Leak has been doing very nicely as its own tribute act lately, and the latest product to get the ‘walnut and aluminium’ mid-20th century modern retro treatment is a network streamer called TruStream.

But while it looks like a throwback, the TruStream is thoroughly modern on the inside. Wired and wireless connectivity, balanced and unbalanced analogue outputs, a top-end 32bit ESS Sabre DAC and a streaming platform provided by Silent Angel all contribute to a player that’s absolutely got it where it counts. Its control app could learn a thing or two from pretty much anyone else’s control app, mind you…

Given some good hi-res content to deal with, the Leak proves an expansive, detailed listen that controls both the layout of a soundstage and the description of rhythms really well. Its powers of insight and resolution make for an absorbing listen — although the sensation of outright fidelity is undermined just a little by the integrated DAC’s tendency to attack high frequency information a little too readily and by a relative lack of dynamic headroom. But given everything it does well in sonic terms, and given that it’s a visually unique offering in a “me too!” market, don’t be surprised if plenty of people are able to overlook these shortcomings…

Leak TruStream Review: Price and release date

• Launched in April 2026
• Costs $1,499 / £999 / AU$2,199

The Leak TruStream network music player is on sale now having hit shelves in April 2026 for most of us, and in the United Kingdom it costs £999. In Australia it goes for something like AU$2,199, while in the United States it will set you back $1,499 or thereabouts.

And while that's not crazy money in the world of hi-res audio and hi-fi, it's emphatically an investment — and Leak's still up against stiff competition from the likes of Cambridge, with the CXN100, priced at $1,099 / £899 / €1,049 (around AU$1,665).

There's also a November 2026-launch Yamaha dual hi-fi streamer launch to cast your eye over if you're looking for alternatives, starting with the cheaper Yamaha WXC-70, which at the time of writing is due to sell for £859 (about $1,170, AU$1,700), so it's the cheaper of the two models.

Then again, Nagra's Compact Streamer was launched just before the Leak, in March 2026 — and that will set you back a slightly more eye-watering £6,000 / AU$9,495 (around $8,000). So, there's plenty to think about within Leak's chosen territory.

Leak TruStream review: Features

• 32bit ESS Sabre DAC
• Digital outputs as well as balanced and unbalanced analogue outputs
• Silent Angel streaming platform

You’re not short of choice when it comes to network streamers at this sort of money, even if the rest of them don’t have a hint of the TruStream’s visual panache. Good looks will only carry a product a little way, though, so it’s just as well Leak has specified the TruStream to be fully competitive.

The TruStream uses Silent Angel technology for its streaming platform, and that’s an uncomplicatedly good thing. Low-noise digital transmission and stable networking are the foundations of Silent Angel’s reputation, and when you also consider the Leak’s wide compatibility with streaming technologies it looks like a very wise choice indeed. Apple AirPlay 2, ‘Connect’ for Qobuz, Spotify and TIDAL, and TuneIn internet radio are all available, and in addition the TruStream can deal with playback from network-attached devices via DLNA or from physically connected USB drives. By way of an encore, it’s also Roon Ready.

The Leak takes care of the critical digital-to-analogue business with a 32bit ESS Sabre ES9038Q2M DAC chipset. It’s able to deal with every worthwhile digital audio file type (as well as quite a few of the more esoteric alternatives) and can operate at resolutions of up to 32bit/768kHz PCM and DSD512. You can get the information to the DAC using Ethernet, dual-band wi-fi or one of the three USB inputs on the rear of the machine — there’s a USB-C for use with PCs and a couple of USB-A slots for direct connection of storage devices.

You’ve a few options when it comes to getting it out again, too. As well as balanced XLR and unbalanced RCA analog outputs, the Leak also features digital coaxial and digital optical outputs - which is handy on the off-chance you have a more capable DAC somewhere in your system than the one fitted here. There’s also a 6.3mm headphone socket on the fascia, which is powered by a dedicated current-feedback headphone amplifier that’s able to drive even quite tricky loads presented by unhelpful headphones.

• Features score: 5 / 5

Leak TruStream review: Sound quality

• Detailed, organised sound delivered at considerable scale
• Could be more dynamic
• Treble response can be provoked

It’s not, strictly speaking, a game of two halves here — because the things the TruStream gets right outweigh the things it struggles with more than somewhat. Its shortcomings, though, do undermine its overall performance more than a touch - so I may as well start with them before I get into the good stuff.

The Leak is not an especially dynamic listen where the broad strokes of ‘quiet/loud’ and ‘gentle/intense’ are concerned. The two-and-a-half hours of Aphex Twin’s Selected Ambient Works Volume II feature more than a few fluctuations of this type, and while the TruStream is able to make the differences in volume and attack apparent, it doesn’t have the headroom to put proper distance between them. Some similarly priced rivals describe the distance between ‘quiet’ and ‘loud’ in miles, but the Leak measures them in meters.

The same recording reveals its tendency to hit the higher frequencies quite hard, too — or, at least, it does when it’s doing its own digital-to-analog converting. The onboard DAC has a lot going for it — as I will get to shortly — but it’s fairly edgy where treble sounds are concerned and in the wrong circumstances can become quite fierce. A listen to the way the Leak hits the plosives in the vocal during Dalliance by The Wedding Present lets you know what ‘the wrong circumstances’ are.

Elsewhere, though, the TruStream has plenty going for it. The scale of its presentation, for instance, is straightforwardly impressive. It generates a large and persuasive soundstage that manages to incorporate a sensation of ‘front to back’ as well as ‘left to right’. The areas between participants on the stage are described just as carefully as the activities of the participants themselves, and there’s more than enough breathing space available for even the most complex recordings to sound organised and coherent.

Aside from the latent treble issues, there’s a nice neutrality to the tonality and an evenness to the frequency response that’s on display here. At the bottom end the TruStream hits good and hard without being showy about it, and controls the attack of bass sounds with such confidence that rhythms are always expressed in a positive and naturalistic manner. It transitions into the midrange smoothly, and once there it’s perfectly capable of revealing the full range of attitude and character in a vocal performance.

In fact, detail levels are gratifyingly high at every stage — even the most minor occurrences in a recording are picked up on, and the Leak has real expertise when it comes to giving these details the proper weighting and context. It’s particularly adept when it comes to identifying the harmonic variations that come to fore when listening to unaccompanied voice or solo instrument, and those same circumstances also let it highlight its facility with transient information.

• Sound quality score: 3.5 / 5

Leak TruStream review: Design

• 118 x 330 x 288mm (HxWxD)
• A single, quite distinctive, finish
• Goes without a display

Whoever it was that said “people who like this sort of thing will find this the sort of thing they like” was really onto something. Not everyone will want their network streamer to look like it was designed 70 years ago, of course — but the rest of us will get one look at the diminutive (118 x 330 x 288mm, HxWxD) walnut casework and immediately feel covetous.

The fact that the TruStream is very nicely constructed and impeccably finished, and the aluminium of its fascia contrasts nicely with the wooden panelling - both materials are as tactile as they are visually alluring.

I realise the whole md-century vibe might be compromised by a fascia display, but nevertheless it conceivably puts the TruStream at a disadvantage when you consider the price-comparable rivals that feature quite large, crisp, bright, colourful screens displaying album artwork and what-have-you.

Yes, that information is all available on the device you’re using to stream to the Leak — but ultimately I have to hope the money that has been saved by not implementing any display technology, and the absence of the inevitable electrical activity a display creates inside a streamer, results in a player that outperforms anything of similar price that has one.

• Design score: 4.5 / 5

Leak TruStream review: Usability and setup

• Remote control handset
• ‘Leak TruStream’ control app
• A few fascia controls

Setting up the Leak TruStream is, with one significant caveat, straightforward. It needs to be plugged into the mains, of course, and a physical connection made to the system into which it’s forming a part — all that’s required then is to get it onto your local network and you’re good to go.

But because of the way the ‘Leak TruStream’ control app (which is free for iOS and Android) is configured, this is not as simple as it really should be. It uses a mixture of fonts, all of them rather small and some of them with unnecessary serifs that look fussy and spoil legibility. The occasional use of black type on an orange background is unhelpful too — yes, it passes WCAG (web content accessibility guidelines) standards but is nevertheless difficult to read, especially as those guidelines tend to concern themselves with ‘normal’ and ‘large’ text. The colorblind or otherwise visually impaired will find these elements fatiguing if they can read them at all.

It’s only fair to mention at this point that the app is stable, wide-ranging and does all of the stuff you’d reasonably expect: browse internet stations, check for firmware updates, build playlists and so on, and there’s a degree of home-page customisation available too. But it’s hard to shake the suspicion that this started as a desktop application and has been transferred to mobile devices either on the cheap or in a hurry (or both).

The big remote control handset is a system control, and so the majority of its buttons are surplus to TruStream requirements. Still, it’s a sight more legible than the control app. And the very few fascia controls (power on/off, input selection and volume) feel nicely positive in their action.

The volume control allows the Leak to function as a preamplifier when connected directly to active speakers or a power amp, as long as you don’t mind ‘the system’ consisting of a network streamer — there are no inputs for external source devices, of course.

• Usability and setup score: 3 / 5

Leak TruStream review: Value

If you can put a price on a pleasing aesthetic, on the look and feel of premium materials, and on hard-to-come-by individuality, then the Leak TruStream seems a pretty compelling offering even before you consider the thorough nature of its specification or the sound it makes. And though the sound it produces is not entirely without issues, there’s so much to like about it in sonic terms that it seems likely that many listeners who are sold on the look will reach an accommodation with the slight shortcomings in the sound.

• Value score: 3.5 / 5

Should I buy the Leak TruStream?

Buy it if...

Don't buy it if...

Leak TruStream: Also consider

How I tested the Leak TruStream

I use the TruStream as a source, connected to an Eversolo DAC-Z10 first by its analogue outputs and then by its digital equivalent - which makes assessing the relative quality of the Leak’s DAC straightforward. I also connect it directly to a Cambridge Edge W power amp using its XLR outputs - which means it’s now a preamp as well as a network player. Alternating between wi-fi and Ethernet connections allows access to Qobuz and TIDAL Connect, as well as giving access to a Synology BeeStation Plus (full of very hi-res content) on the local network.

