The battery life is a little more average; both pairs of buds last for 6.5 hours of listening, with the charging case bringing that time up to 28 hours — both figures are with ANC turned on. My benchmark for the average battery life of earbuds is 8 hours with ANC off, which I imagine the Liberty will surpass by a little, but I’ll have to test it properly for my full review.

The new Soundcore app is the key to your kingdom of features here. It has a huge range of features including meditation and ambient noise playlists, a built-in AI chatbot, a fit test, a listening preference test to create custom EQ, a sound level meter and volume limiter, a sound-quality upscaling option, and the ability to customize the case screen.

That’s not counting all the usual earbud app tools you’ve come to expect, such as a standard equalizer, touch control customization, ANC modes and so on.

I’ve got to hand it to Soundcore: this is perhaps the biggest array of features I’ve ever seen in a pair of earbuds. They’re incredibly feature-packed, and browsing though the app, I felt like a kid in a candy store.

Everything I’ve mentioned so far is available on both buds, but the pricier pair offers a little more: the Pro Max’s biggest unique feature is that it functions as a note-taker.

Thanks to the case having a built-in microphone, you can use it to record audio, and the app will create a transcript — naturally, the buds can do the same with their own mics. There’s also a live translation tool, which uses the same hardware to achieve its ends.

Soundcore Liberty 5 Pro vs Pro Max: which one would I recommend?

So far, I’ve mostly been using the Soundcore Liberty 5 Pro Max. I thought I’d rather test the expensive earbuds first, and based on the extra features, they're clearly the better buds in the simplest terms.

However for most buyers, I’m not sure these are the earbuds I’d actually recommend. While not cheap, the Pro are a little more affordable than their Max counterparts, and I think you’re getting better value for money.

The extra features the pricier model brings are neat, but I don’t see them being reliably useful for many people. Most of us don’t need a portable dictaphone on our earbuds.

Also worth bearing in mind is the charging case: on the Pro, it’s a little smaller and more streamlined, and that makes it better for toting around. Not good — it’s too bulky to disappear into a trouser pocket, unlike the AirPods Pro 3 case or similar — but it's still a little more convenient than the Pro Max’s.

Sure, its charging case screen is smaller, but in my week with the buds, I’ve barely used either display. I’ve tested a few different earbuds with charging case screens, and I’m still yet to be convinced that these are essential, making the screen's minimization in the Pro no bad thing.

• Anker launches Soundcore Liberty 5 Pro and Pro Max earbuds
• The earbuds are the same, but some of the features are different, including a touchscreen on the Max
• Also new app, bespoke chipset for the buds

Anker's Soundcore has just announced two new pairs of earbuds, which are its first products made with its new 'Thus' audio chipset. This little component promises to enable its speakers and headphones to enjoy better active noise cancellation, improved on-device audio AI, more accurate voice controls and, perhaps most usefully, better power efficiency.

Anker also unveiled VibeOS, which confusingly isn't an operating system despite the title, but is rather the name of its new and improved tie-in app, that you'll use to control your audio gadgets.

VibeOS is set to have a huge range of features, and if Anker delivers, its devices could be feature-packed gems. The best new picks include an EQ listening test, audio source restoration, sleep management, audio transcript creation and real-time environmental adaption for your music.

It's not quite clear when VibeOS will roll out, whether it'll come to existing Soundcore gadgets or will arrive alongside new ones. But we have some likely contenders from the brand in the shape of its two new buds.

Free up some time for the Liberty

The Soundcore Liberty 5 Pro and the Liberty 5 Pro Max, are the bigger new releases from Anker, both bearing the Thus chip. They follow the 'normal' Soundcore Liberty 5, released a year prior, but when you read about them you'll understand why they're not the Liberty 6.

At a press briefing, Anker didn't describe the audio specs of the Liberty 5 Pro series, but they'll likely be similar to, or better than, the 9.2mm dynamic driver-toting original.

Anker sold the buds on their features: they're set to have eight microphones for improved call quality and noise cancellation, Dolby Atmos spatial audio with head tracking, and an AI voice recorder function for note taking.

The main draw to these earbuds — and the distinction between them — is in the charging case. Both buds get a case with a touchscreen, with the Pro getting a little strip and the Pro Max's case bearing a large display.

This touchscreen can be used to monitor battery, change ANC modes, and toggle a variety of features. By the sounds of things, it can be used to toggle those aforementioned features too, perhaps such as setting up the voice recorder to record a meeting.

You can also point to the touchscreen cases for the prices: the Liberty 5 Pro costs £149.99 (about $200, AU$300, exact global pricing TBC) while the Liberty 5 Pro Max goes for £199.99 (around $280, AU$400, again global prices TBC).

So they're noticeably pricier than the original buds at $129 / £99 / AU$169. We've got the Liberty 5 Pro series in for testing now, to see if they justify that cost… watch this space.

• Chinese researchers have developed 'AccLock'
• This uses your heartbeat to verify your identity
• All it needs is earbuds with accelerometers

Researchers from several universities in China have developed a technology they called AccLock, and it's basically Ear ID. It's a way of verifying your identity using your heartbeat, as detected by your earbuds — even if your buds don't have the kind of built-in heart-rate sensors you get in AirPods Pro 3.

The idea is that your earbuds will be able to recognize your unique palpitations, to verify that you're you, and to unlock access to things like your PC or phone, or perhaps even a smart door lock.

According to the paper, earbuds were chosen because they "remain closely coupled with the wearer during everyday use," so if you're the kind of person who's constantly wearing your AirPods when out and about, you inspired this choice.

In testing AccLock, the researchers did in fact use AirPods, as well as their own custom-made earphones, and so it clearly could work within Apple's system. But it doesn't have to, because it only relies on motion-sensing tech rather than a dedicated heart tracker.

Open hearted

Instead of a dedicated heart-rate sensor, the tool simply uses a motion-sensing accelerometer, the kind of which plenty of earbuds already pack.

An accelerometer is used to measure things like acceleration, vibration and orientation. In earbuds, they can be used for different tools: gesture controls, head tracking or spatial audio, depending on the bud.

Some low-end earbuds may miss them, but generally, it's a common component. And so, in theory, AccLock could work on many earbuds, using the accelerometer to recognize your heartbeat.

Again, this is all hypothetical, but sometimes these studies can mirror what companies are actually considering. For example new research we reported on regarding AirPods with cameras is matched by some reports suggesting Apple is actually considering adding this tech to future AirPods.

When I first saw the Sony 1000X The Collexion headphones — the company's new higher-end cans designed to offer a more spacious and natural sound with better comfort compared to the Sony WH-1000XM6 — I had an immediate thought, and I wasn't alone among the audio journalists I was with: these look a lot like the Sonos Ace.

Both headphones go for a super-clean look, internal mechanisms for the headband arms, slim-profile earcups, chrome-finish detailing, and a mottled faux leather material.

So I had an idea: I took them to our photography studio and got some close-up photos taken of both headphones, and I made a quiz. I pixelated the photo of them at the top to avoid giving anything away, but if you to see the headphones before you play (Easy Mode, if you like), then I'll put the original image of them side-by-side after the quiz.

Are you enough of a headphone aficionado to tell two of the best noise-cancelling headphones apart? I'll admit, I built the damn quiz, then only scored 9/10 when testing it…

Scroll a little further if you're looking for that side-by-side image — I didn't want accidental spoilers.

Let us know in the comments how you did — the first two players on the TechRadar team (other than me) scored 3/10 and 8/10 respectively, so we've had a range of scores even among tech experts (though not necessarily headphones experts).

If you want to read more about Sony's new headphones, you can read our full 1000X The Collexion review, or you can read in-depth about the five key upgrades and three unexpected downgrades in The Collexion compared to the XM6 headphones, including Sony explanation of why there are compromises.

Still have questions? I’ll be answering everything you want to know about Sony’s most expensive wireless headphones ever in a live Q&A tomorrow (May 20) at 12pm ET / 5pm BST, alongside Harry Padoan, who tested them.

Now, here's that image of them together:

• Sony unveils 1000X The Collexion headphones for $649 / £550 / AU$999.95, available in May 2026
• Custom 30mm driver, and new processor with DSEE Ultimate and '360 Upmix' spatial audio modes
• Design focuses on comfort, with gentler clamping force and larger earpads

Sony has just unveiled its most expensive (and possibly most-leaked) wireless headphones to date, which it's calling 1000X The Collexion. If you just want to read whether they're any good, then you can go straight to our Sony 1000X The Collexion review, because we've been using them for a few weeks.

But if you want to know more about what makes them different, and why Sony produced them in the first place, stick around here — I spoke to Sony insiders from the UK and Japan to hear more about what makes them worth their high price tag.

And what is the Sony 1000X The Collexion's price tag? That would be $649 / £550 / AU$699 when they're available sometime during May.

That price is a major leap over the $459 / £349 / AU$699 you now pay for the Sony WH-1000XM6. But Sony hopes that you'll think The Collexion (as I'll call them from here) are worthwhile — the company told me "we wanted to go further then ever before, to create something that isn’t just the next in our line-up, but that represents 70 years of audio mastery."

Building on that, Sony's Personal Entertainment Product Manager, Mike Somerset, said: "Is this just the 1000XM7? The answer very clearly is: no. It’s aimed in a totally different direction… We’re bringing some new things to these headphones that we have never done before."

The Collexion being a "different direction" makes them interesting to compare to the XM6, because they're an improvement over the XM6 in several ways — but are actually a step back in others, and that's not an accident. So here are the upgrades and arguable downgrades you need to know about.

1. A striking new look (and case)

The Collexion's look is very Sony if you've been following the evolution of the Sony WH-1000XM5 and then the XM6 — but it's clearly a little more premium and full of flourishes.

Sony says the name for the design "theme" used for The Collexion is: "Resonate".

It comes in Black or Platinum (ie, white) finishes, and a key element according to Sony is that "every visible part is made from two materials," with the intention of creating "contrasting textures".

There's a new case design too, with a handle — it's more 'handbag-like' in some ways.

That even runs through into the metal detail in places — for example, the hinge connecting the earcups to the headband is "hand-polished by skilled craftspeople", and mixes a sand-blasted finish with glossy chrome.

Sony says that the faux leather material alone was two years in development. The company also put in a lot of work, such as working with a split-design battery for the first time, to reduce the thickness of the earcups to just 40mm for a sleeker profile when wearing them — that's compared to 45.4mm in the XM6 cans.

The combination of the slimmer earcups and the metal detailing gives them a look that's more than a little reminiscent of the Sonos Ace, and that's no bad thing.

Sony also said that the goal here was to create a "timeless design", and I think there's something to this: the matte metal headband reminds me of the metal headphones you'd get with a Sony Walkman in the '80s, yet the rest of the design is undeniably modern Sony.

2. A focus on comfort

The redesign isn't just about the aesthetics, of course. Sony also said that it's particularly focused on comfort here, so that you can wear them for hours and hours, and barely notice they're there.

Specifically, the gap in the earpads is larger in these headphones than in the XM6, so they're less likely to touch the outside of your ears, and they give you a little more breathing room — and are likely to fit better with glasses.

The headband is also a little thicker, so the pressure is distributed a little more evenly — and the clamping force of the headband has been reduced, so you'll feel less pressure wearing them. This last point will come back later, though, because it's a double-edged sword…

3. A more powerful processor

Sony is introducing a new audio processor for the first time in The Collexion: the Integrated Processor V3. This is then combined with the same QN3 noise-cancellation processor used in the Sony XM6.

The V3 is Sony's most powerful headphone processor yet, and it means that these are the first headphones to include DSEE Ultimate. DSEE is Sony's audio upscaling tech, meant to take limited-quality Bluetooth streams and to upscale and add back in detail and dynamic range that's been cut out by compression.

"DSEE Ultimate is the best that Sony has ever done, and we’ve never put it in headphones before," the company said — DSEE Extreme was the previous best tech in its headphones, while Ultimate was limited to its music players, such as the Sony NW-A306.

The key difference is that it's powerful enough to upscale both the sample rate and the bit-depth of the sound at the same time — Sony says this is thanks to AI, as so many things today are. Sony says the sample rate will be upscaled to 96kHz, and the 16-bit depth will be upscaled it to 24-bit.

Sony says that it also brought a bunch of other audiophile engineering developments over from the Walkman line to the V3 processor design, including a low-phase-noise crystal oscillator for “perfect timing”, advanced solder containing gold at “key audio points on the circuit board”, and various component optimizations to improve “the signal to noise ratio across all frequencies”.

The V3 processor also enables new spatial modes, so let's get into those, because they're important enough for Sony to have devoted a whole new button to them.

4. Spatial Audio 'Upmix' modes

Sony is going big on spatial audio in The Collexion, and is using the power of the new V3 processor to offer four "360 Reality Audio Upmix" modes, which can take any audio source and turn it into spatial audio, but with a different kind of signature to the space depending on the mode.

There will be a Cinema mode (which the Sony XM6 also have) to feel like you're in a home theater, but now also a Music mode (designed to sound like you're in a live venue), and Game mode. There will also be the great Background Music mode from the XM6, which sounds like you're listening in a café or somewhere with soft ambient music.

There's a new button on the headset to switch between these modes, though by default it'll cycle between Music, Cinema and the mode being off. You can customize it to add Game or Background music in the Sony Sound Connect app.

Unfortunately, we don't think these are very good — you can read all about that in the full Sony 1000X The Collexion review.

I asked Sony why it doesn't support Dolby Atmos for this, since the experience there tends to be great. It said that there were several factors, ranging from how Android itself and different phones deal with Atmos encoding, to what’s possible in chipsets it's using — but Sony also said it wanted to give the same experience to all users, regardless of your device of streaming service of choice.

5. New speaker driver and sound tuning

Sony said that its goal with The Collexion was to "faithfully reproduce sound as the creator intended" and to “allow listeners to relax and immerse yourself in the lingering resonance of the music".

To do that, it developed a new "bespoke" 30mm driver, which has a similar design principle to the one used in the Sony WF-1000XM6 earbuds: it's a dual-material design, with a very hard central dome to improve detail, and a softer outer edge for better bass response.

The harder center is made using a "unidirectional carbon-layered core composite", which apparently means it's made from long carbon strands — "like hair", Sony said. The XM6 headphones' driver also uses carbon, but a lower percentage of it in the mix of materials (including paper). More carbon means more rigidity.

Sony said that the sound character it's aiming for includes "perfect balance, and really fantastic sound and detail" that is "toned to reproduce the sound as artists intended".

Sony also said that it was focusing on "a wider stage, and greater separation between instruments and vocals" with "a smoother, more pleasant bass" that it described as "appropriate fullness".

In comparison to the XM6, Sony said the older model is "in between the monitor and the consumer" in terms of its profile, and that the sound is "punchier" (which is exactly how my colleague Harry Padoan described the difference in his Sony The Collexion review) — but The Collexion has a wider soundstage and more focus on "natural-feeling" sound.

6. Shorter battery life

OK, it's time to move onto the areas where The Collexion are (arguably) a step down from the XM6 headphones. First up is the battery life, which is rated at 24 hours — Sony's other 1000X headphones have clocked in at 30 hours.

That's below average compared to basically all the best noise cancelling headphones — even Bose, which was happy offering 24 hours for years, raised its game to 30 hours for the Bose QuietComfort Ultra Headphones 2nd Gen. Pretty much the only competitor it's not lower than is the AirPods Max 2, which offers a measly 20 hours.

Sony told me that this change was due to making the earcups slimmer, and acknowledged that it was a compromise compared to the usual amount — but it also noted that it was sufficient for the longest flights.

Sony also highlighted that the batteries can be replaced in the future without trouble, because they're just held in with screws, rather than glued in.

7. Not optimized for noise cancellation

The Collexion have the same general noise-cancellation tech as the Sony XM6 — including the QN3 processor and 12 microphones — plus an improved driver, so you might assume it would Sony's best noise-cancellation yet… but Sony was clear not to expect this.

Sony emphasized that it would still steer you to the XM6 if you want its top ANC power. The reason is that the focus on comfort — elements such as the lighter clamping force and change in earcup material and design — means that these headphones won't have quite as strong a physical seal against outside sounds as the XM6.

Again, in our The Collexion review you'll read they're actually very good for noise cancellation, and are on par with AirPods Max 2 — but yes, the XM6 are noticeably better when it gets loud. It's a fair trade-off for the comfort, though.

8. They're not foldable

This won't be a dealbreaker for everyone, but some people really prefer headphones that fold for travel, and we were really pleased that Sony added this feature back into the XM6 headphones, having dropped it in the Sony XM5.

The Collexion don't fold, but Sony said that portability was something it had in mind when creating the slimmer earcups, and between that and the case being a little smaller, it's still a nice small thing to put in a bag — and also of note for travellers, the wider headband means they're more comfortable to wear around your neck.

Sony 1000X The Collexion: Two-minute review

The Sony 1000X The Collexion headphones arrive 10 years since Sony released the first set of headphones in its 1000X series, and to mark the occasion the Japanese tech giant has delivered its most expensive pair of wireless headphones ever. These are an ultra-premium pair of over-ears that are aimed squarely to be a rival to Apple’s AirPods Max 2.

And the Sony 1000X the Collexion really do feel like Sony’s attempt at going for the AirPods Max's popularity without the restrictive nature of that model’s iOS-centric feature-set. Everything from the sound signature through to the flatter design feels like a challenge to Apple, and, on a number of fronts, I’d argue that Sony has risen to said challenge.

Let’s start where it matters most and discuss sound quality. The Collexion (as I will call them) have an incredibly expansive, spacious soundstage, which provides plenty of room for individual instruments to express themselves.

Vocals and instruments are expertly separated, and there’s a fantastic degree of balance across the frequency range, resulting in nuanced, articulate sound. Combine that with using LDAC or lossless wired audio, and you’re in for a very detail-oriented listen.

The broad, roomy sound will certainly appeal to fans of the AirPods Max and their successor, although on a personal level, I did prefer the tighter and punchier sound signature of the Sony WH-1000XM6.

In terms of features, The Collexion riff heavily on what the XM6 had to offer, with impeccable touch controls, a 10-band custom equalizer, and third-party integrations like Spotify Tap and YouTube Music Quick Access. But there are some notable differences.

Here, users can access DSEE Ultimate for upscaling lower-quality files to 96kHz and 32-bit. This is enabled by a new V3 chip, which also powers some 360 Upmix audio modes for Music, Cinema, and Gaming, although these are unfortunately pretty poor, meaning I barely ever touched them. This is a shame, especially as the headphones have a dedicated button for such modes.

Noise cancelling is very good on The Collexion, and a 12-microphone system provides a solid barrier against traffic noise, surrounding chatter, and the like. Sony has been clear that the XM6 are more ANC-focused, and this came across in my testing, with a few more sounds seeping in with The Collexion — but what’s here still competes well against models like the AirPods Max 2 and bests the Bowers & Wilkins Px8 S2.

Something that has taken a substantial step down, however, is battery life. You’re only getting 24 hours now (with ANC on), which is a fair bit less than most of the competition. 30 hours is essentially a standard for premium wireless headphones now (in no small part thanks to it being Sony's usual benchmark), although The Collexion can still outlast the AirPods Max 2, which only manage about 20 hours of playtime.

I think these headphones largely nail their more luxurious design, though. They have a gorgeous faux-leather headband and earcups which both look and feel amazing, while titanium details also offer a nice contrast to that material, and make The Collexion stand out clearly over the more unified look of other models in the 1000X line, such as the Sony WH-1000XM5.

Generally, the headphones also feel very sturdy, and although they have a fair bit of weight to them, they’re less hefty than the AirPods Max 2. The Collexion are also exceedingly comfortable, and I felt happy using them for hours on end without ever feeling the need to adjust them.

All in all, then, the Sony 1000X The Collexion are a great pair of headphones that, on the whole, justify their asking price. Factors like their luxurious build, spacious sound, and solid feature-set mean they fare well against competitors in this price range.

There are some downsides, such as lower battery life and ANC power compared to the Sony WH-1000XM6, as well as the underwhelming 360 Upmix modes, but all in all, these headphones are worth considering for any who loves the feel of Sony headphones but wishes for a more revealing sound profile.

Sony 1000X The Collexion review: Price and availability

• List price of $649 / £550 / AU$999.95
• Released in May 2026

The Collexion were officially unveiled in May 2026, about 10 years after Sony released the first set of headphones in its 1000X series. They’re the most premium wireless headphones on Sony’s roster, and have a list price of $649 / £550 / AU$999.95, meaning they’re $200 / £200 / AU$300 more expensive than the Sony WH-1000XM6.

This puts them close to the AirPods Max 2 — though Apple has them undercut by a good $100 in the US, and £50 in the UK (they cost the same in Australia). Other notable competitors include the Dali IO-8 for £499 in the UK and AU$899 in Australia, though these cost a hefty $899 in the US. There's also the Bowers & Wilkins PX8 S2 for $799 / £629 / AU$1,299.

Sony 1000X The Collexion review: specs

Sony 1000X The Collexion review: Features

• ANC and battery life can’t match the XM6
• Best-in-class touch controls
• DSEE Ultimate for upscaling, plus LDAC and wired lossless available

Perhaps unsurprisingly, the Sony 1000X The Collexion have a very similar featureset to the Sony WH-100XM6 — although there are some things that are exclusive to this pricier model, and some things they don’t do quite so well.

Let’s start with the new stuff. One brilliant addition is DSEE Ultimate. This technology is enabled by a new Integrated Processor V3 chip, and has never featured in a pair of Sony headphones until now (only in its music players).

DSEE Ultimate uses AI tech to upscale the sample rate of a lower-quality audio file (including stuff that's being compressed down for Bluetooth transmission) to 96kHz / 24-bit resolution. When using this on Spotify, a lot of the tracks I listen to regularly sounded a touch more detailed, and I highly recommend keeping this setting on.

On top of this, The Collexion bring high-resolution to the table via both wireless and wired means. First of all, these headphones feature LDAC for higher-res Bluetooth listening. This tech is still inherently lossy, but if you want to take a step up, you can connect the headphones to your listening device via a 3.5mm connection for wired lossless audio.

Something else enabled by the V3 chip is The Collexion’s 360 Upmix spatial audio modes. Although there’s no Dolby Atmos support, there are Music, Cinema, and Game modes, all of which take a standard audio signal and convert it into a more expansive format.

Unfortunately, I found that these upmixed modes produced poor audio quality, so even though the feature is enticing in theory, I barely made use of it — more on that later.

Still, there are plenty of great features on board, such as The Collexion’s top-tier touch controls. These are the same as on the XM6 — you can swipe to skip tracks and adjust volume, cover the right earcup to enable transparency mode on the fly, and double tap to play or pause your music.

The touch controls are incredibly responsive, and the decision to use a double tap to pause means I never accidentally triggered a command.

Call quality is also strong once again, with four feedback mics on the inside of the headphones. There’s also a 10-band equalizer and presets for personalized audio, multi-point connectivity, voice assistant compatibility, and third-party software integrations like Spotify Tap and YouTube Music Quick Access.

A lot of these settings are available in Sony’s Sound Connect app, which is relatively easy to use, but some settings are buried deep in numerous sub-menus, which can be a irritating at times.

Anyway, let’s talk about the most important feature of all: active noise cancellation. Again, you get the choice to use full ANC, a transparent ambient sound mode, or no noise cancelling at all. There’s also adaptive sound control, which switches settings depending on your environment and behaviour.

Just how good is the ANC here, though? Well, Sony was clear with us that The Collexion are less centered around ANC than the WH-1000XM6 — despite also containing the QN3 processor and 12-microphone system, just like those headphones.

And although noise cancelling is still very good on The Collexion headphones, with surrounding chatter and traffic noise kept quiet even at medium listening volumes, I could certainly tell the difference compared to the XM6. While listening to music, some higher-pitched sounds, like typing and taps running, as well as louder sounds like doors closing, could still be heard.

If you want best-in-class ANC, I’d stick with the XM6 — or the Bose QuietComfort Ultra Headphones Gen 2 — but otherwise, you’ll likely be satisfied with the noise cancelling available here.

One other feature that’s received a downgrade from the XM6 is battery life. You only get 24 hours here, which Sony says is a result of The Collexion’s flatter design in the earcups compared to the XM6, which offer 30 hours of playtime.

But let’s be honest: 24 hours just isn’t very good. It’s enough to last you through a long flight, and will likely get you through a few days at the office, but avid listeners will still have to charge their cans fairly regularly.

Ultimately, the standard in this bracket is 30 hours, although Sony still outdoes Apple here, with the AirPods Max 2 only able to manage 20 hours.

• Features score: 4 / 5

Sony 1000X The Collexion review: Sound quality

• Expansive, open sound is striking
• Sensational attention to detail using LDAC and wired lossless
• 360 Upmix modes are best avoided

If you’re looking for a pair of headphones that offer the sort of expansiveness that Apple’s AirPods Max 2 can, with all mod-cons available to you, but you don’t want the restrictions those impose on non-Apple devices, then I’d argue that The Collexion are the closest thing available.

These headphones conjure up an incredibly wide, spacious soundstage — using them, it feels as if you’re listening to music inside a large virtual room. They use a new 30mm driver, which has been redeveloped with soft edges and a harder center for enhanced detail and balance.

Listening to Voyager by Daft Punk, the airy synths sounded pleasantly forward, while the percussion occupied its own individual pocket, with plenty of room to express itself. Bass then entered the fray with tremendous impact, and came through with an almost three-dimensional quality. Spacey synths also carried a tremendous sense of space, while guitar licks danced away in the backdrop.

The headphones performed very well, no matter what genre I threw at them. With a deep house track like Planet 34 by Jesse Maas, the bass came through with admirable depth and agility, meaning the low-end sounded full and energetic rather than lethargic and ‘boomy’. Higher-pitched percussion in the treble range also maintained tight control, but never sounded blunt or underpowered.

Generally, there’s a pleasant balance right across the frequency range, and instrument separation is incredibly refined. Pair that with the headphones’ great attention to detail, and you’re in for a pleasantly nuanced listening experience.

I should be clear, however, that these headphones are at their best with some form of higher-res mode of listening. For instance, when I listened to Felini by Venerus and Marco Castello, I found that using LDAC over standard Bluetooth made a noticeable difference.

Vocals came through more naturally and articulately, while soft acoustic guitars sounded a little more expressive — the tune just had a more open, nuanced sound to it overall. This was also the case when using a wired connection, so if you want to experience The Collexion at their most intricate, make sure to use one of these options.

But how do The Collexion compare to the Sony WH-1000XM6? Well, The Collexion go for a more expansive and spacious sound, while the XM6 offer a tighter, punchier interpretation.

In Sadao Watanabe’s jazz-funk fusion record, Down East, I could detect a huge difference in the way that the headphones handled the smooth, funky bass. On the XM6, it was by no means overwhelming, but certainly impactful and slightly forward. There was still a solid amount of low-end weight on The Collexion, but the bass had a more spacious quality.

The Collexion’s more dispersed sound and almost distant low-end meant the track lost a bit of its bite, and I actually preferred the more direct approach of the XM6. There’s no doubt that The Collexion are capable of offering more space for individual instrumental elements to work their magic than the XM6, but some may actually prefer the tighter approach of the latter.

Ultimately, which you prefer is largely down to personal preference — I already preferred the sound signature of the WH-1000XM6 over the airy, broad approach of the AirPods Max 2, for instance, but I’m confident that both sound fantastic in unique ways.

One thing that did disappoint me, however, was the quality of the 360 Upmix modes. When using the Music mode, tracks sounded glaringly worse — vocals lost clarity, drums had a tinny edge, and keys in the mid-range lost their tonal accuracy. The Cinema mode was a bit better, but I still found speech to be less clear and defined, making for a weaker overall viewing experience.

This is a shame, given that the 360 Upmix modes are pitched as a major feature, and even have a dedicated button. But at the time of writing, they’re just not good enough.

• Sound quality score: 4.5 / 5

Sony 1000X The Collexion review: Design

• Stunning faux-leather casing with titanium details
• Super-comfortable fit with plush earcups
• Slightly odd-looking case

Sony’s The Collexion headphones look strikingly different from models like the Sony WH-1000XM6 and XM5, combining a beautiful faux-leather exterior with metal details.

The look of the outer casing is top-class, and is a clear indicator that these headphones are a premium product. Even when I used touch controls, the textured feel of the faux-leather was incredibly satisfying — and these small touches go a long way when you’re spending north of $500 / £500 on headphones.

Dual-textured metal links the earcups to the headband, and the metal is used for the various buttons and ports, and I can see people being divided on how enticing this looks.

Where the XM6 went for an ultra-fluid, homogenous design, The Collexion go for more of a contrasting look, and overall, I’m a fan. When we attended the product launch, Sony told us it was aiming to create a “timeless design,” and although I’d argue that headphones like the Marshall Monitor III ANC — which have a gorgeous retro look — do this slightly better, I still like The Collexion’s aesthetic.

Although the Sony WH-1000XM6 are my go-to headphones, there’s always been one thing I’ve disliked about their design: the bulky-looking earcups. The Collexion have done away with this, in favor of flatter and slimmer earcups — similar to those of the Sonos Ace. They look fantastic, and although Sony told us that the more compact form was a large reason for the reduced battery life, I’m a big fan of this choice style-wise.

Despite their flatter earcups, the Collexion are actually quite a bit heavier than the XM6. Sony’s new cans come in at 0.7lbs / 320g, compared to the 0.6lbs / 254g of their cheaper cousin. This is likely a result of the more premium materials being used, but I never felt that the headphones were too hefty in-use, and they’re still considerably lighter than the 0.9lbs / 386g AirPods Max 2.

In fact, I’d argue that these headphones are some of the most comfortable I’ve ever used. Their plush earcups, cushioned headband, and low-pressure feel is sensational, and makes for incredibly comfortable listening sessions, no matter how long.

There’s a wider headband on this model than on the XM6, which means these headphones won’t clamp too hard if you place them around your neck.

There are a few physical buttons on board, for altering noise cancelling levels and turning the power on or off, and for when (or rather if) you want to sift through the 360-degree audio modes. The rest is down to the touch controls, which are best-in-class.

Although I’ve been full of praise up to this point, The Collexion do have a few potential drawbacks worth pointing to, design-wise.

The first is that they're not foldable. This is a shame, as I love the XM6’s foldability, especially if I’ve forgotten the case and want to place them in a small bag or larger-sized pocket.

Another thing I'm not super-keen on is the case. Like the XM6, the Collexion have a magnet-lock case, which is incredibly practical and good to see. However, the look of the case is… not the best. It almost looks like a mini handbag, and not an especially attractive one. You can see it just below.

This is a minor issue in the grand scheme of things, but personally I preferred the more simple look of the XM6’s case.

• Design score: 4.5 / 5

Sony 1000X The Collexion review: Value

• Very high asking price
• Justified in most areas, but less so in others
• Overall they still compete well against the likes of the AirPods Max 2

So, do the Sony 1000X The Collexion earn their high asking price? Well overall, I’d say they do — but the picture isn’t entirely black and white (unlike their color options).

At $649 / £550 (about AU$900), these are Sony’s priciest wireless headphones, coming it at around $200 / £200 more than the WH-1000XM6. That value is realized in many respects, with more spacious and detailed sound, better upscaling, and a considerably more premium build.