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

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

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

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

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

Wharfedale Denton 1S Review: Price and release date

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

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

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

Wharfedale Denton 1S review: Features

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

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

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

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

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

• Features score: 5 / 5

Wharfedale Denton 1S review: Sound quality

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

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

Everyone else, though, should read on.

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

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

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

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

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

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

• Sound quality score: 4.5 / 5

Wharfedale Denton 1S review: Design

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

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

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

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

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

• Design score: 4.5 / 5

Wharfedale Denton 1S review: Usability and setup

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

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

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

• Usability and setup score: 5 / 5

Wharfedale Denton 1S review: Value

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

• Value score: 4.5 / 5

Should I buy the Wharfedale Denton 1S?

Buy it if...

Don't buy it if...

Wharfedale Denton 1S : Also consider

How I tested the Wharfedale Denton 1S

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

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

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

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

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

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

Topping DX1 II review: Price & release date

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

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

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

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

Topping DX1 II review: Features

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

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

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

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

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

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

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

• Features score: 5 / 5

Topping DX1 II review: Sound quality

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

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

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

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

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

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

• Sound quality score: 4 / 5

Topping DX1 II review: Design

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

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

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

• Design score: 4.5 / 5

Topping DX1 II review: Usability & setup

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

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

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

• Usability & setup score: 4 / 5

Topping DX1 II review: Value

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

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

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

• Value score: 4.5 / 5

Should I buy the Topping DX1 II?

Buy it if…

Don't buy it if…

Topping DX1 II review: Also consider

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

How I tested the Topping DX1 II

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

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

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

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

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

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

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

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

Fyne Audio Cubitt 5 review: Price & release date

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

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

Fyne Audio Cubitt 5 review: Features

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

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

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

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

• Features score: 5 / 5

Fyne Audio Cubitt 5 review: Sound quality

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

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

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

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

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

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

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

• Sound quality score: 4 / 5

Fyne Audio Cubitt 5 review: Design

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

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

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

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

• Design score: 5 / 5

Fyne Audio Cubitt 5 review: Usability & setup

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

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

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

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

• Usability & setup score: 3 / 5

Fyne Audio Cubitt 5 review: Value

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

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

• Value score: 4 / 5

Should I buy the Fyne Audio Cubitt 5?

Buy them if…

Don’t buy them if…

Fyne Audio Cubitt 5 review: Also consider

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

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

How I tested the Fyne Audio Cubitt 5

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

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

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

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

A couple of years on from the launch of the Sabre-R standmounting speaker, Ruark Audio is revisiting another of its Greatest Passive Loudspeaker Hits — and this Talisman-R is the result.

It’s a compact and unassuming design at first glance, but get up close and that sloping ‘double baffle’ design makes for an interesting point of visual difference and harks back to 1990’s original Talisman design. It has solid acoustic benefits, too. As has long been established Ruark Audio behavior, the Talisman-R is carefully constructed and beautifully finished, with some nice details that elevate the look.

This is a small and discreet cabinet fitted with a 27mm tweeter and a 170mm mid/bass driver, an array bolstered by a front-facing bass reflex port. As such you shouldn’t expect the largest sonic presentation this sort of money can buy, but in every other respect the Talisman-R alternates between ‘very good’ and ‘really very good indeed’. Its powers of organization and control are excellent, it is alert to even the finest details in a recording, it has a respectable amount of dynamic headroom available, and it expresses rhythms with real confidence and positivity. It’s nicely balanced where tonality is concerned, is very even when it comes to frequency response, and is never less than entertaining in its fundamental attitude.

Unless you’re trying to make an entirely different visual statement, and/or unless you’re trying to fill a large space with sound, there’s really no reason not to seek out the Ruark Audio Talisman-R and give it a good listen. A contender for the best stereo speakers on the market with good reason.

Ruark Audio Talisman-R review: Price & release date

• Launched June, 2026
• Priced $2,399 / £1,499 / AU$3,299

The Ruark Audio Talisman-R floorstanding loudspeakers are on sale now, and in the United States they sell for $2,399 per pair. In the United Kingdom the going rate is £1,499, while in Australia they will set you back AU$3,299.

Ruark Audio Talisman-R review: Features

• 27mm silk dome tweeter, 170mm natural fiber mid/bass driver
• Forward-facing bass reflex port
• 35Hz - 20kHz frequency response

Like any sensible pair of passive loudspeakers, the Ruark Audio Talisman-R aren’t exactly overburdened with features. Those features that are present, though, are entirely fit for purpose.

Behind the magnetically attached grille there’s a 27mm silk dome tweeter driven by a neodymium motor arrangement. Beneath here (but still towards the top of the baffle) there’s a 170mm mid/bass natural fiber cone backed by a long-throw motor. And below this there’s a bass-reflex port, the forward-facing nature of which should theoretically make the Talisman-R a little more forgiving of room position than if it were at the rear of the cabinet.

Crossover is sensibly positioned at 2.2kHz, and the other numbers connected with the Ruark Audio are similarly encouraging. A nominal impedance of 6 ohms and sensitivity of 87dB/W suggests the Talisman-R are not all that difficult to drive (Ruark Audio recommends amplification power of somewhere between 75 and 200W), and the claimed frequency response is 35Hz - 20kHz.

• Features score: 5 / 5

Ruark Audio Talisman-R review: Sound quality

• Controlled and organized (but also more fun than this might suggest)
• Articulate and revealing, especially through the midrange
• Not quite the out-and-out scale of some rivals

You’re no doubt aware that this sort of money spent with other loudspeaker brands will buy you bigger, more physically imposing designs with a higher driver-count and greater visual drama than the Talisman-R offers. But as I’m sure you’re also aware, it’s not what you’ve got but what you do with it that counts — and the sonic output of this small cabinet, with its unremarkable complement of drivers, is straightforwardly impressive.

The speakers are certainly an appreciably larger, more spacious listen than their appearance might suggest. Play America! by Bill Callahan and the soundstage they create is properly organized and extremely carefully focused. The ability to position a voice in the center of the stage, project it slightly without making it sound estranged from the rest of the action, and have it emanate from well above the top of the cabinets themselves is a talent that never gets old. The Talisman-R may not have the outright scale of some larger alternatives, but the coherence of the soundstage goes a very long way towards making up for it.

The positive, direct nature of the Ruark Audio attitude is very agreeable, too. Tonality is clean and consistent from the bottom of the frequency range to the top, and this goes a long way towards facilitating this level of clarity, but this sonic personality goes beyond tonal neutrality. It’s not about the amount of detail the speakers reveal, either — although their powers of detail retrieval are significant, both where the broad strokes and the more minor, more transient stuff is concerned. The candid, upfront quality of reproduction here also leans heavily on the midrange eloquence available. The articulate and revealing way the Talisman-R has with voices means everything in a vocal performance, from technique and tone to character and attitude, is made fully available.

The careful neutrality the speakers exhibit also means the overall presentation is quite tightly unified and ‘together’. There’s a sensation of singularity to the way these speakers present music that gives more than a hint of the idea of ‘performance’. Crossover between the drivers is imperceptible, the inputs of the bass reflex port are subtle and well-managed, ensuring the idea of coherent timing, that all of the frequency information is reaching your ears at the same time, is strong.

Frequency response itself is smooth and convincing. No area of the frequency range is overstated and no area is underplayed, even as the speakers give the midrange a little nudge towards the front of the stage. And its seems nigh-on impossible to fluster the Talsiman-R with the music you want to listen to — even an element-heavy and/or complex recording like If You Want Me by Cisco Cisco is properly organized on that gratifyingly well-defined soundstage, and the speakers give due weighting to the spaces and silences on the stage just as readily as they do to the actual occurrences.

Low frequencies are nicely shaped, equally nicely controlled, and the combination of punch and attack means there’s plenty of momentum available for those recordings that require it. Detail of tone and texture is readily available, there’s plenty of variation in the way the Ruark Audio presents bass sounds, and attack and decay is beautifully judged and naturalistic.

There’s ample dynamic headroom available for when the going gets particularly rowdy or intense. The Ruark Audio can track big shifts in volume and attack without sounding stressed or altering their sonic characteristics in any meaningful way. They’re generally untroubled by high volumes, either — there’s no suggestion of shoutiness or two-dimensionality to their presentation even if you listen at properly antisocial levels.

• Sound quality score: 4.5 / 5

Ruark Audio Talisman-R review: Design

• 840 x 210 x 255mm (HxWxD)
• Choice of two finishes
• ‘Double baffle’ has sound acoustic principles

It doesn’t do to get carried away when it comes to the design of floorstanding loudspeakers — seldom does any good come of it. The Talisman-R, though, have enough about them where design is concerned to count as ‘interesting’ while stopping well short of ‘weird’.

At 840 x 210 x 255mm (HxWxD), each speaker is usefully compact and, at 17.6kg, no kind of burden to get into position. Those dimensions, though, don’t tell the whole story.

Seen from the dead ahead, the speakers seem to lean back just a little on their plinths. View them in profile, though, and it becomes apparent that they feature an extruded front baffle that is a little larger than the main body of the cabinet and that means the overall design is mildly trapezoid (just as the original Talisman was). In fact, the Ruark Audio feature a ‘double baffle’ arrangement that’s intended to minimize resonance and the transfer of vibrational energy from the drivers into the cabinet. So, not for the first time where this company is concerned, solid acoustic principles have had a pleasant knock-on effect where industrial design is concerned.

The standard of build and finish is, as we’ve all come to expect from Ruark Audio, basically impeccable. The satin charcoal finish of my review sample is smooth and almost tactile (an alternative finish, with a fused walnut baffle in front of the satin charcoal cabinet, is also available), the magnetically attached grilles sit neatly inside the baffle edges, and there’s a small design flourish at the bottom of the front panel in the shape of some trademark walnut slats and a little badge carrying the company logo. At a part of the market when too many rivals indulge in rather shouty looks, the Talisman-R are a model of visual discretion and understatement.

• Design score: 5 / 5

Ruark Audio Talisman-R review: Usability & setup

• Bi-wire speaker cable terminals
• Forward-facing bass reflex port helps with positioning
• Silicone feet or floor spikes are available

As far as ‘usability’ is concerned, well, these are passive loudspeakers so there’s really not a great deal to it. Ruark Audio recommends ensuring the speakers are somewhere between 1.5m and 2.5m apart (bear in mind you will, ideally, be further from them when you’re listening than they are from each other), 20-30cm from rear and side walls, and toed in just a little towards your listening position. Each speaker has bi-wire cable terminals that can accept banana plugs, spade connections or bare wire — they’re linked when you take them from the box, so if you intend to bi-wire don’t forget to take the links off.

When they are unblocked the Talisman-R are fitted with low-profile silicone feet for use with hard floors. There are floor spikes in the packaging, too, which are ideal if your speakers are going to be on a carpeted floor.

As with almost every loudspeaker, it’s just a question of putting some hours on them before you make a judgement on the way the Talisman-R sound. A period of running in before a speaker is ready to reveal everything it’s capable of is far from unusual, and it’s the case here.

• Usability & setup score: 5 / 5

Ruark Audio Talisman-R review: Value

If you’re going to judge your $2,399 floorstanding speakers by the amount of space they occupy or by the number of drivers they feature, nothing about the Ruark Audio Talisman-R is going to convince you of the value for money they represent.

But if you value discretion, build quality and, above all, sound quality — and you’re not trying to fill an especially large space with music — then there’s an awful lot of bang for your buck here.

• Value score: 4.5 / 5

Should I buy the Ruark Audio Talisman-R Luxe?

Buy them if…

Don’t buy them if…

Ruark Audio Talisman-R review: Also consider

At either side of the asking price for a pair of Talisman-R you’ll find very worthwhile models from very credible brands.

The Q Acoustics 5050 are now available at around the $1,300 mark, and they represent excellent value for money where sound is concerned — they make a much more assertive visual statement than the Ruark Audio, too.

Go to the other end of the scale, consider spending $2,500, and the PMC Prodigy 5 can be yours. In their own way they’re just as visually unassuming as the Talisman-R, and in their own way they’re just as sonically accomplished.

How I tested the Ruark Audio Talisman-R

I used QED GA XT speaker cable to connect the Talisman-R to a Cambridge Edge W power amplifier.

The amp gets its signal from an Eversolo DAC-Z10 which is being fed by a Ruark Apollo CD player and an Arcam ST25 network streamer (both via digital optical) and a Technics SL-1300G with Goldring 1022 cartridge via a Chord Huei phono stage.

This way I’m able to listen to lots of content stored in various formats.

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

Samsung’s Micro RGB lineup is its first foray into the RGB TV market, and the Samsung R95H is the flagship model in that lineup. It's an impressive TV, and a very strong performer in key areas such as movies and gaming; and, while I don’t think it quite beats the best OLED TVs, it's a good showcase for how RGB models are shaping up against the best TVs in general.

The R95H delivers great overall picture quality, with vibrant colors which also look accurate in most scenes, as well as strong contrast and refined detail. While its black levels don’t quite match those of OLED, they’re still very rich for a backlit TV. It’s not all smooth sailing, as the R95H can get overly bright, especially in Movie mode, and it’s not immune to blooming in very dark scenes. Still, its overall picture quality is of a high standard.

Sound quality on the R95H is solid for the most part, with good accuracy and detail, as well as commendable bass and solid mid-range tones. Speech is clear in most scenes I watched, and there is some sense of surround. However, the soundstage could be wider, and the volume does need to be pushed sometimes, so I’d recommend one of the best soundbars for those wanting a more of a home-theater experience.

The R95H is up there with the best gaming TVs, offering four fully-specced HDMI 2.1 ports along with a low 11.7ms input lag time for smooth gaming performance. There are tons of cloud gaming options available too, and Samsung's Gaming Hub is still an excellent feature. While its Game picture mode could be more accurate, this is still an excellent gaming TV.

Tizen is a good smart TV platform, giving you access to all the major streaming apps, as well as a plethora of AI tools for picture, sound and general usage. Its menus are generally well laid out and easy to navigate, and, while there are some frustrations, such as autoplaying Samsung TV Plus and large banner ads on the home screen, these don’t detract too much from what is a solid smart TV interface.

The R95H is a premium TV, with the 65-inch model priced at $2,799 / £2,899 / AU$4,999. This puts it at a similar price level to flagship OLED TVs, and while I don’t think it quite tops OLED, it shows how rapidly RGB tech is advancing.

A quick note on the images in this review: the TV may appear to have a red tint, but this is caused by the camera reacting to the anti-glare screen, and it not something that's discernible when viewing content on the TV.

Samsung R95H review: Prices & release date

• Release date: July 2026
• 65-inch: $3,199 / £3,099 / AU$5,299
• 75-inch: $4,499 / £3,999 / AU$7,999
• 85-inch: $5,499 / £5,899 / AU$9,999

The Samsung R95H is the flagship model in Samsung’s Micro RGB TV lineup, sitting above the Samsung R85H. It’s available in 65, 75 and 85-inch sizes. The launch price for the 65-inch model I tested is $3,199 / £3,099 / AU$5,299, putting it at the premium end of the market.

Since its launch in July 2026, prices have dropped across all sizes in both the US and UK. The 65-inch has dropped to $2,799 / £2,899, putting it in similar price brackets to Samsung’s flagship S95H / S99H OLED (priced at $2,899 / £2,899) and LG’s flagship G6 OLED ($2,699 / £2,999). In the US and UK the R95H is cheaper than Sony’s rival RGB, the Bravia 9 II, which is priced at $3,499 / £3,499 / AU$5,995.

Samsung R95H review: Specs

Samsung R95H review: Benchmark results

Previous

1 / 4

Next

Brightness measurements

HDR FilmmakerHDR StandardSDR FilmmakerSDR Standard

Samsung R95H

HDR Filmmaker Mode (10% window)

1977

HDR Filmmaker Mode (Fullscreen)

612

Samsung S95H/S99H

HDR Filmmaker Mode (10% window)

2739

HDR Filmmaker Mode (Fullscreen)

449

Sony Bravia 7 II

HDR Filmmaker Mode (10% window)

1114

HDR Filmmaker Mode (Fullscreen)

829

07501,5002,2503,000

nits

HDR Filmmaker Data

Product	HDR Filmmaker Mode (10% window) (nits)	HDR Filmmaker Mode (Fullscreen) (nits)
Samsung R95H	1977	612
Samsung S95H/S99H	2739	449
Sony Bravia 7 II	1114	829

Samsung R95H

HDR Standard Mode (10% window)

2066

HDR Standard Mode (Fullscreen)

647

Samsung S95H/S99H

HDR Standard Mode (10% window)

2831

HDR Standard Mode (Fullscreen)

463

Sony Bravia 7 II

HDR Standard Mode (10% window)

1295

HDR Standard Mode (Fullscreen)

788

07501,5002,2503,000

nits

HDR Standard Data

Product	HDR Standard Mode (10% window) (nits)	HDR Standard Mode (Fullscreen) (nits)
Samsung R95H	2066	647
Samsung S95H/S99H	2831	463
Sony Bravia 7 II	1295	788

Samsung R95H

SDR Filmmaker Mode (10% window)

115

SDR Filmmaker Mode (Fullscreen)

185

Samsung S95H/S99H

SDR Filmmaker Mode (10% window)

220

SDR Filmmaker Mode (Fullscreen)

219

Sony Bravia 7 II

SDR Filmmaker Mode (10% window)

90

SDR Filmmaker Mode (Fullscreen)

94

075150225300

nits

SDR Filmmaker Data

Product	SDR Filmmaker Mode (10% window) (nits)	SDR Filmmaker Mode (Fullscreen) (nits)
Samsung R95H	115	185
Samsung S95H/S99H	220	219
Sony Bravia 7 II	90	94

Samsung R95H

SDR Standard Mode (10% window)

413

SDR Standard Mode (Fullscreen)

187

Samsung S95H/S99H

SDR Standard Mode (10% window)

229

SDR Standard Mode (Fullscreen)

229

Sony Bravia 7 II

SDR Standard Mode (10% window)

608

SDR Standard Mode (Fullscreen)

476

0200400600800

nits

SDR Standard Data

Product	SDR Standard Mode (10% window) (nits)	SDR Standard Mode (Fullscreen) (nits)
Samsung R95H	413	187
Samsung S95H/S99H	229	229
Sony Bravia 7 II	608	476

HDR color gamut

Closer to 100% is better. Taken using a colorimeter and test pattern generator.

Samsung R95H

UHDA-P3

148

BT.2020

94.1

Samsung S95H/S99H

UHDA-P3

99.9

BT.2020

89.2

Sony Bravia 7 II

UHDA-P3

98.6

BT.2020

89.6

037.575112.5150

HDR Filmmaker Data

Product	UHDA-P3 ()	BT.2020 ()
Samsung R95H	148	94.1
Samsung S95H/S99H	99.9	89.2
Sony Bravia 7 II	98.6	89.6

Picture accuracy

A lower score is better. Taken using a colorimeter and test pattern generator.

SDR Delta-E

Samsung R95H

3.7

Samsung S95H/S99H

1.6

Sony Bravia 7 II

6.5

01234567

SDR Delta-E Data

Product	Value
Samsung R95H	3.7
Samsung S95H/S99H	1.6
Sony Bravia 7 II	6.5

Input lag

Lower is better. Taken using a Leo Bodnar 4K HDMI Video Signal Lag Tester.

Samsung R95H

4K 60Hz

11.7

1080p 120Hz

9.4

Samsung S95H/S99H

4K 60Hz

9.5

1080p 120Hz

5

Sony Bravia 7 II

4K 60Hz

10.4

1080p 120Hz

5.7

03.757.511.2515

ms

HDR Filmmaker Data

Product	4K 60Hz (ms)	1080p 120Hz (ms)
Samsung R95H	11.7	9.4
Samsung S95H/S99H	9.5	5
Sony Bravia 7 II	10.4	5.7

Samsung R95H review: Features

• RGB backlight
• Glare-free screen
• Samsung Vision AI and Tizen smart TV platform

The R95H uses Samsung’s ‘Micro RGB’ backlight technology, which uses LEDs that are smaller than mini-LEDs, and which consist of red, green and blue LEDs (hence RGB) rather than the traditional white in order to deliver bolder colors and brightness.