However, these headphones lag behind the XM6 when it comes to ANC and battery life. They still compete well in terms of noise cancelling, sound quality, and design against similarly priced rivals like the Bowers & Wilkins Px8 S2 and the Apple AirPods Max 2, but if you want a true pair of all-rounders with top bang-for-buck, then the XM6 would still be my top recommendation.

• Value score: 4 / 5

Sony 1000X The Collexion review: Should you buy them?

Buy them if...

Don't buy them if...

Sony 1000X The Collexion review: Also consider

Sony 1000X The Collexion review: How I tested

• I tested them for just under two weeks
• I predominantly tested them using Tidal
• Tested in real-world conditions

I spent more than a week testing the Sony 1000X The Collexion headphones, during which time I tested them in as many real-world situations as I could, to test the active noise cancellation.

Although I dipped into apps like Spotify, I predominantly used Tidal to test their performance, due to its support of higher-resolution files. I began my testing by sifting through the TechRadar testing playlist, which features tracks from a wide variety of genres, but I also listened to hours' worth of tunes from my personal library.

I’ve spent years testing all sorts of audio gear here at TechRadar, ranging from party speakers to audiophile-friendly wired and wireless headphones. I also reviewed the Sony WH-1000XM6 and compared them to rivals from Bose, Apple, Bowers & Wilkins and more — I've been using the XM6 headphones for more than a year now, so I had a deep understanding of how The Collexion differed from their counterpart.

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

Marshall Milton ANC: two-minute review

The Marshall Milton ANC brilliantly fuse everything I loved about the company's Major and Monitor models. They combine the iconic on-ear look of Marshall’s most popular headphones with the noise-cancelling capabilities and rich feature-set of their pricier over-ears, but for an official price of $229 / £179 / AU$329.

This combination has resulted in something that ranks among the best on-ear headphones, and that perform well across (the vast majority of) the board.

Just at a glance, the Milton ANC clearly stand as a middle point between their two siblings. For example, they have the PU-leather and golden detailing, alongside the exposed wires — design elements I loved on the Marshall Monitor III ANC. However, their on-ear build and smaller sized earcups are likely to appeal to fans of the Major line.

Of course, the Milton also bring active noise cancellation to the on-ear form, and they pull this off pretty well overall. There are some limitations to how effective ANC is — the lack of a full seal around the ears means that some harsher sounds will still seep in with relative ease.

However, I used the Milton on a flight, and they dulled the sound of a jet engine and surrounding chatter very well, enabling me to enjoy my tunes without many distractions, which isn't always the case with on-ears.

Marshall also aimed to level up its on-ear sound quality with the Milton, and I’d argue that they sound very decent for the price you pay. Some may find them to be a little bass-heavy out of the box, and they aren’t the most expressive-sounding headphones I’ve ever used — but a custom EQ can remedy the first point, and it’s also important to remember that these are moderately priced on-ears, not $400 / £350 over-ears.

The Milton offer energetic, clean, and relatively spacious sound, and perform well across various genres, and they even bring LDAC and USB-C audio to the table. The LDAC codec enables higher-res Bluetooth listening, and the Milton is the first Marshall product it’s featured on. Meanwhile, USB-C or USB-C to 3.5mm wired connectivity provides the highest-fidelity audio possible, and it’s great to see here.

One thing I really admired about these on-ears was their sustainable design. They’re made of 42% recycled materials (by weight), and multiple parts of the headphones are replaceable. You can also easily screw off the ear cups and replace a battery if need be. And this doesn't come at the cost of good looks — the Milton ANC effortlessly pull of the retro-style Marshall look.

These on-ears are also very plentiful in the battery life domain. You can get up to 80 hours of listening time with ANC off, and an admirable 50 hours with noise cancelling on, which is even better than the high-performing Beyerdynamic Aventho 100. Battery health settings are also accessible in the Marshall Bluetooth app, which I found to be relatively user-friendly, despite a few loading issues.

Perhaps the very best thing about the Milton ANC, though, is their almost weightless feel in use. I’d say that the Milton are the most comfortable on-ear headphones I’ve used in my entire life — I’m usually more of an over-ear fan, but sometimes I even forgot I was wearing these headphones.

Ultimately, then, the Marshall Milton ANC are an accomplished pair of on-ear headphones that perform well where it matters most. They aren’t quite perfect — I would’ve liked to have seen wear detection on-board, and there are some limitations in terms of sound and ANC. But for the price you pay, I think these headphones are well worth the investment.

Marshall Milton ANC review: price and availability

• List price of $229 / £179.99 / AU$329
• Released on Marshall website on May 19, 2026
• Coming to select retailers on May 27, 2026

The Marshall Milton ANC are available for $229 / £179.99 / AU$329, placing them directly between Marshall’s budget-friendly on-ears, the Major V, and their premium over-ears, the Monitor III ANC. They are currently available in Black only.

The Milton ANC were released on Marshall’s website on 19 May 2026, but will be available from select retailers starting on May 27, 2026.

Marshall Milton ANC review: specs

Marshall Milton ANC review: features

• Colossal battery life of up to 80 hours with ANC off
• Lossless wired audio and LDAC for higher-res Bluetooth listening
• Commendable yet inherently limited noise cancellation

The Marshall Milton ANC are overflowing with features, including some that Marshall has never offered in its products before.

One exciting addition is LDAC, which enables you to stream higher-res audio over Bluetooth, from a compatible device. Of course, Bluetooth audio is still inherently lossy, but if you want the best quality possible, you can connect your device to the Milton via USB-C for wired audio — there’s even a USB-C to 3.5mm cable in the box.

The Milton ANC also bring support for Apple Find My and Google Find Hub, making it easy to locate your on-ears if you’ve forgotten their whereabouts.

A lot of the good stuff we saw on the Monitor III ANC features here too, including a five-band equalizer alongside a handful of presets, a customizable M button, and Auracast connectivity. You can access all of this in the Marshall Bluetooth app, which is well laid-out, but prone to a few loading issues in my experience.

I was pleased to see the Soundstage mode make a return, which is intended to “make your sound more spacious”. This works nicely, and I found myself using it pretty often. The effects aren’t as drastic as you get from some headphones’ spatial audio options, but you can adjust the metaphorical ‘room size’ and ‘amount’ that you want to employ spatial sound. For me, a medium room at 80% was the sweet spot.

Let’s also talk about battery life — something Marshall has been leading the way with on its Bluetooth speakers like the Kilburn III and Bromley 750. Things are no different on the Milton. You get a whopping 80 hours of playtime with ANC off, and a still-great 50 hours with noise cancelling active.

That’s considerably more than a lot of premium over-ear headphones, such as the Bose QuietComfort Ultra Headphones Gen 2 or Bowers & Wilkins Px7 S3 can offer.

In-line with upcoming EU regulations, the battery will be readily removable and replaceable. Repairs and replacements are available through Marshall directly, as part of the company’s aim to deliver more sustainable tech.

I think it’s about time we go to the main event, though, and discuss ANC. When I attended the launch of these headphones, Marshall stated that “the Milton were designed to push ANC performance further than on-ear headphones have gone before”.

And I have to say, the Milton offer pretty solid noise cancelling capabilities all things considered. Even while on a flight, the rumble of a jet engine and of general chatter was dulled pretty effectively. These headphones don’t fully cover your ears, so there are limitations to what they can do, and on occasion, I’ve still been able to hear sounds like cars passing by or babies screaming when out and about.

Still, it’s neat to see ANC on some Marshall on-ears. The adaptive ANC is paired with a dynamic loudness feature, which adjusts audio playback depending on the noise level in your vicinity. If things are getting noisy, the headphones will raise the bass and lower the mids — the idea is to "to energize listening sessions – no matter what", though obviously this is great for running tracks to keep you pushing, and less so for podcasts.

There’s also a transparency mode if you want to be more aware of your surroundings when out and about, as well as battery preservation options to extend the long-term lifespan of the headphones.

Marshall has rammed these on-ears with just about every feature you could want… well, just about. I would’ve liked to have seen wear detection included, so that my music automatically pauses when I take the Milton off — it's pretty standard fare these days. Otherwise, though, their features suite is golden.

• Features score: 4.5 / 5

Marshall Milton ANC review: sound quality

• Clean, energetic sound
• Bass is a little heavy-handed out of the box
• Enjoyable, spacious sound with Soundstage mode active

Out of the box, the Marshall Milton ANC offers an energetic sound signature, and I was instantly struck by the hard-hitting bass. For some, the low-end may feel a little over-emphasized — and with more stripped back, acoustic tracks, I preferred using a custom EQ with a slight bump in the mids and some reduction down low.

However, I think that the signature sound will be a hit with a lot of listeners — the meaty bass was great for tracks like Authentic Computers 2.0 by Kolter. The pumping bass came through with seismic impact, but didn’t sound lethargic, and never obscured synths or vocals in the midrange. Meanwhile, drums higher in the frequency range sounded expressive yet controlled, helping to maintain the track’s high energy.

With more acoustic, laid-back tunes like Get It Up For Love by Ned Doheny, the Milton continued to perform well. Acoustic guitars in the build-up didn’t have top-tier expressiveness and detail of premium over-ears like the Sony WH-1000XM6, but they remained nice and clear in the mix, and intertwined with soulful vocals with elegance. Again, percussion was brilliantly balanced in the mix, and this even remained true at top volumes.

By default, the Milton ANC offer a solid soundstage, with a decent amount of width and immersion. However, if you make use of the Soundstage feature in the Marshall Bluetooth app, you can get more three-dimensional, spacious audio.

When listening to Down East by Sadao Watanabe, it really did seem as if sound had been released into a virtual room — the leading saxophone had more space to work its magic, while percussion felt as if it occupied a more distinct pocket.

I've flagged this in the Features section above, but I was also delighted to see LDAC make an appearance on a Marshall product, and it opened up more intricate detailing when listening to higher-res files on Tidal. Nothing is going to beat USB-C audio passthrough, however, which provides lossless quality via a wired connection.

Even using a more basic Bluetooth codec like AAC, though, the Marshall Milton ANC are a very solid-sounding pair of on-ears. They won’t astonish audiophiles with perfect instrument separation or top-tier attention to detail, but their engaging and energetic sound is sure to appeal to many.

On top of this, the Milton offer commendable mic quality, with four of the total six microphones being used for clear calls. I tried recording my voice and was very satisfied with the clarity of my speech throughout.

• Sound quality score: 4 / 5

Marshall Milton ANC review: design

• Repairable and made of 42% recycled material
• Plush earcups are super-comfortable
• Beautiful retro-style look

I’ve mentioned a couple of times how Marshall is aiming to produce more sustainable technology at the moment, and the Milton ANC are a glowing example of that.

First of all, they contain 42% recycled material (by weight), which is a pretty significant proportion. On top of that, multiple parts of the Milton are replaceable, and Marshall can service the headphones or sell replacement parts when needed. The earcups also use bayonet locking, making them simple to screw off and on, and under the left earcup, you can easily unscrew a panel to replace the headphones’ battery.

It’s not all about sustainability though — the Marshall Milton ANC are brilliantly designed right across the board.

The earcups are more plush than those featuring on the Major V, and it’s incredibly apparent. They feel amazingly soft in use, and fit on my ears perfectly. The headband also feels relaxed, and never clamped down too hard, while still remaining secure.

Combine these two factors, and the Marshall Milton ANC are, without question, the most comfortable on-ear headphones I’ve ever used. I’ve used them for all-day use at the office, and never felt agitated or uncomfortable, which is a huge plus.

These headphones also look great in my opinion. The faux-leather casing, the golden Marshall logo, the exposed wires… these headphones nail the retro-style and look pretty premium for the price. The multi-directional button for playback control is attractive too, and was easy to use whenever I wanted to pump up the volume or skip a track.

Marshall has made a real effort to stress the ruggedness of the Milton, and I have to say they do feel pretty hardy. The practical draw-string case also helps to keep them safe against any tumbles or liquid splashes.

Speaking of which, the Milton ANC do not have a waterproof rating, which is a bit of a shame given their focus on durability and longevity. Don’t get me wrong: this is pretty common for headphones, but it would be nice to see a player like Marshall start adding IP ratings to its on-ear and over-ear products. Despite this, Marshall told me that the Milton were tested for higher humidity conditions and should be able to survive the odd raindrop, for example.

• Design score: 4.5 / 5

Marshall Milton ANC review: Value

• Well-priced against the competition
• Incredible comfort, solid sound, and loads of features
• A great middle point between the Major V and Monitor III ANC

The Marshall Milton ANC are well priced against a lot of the competition. For instance, the Beyerdynamic Aventho 100, which offer ANC, a similar amount of battery life, and similarly strong audio, are priced at $229 / £199 / AU$314.

On top of that, the Milton fit perfectly between Marshall’s more budget-friendly on-ears, the Major V, and its premium over-ears, the Monitor III ANC. The former will typically set you back $149 / £129 / AU$259, and the latter have a list price of $349 / £299 / AU$569.

The Milton offer the form-factor and compact style of the Major V, while cramming in a lot of the smart features and noise-cancelling capabilities of the Monitor III, neatly fusing what makes their sibling models so appealing.

And just overall, I think you’re getting good overall quality for the money you spend. With top-tier comfort, plenty of playtime, and a sustainable design, the Milton ANC feel like a worthy investment.

Are they the best sounding headphones ever? Perhaps not — they lack the detail and balance that some competitors can supply. But still, these are hardly the most expensive on-ears out there, and their energetic sound signature is sure to appeal to a large proportion of the market.

• Value score: 4.5 / 5

Should I buy the Marshall Milton ANC?

Buy them if…

Don’t buy them if…

Marshall Milton ANC review: Also consider

How I tested the Marshall Milton ANC

• Tested over the course of multiple weeks
• Used on a flight, public transport, and on walks
• Predominantly streamed music on Tidal

I spent weeks testing the Marshall Milton ANC, taking them with me just about everywhere I went. I used them on a flight, train journeys, my daily walks, and while working away at the office.

When listening to music, I used Tidal to experience the headphones’ higher-resolution capabilities, but I also dipped into Spotify from time to time. As always, I used the TechRadar testing playlist, which features songs from a wide variety of genres, but I also spent hours bumping tunes from my personal library.

More generally, I’ve spent years testing audio gear here at TechRadar, and have tackled everything from premium headphones like the Sony WH-1000XM6 through to small Bluetooth speakers like the Bose SoundLink Micro Gen 2. I’ve also tested a whole lot of Marshall products, including headphones such as the Marshall Monitor III ANC and soundbars like the Marshall Heston 60.

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

• Campfire Audio unveils new Chimera in-ear monitors (IEMs)
• Nine-driver tech includes bone conduction woofer and electrotatic tweeters
• Premium design that makes each unit unique

Everyone's talking about ditching Bluetooth in headphones these days. Well if you're looking for the best wired earbuds around, then Campfire Audio has a very interesting proposition for you, but it'll cost you.

It'll cost you a lot.

The new Campfire Audio Chimera cost $7,500 / £6,999 (about AU$14,000). That's 30 times the $249 / £219 / AU$429 price of the AirPods Pro 3, which I use as a reference since they're the most popular model of buds on the planet. Suffice it to say, they're not for the average consumer — it's likely to be professionals and the most hardcore of head-fi enthusiasts who'll pick them up.

But boy, what you get for that money is hard to argue with. These IEMs look fantastic, made of carbon-fibre and brass, adorned in a magnesium shell. According to Campfire Audio, every single unit made will look slightly different, with the production method resulting in subtle differences.

You can see how good they look in images; apparently they're designed to catch the light, so will appear even better in person.

The cable included with the IEMs uses four copper conductors, and two 50/50 copper and silver ones. And you get a lot more in the box: loads of eartips (including silicone and foam options), a cleaning tool and cloth, and a carry bag.

But the real draw to the Chimera is the audio.

Driver? I barely know 'er

The Campfire Audio Chimera has not one, not two, not… okay, it has nine drivers. And there are some real surprises in that list.

You're getting a 10mm dynamic driver for low-end, dual-diaphragm balanced armature driver for midrange, two balanced armatures for clarity, four electrostatic "super-tweeters" for high-frequency sound, and a bone conduction driver too.

This latter sounds like one of the most interesting selling points of the Chimera: it'll let you feel, not just hear, low-end sounds, to add a little extra physicality to sub-bass.

That's a bold choice, but it could pay off big time. We've previously knocked the brand's IEMs for their bass, like the Campfire Audio Solaris Stellar Horizon, and maybe Campfire Audio has fixed that problem in style.

For those who don't care about bigger bass, the draw lies in the use of four electrostatic drivers per bud — it's not a tech that gets out much, so we love to see it.

To keep the show on the road, Campfire Audio has given the Chimera a pressure valve to keep the airflow correct, and a tuning damper to make sure sound quality is as good as it could be. Given the specs list, these could sound like some of the best IEMs out there (and you'd hope so, for that price).

JLab JBuds Open Wireless: Two-minute review

JLab is well-known for its affordable headphones and earbuds, but this time the brand is branching out into something more unusual.

The JBuds Open Wireless are over-ear headphones designed to allow you to hear the world around you. Yes, everyone is doing that right now, just take a look at our best open earbuds guide — but while most open-ear options are earbuds, JLab has made an over-ear version. It promises to deliver the same open benefits but from a bigger — and for some people, more comfortable — form factor.

Now, open-back headphones are nothing new. They're actually a firm favorite among audiophiles. That's because venting the back of the driver housing stops sound from bouncing back onto the driver itself, which gives you a cleaner and more accurate sound with a wider, more natural soundstage.

However, the JBuds Open Wireless aren't that. Sure, they look similar, but the “open” part here means something different. The earcups don't create a strong seal against your head, and the cups can have grilles over them or the option to be completely open, so ambient sound outside flows freely in alongside your music.

So it’s not open-back as an audio engineering choice, but more open-ear as a lifestyle one, where the goal isn't better sound quality but a mix of sound and awareness of what's happening around you.

Interestingly, this design might seem new but it’s been done before several times. One of my favorite examples is back in the late '90s when Sony released the MDR-F1 — not identical, but similar open or open-air headphones, and people referred to them as "earspeakers" at the time. This is a similar thing, and a few other brands have done it, such as the ONE Wireless Open-Ear Headphones from nwm.

But they're still unusual right now, and I can't work out if they're uncommon because they're about to appeal to everyone and we'll see more soon, or because the use case is so specific that plenty of people will love the idea but find it falls apart in practice. Unfortunately, I'm in the second camp.

Don’t get me wrong, there's a lot to like here. The design is genuinely cool, with removable grilles and a comfortable all-day fit thanks to some memory foam padding in the cups and band. The sound also delivers more bass than I'd expect from an open design. And the ambient awareness really works. In quiet environments, it's really nice to listen with them.

But add just a bit of background chatter or noise and the openness becomes the problem. There are just too many competing sounds and the experience collapses. I know what you’re thinking. Isn’t that the whole point of open-ear designs? Sure, but if the music you’ve bought them to listen to becomes unlistenable, then we’ve got a problem.

At under $100/£100, the risk still feels low. But I think the use case is narrow, and most people will know within a day whether these are for them.

JLab JBuds Open Wireless review: Price and release date

• Released in late 2025
• Priced at $99.99 / £99.99 / AU$199.99

After being unveiled at IFA 2025 in September of 2025, the JLab JBuds Open Wireless headphones were launched in some markets in late 2025, and then the rest in early 2026.

You can buy the JBuds Open for $99.99 / £99.99 / AU$199.99. That price means they sit somewhere between the higher end of budget and mid-range.

Now this is where I'd usually give you context of how they compare to similar products, but it's tricky to compare these headphones directly to anything else right now. They give you the benefits of open-ear styles, but those are mostly buds, and these still look and feel like over-ears.

In that case, let's look at the open-ear buds you can get right now. Like the Shokz OpenFit 2+, our current top pick, which are $179.95 / £169. Though you can get much more affordable open buds that still sound good, like the Earfun Clip 2 with a clip-on design that'll cost you $79.99 / £69.99 (about AU$120).

In terms of over-ears, one of our favorite budget picks is the OneOdio Focus A6 over-ears at $55 / £55 / AU$112, which we think sound fantastic for the price. Though at that higher end of the budget range you've got plenty of choice, like the very highly rated 1More Sonoflow Pro HQ51 at $89 / £99 / AU$130.

Although there's nothing to strictly compare them to, the price reflects what you're getting. Which is over-ear comfort and build with open-ear awareness in a form factor that doesn't really exist elsewhere. For under $100 / £100, that does seem like a fair ask. But whether it's worth it comes down entirely to your preferences, which we'll get into.

JLab JBuds Open Wireless review: Specs

JLab JBuds Open Wireless review: Features

• Simple app with essentials
• Multipoint connectivity
• 24 hours battery life (well, nearly)

The JLab JBuds Open aren't overflowing with features, but you have everything you need for the price here.

The app is basic, but that's not a criticism. I found it easy to use and it covers the essentials well. You can customize the manual buttons on the right earcup, check battery life, set an interval timer, toggle spatial audio on/off, and switch between music and movie modes.

There's also a 10-band custom EQ alongside three presets, which I enjoyed playing with to try and address some of the issues with the sound, more on that later.

The headphones have dual coaxial drivers onboard, a 35mm and a 12mm unit, and Bluetooth 6.0 connectivity with support for SBC and AAC codecs. There’s no wireless hi-res audio options, but a USB-C cable is included if you want a wired connection.

Multipoint connectivity to two devices worked seamlessly during my testing, switching cleanly between my laptop and phone while I was working.

Battery life is rated at 24 hours, though in some of JLab's specs it says to expect 18 hours. In my testing I got around 20 hours, with a full recharge taking roughly 2.5 to 3 hours.

That's not bad, but it does lag behind other over-ear headphones. The Sony WH-1000XM6 manages 30 hours, and the cheaper 1More Sonoflow Pro HQ51 headphones deliver an extraordinary 65 hours with ANC on. But, to be fair, it's much harder to fit batteries in when you've removed all the physical space from your headphones…

Measured against open-ear buds, this amount is impressive as the Shokz OpenFit 2+ only manages 11 hours, but that’s expected given the size difference.

• Features score: 3.5 / 5

JLab JBuds Open Wireless review: Sound quality

• Better bass than most open options but sub-bass is lacking
• Wide soundstage suits big, orchestral tracks
• Sound leakage is an issue

With the JLab JBuds Open headphones, you can obviously hear your surroundings — that’s the whole point. But you're going to want to bear that in mind, because these sound really open. Like, really open.

On a long quiet walk along the canal, it was lovely. I had music playing, I could hear bike bells and birds and I felt very happy. But walking through the city was a different experience entirely.

What I was hearing from the headphones was competing for my attention with a fire alarm, other music, and general chatter. There's open-ear, which I’ve tried many times now from different brands, and then there's this.

And some people might genuinely want this. If ambient awareness always trumps music for you, and competing sounds don't overwhelm you, these could be ideal. That's subjective and worth acknowledging, but it wasn't my experience.

The reason it's so pronounced is physical, because the drivers sit further from your ear than other open options. They’re outside the ear rather than in the concha, where other open buds sit. Sealed over-ears obviously don't have the problem at all.

Here it's essentially like holding a speaker close to your ear. I recommending testing adding the grilles in and out, because they do reduce the sound leakage in, and they're very easy to remove.

With dual coaxial 35mm and 12mm drivers, they’re working with bigger hardware than most open-ear buds, and you can really tell when you listen. There's genuine presence in the low end, with far more bass and substance than you'd typically expect from a pair of open-ear buds.

Vocals come through clearly, and the wide soundstage is a real strength here. I spent a lot of time listening to Jóhann Jóhannsson’s Arrival score and instrument separation was impressive. Big, cinematic or orchestral tracks have a sense of space that genuinely suits the open design.

Moving onto Rolling Stones' Sympathy for the Devil and the track's swagger and drive translated well. It felt wide, punchy and instruments were given plenty of room.

But there are weaknesses. Sub-bass is mostly absent. Hi-hats and cymbals also had a tendency to tip into shrill territory, and kick drums have a sharp, thin quality rather than a satisfying thud.

The overall character skews mid-heavy, and you'll find yourself pushing the volume higher than expected to get a sense of immersion.

At times it felt a bit like hearing your phone playing in front of you; it’s present and clear enough, but thin and lacking warmth. The bass boost EQ setting helps on the right tracks and is worth trialling, but it can't resolve the main limitation here which is that there’s no seal to trap and focus the sound.

Calls were fine. With open ears, conversations feel more natural to me, and the noise-cancelling mic picked up my voice well. It lacked some clarity at times, but was fine for most purposes.

Sound leakage from the headphones is also worth flagging. I recorded audio on my phone while wearing them and could make out the track even at a moderate volume with the grilles on. If you remove them, it gets noticeably worse.

Push the volume up, which you will find yourself doing, and it gets worse still. So there's a sort of irony here, which is that the open design means you need more volume to feel the music, but more volume means more leakage.

Ambient noise outside will mask the leakage, so you'll get away with it way more in public than you might expect. But a quiet office or commute is going to be a different story.

• Sound quality: 3.5 / 5

JLab JBuds Open Wireless review: Design

• A bold design that may divide people
• Genuinely comfortable for long wear
• Removable grilles change the look and the sound

The JLab JBuds Open headphones have a very unusual design and I think they'll divide people. Some will find them incredibly cool and a bit sci-fi looking, whereas others just won't get on with them.

They're over-ear headphones with a build that feels substantial, though they do feel a little more cheap and plasticky than something like the Bose QuietComfort Headphones, my all-time favorite over-ears, but that’s to be expected at this lower price.

Both the earcups and headband are padded with memory foam and I found it genuinely comfortable for long sessions. The clamping force was occasionally a little much when I was working indoors, but on runs outside it actually helped and kept them feeling secure.

At 245g, they're light, and you can shave a couple of grams off by removing the metal grilles. The earcups have a sort of wheel-spoke pattern with a grille sitting over under it. And if you twist the cup, the grille pops out cleanly, opening things up even more both in how these headphones look and sound.

I noticed it really changes the look of them, and noticeably affects how much ambient sound comes through. It’s a small but genuinely fun customization option.

That said, they're bulky. They stick out from your head considerably more than most modern over-ears nowadays, and while the cups pivot flat, they don't fold inward either, which makes them less practical to carry and store than many rivals.

The included carry case is a nice touch. It’s a similar concept to the AirPods Max case but it’s more practical with more coverage of the headphones. The matte, brushed finish picks up marks easily though.

You control the JBuds Open with physical buttons on the side of the right earcup. I personally prefer physical buttons over touch controls, and found these easy to locate and use on the move, and they're also customizable via the app.

The headphones come in black, which is the pair I tested here, or Cloud, which is a light gray with gold accents that's a nice option if you’re sick of all black tech.

There’s no IP rating here, which on paper suggests avoiding sweaty workouts when you're wearing them. But given their open design means far more airflow than a sealed pair, I'd argue they're pretty workout-friendly as long as you’re mindful about sweat and splashes.

I tested them on several runs without any problems and actually really enjoyed the ambient awareness and added airflow as I got warmer and more tired. But I maybe wouldn't risk them in the rain.

• Design score: 4 / 5

JLab JBuds Open Wireless review: Value

• Good value compared to open-ear buds
• But whether it's worth it depends on your feelings about ambient sound

These are good value compared to other over-ear headphones and even some open-ear options. You can pick up open-ear buds for well under $100 / £100 these days, but top performers like the Shokz OpenFit 2+ cost nearly double at $179 / £169. So if you specifically want open-ear audio on a budget, they’re worth considering.

But really, whether these are worth it has less to do with price and more to do with your lifestyle. Under $100 / £100 feels fair for what's here. But if you're going to struggle to hear your music in most environments or find the bulk doesn't suit you, the price won't save them.

For the right person though, which I think will be someone who prioritizes awareness, loves the over-ear form factor, and isn't chasing audiophile sound, then these were essentially made for you.

• Value: 3.5 / 5

Should I buy the JLab JBuds Open Wireless?

Buy them if…

Don’t buy them if…

JLab JBuds Open Wireless review: Also consider

How I tested the JLab JBuds Open Wireless

• Tested over 10 days
• Used with my iPhone 16 Pro
• Listened to music, podcasts and some movies

I tested the JLab JBuds Open Ear Headphones for 10 days, which gave me plenty of time to trial them in different environments, wear them in a few different weather conditions and run a battery test.

I took them with me on daily long walks and two runs along the canalside, as well as one bigger hike in the countryside. They also came with me often when I was walking through a big city, in a busy market, to plenty of coffee shops while I was working remotely, on several bus rides and just out and about getting on with my day more generally.

I used my iPhone 16 Pro to test them and mostly listened to music and podcasts. I also used them when watching a couple of movies to test the movie preset and the spatial audio. I tested the different modes and EQ settings and used them with and without their grilles.

I actually became really fascinated by the subtle sound differences when it came to the grilles, so know my experience in this review comes from a lot of careful listening.

I’ve been writing about and testing tech for more than 15 years now. I’ve focused mainly on wearables, smart home devices and a lot of audio tech. Over the past few years I’ve been testing a lot of open ear buds, so I know what I’m looking (and listening out) for.

I’m always keen to think about the real world use cases and everyday practicality of tech so you get your money’s worth and pick the best device for you.

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

Many people review tech so they can test fancy and expensive new gadgets, but I love the cheapies; the affordable yet competitive tech that most consumers actually buy, that offers you actually exciting value for money.

Because of that, I've always had an aversion to expensive audio products. Sure, the best headphones may sound amazing, but if they cost more than a month's groceries, then I'm not convinced.

No; give me a pair of the best cheap headphones and I'll be a happy chappy (whose wallet will be equally chipper). I don't mind sacrificing on some audio quality and noise cancellation, and I love how affordable tech often has a more hardy build and longer-lasting battery.

Recent headphones such as the OneOdio Focus A1 Pro, Soundpeats Cove Pro and Soundcore Space Two have all impressed me more than the next audiophile headset would.

Unfortunately, extra groceries are not the only thing I get to consume this week, because I'm now having to eat my words. A year ago I tested the AKG N9 and, without exaggeration, I've used them (almost) every day since.

AKGee whizz

As smart readers will have gathered from the headlines, the AKG N9 are two things: a) headphones and b) expensive, retailing for $399 / £299 / AU$499 at the time of release, rarely seeing discounts from that retail cost.

The picture above shows you what they look like; they have a premium finish, comfortable pads and fairly reasonable weight for what's within. I know many audiophiles lament AKG's free-wheeling pre-Harman/Samsung acquisition days, but I'm still pretty fond of what its created since then.

One of their best specs is the battery life, which goes to an astounding 100 hours if you've got ANC turned off (55 hours with it turned on, which is still two straight days of listening and then most of The Lord of the Rings). It's a fantastic figure which lets forgetful people (two thumbs pointed straight at me) avoid charging them for weeks on end.

Despite my distain for pricey tech (and despite the existence of fancy multi-thousand-dollar headphones, these still are expensive), I gave the AKG N9 four and a half stars out of five in my review, which took a lot for someone as cynical as I. And that's all because of the killer feature which has cemented these as my favorite headphones.