It comes equipped with the Samsung Micro RGB AI Engine Pro processor, which has features such as Micro RGB Precision Color, 4K AI Upscaling Pro and Color Booster Pro. The TV itself also has a Glare Free screen, an anti-reflection matte screen that has featured in several of Samsung's TVs, including the Samsung S95H / S99H.

In terms of HDR support, the R95H supports HDR10+, but as usual, there is no support for Dolby Vision.

For gaming, the R95H has four HDMI 2.1 ports, which support 4K 165Hz, full VRR including Freesync and G-Sync, ALLM and HDR10+ gaming. It also supports cloud gaming apps from the likes of Xbox and Nvidia GeForce Now. The R95H is also compatible with the Wireless One Connect Box, which can be used in tandem with the TV’s built-in ports, meaning there are a potential eight HDMI 2.1 ports on offer.

The R95H has a 4.2.2 channel speaker array, totaling 70W of power. Supported sound features include Object Tracking Sound+ (OTS+), Active Voice Amplifier Pro, Adaptive Sound Pro and AI Sound Controller Pro. The R95H supports Dolby Atmos, but not DTS:X.

The R95H’s smart TV platform is Samsung’s own One UI Tizen, which supports major streaming apps including Netflix and Prime Video, and for those in the UK it supports all major apps including BBC iPlayer and ITVX. There's also support for Samsung Vision AI, which enables AI features such as AI Soccer Mode Pro and Generative Wallpaper.

• Feature score: 5 / 5

Samsung R95H review: Picture quality

• Strong contrast and detail
• Bold colors
• Effective anti-glare

Starting with some brightness measurements, the R95H registered 1,977 nits and 2,066 nits peak HDR brightness in Filmmaker mode and Standard mode respectively. These are solid brightness results, but surprisingly lower than those of Samsung’s flagship OLED, the S95H/S99H, which registered 2,739 nits and 2,831 nits in the same modes respectively.

Where the R95H has an advantage over OLED is in its fullscreen HDR brightness, which hit 612 nits and 600 nits in the same Filmmaker and Standard picture modes, roughly 150 nits higher than the S95H/S99H OLED. While these numbers are solid, they're lower than those of rival RGB TVs such as the Hisense UR8, which hit over 750 nits in both picture modes, and even the Sony Bravia 7 II, which hit over 800 nits in its own Filmmaker mode.

The R95H showcases good upscaling when watching lower-resolution and SDR content. Watching various channels on Samsung TV Plus, from America’s Got Talent re-runs to news channels, the picture looked more detailed than anticipated, showing the R95H’s effective upscaling.

Moving on to the reference 4K Blu-rays I use for testing, the R95H demonstrated very good picture quality. RGB’s selling point is its color reproduction, and the R95H succeeded here. Throughout The Super Mario Galaxy Movie, colors were bold and vibrant, shown in particular whenever the Lumas were on screen. Colors also appeared accurate throughout, with the red of Mario’s overalls looking true to life. I did notice that while watching in Movie mode, there was some clipping of bright objects, and color luminance could look a little distorted at times. Dropping the brightness down to 40 improved this.

In the live-action movie, Speed Racer, I was impressed at how the R95H rendered the gaudy, saturated color scheme of the Racer household, with its vibrant greens and oranges. It captured the oversaturated look, while still delivering realistic colors. While I did prefer the Sony Bravia 7 II’s colors in my Bravia 7 II vs R95H comparison, in isolated viewing, the R95H’s colors were impressive. The R95H did, however, reproduce accurate and realistic skin tones throughout my viewing.

Measuring the R95H’s color gamut coverage, it registered a staggering 148% of the DCI-P3 color gamut, as well as a 94.1% of the BT.2020 color space. These are incredible results, rivaling the best projectors, and the BT.2020 result rivals QD-OLED, found in Samsung's flagship S95H/S99H TVs.

Switching to The Batman for higher-contrast and darker scenes, the R95H demonstrated strong contrast in almost every scene, with a great balance between light and dark tones. This was most evident in the crime scene at Mayor Mitchell’s house, and in the Batcave. The R95H also delivered excellent shadow detail, with objects like paintings on the wall of Mitchell’s house still legible even in the most shadowed areas.

I did find that while I could watch The Batman in bright conditions, thanks to the R95H’s effective glare-free screen, it was best watched in Filmmaker mode in more ambient/dimmer conditions. In Movie mode, The Batman had a tendency to look over-sharp and over-bright in places.

While its black tones weren’t quite OLED-level, the R95H did deliver some seriously rich, deep blacks in Alien: Romulus. Shots of space looked as inky as I could have hoped for, and were impressive for a backlit TV.

The R95H also demonstrated strong viewing angles, and while there was some blooming present in some scenes in The Batman and Alien; Romulus when I viewed the TV off-center, its backlight control was far more effective than you’ll see from standard LED and mini-LED TVs.

Finally, for motion, the R95H is capable of handling fast-paced scenes from movies like Speed Racer, as cars weave around the track. It showed some judder as commentators panned across the screen, but I’ve found every TV has struggled with this. For the best motion, I found setting blur and judder reduction to 3 looked smooth without venturing into soap opera-effect territory.

For sports, I watched some Major League Soccer highlights via Apple TV, and the R95H not only handled the action well but produced a very natural picture in Standard mode (my preferred picture mode for sports) that I found pleasing to watch.

• Picture quality score: 4.5 / 5

Samsung R95H review: Sound quality

• Effective OTS+ results in great sound positioning
• Decent bass and mid range
• Sound can feel contained to rear of the screen

The R95H’s built-in speaker array is a 4.2.2 channel, 70W system. It supports Dolby Atmos and has two preset sound modes: Standard and Amplify. There are AI sound features such as Adaptive Sound Pro available to use.

Watching the Batmobile chase scene from The Batman and the various race scenes in Speed Racer, with the TV set to its Amplify sound mode, I was unsurprised to hear that the R95H delivered accurate sound that was well mapped with the action on the screen, something I’ve found with a lot of Samsung TVs, thanks to its OTS+ feature. Whether it was a spray of bullets hitting the Batmobile in The Batman or the sound of the Mach 5 grinding a rail in Speed Racer, the sound accuracy was impressive.

The speakers deliver good mid-range tones throughout, as well as some punchy bass that accurately captures the rumble of the Batmobile’s engine and the roar of the race cars in Speed Racer. There were some impressive surround effects in both reference movies too.

While the speakers are generally decent, I did have to push the volume to higher levels (70+ out of 100) to get a more cinematic experience. The bass also felt flat at times, and sound did still feel contained to the rear of the screen. Turning on Adaptive Sound in the AI settings added more width, but at the cost of bass. While its sound is decent, those wanting a more cinematic experience would benefit from a soundbar.

• Sound quality: 4 / 5

Samsung R95H review: Design

• Polished frame
• Thinner than other RGB TVs I’ve tested
• Light but sturdy

The R95H takes a lot of design cues from other Samsung TVs, with a sleek, silver frame that gives the TV a premium look. Compared to other RGB TVs I’ve tested, the R95H is thinner, which again gives it an appealing look. It has a central pedestal stand that feels sturdy when attached, while the TV itself feels light for a 65-inch, and lighter than other RGB TVs I’ve tested.

The screen has a bezel-less design, giving maximum room to the pictures on screen. The R95H also has the aforementioned glare-free matte screen for easier viewing in bright conditions.

The supplied remote is the Samsung SolarCell remote, which can be recharged via the rear solar panel or via USB-C. The remote has shortcut buttons to major apps such as Netflix, as well as an AI button and mic button for voice control.

• Design score: 4.5 / 5

Samsung R95H review: Smart TV & menus

• One UI Tizen smart TV platform
• Hubs including Home and Game
• Good range of settings

As with all Samsung TVs, the R95H uses Samsung’s own Tizen OS smart TV platform, now known as One UI Tizen. Tizen has several different hubs, including the Home hub, where apps and TV shows and movie recommendations are presented, and Game hub, where cloud gaming apps are housed. There are also Daily and Art hubs, for lifestyle and art-themed apps respectively.

Tizen supports a wide array of apps, including major streaming services such as Netflix, Prime Video and Disney. In the UK, streaming services such as BBC iPlayer and ITVX are supported. It should be noted that Tizen doesn’t use Freely or Freeview for live TV, instead using its own Samsung TV Plus system.

Various AI features are supported, including the Samsung Vision AI Companion, which can be used to find specific content, or answer more general questions that you ask the AI. Also included are other AI picture and sound features, as discussed in the Features section above.

Tizen is good at offering recommendations, and the Home hub is well laid out, but as with all smart TV platforms nowadays, there's a large banner ad at the top of the screen that can be intrusive when you're trying to navigate.

Menus are well laid out and easy to navigate, and there are a good number of settings, enabling you to tailor the picture to your preferences. Tizen is fairly straightforward to use, although I did find that Samsung TV Plus would play if I lingered on the Home menu, which could be frustrating.

• Smart TV & menus score: 4.5 / 5

Samsung R95H review: Gaming

• Four HDMI 2.1 ports
• 11.7ms input lag time
• 4K 165Hz, FreeSync and G-Sync supported

The R95H has four HDMI 2.1 ports, all of which are fully equipped for gaming. It supports 4K 165Hz, full VRR including Freesync and G-sync, HDR10+ gaming and ALLM. There's a dedicated Game menu where you can adjust game-specific settings, and the Game Hub, which houses cloud gaming apps such as Xbox, Nvidia GeForce Now, and Luna.

When I measured the R95H’s input lag, it registered an 11.7ms (4K 60Hz) time. This is below the 15ms input lag time we look for, but is higher than other Samsung TVs I’ve tested, which all tend to register sub-10ms times.

Actual gameplay on the R95H is smooth, even during fast-paced action. Playing Battlefield V on Xbox Series X, the R95H easily handled the chaotic gunfights as I had to snap from target to target, showing no signs of judder or stutter. The Game picture mode rendered crisp textures and accurate colors for the most part, though I did find it favored red tones in one desert mission I played. Overall, though, the R95H is a superb gaming TV.