Dongle breakin' my heart

Nestled inside one of the AKG N9's cups is a little USB-C dongle. If you plug this into a device, it'll override that device's audio output so that sound will come out of the AKG N9 instead.

This has three benefits. Firstly, for the headphones, it lets you quickly connect them to whichever device you want to use, without the arduous Bluetooth pairing game, or for work devices where maybe that's not an option. Secondly, for a device, it lets you easily switch from your current speaker or earbud to the AKGs.

Lastly, the connection is also higher-quality and lower-latency than Bluetooth, which is always welcome.

It's a novel feature, which the N9 shares with its sibling earbuds the AKG N5 and only a handful of gaming buds, and I waxed lyrical in my review about how cool it was. I talked about how being able to switch between your various gadgets easily, or borrow other people's, could be incredibly convenient.

A year later, and I'm back with actual experience of all that. Not only have the AKG N9 shown themselves for even more handy use cases, but I've used them probably every day since.

Flatmate bane

I use the Creative Pebble Nova on my PC: I like the way they sound, I like the way they look, and may have conveniently 'forgotten' to give them back to TechRadar after my review was published. However they don't get as much use as they deserve, because of the AKG.

The N9's dongle now takes an almost-permanent place in the USB-C port atop my computer, so I can pull it out if I want to use the speakers or push it in when I want the headphones. And most of the time, I want to use the headphones.

I've got a flatmate and I don't want to annoy him by using the loud and bassy speakers; when I hear him come home, I can slip in the dongle and play games or watch a movie from the headphones instead. Likewise when he leaves, it's only seconds before I'm listening to my videos with the speakers.

It helps that the AKG sound amazing and have hardy noise cancellation, which help me forget that my house borders a train line and is under a flight path. I find it easier to hear videos and get immersed in games when I'm using them.

For various tasks, I've also got my iPad, laptop and phone, so if I need to I can also start using the N9 on these devices with no re-connection fiddling; likewise my partner can borrow them for her tablet without any fuss. I've taken them on holidays, on coffee-shop work trips, and to friends' houses.

As I use them, more handy use cases for the AKG N9 crop up; only the other day I used them (with a converter) alongside an audio field recorder to check a mic was working. I could have spent ages trying to find my wired headphones, or some seconds with the N9.

The only thing I can't use them for is exercise, but thankfully I test plenty of open earbuds for that.

If I calculated the price of individual headphones or earbuds for the various tasks I use the AKG N9 for, it'd certainly be more than the cans themselves cost. I may hate expensive headphones and still consider the vast majority unnecessary, but versatile headphones like these will save the right buyer loads of money.

• Xiaomi teases its first clip-style open earbuds
• Launch date unknown, presumed imminent
• Past Xiaomi open earbuds have had sound leakage prevention tech

In 2025, it felt like every tech company felt the need to release open earbuds, and recently brands have been tripping over themselves to release clip-style buds, ranging from Anker, Bose and through the alphabet to (now) Xiaomi.

Chinese tech giant Xiaomi has teased its first open earbuds, sharing on social media platform Weibo a graphic of a half-open case, with the slogan "Brand new form". You can see enough of the enclosed earbuds to suggest these are clip buds (and it's basically the only headphone form factor the brand hasn't tried out yet).

There's not much more to know about the buds just yet, but Xiaomi's expected to launch a new smartphone at some point in May called the Xiaomi 17 Max. It's likely the earbuds will get some screen time at the same launch event.

It's therefore impossible to say what Xiaomi has cooking; from my experience, the brand's audio products remain weaker than the competition, but clip buds are hard to get wrong. And Xiaomi has one piece of tech that could elevate these new buds over the competition…

No noise

Back in 2025, Xiaomi released the OpenWear Stereo Pro, hook-style open earbuds with a whopping five audio drivers. I tested them, and while I didn't love the fit, or audio quality, they had one feature that was unique and really useful.

One of the drivers wasn't for music, but was designed to reduce sound leakage. It basically worked as anti-noise-cancellation; it wouldn't stop you hearing people around you, but it'd stop those people around you hearing you.

Sound leakage is one of the big problems of open earbuds. Since the drivers aren't in your ear, and the sound has to travel across the void between the bud and your ear, audio will invariably be audible to those around you.

Don't expect your guilty pleasure playlist to stay secret, if you listen with open earbuds; my partner is constantly humming along to my music when I'm using them. This didn't happen with the Xiaomi, though, and the driver worked wonders in keeping my private playlists… well, private.

It's hard to say whether Xiaomi will resurrect this tech for its clip-style earbuds, and it's certainly not guaranteed — these kinds of buds have less space for drivers in the bud, compared to hook-style ones, since the driver sits in your ear.

Saying that, the Shokz OpenDots One had two drivers, so it's clear that there's space for a well-engineered clip bud to fit multiple. It's just about whether Xiaomi decides it's a good fit (so to speak).

JBL has launched its new Live 4 series of earbuds, with three new pairs available from 12 May 2026.

The new models include: the JBL Live Buds 4, which are a set of compact in-ears; the JBL Live Beam 4, a pair of stemmed in-ears; and the JBL Live Flex 4, which are stemmed semi-open earbuds. Each of these has arrived about two years after their predecessors from the Live 3 series.

JBL’s Live earbuds are known for one thing above all — their touchscreen-equipped charging cases. On previous models, this has enabled users to swiftly adapt ANC, EQ, volume, and more. And JBL has revamped its Smart Charging Case software, and packed the Live 4 models with more features, controls, and customization options than ever before.

But will this be enough to help JBL rival some of the best earbuds from heavy-hitters like Apple and Sony? Well, I’ve seen the new Live 4 series for myself, and I could see some of the additions being a big hit — here’s what you can expect from JBL’s new buds.

Building on success

When we tested out the JBL Live Beam 3 back in 2024, they left quite the impression on us. Thanks to their impressive sound quality, plentiful battery life, and fun feature-packed case, we awarded that model a high 4.5-star rating.

And it really seems that their successor, the Live Beam 4 — alongside the new Buds and Flex versions — are building on a lot of the things we already loved.

First of all, let’s go back to the touchscreen case. Although I’m yet to test the Live 4 series in depth, I was pleased to see that the Smart Charging Case comes with a brand new user interface (UI) alongside a larger screen on JBL’s newest earbuds.

Sure, some would argue that the screen is a little gimmicky, but it provides instant access to customization tools, whereas usually you’d have to withdraw your phone and root around for the JBL headphones app. As someone with way too many audio apps on my phone, I can certainly see the appeal.

JBL has also updated the sound of its Live series, with the new earbuds equipped with “new fidelity drivers” that the audio specialist claims to be “carefully tuned for deeper bass and clearer sound”. Although JBL has employed new drivers, they’re still 10mm and dynamic on the Buds and Beam, and 12mm dynamic on the Flex.

Another area that’s been improved is call quality. Live 4 series models utilize six microphones with new “Perfect Call 2.0” tech, combining a wind-proof design with an AI algorithm for clear quality. Some of the microphones are also used for noise cancelling, which has also been improved according to JBL.

Something that’s largely remained the same, though, is battery life. With the charging case, JBL claims the Buds 4 will provide up to 32 hours with ANC on and 40 hours with it off; that the Beam 4 can manage 40 hours with noise cancelling active and 48 hours without it; and that the Flex 4 will deliver 35 hours with ANC switched on and 50 hours without. That’s similar to what we saw on the previous generation, but remains impressive across the board, especially when you consider that rivals like Apple’s AirPods Pro 3 only deliver 24 hours with the charging case.

The Live 4 series is available in a range of colors, including Black, Blue, Silver, Champagne, Green, Purple, and Orange. They are priced at £179.99 / €199 (about $245 / AU$340). I’ll be reviewing each of the new models in the coming weeks to see if they’re truly worth the money, so keep your eyes peeled for my full thoughts.

• New Sony The Collexion headphone renders arrive
• They show product very similar to WH-1000XM6
• A few premium design changes, and two colors

We've been reporting tirelessly on new top-end headphones from Sony that are set to bear the name The Collexion. We've seen them spotted on the head of a Hollywood star and leaked on Sony website listing pages, with a May 19 release looking likely.

But I'd been so caught up in the flurry of leaks, that I'd missed something obvious — and newly-leaked renders courtesy of Android Headlines have highlighted: these headphones look incredibly familiar.

Coming in white and black hues, the Sony The Collexion headphones appear to be gentle evolutions of the Sony WH-1000XM6 and XM5, especially in the looks of the speaker cups.

In fact, squint and these basically are the WH-1000XM6. It's clear that Sony isn't straying far from past designs with its new cans, which might surprise people hoping for top-end blasters that match the rumored $600-ish price tag — but there are difference in the shiny metallic elements that are really reminiscent of the Sonos Ace.

What's new here?

Let's run through the differences I can see between these rendered headphones and the XM6 cans.

Most comfortably, the headband seems to be made from a different material, with leaks pointing to it being vegan leather rather than plastic as in the XM6. This material is also said to be used for the ear pads.

A new hinge mechanism is at play too, although to see still images, it's hard to tell how it works. At the very least, Sony's attempts to play around with this design element suggests The Collexion could have a sturdier build.

Renders show a USB-C port, but no 3.5mm headphone jack. That's not a surprise, though, because the space where this audio port would be, is obscured in the pictures.

Naturally, under the hood there are probably loads of hardware changes that make these an audible step up from the XM6 — these won't literally be the same headphones (at least, I hope).

But given the high price point mooted for the new headphones, you'd be forgiven for hoping for a more inventive design. The best headphones for audiophiles show their colors with unique designs, flashy patterns or mechanical flair, and if you've paid top dollar for expensive cans, you want to feel it.

Given all the leaks and teases, I'm expecting us to learn more officially pretty soon.

• Sivga unveils M260 wired earbuds with huge 14.2mm driver
• They come in USB-C or 3.5mm versions
• The fit is like the old Apple Earbuds design from before AirPods

It's been 14 years since Apple discontinued its classic iPods earbuds, which had a circular speaker grille — ditching them for the still-sold EarPods — but other brands occasionally still release earbuds in this style, and the latest one takes advantage of the design to whack in a huge driver.

Audio company Sivga has unveiled a new pair of cheap buds which share a lot of design traits with the older earbuds, except their clean white design and the sheer size of the driver involved.

These are the Sivga M260, which are newly on sale in two iterations. There's a version with a 3.5mm plug, which costs $44 / £33 / AU$62, and one that connects via USB-C, which goes for $50 / £38 / AU$70.

We've mostly tested the brand's over-ears, like the classy wooden Sivga Oriole or Sivga Robin SV021 Pro, but it sells plenty of earbuds and in-ear monitors too.

Budget buds with a big driver

The Sivga M260 gets a 14.2mm driver, which is on the big side for in-ear buds like this. It uses a dynamic driver with neodymium magnet and copper composite diaphragm.

According to the brand, the tuning is aimed towards a smooth and natural sound, with controlled bass.

In the box, you get four different pairs of ear pads, so you can make sure the M260 lock in your ears, and to block out a little bit of surrounding sound.

The cable's another element that differentiates this from the cheapie earbuds that came in-box with your iPod. It's a 4N silver-plated, oxygen-free copper cable, and it's detachable from the buds so you can replace the cable or buds if one or the other is damaged (or if you make an upgrade).

There are some small differences between the two on-sale models. The USB-C version has a small control panel, with volume rocker and microphone, and it has a built-in DAC for hi-res audio.

Given how many products are losing the headphone jack nowadays, I imagine most people will opt for USB-C… unless you're one of the people still holding onto your iPod and you want these to bring back that classic feeling.

• Sony WH-1000XX The ColleXion all but confirmed
• Spotted on Hollywood star's head in NYC
• Seems to give a wink and nod to previous leaks

If there were any doubt that Sony was cooking up something special, it should now be dispelled. We've reported on 'Sony WH-1000XX The ColleXion' leaks before, and now it seems like the brand's 10th-anniversary super-premium headphones could be real.

They haven't been officially announced yet, but they seem to have shown up in public, all but guaranteeing a release is on the horizon.

Specifically, they were seen worn by F1 star Damson Idris, in several photographs which were shared by various fashion pages on X. Case in point:

Over on the r/headphones Subreddit, audiophiles were quick to note that these aren't a known pair of headphones, with a Sony logo making it clear that these are the product of the Japanese brand, but several design differences from the likes of the WH-1000XM6.

It seems, then, that we're looking at Sony's as-yet-unannounced premium option. The pictures give us a look at a few key design features, including an interesting metal headband/hinge, an audio jack, some grilles and a carry case too. Thankfully, the latter looks a lot more sensible than the AirPods Max 2 'bra' case.

Tin-foil hat time

Ostensibly, this could be a simple leak. We occasionally hear cases of tech testers snapped with upcoming gadgets in public: companies do need to let their devices get real-world testing, after all.

But you probably don't use Hollywood stars to do said testing. The fact that it was Damson Idris who was spotted with the cans, in very professional-looking photographs, makes me think it wasn't a massive coincidence — and then there's the fact that an official Sony account replied to the above X post with the 'eyes' emoji, drawing attention to the whole thing rather than avoiding it.

My conspiracy theory (and that of most of the Reddit commenters)? Sony has started sending out the WH-1000XX The ColleXion headphones to certain people, in the hopes that they'll get pap-snapped with the cans to raise intrigue.

We've seen it before, with brands such as Beats giving its audio products to influential people, to tease the imminent launch of an exciting new device. Even if not true, and this was just a happy coincidence for the brand, Sony's clearly leaning into it.

The rumor mill says that these headphones will be announced on May 19. Since we're getting these 'candid' teases of the cans, that launch date is looking increasingly likely.

So far we've heard that these will be top-end cans selling for around €629 (about $740, £550, AU$1,030), that could have advanced ANC and audiophile-quality specs, but perhaps a worse battery and heavier weight than Sony's other headphones.

If the rumors are correct, we won't have long to go until we discover the truth in these whispers.

• Topping announces the DX9 Discrete DAC and headphone amp
• Uses delta sigma processing like an integrated DAC, but in discrete components like an R2R DAC
• Going on sale for £1,299 (about $1,750, AU$2,600)

Topping Audio may not be the most prolific hi-fi company, but when it strikes, it strikes hard; a recent DAC, amp and preamp combo called the DX5 II proved that. And its latest piece of gear is just as ambitious.

The brand has announced the Topping DX9 Discrete, which is now on sale in the UK for £1,299 (about $1,750, AU$2,600) — that's not cheap, but given the tech inside, it's also kind of a bargain.

This combination DAC and headphone amp builds on its predecessor in a few key ways, most crucially introducing Topping's proprietary PSRM architecture for digital-to-audio conversion (which I'll come back to in a moment), and support for a 10-band PEQ. Thankfully, it retains the older version's design, including a cool see-through build.

The DX9 has a display on the front that lets you monitor various factors and change settings, and it has a wide range of inputs and outputs including USB, optical, coax and HDMI, hitting up to 32-bit 768kHz PCM / DSD512 decoding.

The Topping DX9 Discrete supports Bluetooth 5.1 with LDAC, various aptX standards, AAC and SBC, and works as a headphone amplifier with six channels, capable of driving even particularly fussy cans. But easily its coolest feature is in the DAC space.

The company keeps Topping itself

As audio fans might know, picking an audio system can be hard, with many fancy techs solving one problem only to raise another. Do you go for an R2R DAC, with is discrete architecture creating a warm harmonic sound but often more distortion, or an integrated chip that has less distortion but can feel like a colder and more digital sound?

Topping thinks it can deliver the best of both worlds using its PSRM system. The uses discrete components, similar to R2R DACs, but uses them for delta-sigma processing, like an integrated chip — all through a 1-bit pipeline at extremely high sample frequencies (purportedly in the megahertz range).