• Gaming score: 5 / 5

Samsung R95H review: Value

• Premium priced TV
• Similar price to OLEDs
• Good performance and features

The R95H is a premium TV, with the 65-inch model I tested available for around $2,799 / £2,899 / AU$4,795 at the time of writing. This puts it in a similar price bracket to flagship OLEDs, such as Samsung’s S95H/S99H, which costs $2,799 / £2,899 / AU$5,295, and the LG G6, which costs $2,699 / £2,999 / AU$4,995 for a 65-inch. Compared to other RGB TVs I’ve tested, it’s one of the pricier models, but is cheaper than the rival flagship Sony Bravia 9 II, the 65-inch model of which costs $3,599 / £3,499 / AU$5,995.

The R95H commands a premium price, but does deliver premium performance and features similar to those rival OLEDs and RGB TV mentioned above. Since its release, prices for the R95H have dropped, and I anticipate they’ll continue to drop from now on, improving its value proposition. For now, I don’t think it can quite outshine rival OLEDs for the money, but it's close, and this is still a very good TV.

• Value score: 4 / 5

Should I buy the Samsung R95H?

Buy it if...

Don't buy it if...

Also Consider

How I tested the Samsung R95H

• Tested over a few weeks
• Tested in varying light conditions in our testing lab
• Measurements taken using Portrait Displays Calman software

The first step of my testing was casual viewing to establish the best pictures modes. For sports and daytime TV, Standard worked best, and for movies and TV shows, I switched between Movie and Filmmaker depending on the content.

After this, I did my critical viewing using reference 4K Blu-ray scenes to test color, contrast, motion and detail. I also used SDR broadcast TV to test upscaling, as well as sports to test the R95H's sports viewing.

Next, I tested the R95H using specialized measuring equipment, including a Murideo Six G 8K metal test pattern generator, Klein K-10A colorimeter and Jeti Spectral 15VA spectroradiometer and Portrait Displays' Calman color calibration software.

To test brightness, I took SDR and HDR brightness measurements using white window patterns in sizes 1-100%, focusing on peak (10%) and fullscreen (100%) measurements.

After this, I tested color and grayscale accuracy in SDR, using Delta-E values (the margin for error between the test pattern signal source and what is displayed on screen.)

Next, I tested HDR color gamut coverage, using the BT.2020 and UHDA-P3 color spaces. The closer to 100%, the better.

Finally, I measured the R95H's input lag using a Leo Bodnar 4K HDMI Input Lag Tester.

We also do two new tests as part of our testing. The first is the HDR EOTF, which shows the accuracy of a TV's brightness across its range, using 1,000, 4,000 and 10,000 nits targets. Then, there is the Spectral Power Distribution test, which measures how a TV recreates colors.

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

There's a version of this Soundpeats Pop Clip2 that you'll never read. After several weeks with the Soundpeats Clip1's cheaper successor, I was half-way through writing a five-star review which declared them the best open earbuds you could buy. That version is, as you can already tell, not this version of the review.

You see, the longer I used the Soundpeats Pop Clip2, the more I had to contend with some annoying issues; the kind of problem which often emerge after months or years of use, especially in cheaper tech, but shouldn't be affecting the buds after just a few weeks.

For example, I had an issue with the charging case, where it wouldn't reliably power up the buds. Sometimes I'd take them out, only to find them drained. My biggest problem, though, was with connectivity: they'd often fail to connect to my phone, or repeatedly drop out while I was running. A few times, when I needed some buds for a cycle or run, I'd just use the recently-reviewed Baseus Bowie MC2 rather than try and fight with the Pop Clip 2.

It's a shame, because aside from these common cheap-bud problems, the Soundpeats Pop Clip 2 are genuinely fantastic earbuds. Or is it the Soundpeats UU2? Depending on where you live, they're called one or the other, but in many countries the brand is using both names. Confusing. I’m going to be using the former name, because it simply makes more sense.

The Soundpeats Pop Clip2 have to be some of the best-sounding clip-style earbuds I’ve heard: they have a nice simple V-shaped sound, offering bass with ‘oomph’ but tone, and clear crisp treble. They don’t re-invent the wheel, but nimbly avoid all the issues that come with audio in buds of this form factor.

They tick loads of other boxes too: they last longer than most rivals, fit really well, and offer a solid list of features like spatial audio, sound leak prevention and water drainage.

Perhaps most importantly, Soundpeats has defied our price-hike current state of living by dropping the price of the Pop Clip2 (compared to the predecessor). And not by a few pennies either: $20 in the US, £15 in the UK, $9.99 in Australia (okay, that one’s not a dramatic drop). The brand already had some of the best value open-ears on the market, and it’s really pressing its advantage here.

But because of the connection problems, they're a write-off, right? Uh, I'm not so sure. These problems were persistent, but not consistent. I frequently went for hours without a connection drop or problem, and found ways to cater for some of the quirks. As I write this mini-review, I've been seated at my desk and listening for three hours straight, without any problem. But I know if I went outdoors, they'd be less reliable.

I wish I could recommend the Soundpeats whole-heartedly, and the issues make that impossible. But it's possible that your mileage will vary, or that the brand will fix some of the connection issues through software patches.

Soundpeats Pop Clip2 review: Price and release date

• Launched in August 2026
• Sells for $49.99 / £59.99 / AU$70
• Cheaper than predecessors and other rivals

The Soundpeats Pop Clip2 were unveiled on August 10, 2026, just nine months after the unveiling of their predecessors, the Soundpeats Clip1. That’s not a long time to wait for them to… pop out.

At launch, the buds were tapped for a $49.99 / £59.99 / AU$70 asking price, which is cheaper than the $69.99 / £74.99 / AU$79.99 asking price of the last model. But just two weeks after release, I’m finding them available for £36 in the UK, so they may be even cheaper than reported. Let me be clear: this is rock-bottom prices territory from a trusted brand.

OK, they’re not technically the cheapest open earbuds around — there are options in the backrooms of Amazon and AliExpress that are much cheaper — but they’re the cheapest from a known, respected name in audio (notwithstanding sales on Soundcore, Baseus and Earfun products, which see them dip below Soundpeats’ cost).

The thing is, value only comes into effect if the performance is worth even the nominal outlay you'll have to part with to own them. So let's dig into that.

Soundpeats Pop Clip2 review: Specs

Soundpeats Pop Clip2 review: Features

• Solid 10h/42h battery life
• App offers loads of features
• Connectivity problems plague experience

The Soundpeats Pop Clip2 offer a 10-hour battery life per bud, and in testing they lasted that long regularly. According to the brand, the case offers a total of up to 42 hours. Both of those sums are a little above average, and I'd say they're enough for most uses.

There's no ANC here, but the Soundpeats app offers basically every other feature under the sun. There's spatial audio, find my earbuds, a low-latency gaming mode, a privacy mode to reduce sound leakage, a drainage function to shake water droplets out if the buds get wet, a dynamic EQ tool which adjusts your sound on the fly, and of course an equalizer.

This latter lets you choose between a range of presets based on genre, though it turns off dynamic EQ and spatial audio. There's an adaptive and custom mode too, but for some reason, you can only use these if you create a free Soundpeats account. Locking an essential tool unless someone hands you their email? Thumbs down from me.

In the Soundpeats app, you can also toggle LDAC and set up multi-point connection, as well as change what the gesture controls do.

Now, it's time to get to the elephant in the room, the one I mentioned in the review introduction. I had a bad time with the Soundpeats Pop Clip2's connectivity (or lack thereof).

Frequently, I'd remove the buds from the case, only for one to fail to connect. I never figured out a solution to this issue, though sometimes holding the 'on' button kicked it into gear, and it often prompted me to just pick up a rival pair of buds which actually connected.

Even when the Clip2 did connect, I'd sometimes have to contend with drop outs or a stuttery connection, particularly on whichever of the buds was furthest from the phone. And I wasn't using the buds at the extreme of their connection range; my phone could literally be in one hand, and the bud on the other side of my face would keep dropping out.

So, despite the use of Bluetooth 6.0 (and, of course, my attempts to fix the problem by changing phones and updating the firmware), connection is a real issue here. Depending on the root cause, it could be fixable with a software patch, but it might be an intrinsic problem with the buds.

• Features score: 3.5/5

Soundpeats Pop Clip2 review: Design

• Few differences from predecessor
• Case is small, but with problems
• Earbuds fit reliably and comfortably

The big Soundpeats Pop Clip2 difference from its predecessor is the case, which is smaller and more convenient to tote around. It's a small pebble, weighing 47.7g, which fits in a pocket with no problem.

There is a problem, but it's inside. Like in some other cheap earbuds I've tested, the charging pins in the Clip2 case can often get stuck down. These are those shiny needles which touch the connectors on an earbud, in order to power it up while it's in the case, depressing as they do. In some cases, they can fail to spring back up, sometimes stopping working entirely.

I often managed to free the charging pins by pressing them down and wiggling, but often I only knew to do this when a bud had failed to charge. That is to say, there's a manual solution, but I would've preferred earbuds that just worked.

Charging issues aside, the buds work great, which is no surprise given that they're almost identical from the wonderful previous-generation Clips. they're light, at roughly 5g per unit, and you can easily forget you're wearing them.

The fit is solid, and I never found any issues with them shaking or falling out of place while I was on a run. When it comes to the Pop Clip2's actual earpieces, I have no notes.

This extends to the on-bud controls. Instead of relying on a large and vague tap control, Soundpeats has placed a physical button on each bud, which is easiest to press by pinching the body of the device. This is easy to trigger, even when you're active, and a satisfying 'click' lets you know your gesture has been accepted.

A note to buyers: head to the app and customize what single, double-, triple-tap and long-held functions do. I didn't love the default options, but luckily it's easy to change.

• Design score: 4/5

Soundpeats Pop Clip2 review: Sound quality

• These are the best open earbuds I've heard
• Lovely balanced sound with plenty of customization
• 12mm drivers, LDAC and Hi-Res Audio Wireless

Several open earbuds makers have experimented with different multi-driver set-ups in order to solve the core problem with the form factor – getting good sound is incredibly tricky when the bud is far from your ear – and yet somehow Soundpeats has made the biggest leaps with a single driver.