According to Topping, this is a bit like it's converting all your Hi-Res Audio files into DSD, which is natively based around the idea of 1-bit, high-frequency files.

The promise is that this all results in greatly reduced distortion compared to R2R DACs, while retaining a slightly more analogue-feeling sound for your music.

It's a neat trick, and one I'm sure audiophiles will flock to, if at least to see just how well it works. But selling points aside, this still seems like a sold DAC-amp combo which should sit well against other other favorite options…

• LibrePods improves the AirPods experience on Android
• The app is now available on the Google Play Store
• Use features like Conversational Awareness on selected phones

While AirPods have always worked with Android — they're essentially Bluetooth earbuds, at their core — users with Google-powered phones and tablets haven't been able to enjoy the full AirPods experience. That's now changing with a new update to an open-source app called LibrePods.

LibrePods has been around for a while, but previously required a jailbroken Android device to work properly. As Android Authority reports, LibrePods just became available on the Google Play Store, so anyone can make use of it — no jailbreak needed.

This has been made possible by a bug fix pushed out with the Android 16 QPR3 update, also known as the March Pixel Drop if you're using a Google Pixel phone. As LibrePods developer Kavish Devar explains, this opened up more Bluetooth functionality.

It means you get access to features like more precise battery level reporting, immediate ear detection, the ability to change listening modes, and Conversational Awareness (which lowers the AirPods volume when you're chatting to someone.

Going Ultra?

As this updated Bluetooth functionality has only just been added to Android, it's going to take a while to reach all phones and tablets. Right now, it should work with Google Pixel, OnePlus, and Oppo phones updated to the latest software versions.

In the future, the improved Bluetooth features should be kept in Android 17, which will be One UI 9 on Samsung phones. Over the next few months, LibrePods should become compatible with more and more handsets as these updates roll out.

Once you've got LibrePods installed on a compatible phone, you'll find a host of options available in the menus — including the option to set up head gesture controls (provided you've got a pair of AirPods 4, AirPods Pro 2, or AirPods Pro 3).

If you're an Android user, your choice in terms of the best headphones and best wireless earbuds just got bigger, and could expand further soon. There are rumors from Macworld that Apple is planning to introduce some AirPods Ultra headphones in the near future, while also applying the 'Ultra' branding to other high-profile products.

EarFun Clip 2: Two minute review

The Earfun Clip 2 buds are the latest entry in the wave of clip-style options among the best open earbuds. They're Earfun's second go at this form factor after the original Earfun Clip, following the brand's OpenJump ear hook design.

And the big pitch of the Earfun Clip 2 is price, because they cost $79 / £69 / AU$120 at launch. With early discounts already appearing on the Earfun website, they undercut much of the competition.

Now, that budget positioning does come through in places. The plastic build feels a little cheap in the hand. The sound profile, though energetic and punchy for workouts, has some limitations at volume that I'll get to, which means you’ll want to tweak the EQ.

There are some notable features here that I really rated, including an impressive 11 hours of battery life, Hi-Res Audio and LDAC support, multipoint connectivity, and a smart AI translation tool, which could just be a nice-to-have for some or genuinely useful for others. For cheap open-ears, there’s a lot here.

Open-ear designs are a bit of a gamble when it comes to comfort. Do you go with a neckband, ear hooks, or clip-on? Well, I’m firmly in the clip-on camp, and I found the Clip 2 buds mostly secure, light, comfortable and easy to forget about once they're in. I did notice some slight slippage, but only on sweaty runs when I pushed their grip to the limit.

However, after a lot of time testing audio gear, I've learned that ears are subjective little things. Some people love the clip-on feel and others find it irritating. That subjectivity runs through the whole experience here, from fit to sound to whether you mind the build quality at this price.

Overall, the Earfun Clip 2 aren't trying to compete with similarly style buds, like the Bose Ultra Open or the Shokz OpenDots One, on refinement. Instead, they’re asking: hey, do you want a decent pair of open earbuds without spending very much?

If the fit works for you and you're willing to play with the settings, the answer could well be yes — I've tested a load of clip-style buds, and these are the cheapest option I'd happily tell people to buy.

EarFun Clip 2 review: Price and availability

• Price at launch: $79.99 / £69.99 (about AU$120)
• Launched April 2026
• Already discounted at launch

The Earfun Clip 2 buds launched at $79.99 / £69.99 (about AU$120), but there's already an early bird discount on the Earfun website bringing them down to $55.99 / £49.99, which probably tells you what price you can expect to see them fall to in any sales events.

The headline here is they significantly undercut much of the competition. The two clip-on open earbuds we'd most readily recommend right now are the Shokz OpenDots One at $199 / £179 / AU$339 and the Bose Ultra Open Earbuds at $299 / £299 / AU$449.95.

The Earfun Clip 2 cost less than half of the Shokz and roughly a quarter of the Bose. Even the Edifier LolliClip, which does pack in extras such as noise cancellation, heart rate and blood oxygen tracking, come in at $129.99.

Which means that if you've been curious about the clip-on design but reluctant to spend big on an experiment, the Earfun Clip 2 make a very compelling entry point on price alone.

That said, they're not the only budget option in this increasingly crowded space. For example, the Soundpeats Clip1 are currently our top pick for open buds in a clip-on design for under $100 costing only $69.99 / £74.99 / AU$79.99 and we gave them a solid 4 out of 5 star rating.

What’s more, the JLab Flex Open earbuds come in at $49.99 / £49.99 / AU$129.95. We haven't reviewed those, so can't speak to quality, but it's worth knowing that cheap clip-on open earbuds exist beyond the Earfun. Granted, not all of them will be worth your time and money, and as we'll get to, the Clip 2 do pack in some great features to back up that low price.

EarFun Clip 2 review: Specifications

EarFun Clip 2 review: Features

• 11 hours battery life (40 hours with the case)
• AI translation across 100+ languages
• Solid app to tweak settings

The Earfun Clip 2 buds were easy to set up: just open the case and they connect, with Google Fast Pair support speeding things along if you’ve got an Android phone. Multipoint connectivity worked reliably throughout testing too. I spent a full working day moving between my laptop and phone across cafes and a coworking space, and the switch took under five seconds each time.

Battery life is a strong point. With LDAC off, you get up to 11 hours from the buds and 40 hours total with the charging case, and during testing I got close to 10 hours, which tracks enough for me. Switch LDAC on and that drops to six hours (22 hours in total), which is still reasonable. The case supports wireless charging, and the buds fully recharge inside it in about an hour.

For context, the Bose Ultra Open manage 7.5 hours (27 total), the Shokz OpenDots One offer 10 hours (40 hours in total), and the similarly-priced Soundpeats Clip1, offer eight hours from the buds (32 hours in total). so the Clip 2 hold their own against pricier rivals.

The standout feature here is AI translation, covering more than 100 languages. There are two modes: face to face, which translates in chunks after each person speaks, and real-time, which handles continuous one-way speech with a slight delay. Both worked well in my testing.

AI translation is appearing in other earbuds too, but finding it in a pair this affordable and in an open design feels like genuine added value.

There's Hi-Res Audio Wireless certification and LDAC support too, which is rare at this price, though the drivers and open design don't fully capitalize on that extra bandwidth.

The Earfun app is clean and easy to navigate. The 10-band custom EQ works well, alongside presets like bass boost, treble boost, vocal enhancement and genre options like rock, pop and classical. As we'll get to, I needed to tweak the EQ to get the most from the Clip 2, so this was welcome.

You'll also find a game mode for reduced latency, a theater mode that widens the soundstage, and a privacy mode that drops volume and reduces sound leakage.

Other extras include hearing health settings with volume limits and left/right balance, auto-shutdown timers, and a 'find my earbuds' function that worked reliably every time for me.

Connectivity was solid around the house, though I noticed occasional brief drops in the left earbud when I was walking through the city, where there could be more interference. They reconnected within a second or two, but it’s worth noting, since not all earbuds have this issue in the city when I use them.

There's no active noise cancellation here, and you're not getting heart-rate sensors or a personalized hearing test, or anything like that — and that's absolutely fine, given the price.

• Features score: 4/5

EarFun Clip 2 review: Sound quality

• Punchy bass for open earbuds
• Treble turns a little harsh and fatiguing at high volumes
• Mid-range can get buried

As you'd expect from the open design, you can still hear your surroundings with the Clip 2, whether that’s conversations, alarm or traffic. Not as much as buds that sit further from your ear, such as a bone conduction pair, but enough for situational awareness.

That said, don't mistake open-ear for transparent. You're still listening to something, and I found myself distracted enough by the audio that I wasn't hearing everything around me, even with my ear canal relatively free.

As with any open earbuds, you're trading fidelity for that awareness of your surroundings here. The question isn't whether the Earfun Clip 2 sound as good as in-ears (they don't). It's whether they make the most of the form factor at this price.

At lower volumes, the answer is yes. There's separation, a sense of space, and a brightness that keeps things lively without feeling thin. Listening to Tame Impala's Dracula at a comfortable level, the bass came through with some presence, which is not always the case in open earbuds.

Budget open options like the Huawei FreeArc, our current top pick at this end of the market, have never really satisfied fully on the low end. The Clip 2 have noticeably more punch.

However, push the volume and things can start to unravel depending on what you’re listening to. Treble takes over, cymbals and hi-hats become sharp, vocals and guitars turn brittle, and the midrange almost gets buried underneath.

I put on Death From Above 1979's Turn It Out, a track I've listened to hundreds of times, and at first the crashing drums and heavy low end landed brilliantly. But the moment guitars and vocals came in, it became harsh enough that I didn't want to keep listening. That's a problem when it's one of your favorite tracks.

So there’s a bit of tension with the Clip 2. These are earbuds mostly designed for outdoor use, like running, walking and commuting — ie, environments where you might really need to push the volume to hear them. But they sound their best when kept a little lower.

Now, I’m happy to report that the custom EQ helps a little. A treble reduction preset warmed things up, and pulling back the highs further with the 10-band EQ created a smoother, flatter listen. But even with adjustments, that midrange muddiness didn't fully clear up.

Podcasts sounded decent, with enough vocal clarity to follow speech comfortably. That same treble harshness crept in at higher volumes here, though in noisier environments the extra edge actually helped voices cut through in busy environments.

As you’d expect from open buds, there was some detectable sound leakage, but not that much. Unless you're listening at volume in a very quiet office or train carriage, I'd say you'll be fine.

They're not a great-sounding pair of earbuds in the grand scheme of things. But for the form factor and the price, they are more capable than much of the competition, as long as you don’t need to pump up the volume too often.

• Sound quality score: 3.5/5

EarFun Clip 2 review: Design

• Clip-on design that's surprisingly secure
• Comfortable for long sessions, though fit is subjective
• Plastic build feels budget compared to rivals

The Earfun Clip 2 use a clip-on design that hooks over the cartilage at the side of your ear. The chunkier rectangular section housing the controls and battery then rests behind the ear and the spherical driver unit sits in your concha. Each bud weighs just 5.5g, and a Ni-Ti (nickel-titanium) alloy frame helps the clip hold its shape over time.

After reviewing plenty of open earbuds, I've come to accept that fit preferences are deeply personal. Some people swear by hooks behind the ears, others prefer neckband-style fits.

For me, the clip-on is actually my favorite form factor, partly because I have thick hair and sometimes wear glasses, both of which can make hooks and neckbands less comfortable and secure. But your experience may really differ, all of our ears are unique after all!

That said, the first day or two I spent convinced they were about to fall off. They didn't, and once I'd stopped second-guessing them, I found the Clip 2 surprisingly secure and comfortable for long listening sessions.

The only time they shifted around to the point I wanted to take them off was during sprint intervals in a sweaty HIIT session, and I'd expect that from most earbuds.

There's IP55 dust and water resistance, so they'll handle sweat, rain and the odd splash without any trouble, just don't submerge them. Combined with the (mostly) secure fit and light weight, they make a solid workout companion.

Looks-wise, I've always found the clip-on design quite cool, like something out of Star Trek. But the Clip 2 are simple, black and plastic, and some might find them a little cheap-looking compared to shinier rivals with more colour options, like the Bose Ultra Open or the Shokz OpenDots One.

Controls are handled by a physical button on the back of each bud rather than touch surfaces, which I preferred. It's easy to find by feel when you're moving, responsive enough that I never had to fumble, and you can customize single, double-, triple- and long-press actions in the app.

The charging case tells a similar story to the buds themselves. It’s pill-shaped, black, plastic, but with a solid hinge and matte finish that make it look plain and purposeful if I’m being polite, a bit cheap if I’m not.

• Design score: 4/5

EarFun Clip 2 review: Value

For the price, the Earfun Clip 2 deliver, and they’re the clip-on open earbuds I'll be recommending if anyone needs a budget pick.

The value here is strongest when you look up the price ladder. The Shokz OpenDots One offer a similar experience for more than double the price. The Bose Ultra Open Earbuds do justify their premium with noticeably better sound, but they cost almost five times as much.

This means that if you're curious about the clip-on design and don't want to gamble serious money on finding out whether it suits your ears, the Earfun make that experiment much easier to stomach.

Yes, the price shows at times. The plastic build feels budget, and the sound has limitations at higher volumes that the pricier rivals handle better. But you're not buying these expecting premium. You're buying them because you want open earbuds with a clip-on fit, decent bass and a whole shopping list of useful features without spending much. On all of those terms, they deliver.

• Value score: 4.5/5

Should I buy the Earfun Clip 2?

Buy them if...

Don't buy them if...

Earfun Clip 2 review: Also consider

How I tested the Earfun Clip 2

I tested the Earfun Clip 2 for two weeks to write this review. I mostly had them paired with my iPhone 16 Pro, but also used them with my MacBook to test the multipoint connectivity.

I used them mostly to listen to music and podcasts while I was working out of the house or exercising. But I also tried listening to TV shows and movies with them to see how the different modes sounded.

I’ve been testing and writing about tech for nearly 15 years. I’ve reviewed wearables, health tech and smart home products. But I’ve recently been focusing on fitness audio and open earbuds, especially headphones and buds on the more affordable end of the spectrum.

I’m especially interested in how tech actually feels to use day to day, rather than how it performs against a spec sheet.

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

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

• An audio engineer has built headphones using Scrub Daddy sponges
• The cans offer frequency response akin to top-end models…
• ...yet these were sold online for just $100, though you won't be able to buy one

If you've ever thought that headphones all look too similar nowadays, then here's something you'll love to see. An audio engineer has built headphones using yellow smiley-face sponges — I'm assured Scrub Daddy is a household name — and they're apparently surprisingly good.

On Reddit, a well-known sound engineer called Pud — u/pudjam667 (who often shares their creations on the platform, and at Pud.com) — has revealed their latest concoction: open-back headphones with the internals housed within Scrub Daddy sponges.

The headphones, which bear 50mm drivers and were tuned to cater for the spongey material (with some other materials used to complete the acoustic design), were put to the test and performed shockingly well.

As per the frequency response graphs, the cans have surprisingly flat bass response, with the curve likely making owners of the best headphones green with envy for how flat it is. One could say they soak up the bass.

The creator themselves referred to its "godly frequency response", comparing them to HiFiman HE1000s, and commenters have compared them to various top-end products. Even Sennheiser itself got involved, complimenting the creator for his work via their Reddit account.

I made Scrub Daddy headphones [swipe for godly frequency response measurement] from r/headphones

Time to buy a pair?

The Scrub Daddy headphones are a one-and-done type product. I'm sorry to say, you'll never be able to buy them yourself.

In comments under the post, u/pudjam667 described how they made the pair with their son, "to help teach him about commerce", and the pair was put on sale on the engineer's website once done.

The price was just $100, which could land them on our list of the best cheap headphones, if Scrub Daddy decided to get involved and help make these things a reality.