Put simply, the Pop Clip 2 are the best-sounding open earbuds I’ve used to date, a compliment that’s a little limited in its reach but no less earnest for it. Each bud has a 12mm dual-magnetic driver, which according to Soundpeats has been tuned for “deep bass”, and seems on paper at least to match the Clip1’s driver. In practice, though, it performs a lot better.

By default, the earbuds have a fairly neutral sound profile, not favoring bass, mids or treble too heavily, and that’s pretty rare for exercise buds. In Handle With Care by Traveling Wilburys, I was surprised to hear the various rhythmic and harmonic instruments alongside the vocals and bass, and in Cinnamon by The Long Winters, it was easy to pick out the various simultaneous guitar lines which, in worse earbuds, blur together.

Despite this neutral focus, treble and bass are both handled well: the latter is bright, clear and crisp, the latter well-defined and energetic. And, thankfully, my Clip1 gripe about the max volume being too low has been fixed.

The buds’ sound can be pulled six ways from Sunday if you’ll let them too. In the dynamic mode, the bass and treble were boosted for a lovely V-shaped audio which gave Two Door Cinema Club’s Sleep Alone a lovely, bouncing energy.

Contributing to the sound is the Bluetooth codec support which Soundpeats has added — at least the connection works in one way. The buds support LDAC, and are certified for Hi-Res Audio Wireless, which isn’t something you can say about every set of open earbuds.

Of course, much of your enjoyment will depend on how you listen. No matter how good open-ears sound in the comfort of your home, the sound quality will plummet when you step outdoors into the busy word. But that’s the nature of the beast with these buds, and the dynamic equalizer went further than most in balancing for these issues.

• Sound quality: 5/5

Soundpeats Pop Clip2 review: Value

• Should be top-value earbuds
• Unfortunately, longevity isn't guaranteed

The Soundpeats Pop Clip2 sound fantastic and offer a solid range of features, despite being some of the cheapest open earbuds worth buying. They should be five-star buys.

Unfortunately, that appraisal would be forgetting the connection and case issues, two problems which sadly aren't uncommon in low-cost earbuds.

With that in mind, you're basically getting what you pay for, matching the promise of other same-price rivals: these are buds which work very well, but may stop working well before their time.

• Value: 3.5/5

Should I buy the Soundpeats Pop Clip2?

Buy them if…

Don’t buy them if…

Soundpeats Pop Clip2 review: Also consider

Looking for other affordable clip-style earbuds? Here are a few we've tested and would recommend.

How I tested the Soundpeats Pop Clip2

• Tested for roughly four weeks
• Paired with two different Android phones for music, podcasts, movies and games
• Used on runs, at gym, at desk and during travels

To write this full review, I used the Soundpeats Pop Clip2 for the best part of one month. In that time, I used it paired to two different Android smartphones: the Fairphone 6 Plus and Samsung Galaxy Z Fold.

To test the earbuds, I used them for various fitness activities including walks, runs, cycles and trips to the gym. I also used them while working at my desk, on the train and on a flight. Mostly, my listening was done on Spotify, but I also used Tidal and several video streaming services, played games and conducted calls with them.

I've been reviewing for TechRadar since early 2019, and over the last few years, that's included plenty of open earbuds, including the stablemates of the product here, the Soundpeats Clip1. I've also used various other Soundpeats headphones and earbuds.

• First reviewed in September 2026

• Read TechRadar's reviews guarantee

Few audio brands have made as much noise on social media as Heavys. In the best headphones arena, the company made heavy music (sound)waves with its Heavys H1H headphones, a couple of years ago, and now it has attempted to translate that sound to the wireless earbuds format.

And largely, the H1E True Wireless Earbuds achieve the low-end sound and punchy prominence needed for a specialised listening experience within this music genre, although sadly, it makes them a poor choice for listening to any other kind of music.

Carrying an MSRP of $209 / £185 / AU$321, the Heavys H1E True Wireless Earbuds are far from the cheapest set of in-ears around, although we have seen them discounted to $169 in the US and down to £150 in the UK recently. They're priced to rival mid-range heavy-hitters such as the Samsung Galaxy Buds4 (and arguably even the flagship, hugely popular Apple AirPods Pro 3) rather than the truly elite end of the spectrum — think Technics EAH-AZ100 or Bowers & Wilkins Pi8.

But where those brands aim to provide a broader, more general listening experience, the H1Es are more specialist; instead of an everyday pair, these earbuds are more situational. You're spending around the $200 / £200 / AU$300 range for something that's purpose-built, for better or worse.

In the words of Gojira: Born for one thing. And listening to heavy metal music does sound solid through the Heavys H1E earbuds for the most part, with the vast majority of sub-genres within this spectrum accurately represented. What's particularly noticeable is just how good the dynamic drivers can be. The company promises a "concert-like experience," and even with what are (presumably) 10-14mm drivers (the size hasn't been publicly disclosed), under the right conditions, this has been delivered.

I can praise the Heavy's H1E earbuds' build quality too. A tactile case which can be customized with shells is neat, but the real advantage here is the multiple silicon and memory foam ear tips provided, which make them genuinely really comfortable over time. There's a wealth of sizes available, so you can find the right fit.

This helps to elevate the H1E's otherwise decidedly middling user experience though: a so-so seven hours of playback (24 hours from the case), and some of the most mediocre active noise-cancelling I've seen from earbuds at this price point.

A similar frustration can be levied at the connectivity options of the Heavys H1E earbuds. Low-latency Bluetooth 5.4 multi-connectivity is great when it works, but it doesn't always work. Countless times in my months with the earbuds, I was caught in a loop: the earbuds 'forgot' my phone, forcing me to re-pair and even to re-connect between charges as they don't seem to be intelligent enough to remember my Apple iPhone 15 Pro Max. That's to say nothing of times when only one earbud would work, with the other refusing to connect, which meant restarting the whole process over again. To be clear, this is something I've never experienced with any other earbuds or headphones.

The Heavys H1E True Wireless Earbuds are niche and not without issues, but the listening experience ultimately helps them stand out from the crowd. If you're someone who exclusively listens to heavy metal music, then they could be of value. As a metal musician myself, and someone who has seen thousands of metal bands play live over the last 15 years, I found them to be worthwhile, even if they won't rival what the best wireless earbuds and best earbuds overall can do outside of their specialism. Continue reading my full Heavys H1E review further down the page to find out why.

Heavys H1E review: Price & release date

• Officially unveiled on September 22, 2025, via social media
• Available now, shipping worldwide for $209 / £185 / AU$321

After being revealed on social media late last year, with pre-orders being fulfilled throughout early 2026, you can now get your hands on the Heavys H1E True Wireless Earbuds for $209 / £185 / AU$321, depending on your region. With that said, it isn't uncommon for these wireless earbuds to be available at a reduced rate through the deals the company runs on its store page, knocking anywhere from 10-20% off, depending on the season. Keep an eye out for the green banner around a peak sales time, and you could save some cash.

The price tag positions the Heavys H1E earbuds against the mid-range and higher-end competition. Chiefly, that means more well-known consumer models such as the aforementioned Galaxy Buds4 and the Apple AirPods Pro lineup. It also means a comparable price tag to "enthusiast" class earbuds, as can be seen from the Technics AZ100, and the Noble Audio Osprey. Both of these earbuds (and many more) hover around the $200 / £200 / AU$300 mark, so it's a fairly crowded space. For the audio performance on display, they're priced a little high. More on that further down the page, though.

Heavys H1E review: Specs

Heavys H1E review: Design & features

• "Hellblocker" ANC
• Dual microphone setup
• Excellent range of comfortable, changable tips for comfortable use

The Heavys H1E True Wireless Earbuds excel from a design perspective. They're made of a matte molded plastic which feels both premium and incredibly durable; there's IPX5 water and sweat resistance, meaning they can handle a splash of liquid as well. What impresses me most are the multi-sized ear tips that are shipped in the box, as you get a variety of sizes in different materials: memory foam and silicon, for a comfortable fit to suit most (if not all) ear sizes.

I'm someone who struggles with earbuds for long stretches of time, having previously ditched the likes of the Razer Hammerheads because they were too uncomfortable for long periods of use. Having multiple ear tips in various sizes meant I could find the fit that was right for me; whether I was out walking my Belgian Malinois, on a plane, commuting via train, or just working in the house. Once I found the right fit for me, I was away. Hours would go by, and I'd forget I was even wearing them; that's good ergonomic design right there.

A key design element present in the H1H headphones has been applied to the H1E earbuds too. However, instead of interchangeable ear cup shells, decorated to represent your favorite bands, the customization options apply to the case. There's a fair amount of official designs available, including Currents, Testament, Carnifex, Dream Theater, Opeth, and Whitelabel. Additionally, there are some original designs, including profanity-laden options or purple smoke to add a splash of color and personality. The case itself charges via USB-C and takes around two hours to juice up to full, giving you around 24 hours of total use, or around three full recharges of the earbuds' playback time. It's OK rather than great, as those numbers go.

Also so-so in the world of wireless earbuds in 2026 is Heavys' claim of up to seven hours of playback from the H1E earbuds, although your mileage may vary depending on your reliance on that "Hellblocker" ANC, as well as how you dial your EQ settings.

I've used dozens of wireless earbuds and headphones that feature great ANC over the years, and Heavys' Hellblocker solution just isn't it. The feature was also present on the H1H headphones with a dedicated switch to enable it, and worked well enough thanks (almost certainly) to the far larger drivers and mic array on the large ear cups. However, given the small size of the H1E earbuds, any real noise cancellation is pretty poor.

I tend to go out and walk my dog with the H1Es in, and even after hearing the gruff man on voice prompts announce "Hellblocker activated", I was still hearing other dogs barking, passing cars, wind noise, and all other background noise that should have been filtered out. All it really did was make the audio quality a little more muffled.

A good companion application can really elevate a pair of wireless earphones, giving you smart and reactive EQ options, helping you get the best listening experience possible. We've seen this before with Bowers & Wilkins' excellent Music App, to support its lineup of earbuds.

Unfortunately, the official Heavys app is nowhere near as good. Aside from updating the firmware, all it gives you is a basic EQ settings slider, and you're better off leaving it at the default, as it's hard to gear it towards one genre or another. My partner also experienced issues with having the H1Es connect to her Samsung Galaxy S25 Ultra via the app, as it wasn't as user-intuitive as you would hope for from earbuds released in 2026.

• Design & Features score: 3.5 / 5

Heavys H1E review: Sound quality

• Prominent bass and good overall low-end presence
• Depending on the mixing, you get decent mids
• 'Hellblocker' ANC changes the listening experience for the worse

The Heavys H1E True Wireless Earbuds are good for metal music most of the time. It's situational and circumstantial, though. As touched upon above, they can sound incredible for metal music, with the major caveat being the trappings of the genre itself. Metal is the most diverse genre of music on the planet, separated into dozens of sub-genres with niches within them. For example, if we look at black metal, you have your classic first and second waves (Venom and Celtic Frost to Mayhem and Emperor) to the likes of atmospheric black, black/death, symphonic black, melodic black, black 'n roll, blackgaze, and the list goes on.

There's no true way to be geared towards all metal music, just as you can't fine-tune an EQ between bands within the same sub-genre of a sub-genre. It can get as granular as different audio balancing for the likes of Archgoat, Belphegor, Behexen, and Behemoth, and that's just scratching the surface. In blanket terms, the Heavy H1E earbuds excel with anything forcing the low-end, particularly with sub-genres such as death metal, grindcore, deathcore, and anything that benefits most from a down-tuned guitar, five-string bass, and percussion cutting through the mix.

In my months with the Heavys H1Es, I've listened to hundreds of metal records, and the best listening experiences I can recall most come from streaming Vomitory, Batushka, Blood Red Throne, Korpse, Vulvodynia, Death, Conan, Kanonenfieber, Mgła, and Imperial Triumphant. The drivers are incredibly punchy, differentiating harsh vocals against bass and lower-tuned guitars, or guitars tuned to E standard that are soaked in distortion; there's good distinction, with no muddiness or fizziness that we see when heavier music genres are played from more general earbuds.

Other metal sub-genres don't really benefit from the low-end tuning of the audio drivers though. I'm nearly 30, and nowadays just as likely to put on some Black Sabbath, Clutch, or Green Lung as anything recorded from the frostbitten valleys of Scandinavia, and it's when listening to clean-sung vocals, or any metal music with more traditional production that the H1Es feel just... okay. Solstafir, Zeal & Ardor, Katatonia, Candlemass, Sleep, Metallica, Slayer, and Acid Bath sounded fine, but the listening experience was about on par with just about any (cheaper) wireless earbuds I've used over the last 10 years.

I really would recommend listening to music without the Hellblocker ANC active, as enabling it via touch controls can drastically impact the overall listening quality. Depending on the mix, things can go from a little muffled to quite tinny. It's not a unique complaint against the H1E earbuds, as ANC can do that, but it's particularly disappointing when the passive noise isolation doesn't filter the outside world out, and you end up having worse-sounding music when trying to fix it. It's not sophisticated enough to do its job, and it really just annoyed me rather than being all too useful.

• Sound quality score: 3.5 / 5

Heavys H1E review: Value

• Expensive for what they are
• Poor overall ANC when compared to the competition
• Stellar situationally, for certain genres of metal music

I've been critical of the Heavys H1E True Wireless Earbuds in this review. Considering the fact that I enjoy using the H1H over-ear headphones so much, I was expecting more of that sound quality and feature set to be carried over, but it hasn't translated as smoothly as I expected.

For the asking price of $209 / £185 / AU$321, there's no getting around the fact that you can get a far superior listening experience from a competitor. USP aside, unless you're really into death metal (or its offshoots), the cons may outweigh the pros here.

The Heavys H1Es are well-designed and comfortable for extended periods of time, and the case is well-made and holds a respectable charge, allowing for 24 hours of total use.

However, the ANC is poor, the Bluetooth connectivity can be spotty, the companion app is mediocre, and they're priced a little too high for what is (essentially) a marketing ploy. Under the right set of circumstances, these earbuds can be exceptional, but with a higher mid-market asking price and stiff competition, they're a hard sell in 2026.

• Value score: 3 / 5

Should I buy the Heavys H1E True Wireless Earbuds?

Buy them if...

Don't buy them if...

Heavys H1E review: Also consider

How I tested the Heavys H1E True Wireless Earbuds

• Tested for a period of three months while comparing them to other wireless earbuds, headphones, and gaming headsets around my office.
• Primarily used when outside walking my dog, commuting via plane or train, and running errands.
• Throughout my listening experience, I mostly used Apple Music's Loseless tracks, Spotify, Bandcamp, and YouTube Music depending on the artist's availability.

I've been using the Heavys H1E True Wireless Earbuds over the last few months when I've been out and about, heading somewhere for work, walking the dog, or doing chores. They've lived in the case in the pocket of my jacket or my shoulder bag, and were actively used during commuting. For testing purposes, I did actively switch between them and the Heavys H1H over-ear headphones to compare sound quality and features.

Most of my time using the Heavys H1Es was spent with the earbuds connected to my iPhone 15 Pro Max. Although I did try them out on several occasions with my partner's Samsung Galaxy S25 Ultra, as well as my MacBook Air M1 (2020), to gauge how well the Bluetooth connection would be.

I am a metal musician (guitarist and vocalist) who has been recording and playing music for over 10 years. I have mixed and mastered many different metal albums, and have seen literally thousands of metal bands play live over the years at gigs and metal festivals, such as Damnation, Incineration, Bloodstock, Snuff Fest, Download, Brutal Assault, and countless others.

Read more about how we test

• First reviewed September 2026.

The JBL Live 680NC are a strong pair of headphones for the price. They have a lot to offer, such as a whole litany of features including well-implemented active noise cancellation (ANC) and Ambient Aware, a lot of EQ-related options, spatial audio, and Auracast support. They also offer a very, very long battery life.

But they come with some compromises to meet that $160 price point. The sound quality, while good, does have an unruly low-end and a more rolled off high end than I would like. The spatial audio is a bit underwhelming in practice. They don’t come with a charging cable. And they do put a little bit of pressure on the top of the head during long listening sessions.

If you’re trying to stretch your budget, they may be the best wireless headphones for you, but manage your expectations; they’re not going to compete with something like the Sony WH-1000XM6. And if you have the ability to spend an extra hundred bucks (or the equivalent in your regional coin), the slightly more expensive JBL Live 780NC do sound a fair bit better and handle the weight distribution a little better as well. That said, these are tough times for a lot of people, and the price tag on the Live 680NC is reasonable, especially considering everything that they can do.

JBL Live 680NC: Price and release date

• Priced $159.95 / $129.99 / AU$199.95
• Launch date March 12, 2026

With a price tag of $159.95 / £129.99 / AU$199.95, the JBL Live 680NC technically fit into the mid-range tier of headphones while still being a cool $100 cheaper than the JBL Live 780NC that was released concurrently in March 2026.

As you’ll see in this review, there are a few reasons to spend that extra hundred dollars (though you could spend even more for the JBL Tour One M3 Smart Tx). But if you’re okay with a slightly less articulate sound quality or marginally less comfortable fit, you can save that hundred bucks if you’re on more of a budget.

JBL Live 680NC: Specs

JBL Live 680NC: Features

• Multipoint connectivity and Auracast available
• Very adjustable Active Noise Cancellation and Ambient Aware
• Powerful EQ including personalization options

The JBL Live 680NC are chock full of features. Multipoint connectivity, Auracast (allowing connection to multiple headphones from one source), Bluetooth with LE Audio (unavailable for Apple users), the ability to customize on-ear controls, and on-ear wear detection are just some of what’s on offer. You can also upmix via JBL’s own spatial audio feature.

Adaptive active noise cancellation (ANC), Ambient Aware, and TalkThru modes are available with a good amount of customizations for the first two through the app. And while these modes won’t beat the best of Sony or Bose, they work pretty well. I don’t hear ambient noise with the ANC on at 50% (while something is playing), while I can hear ambient noise clearly with music at around 60%, which is nice when using these headphones for a walk or run.

There’s plenty more fine tuning available through the app. Of course, there’s plenty in the way of EQ. Not only are there a handful of EQ presets, but there’s a parametric EQ with the ability to boost or cut up to 6 dB anywhere between 32 and 16kHz, which is much more powerful than a lot of EQs available with other headphones.

Plus, JBL’s Personi-Fi 3.0 feature allows for creating a personalized EQ curve based on how you hear. It does so via a test of different frequencies at different volumes for each ear. Not only do I appreciate the personalization aspect of it, but also that it takes the guesswork out of trying to adjust the EQ.

Call-related features are available in the app as well, including allowing you to hear your own voice, as well as some relaxation focused features that, while they feel a little gimmicky, are a nice addition for anyone who wants to hear the sound of rain or birds chirping without pulling up a youtube channel for it.

• Features score: 5 / 5

JBL Live 680NC: Design

• Light, on-ear headphones
• Weight sits a little heavily on top of head though
• Comes without a charging cable

The JBL Live 680NC are fairly sharp looking headphones for around $160. They’re not quite premium, but they’re pretty close with a combination of plastic, metal (particularly the hinges), and leatherette-covered foam. There’s plenty of padding on the headband and ear cups, but since they’re on-ear more than over-ear, their fit is a bit different to the JBL Live 780NC I just reviewed.

They’re not that heavy at around 231 grams, but since they sit on the ear instead of over, more of the weight sits on top of the head. So while there’s plenty of cushion, I feel the headphones pressing on my skull in a way that lingers after wear. It’s not a lot so I didn’t feel discomfort, exactly, but it is something that separates it from its more expensive big brother.

Other than the fit and, relatedly, the ear pads, the JBL Live 680NC are identical to the Live 780NC in terms of design. They’re available in the same five colors (black, blue, green, white, champagne), have the same round ear cups, and have the same one and a half inch height adjustment per side. They’re foldable and have a big L or R on the inside of the non-removable ear pads as well.