Pud has a wide range of various headphone inventions, and the Scrub Daddy cans are probably the most regularly-looking ones, perhaps surprisingly. Next on the list is probably the pair made from Croc shoes (well, a mimicry of them, at least), which also tested shockingly well.

Both sets of headphones are certainly much more practical than Pud's ultra-bassy headphones, called Ol' Thumpy, which make you look like a human barbell.

• Honor Choice Earbuds Clip 2 get global release
• Clip-style open earbuds with handy feature
• Sound leakage may be thing of the past

Since I started testing the best open earbuds several years ago, the form factor has advanced leaps and bounds. No longer do these anti-noise-cancelling earbuds struggle with poor sound transmission, unreliable fits or huge carry cases. But a few problems linger.

Because each earbud is held outside of your ear canal, this kind of bud has natural sound leakage, so people around you can hear your music if it's quiet, such as in an office. But Honor's new earbuds promise a solution to the problem.

The Honor Choice Earbuds Clip 2 Pro were announced at the end of 2025 in China, but have finally received a global release as of April 2026. They're priced equivalent to around $125 / £100 / AU$200, but we're waiting on availability and prices around the world.

Beyond that essay of a name, they come with a few specs which make them seem competitive as clip-style open-ears. Their 12mm driver is bigger than many we see in this style of bud, and the 10-hour battery life again is competitive.

The case charges wirelessly, the arch is designed to survive bends, and the buds automatically detect which ear they're in, so you don't have to think about it. All very handy features.

But beyond that list of useful but familiar specs, there's one tool that stands out.

Goodbye, sound leakage

As I mentioned, there's natural sound leakage with open earbuds, so people around you can easily hear what you're listening to. The pair I'm testing currently are easy to make out if you're within several meters of the listener. It's pretty embarrassing that everyone at Parkrun can hear all the Backstreet Boys I'm listening to.

We did see the Xiaomi OpenWear Stereo Pro come with a driver designed to mitigate this problem, but those were on hook-style open buds, not clip-style like the Honor. Oh, and as my 3-star review (linked above) attests, they weren't especially good.

The Earbuds Clip 2 Pro, however, have a driver on the back of the bud, which emits sound to cancel out the music you're listening to, working basically the reverse of how noise-cancelling headphones operate.

In theory, these solve open earbuds' remaining major pain point, and I'm really curious to test them out and see how well it works (or, more accurately, let my partner discover how well they work, as I'll no longer be annoying her with my music… in theory).

Clip-style earbuds are quickly proving themselves more popular than hook-style ones, at least judging by how many new pairs are released, and I've previously been impressed by the company's offerings, such as the Honor Earbuds Open.

So I'm holding out hope that, if this clippy problem-solver works as well as I think, the Clip 2 Pro could be the best open earbuds yet — at least, for those who share a workspace.

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

Activo Scoop review

The Activo Scoop in-ear monitors are designed to be as smooth as a pebble, in just about every way possible. Physically, they’re light, rounded, and sculpted. Sonically, Astell & Kern’s sub-brand Activo has attempted to craft IEMs with “smooth resonance,” and supply a sound that’s as natural and “gentle” as possible.

If we’re talking about design, I’d argue that Activo has just about nailed the audio-equipped pebble. The Scoop IEMs are sleek, have a polished feel and with an attractive white finish. They are a little bit chunky in the ear, and the attached cable is on the thick side, but I found the IEMs to be pretty comfortable for longer listening sessions, and I never had to deal with over-zealous cable noise or any connectivity issues.

But I want to focus more on the Scoop’s sound, and how well it adheres to the pebble theme. As you’d expect from a pair of IEMs, the overall sound profile is fairly balanced, and the Scoop are largely focused on an “organic” presentation that steers clear of harshness, according to Activo. But how good do they really sound? And can they really compete with some of the best wired earbuds on the market?

Well, I’m pleased to report that they’re pretty strong performers, especially given their budget-friendly pricing. Their five-driver setup — which features one 8mm dynamic, two 6mm dynamic, and two balanced armature drivers — supplies clean, articulate sound, with subtle detailing and a genuinely impressive soundstage.

In This Is All I Have for You by Makoto Matsushita, I was struck by the Scoop’s revealing sound. In the introduction, rhythm guitar was beautifully balanced in the mix, almost occupying its own unique pocket. However, it never sounded incoherent with other instruments in the mix — it danced beautifully alongside rapid and responsive percussion and full-sounding, funky bass.

Even after vocals entered the fray, the Scoop maintained a disciplined and balanced approach. And as subtle strings and percussive elements reared their heads, the Scoop ensured that they were clear, but never over-emphasized.

When I compared the Scoop against my trusty Sennheiser IE 200, I found that the former had less of a ‘warm’ sound profile, opting for more of an agile and snappy bass response. Sure, that may be a bit less exciting for some listeners, but for professional users — or those who simply prefer a more neutral sound — that could be a positive.

All in all, I did feel as if the Scoop took a more natural approach than the IE 200, although I did realize that they went a bit more aggressive on the highs.

In Entertainer by Ruze, higher-pitched percussion sounded more forward in the Scoop. That’s not to say that treble sounds were tinny or harsh — but they were noticeably more subdued using Sennheiser’s in-ears. In other tracks, like Tale of Two Cities by Darren Rahn, claps in the build-up again sounded pretty eager on the Scoop, and I do think that some may prefer how the IE 200 stayed their hand up top.

To be clear, I did still enjoy the Scoop’s expressive treble overall, and although I think some may prefer a bit more emphasis in the low-end for casual listening, I commend their rich, detailed sound. You get capable and solid instrument separation, with just about every part of the frequency range celebrated and with room to express itself, as well as controlled audio, even at higher volumes.

Beyond their admirable audio, the Activo Scoop supply quite a few positives. The most obvious is their broad selection of connectivity options: 3.5mm, 4.4mm, and USB-C. If you want to switch from 3.5mm to USB-C, for instance, all you have to do is unscrew the 3.5mm connector, plug the USB-C alternative in, twist that on…and hey presto — you’re away.

Having so much variety makes the Scoop ideal for using while mixing or mastering in a professional setting, or using on your modern smartphone for casual listening sessions. There’s no in-line controller, which is pretty common for IEMs, but otherwise they’re very well-equipped.

For instance, you get a bunch of different-sized eartips, and picking the right size will be crucial. A perfect seal won’t only deliver optimal audio quality, but it will improve passive noise isolation — crucial for blocking out pesky external sounds in your environment.

I went for the medium size as usual, and getting a comfortable feel was fairly straightforward. I found the foam eartips to be a little fiddly, although they did work very nicely — especially when it came to noise isolation. The clear silicone alternative was my go-to, however, both for ease-of-use and for its clear look, which was a better match for the white IEMs, visually speaking.

It would also be remiss of me not to mention the included case, which is very similar to that of the Activo Volcano. It offers plenty of room for your IEMs, different connectors, and eartips, it’s fairly compact, and it only boosts the Scoop’s value-for-money score.

Speaking of value, I have to say, the Activo Scoop are priced very generously indeed. They come in at $99 / £99 (about AU$140), and they feel worth every penny. With well-refined audio, wide compatibility, good passive noise isolation, high build quality, and even a case thrown in, it’s hard to knock these IEMs, value-wise. The buds themselves are even detachable, meaning you can add your own cable if you’d prefer, making them a versatile option.

Downsides? OK, I do find the Scoop quite chunky in-ear, and their bulky cable and connectors can’t compare to the diminutive Sennheiser IE line. And yes, you would be able to get IEMs with a bit more space for vocals and even better detail at a higher price point. On a personal note, I’d probably prefer the slightly bassier and sexier Meze Audio Alba, but they’re about $60 / £40 (about AU$100) more than Activo’s IEMs, making the latter a seriously tempting proposition.

All in all, the Activo Scoop are a great pair of in-ear monitors that — in spite of their low price — don’t skimp on quality. Their versatile connectivity and natural sound signature makes them a swell choice for both personal and professional use, they offer solid customizability, and they’re pretty comfortable to boot.

They’re not the most compact, and those with smaller ears may be better off with a model like the Sennheiser IE 200. Sennheiser’s rival IEMs also produce a bassier sound, with more subdued treble, which fans of certain genres may prefer. In the end, though, the Scoop seem like an improvement on Activo’s previous lower-priced effort, the Volcano, and I can’t help but admire their sonic and physical fidelity to the humble, water-sculpted pebble.

Activo Scoop review: price & release date

• Priced at $99 / £99 (about AU$140)
• Released in March 2026

In March 2026, Astell & Kern revealed that the Activo Scoop were coming to the UK market. They are typically priced at £99, placing them heavily on the budget end of the spectrum. The Scoop will cost $99 when they’re available in the US, which we're told is a certainty, although we’re not aware of a specific release date just yet.

Activo Scoop review: specs

Should I buy the Activo Scoop?

Buy them if…

Don’t buy them if…

Activo Scoop review: also consider

How I tested the Activo Scoop

• Test over the course of several weeks
• Mainly tested using Tidal
• Tried using various connectivity modes

I tested the Actio Scoop IEMs over the course of multiple weeks, and used their various connectivity methods along the way — predominantly listening via 3.5mm with my Windows laptop and USB-C alongside the Nothing Phone 4(a).

When listening to music, I started — as usual — with the TechRadar testing playlist, which includes tracks from a wide variety of genres. However, I also listened to tunes from my personal library. For the most part, I used Tidal to stream music, however I also dipped into Spotify from time to time.

In the past, I’ve tested the Activo Volcano, so I had clear expectations in mind for Activo’s budget friendly IEMs, but I’ve also tested other budget models from the likes of Meze, and have tested more premium monitors like the Sennheiser IE 600 and Shure Aonic 3.

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

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

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

It’s been a long five years of waiting, but Apple has finally unveiled the AirPods Max 2. In a similar surprise drop to the original AirPods Max, there was no event for the second version — just a press release announcing the AirPods Max 2, with shipping beginning in "early April".

Ahead of their launch, I’ve spent a few days putting AirPods Max 2 through their paces — while the images above and below might have you thinking I'm wearing the AirPods Max (or the USB-C refresh), these are, indeed, the new model.

The AirPods Max 2 retain the look that's become a modern icon (just look at how many knock-offs are around for evidence), but under the hood they use Apple's most up-to-date H2 chip to power their features, plus a new high dynamic range amplifier modeled on the one in AirPods Pro 3. That's paired with 40mm drivers in each earcup.

The biggest upgrades come in the form of the new features enabled by the H2 chip, with Adaptive Audio, Personalized Volume, and improved Voice Isolation making the move from Apple's earbuds over to its headphones.

Familiar looks with a new chip under the hood

Maybe most importantly, Apple is sticking with the $549 price in the US, the same as the original. In the UK, the price has actually been reduced to £499 from the original's £599. In Australia, the price has risen, though, to AU$999 instead of AU$899 for the original.

The premium design is the same — aluminum earcups, stainless steel frame, and that satisfying heft — and still feels thoughtfully engineered. The telescoping arms glide smoothly, making it easy to find a comfortable fit.

The headband — or “canopy” as Apple calls it — still uses a breathable mesh that distributes weight well without creating pressure points. The memory foam ear cushions remain plush, and I appreciate that they’re magnetically attached for easy swapping.

Plenty of folks wear their AirPods Max for walks or even workouts, but it’s worth noting there’s still no official sweat resistance here.

The controls are unchanged, and that’s mostly a good thing. You get a supersized Digital Crown for volume and playback control, alongside the 'Listening Mode button' to toggle between Active Noise Cancellation, Transparency, and Adaptive Audio.

One slight letdown is that there are no new colors. Apple is sticking with the same five introduced with the USB-C refresh — Blue, Orange, Purple, Midnight, and Starlight. My test sample is Blue, which feels a bit more muted than the equivalent color original AirPods Max came, in but still looks sharp.

The Smart Case is also unchanged. It still doesn’t look especially protective, but in my experience with the first-generation it does protect the premium headphones well. It also triggers the low-power sleep mode when the headphones are inside. A USB-C to USB-C cable comes in the box.

So visually, not much has changed — but the differences become clear once you start listening.

Bold sound with a wider soundstage, and Spatial Audio still impresses

Just like the previous generation, the AirPods Max 2 sound excellent across pretty much any genre, and Spatial Audio only raises the bar here. The soundstage feels wider, and each element comes through with impressive clarity and separation.

Creedence Clearwater Revival’s Down On the Corner is a great example — maracas sit distinctly to one side, cymbals and drums to the other, with John Fogerty’s vocals locked-in center stage. Even as the track fills out, it never feels crowded — it’s a personal favorite of mine for testing Spatial Audio.

Born to Run by Bruce Springsteen absolutely springs to life. The AirPods Max 2 deliver that signature wave of sound with real energy, but crucially without losing detail. You can still pick out the drums, piano, and guitar as they build, and even the final crescendo — in which the elements can blur together on lesser headphones — stays defined and driving.

For a pop track, Miley Cyrus’ Younger You is a strong test for higher-frequency vocals. The AirPods Max 2 present a detailed, slightly brighter profile, with vocals sitting cleanly front and center before the instrumentation builds around them.

Pretty much any genre sounds great here — and more importantly, everything sounds consistent.

Noise cancellation is improved as well — Apple claims it's up to 1.5x better — and I could hear a difference over the (still impressive) original model. Loud sounds are reduced even further, whether it’s city noise, a crowded cafe, or the hum of an air conditioning system.

It’s not dramatically different at first, but over time you notice just how much quieter your environment becomes. I even tried simulating airplane noise on my speakers at home, and AirPods Max 2 brought it down to a low, manageable hum.

The AirPods Max 2's Transparency mode remains among the best, and now sounds slightly more natural. You don't get the artificial hiss you sometimes hear on other headphones, and it does a convincing job of letting the outside world in.

Adaptive Audio is the real game-changer here

That sets the stage for Adaptive Audio, which blends active noise cancellation and Transparency modes into one smarter option, and it's really the standout addition here. Instead of manually switching modes, Adaptive Audio dynamically balances noise cancellation and audio pass-through in real time.

I wore the AirPods Max 2 out to grab coffee, and they blocked out most background noise while letting in nearby voices just enough to let me stay aware. It feels less like you're toggling settings, and more like the headphones are actively adjusting to your environment. In my testing, Adaptive Audio performs just as well here as it does on the AirPods Pro.

After a quick setup — I just had to hold the AirPods Max 2 near my iPhone — they quickly paired with my Apple Account. From there, it was seamless hopping between devices: iPhone for music and calls, MacBook Pro for meetings, iPad for streaming, then over to Apple TV 4K for late-night watching.

That fast switching feels faster than the old model — nearly instant at times — likely thanks to the H2 chip. It’s a small but meaningful upgrade that makes the whole experience feel more fluid.

Call quality also gets a noticeable boost. Voice Isolation, powered by the H2 chip and working across your connected devices — like an iPhone or Mac — does a better job of keeping your voice clear while reducing background noise. In testing, it made a clear difference, especially in busier environments.

Battery life is unchanged on paper at up to 20 hour. I was able to get through a full workday of meetings, calls, and music or podcast playback, then keep the AirPods Max 2 on for a few TV episodes at night — or while walking the dog — before needing to recharge. Of course, we’ll need to put the Max 2 through more long-term testing.

The AirPods Max 2 might look nearly identical to their predecessor, but after spending a few days with them it’s clear this is the update they needed. The H2 chip unlocks meaningful improvements across sound, noise control, and everyday usability, while Adaptive Audio helps them feel noticeably smarter.

And given Apple’s track record of adding features to AirPods with newer chips, there’s a good chance the Max 2 will continue to evolve over time — just as we’ve seen with Adaptive Audio and other software-driven upgrades like Hearing Health on the AirPods Pro.

If you’ve held onto your original AirPods Max since the launch in 2020, I think the new model makes a strong case for upgrading — especially if you’ve been waiting for better noise control and smarter features. And if you’re jumping in fresh, these are some of the best over-ear headphones I've heard, now with a feature set that better matches the high price.

Over five years since Apple entered the over-ear headphones market, admittedly with a pair that stood out from the rest for a premium build with a hefty price tag, the Cupertino-based tech giant is now ushering in the second generation.

At first glance, you might have a hard time telling the difference, and that's kind of the point. AirPods Max 2 stick with the original iconic design — aluminum and stainless steel parts give these headphones some heft, and they're connected at the top not with a headband but with a mesh canopy that helps distribute weight.

The over-ear form factor is pretty much identical, and the colors are very familiar — it's the same five that debuted when Apple swapped Lightning for USB-C in 2024.

What's changed is everything you can't see: dual H2 chips replacing the original H1s, a new digital amplifier carried over from AirPods Pro 3, and a processing architecture that Apple's own engineers describe as carrying headroom well beyond what ships on day one.

To understand exactly what that means five years on, TechRadar sat down with Apple VP of Platform Architecture Tim Millet and Director of Audio Product Marketing Eric Treski to unpack how AirPods Max 2 is finally catching up to its own ambitions.

Built for the product, not the market

"When we build chips at Apple, it's always about the product. We don't sell chips out in the open market, and this gives our team really the luxury of knowing exactly what they're building for," says Millet.

That's the philosophy that defines AirPods Max 2 — and it's what makes the H2 upgrade more than a spec bump. Rather than dropping in an off-the-shelf component, Apple created a purpose-built audio streaming processor co-designed from the ground up with its acoustics and firmware teams. The goal, as Millet puts it, is to make sure they're "only limited by the physics."

The processing capability that unlocks is significant. Millet relays that his team's view is that "some of the processing we do here is exceeding the kind of compute that you get in a general sense in the Mac — but because we've made it so specific for audio, it's actually deliverable in these tiny form factors."

"We've got giga-operations of floating point implemented in the most energy-efficient possible way," he adds. And crucially, all of it feeds into a single constraint that Millet returns to repeatedly: "It's all about latency. It's hard to trick the human mind when it comes to audio."

ANC without touching the hardware

One of the boldest claims Apple makes for AirPods Max 2 is a 1.5x improvement in active noise cancellation — achieved without changing a single physical component. "Getting those improvements to ANC and especially that 1.5 times more powerful ANC, which of course is a feat in itself, considering we didn't change the actual design of the headphone at all from a form factor or material standpoint," says Treski.

That improvement isn't limited to a specific frequency band either. "We take that average at 1.5 times across an average of all frequencies. We're not cherry-picking individual frequencies or a certain range," he adds. That means AirPods Max 2 should perform better whether it's blocking louder, booming sounds or higher-pitched ones — and that's a high bar, given that the original AirPods Max were no slouches when it came to blocking out sound.

On AirPods Max 2, that gain comes entirely from processing speed and improved algorithms, all running on the H2. "ANC — getting those improvements to 1.5 times without changing the hardware — is incredibly difficult to do. That's all thanks to the compute power and the improved algorithms with H2," says Treski.

The arrival of Apple's newer silicon also brings a breadth of new features to second-generation AirPods Max. Leading that pack is Adaptive Audio, which blends ANC and Transparency together to intelligently block out unimportant sounds while letting important ones through. Think blocking out the background noise of a coffee shop while still hearing someone speak to you, or cutting the roar of an airplane cabin while catching an announcement. It's been one of the standout features on AirPods Pro, and it's a welcome addition to AirPods Max.

Apple needed the headroom and processing power of H2 to make that happen — and it does raise the question of what future software updates might unlock, even if Apple didn't touch on that in our conversation.

Audio quality and the case for personalization

Alongside the H2 upgrade, Apple is bringing over the digital amplifier from AirPods Pro 3 — a quieter change with significant downstream effects.

Treski frames it around distortion and reference accuracy: "It's really about bringing it back to a target — ensuring that we have it with the best fidelity possible with the lower THD. So we have a lot more headroom to sort of play with and gain a lot more clarity."

That headroom feeds directly into Adaptive EQ, which runs continuously and cannot be switched off. "There's no ability to turn off Adaptive EQ essentially... using that microphone and being able to determine what you're supposed to be listening to on that air-correcting mic — a reference mic — and then being able to use Adaptive EQ at 48,000 times a second with the higher range up in the higher frequency. That's really important, especially with ANC, to be able to do this all in real time," says Treski.

The result is a more consistent listening experience across different head shapes, ear fits, and seal quality — effectively standardizing sound for every user rather than relying on a fixed tuning curve.

Personalized Spatial Audio benefits from that consistency, too. Previously, Apple had to tune conservatively because it couldn't account for individual differences. On previous AirPods Max without Personalized Spatial Audio, Apple "had to make one profile for everyone, so we were way more conservative... now we know that we can take more liberties to expand those instruments out more," says Treski.

A platform, not a product cycle

The H2 upgrade also unlocks a raft of features carried over from AirPods Pro 3 — among them Live Translation, which Treski singles out as a personal favorite. It uses beam-forming microphones to isolate a voice directly in front of the wearer rather than the wearer's own: "so challenging to do," he says, "without changing the physical architecture of the microphones."

That same capability should push call quality forward, too, with AirPods Max 2 better able to isolate your voice from surrounding noise. The broader additions — Conversation Awareness, Voice Isolation, Camera Remote, and 5GHz support with Game Mode — all run through the same underlying architecture. The point isn't any single feature. It's that the system can now carry all of them simultaneously.

For Millet, that's the deeper story. "H2 is this platform that continues to demonstrate that it has continued headroom," he says. What AirPods Max 2 ships with today may not be the ceiling of what it eventually does — and that's been a hallmark of AirPods broadly. AirPods Pro have repeatedly expanded their capabilities over time, from Adaptive Audio to the Hearing Health suite to Live Translation.

AirPods Max 2 doesn't try to look like a new generation of headphones. It reflects Apple's broader hardware philosophy: keep the physical design stable — especially one that's well-regarded — and expand the internal system's capabilities to deliver new features.

It's not a redesign. It's a recalibration of what the same shape can now do. And for most people wearing them, that difference will be the point — even if they never see it.

• Panasonic unveils new version of very affordable ErgoFit in-ear buds
• New model ditches 3.5mm for USB-C
• Otherwise, same buds

Panasonic has just announced a new model of its low-priced ErgoFit In-Ear wired earbuds, affordable and colorful in-ears that have been on the market for a few years now, and are design for everything from working out to commuting. The new offerings seem to retain the same drivers and design, but make one crucial change.

Now, the Panasonic ErgoFit can be bought with a USB-C connector, not just with the 3.5mm flavor that the 'original' version used. You can tell the new model by its suffix "(USB-C Compatible)", but otherwise, online listings look similar.

The new earbuds cost $24.99 (about £20, AU$40), a slight increase over the past models which are listed online between $8 and $20. At the moment, they sell in white, black and blue; no bright orange or red or any of the other vibrant colorways which the 3.5mm options come in.

They have a 3.6-foot cable, three in-box ear tip sizes, and playback buttons on the cable.

Who has a headphone jack any more?

This isn't Panasonic's first pair of wired USB-C in-ears, but the reason it's announcing the spin on its popular buds is likely due to the slight comeback wired earbuds seem to be making (in the public eye, at least — I've yet to see any sales figures make such an argument).

While 3.5mm jacks are the traditional connector of personal audio, there's a problem: how many phones have headphone jacks any more? A brief handful each year, and rarely from the big brands. If you want wired audio, you generally need to buy an an adapter, or go USB-C in the first place.

That's why USB-C headphones make sense: you can actually use them on your smartphone (and tablet, laptop, PC; whatever has a USB-C port). It's a sad sign of the times, but USB-C is replacing 4.4mm as the connector of choice for non-audiophiles (and audiophiles probably aren't buying $25 earbuds anyway).

I like my wired audio, but I'll admit that I barely use 3.5mm. Most of the tech I test is Bluetooth, my keyboard/guitar/amp set-up is 6.3mm, and my PC and bookshelf speakers are both (gasp) USB-C. The only 3.5mm device I use with any regularity is a lapel mic, which requires an adapter to use on anything.

Panasonic is, of course, still selling its 3.5mm ErgoFits, and there are still plenty of people still using this kind of connector. Laptops and the best portable music players still use them, and not all laptops and PCs have USB-C (or, at least, ports to spare). But increasingly, we'll see new releases among the best wired earbuds using USB-C, at least as an option.

Just over three years ago, I decided to switch to one of the best headphones and close the book on my time with earbuds — and it was one of the best things I’ve done.

Since then, I have been married to my Sony WH1000XM5 headphones; they’re a comfy and reliable way to get my audio fix for when I’m sitting at my desk, commuting, at the gym, or just lying in bed making a new Spotify playlist. But despite my love for them, I started to miss the convenience of the best earbuds, so out of my own curiosity, I made the switch.

I opted for the Cambridge Audio Melomania A100 wireless earbuds and the Meze Audio Alba wired earbuds, and overall, it was as though I never stopped using them. There are quite a few things I’ve missed about using earbuds, mainly the convenience factor, but my experience also reminded me why I swapped to headphones all those years ago.

3 Things I’ve missed:

Portability and size

While headphones are great for the comfort factor, lugging them around requires effort and takes up a lot of space. Though models like the Sony WH-1000XM4 headphones have folding ear pads to make them more travel-friendly, they can still take up a lot of room. But regardless, my Sony WH-1000XM5s don’t have this perk, making it even more difficult.

Using both wired and wireless earbuds removed this setback, and it was arguably my favorite part about switching back. I forgot how nice and easy it is to keep your charging case in your pocket — a simple pleasure I didn’t know I missed.

Not constantly charging them

Although both wireless earbuds and headphones require charging, I found that earbuds didn’t need as much juice as headphones, and having a charging case on hand is a lot easier than carrying around a plug and lead to charge your headphones.

Also, leaving the house with my headphones on low battery is one of the worst things, especially if you have a long train journey ahead of you. Earbuds are simpler; if they’re dying on you, all you have to do is pop them in the charging case for a bit, and they’ll be good to use. Even if the case is starting to run low, you can still get one last kick out of it before you need to put the whole thing back on to charge. Plus, wired earbuds don't need any charging at all.

The nostalgia of wired earbuds

It’s more of an aesthetic feature rather than a technical feature, but wired earbuds are just cool to look at and make any outfit look better. That aside, wired earbuds take me back to the days when I first started using analog music devices. My first Apple product was the iPod Nano 5, and using wired earbuds is desperately making me want to resurrect it.

3 Things I haven’t missed:

Sensitivity issues

This mainly applies to wireless earbuds. More often than not, I found myself having to keep pushing the earbuds back in, which in itself was another downside, but it also triggered a lot of unwanted pausing and audio setting alterations. I experienced this quite a bit with my old pair of AirPods, too, which was one of the reasons I wanted to make the switch to headphones.

Discomfort after long periods of time

For the most part, both types of earbuds felt comfortable whether I was commuting, using them at the gym, or even sitting still. But this would wear off after longer periods of time, causing quite the discomfort in my ear canal. This was when I found myself reverting to the soft, pillowy support of headphones, which fit perfectly over my ears.

Taking my phone with me everywhere

This one is for wired earbuds, and while they’re a better option for reaping the benefits of things like Spotify Lossless, it means you must have your phone on you at all times when using them. With wireless earbuds and headphones, I like being able to walk around freely — and I kept having to remind myself that I couldn’t do this with wired earbuds.

I watch quite a bit of YouTube when I cook, and I’ve lost count of the number of times I nearly yanked my phone off the kitchen counter when waltzing between the stove, fridge, and sink.

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

Jabra Evolve3 85: 30-second review

Professional headsets have always had an image problem. The moment you clip a boom arm to your ear, you look like someone who works in a call centre or is directing air traffic. Jabra has clearly decided that aesthetic just isn’t good enough.

With the Evolve3 85, the company has taken all the voice clarity technology it has spent years developing, stripped away the boom mic entirely, and wrapped everything in a design that would not look out of place in a Copenhagen coffee shop.

The headline technology is Jabra ClearVoice, a boomless microphone system powered by a deep neural network trained on over 60 million sentences. It uses multiple concealed microphones to separate speech from background noise without a visible arm, drawing on expertise from GN's hearing division.

Design-wise, the Evolve3 85 is up to 35 per cent slimmer than its Evolve2 predecessor, claims to be the lightest over-ear headset in its class, and folds into a travel case thin enough to mistake for empty. The over-ear fit gives better passive isolation than the on-ear Evolve3 75 sibling, making it ideal for both open offices and noisy commutes.

Looks aren’t everything, but the Evolve 3 85 can also claim battery life figures that are genuinely remarkable. Jabra quotes 25 hours of call time and 120 hours of music playback on a single charge, with a five-minute fast charge providing five hours of use. That effectively means that by the point your line manager has berated your timekeeping, the headphones are ready to get you through at least half the working day from flat.

And, wireless charging is also supported, via the flat exterior surface of the earcups, avoiding excessive wear on the USB-C port

The adaptive ANC deserves particular attention. Unlike most headsets, which pause noise cancellation the moment you start a call, the Evolve3 85 keeps it active throughout. Combined with the Bluetooth 5.4 connection, LC3 codec support, and dual-device pairing, the package's connectivity looks impressively comprehensive.

If all this sounds way too good to be realistic, the Evolve3 85 sits firmly at the premium end of the market at around $500. Compared with the outgoing Evolve2 85 and similar UC-certified alternatives, that’s price continuity.

The Evolve3 85 makes a compelling case on every front except price, but even at this cost, these deserve to be added to our best noise-cancelling headphone collection.

Jabra Evolve3 85: price and availability

• How much does it cost? From $527/£496/€569
• When is it out? Pre-order for April 2026
• Where can you get it? Direct from Jabra and online retailers

The Jabra Evolve3 85 launched on 1 March 2026 at a recommended price of $649 in the United States, £495 in the UK, €569 in Europe (including VAT), and AU$979 in Australia.

Initially only available in black, a Warm Grey colour variant is due to follow in April 2026 in select markets. The Evolve3 75, the on-ear sibling, is available from the same date at the lower price of £349 / $463.

Checking the larger online retailers, the Evolve3 85 Microsoft Teams model is available for pre-order at only $475 on Amazon.com, for a model with only wired charging, and $527 for one with wireless charging.

Oddly, the wired All Platforms model is the same price as the Microsoft Teams model, but the wireless option is a disturbing $720. I suspect that the final price is a mistake, since in other regions the prices for the two standards are the same.

In the UK, this headset is on Amazon.co.uk, but can be bought directly from the official Jabra website. The Microsoft Teams wired charging model is £429, and the wireless model is £466.80; all prices include VAT, and the same pricing applies to the Unified Communication models.

These are enterprise-grade prices, and Jabra makes no apologies for that. The Evolve2 85, which the Evolve3 replaces, was similarly positioned, and buyers of business equipment will likely have IT budgets rather than personal wallets in mind. That said, Jabra has clearly made a conscious effort to position the Evolve3 as a crossover product, and at this price, it will face meaningful competition from premium consumer headphones that carry genuinely impressive audio credentials.

For organisations deploying at scale, Jabra offers free trials for companies of 500 or more employees who are replacing existing devices, and the Plus Management platform simplifies fleet deployment considerably.

Individual buyers are perhaps less well served by the pricing, particularly when similarly styled competitors undercut it by a meaningful margin. But these are meant to catch the corporate ear, pun fully intended.

• Value score: 3/5

Jabra Evolve3 85: Specs