Controls and ports are the same as well. The left ear cup houses the volume controls, while the right has the power and bluetooth slider along with the ANC / AmbientAware / TalkThru cycle button, not to mention that you can top on the center of the ear cup in various configurations to play or pause, rewind, or fast forward to the next song. The USB-C charging port is also on the right side.

And just like the JBL Live 780NC, the JBL Live 680NC come with a soft carrying case, a USB-C to Aux cable for analog listening, and come without an actual charging cable, though you can just use whatever you charge your phone with (you don't still have a Lightning iPhone, do you?).

• Design score: 4/5

JBL Live 680NC: Sound

• Low-end is often overwhelming
• Warmer sounding headphones with slight high-end roll off
• Incredible battery life

The JBL Live 680NC is a competent, if not quite inspiring set of headphones to listen to. There’s plenty of volume thankfully, so if you’re trying to fast track hearing loss, you can certainly do that with these headphones.

Just like the more expensive 780NC, the low end on these headphones is almost out of control. I’ve done a lot of my listening with the “studio” EQ preset, which is basically a flat EQ with a slight bass cut, and I still feel like I’m hearing too much bass, regardless of whether I’m listening to Bruno Mars or Nothing. Of course, fans of EDM and Hip Hop will probably love that.

And just like the 780NC, the JBL Live 680NC use 40mm drivers. However, they don’t have quite as much ‘sparkle’ or clarity in the top end so don’t have quite the presence. I would describe the high-end as slightly rolled off. It’s still pleasant to listen to, but just doesn’t sound as Hi-Fi despite also having the 10Hz to 40kHz frequency range, which is considered high resolution.

That roll off does give the JBL Live 680NC a little warmer of a sound, helped along by the fact that the mids are a bit more forward here. Some people may like that. Of course, audio can sound a little bloated with mid-heavy mixes, aka any dense rock-leaning mixes.

This also affects the soundstage as there isn’t quite the separation I’m used to. I am setting the bar a little high as I experienced better separation between instruments and audio elements in the more expensive JBL headphones, but that’s a hundred dollar difference. And these wireless headphones sound good for $150.

Also worth noting, the spatial audio here is not a fully immersive experience but just a virtual upmix of existing stereo audio (the headphones only have one driver per side). It’s an interesting inclusion that adds a little space to any audio I’m listening to, but is fairly nuanced to the point where you might not even realize that it’s on.

On the other hand, the battery life on the JBL Live 680NC is outright impressive. You get 80 hours on a single charge without ANC on, and 50 hours of use with it on. A fast charge of five minutes gives an additional four hours of use.

• Sound performance: 4 / 5

JBL Live 680NC: Value

• Great value proposition
• Comes with similar tradeoffs of other budget / mid-tier headphones
• As fully featured as anything else at this price point

The JBL Live 680NC is a very good value proposition. I do like the JBL Live 780NC more — it sounds better and has a better fit — but its $250 price tag might be a big ask for some. And the JBL Live 680NC still sound good if slightly different, having a warmer sound signature while still have the same battery life and feature set of the more expensive headphones.

Other headphones trying to bridge the gap between budget and mid-tier end up closer in price to the 780NC than the 680NC. The Beyerdynamic Aventho 100, for example, are a pair of headphones that I really enjoyed that also came with a handful of compromises to keep cost down, except that cost is higher at $229.99 / £199 / AU$314. They sound good but not great, have an interesting look, great battery life, and solid implementation of ANC.

• Value: 4.5/5

Should I buy the JBL Live 680NC?

Buy them if…

Don’t buy them if…

JBL Live 680NC: Also consider

How I tested the JBL Live 780NC

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

I spent a week using the JBL Live 680NC as my daily headphones. While using them, I listened to all sorts of genres from electronic and hip hop to rock and acoustic music to compare the frequency range and soundstage. I also tested the various settings such as ANC, transparency mode, EQ, and multipoint.

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

• First reviewed in April 2026

• Read TechRadar's reviews guarantee

Ever wondered what life would be like if your earbuds had a touchscreen case? OK, you probably haven’t, but stick with me here. The JBL Live Buds 4 are the new generation of the audio specialist’s in-ears that pair with a smart charging case, enabling you to adjust sound settings, adapt ANC, and more — all without having to download a companion app.

They’re a standout model in a congested market. The Live Buds 4 also sit within JBL's wider Live range, which is itself fairly congested in that it also includes the stemmed JBL Live Beam, plus the open-fit JBL Live Flex. This specific model, though — the Live Buds 4 — comes with a number of claimed upgrades over its predecessor, including enhanced ANC, new “fidelity drivers,” and boosted call quality. But are they worth the money and can they compete with options in our best earbuds roundup? Here’s what I think after three weeks of testing.

We’ve got to start with the smart charging case, which has a revamped UI for a smoother, more complete user experience. The touchscreen is undoubtedly small, but it's highly responsive, and there are clear menus to access EQ tweaking, ANC modes, appearance options, and even tools like a flashlight and timer. I sometimes preferred using the JBL Headphones app for the ease of a larger screen, and the ability to set a custom wallpaper from my photo gallery, but for on-the-go tweaks, the charging case is a neat option — even if it is arguably a little bit gimmicky. But hey, I like a good gimmick now and then.

Beyond what I’ve already mentioned, the case features a lot of fun features, like a smart-talk option, which picks up voices if you want to have a conversation while keeping your buds in. There are also customizable touch controls for the buds themselves (which I found to be reactive and convenient), and settings for how your voice sounds on a call, including a bright, natural, and powerful option.

Speaking of calls, JBL has included 6 mics in these earbuds, as well as its new Perfect Calls 2.0 tech, which makes use of AI to keep your voice clear, even in noisier environments. As I mentioned in my JBL Live Beam 4 review (I know, it's easy to get confused with names), I did find my voice to be relatively clear on calls and when taking a recording, but unfortunately I didn’t get the premium clarity I was expecting. There was some noticeable sibilance in my recording, and I also found that some background noises remained more prominent than anticipated.

I also want to talk about active noise cancellation, which has been improved for the Live 4 series. Overall, ANC is decent, but it’s still not up to the standards offered by buds from Apple and Bose. When out and about or on public transport, I could still make out background chatter, and in the office, typing sounds and doors closing were still audible. Sounds are still dulled effectively, and ANC is by no means bad — but if you’re expecting a curtain of silence when using the Live Buds 4, you may be left wanting more.

One area that the Buds 4 totally excel in, though, is sound quality. For earbuds in this price-range, the Buds 4 are excellent, dishing out impactful bass, clean mids, and expressive highs, impressive handling of dynamics, and good attention to detail.

When tuning into Labor of Love by Ned Doheny, I was struck by the beautifully textured and weighted acoustic guitars, which were well separated from clear, tonally accurate vocals. Subtle percussive details also came through beautifully, and funky bass sounded impactful without drowning out other sounds across the frequency range. What’s more, by activating the higher-res Bluetooth codec, LDAC, I could make out some more intricacies in the mid-range, with almost life-like guitars taking the listening experience to the next level.

The Live Buds 4 proved to cope brilliantly with any genre, though. With a deeper, more energetic track, such as Don’t Compare Yourself by Kolter, the pumping deep bass hit phenomenally hard, and reached down to tremendous depths for this level. Bassy synths sounded textured and controlled, lively drums sounded articulate and precise, and emotive vocals, while impactful, never overwhelmed the mix.

I have very few complaints about the sound, and it’s super-simple to customize it to your liking with the EQ settings on the charging case or JBL headphones app. But one thing that could’ve been better was the spatial audio setting, which just lacked the clarity and openness of the standard tuning. I’d also argue that the soundstage is relatively broad on the Live Buds 4 anyway, so you should just keep this mode off if you ask me.

Let’s also talk design, as this is the main area where the Live Buds 4 differentiate themselves from the Beam and Flex. They take up a small, snug in-ear feel, which is ideal for those who prefer earbuds without the stems. I found the buds to be incredibly comfortable, and had no issue keeping them in for multiple hours at a time. They’re also highly secure, never feeling as if they’ll fall out of your ears.

The buds also have a good standard of build, the case has an attractive, textured finish, and the model can be purchased in a wide range of colors. The buds are also IP55-rated, making them splashproof. Some rivals offer superior IP57 protection, but IP55 is enough to keep your buds safe on a rainy day.

One more difference the Buds 4 have, is that they offer the least amount of battery life in the Live 4 lineup, with 8 hours of playtime with the buds when ANC is on, and up to 40 hours with the case. That’s still a good amount of playtime, and competes well with major rivals.

So, are the JBL Live Buds 4 worth their £179.99 / AU$269.95 (about $240) asking price? For me, it’s an emphatic yes. Of course, they’re not the cheapest buds on the market, but they’re also a fair bit cheaper than big-name rivals like the AirPods Pro 3 and Bose QuietComfort Ultra Earbuds Gen 2. They also sound fantastic for the money, with the nifty charging case only adding more value. Sure, they could do better in the call quality and ANC department, but ultimately, they still offer decent enough quality in those areas.

JBL Live Buds 4 review: price & release date

• List price of £179.99 / AU$269.95 (about $240)
• Revealed in May 2026

The JBL Live Buds 4 were revealed in May 2026, alongside their siblings, the JBL Live Beam 4 and the JBL Live Flex 4. They released about two years after their predecessor, the JBL Live Buds 3.

They come in at £179.99 / AU$269.95 (about $240), which is the same as their predecessors cost at the point of launch (in the UK). We’re yet to catch wind of a release date and pricing for the US, but we’ll update this review accordingly if and when further details emerge.

These buds are available at a relatively affordable price for the quality on offer, coming in at a lower cost than rivals such as the Apple AirPods Pro 3 and the Bose QuietComfort Ultra Earbuds Gen 2.

Our top pick for wireless earbuds whatever your budget is the Technics EAH-AZ100, at $299 / £259 (around AU$478). So at quite a bit less than those figures, the JBL Live Buds 4 can be yours for a shade under flagship money — and that's a very good thing in terms of value.

That said, the Huawei Freebuds Pro 5 are our current 'best mid-range' pick in that detailed guide, and those excellent buds retail for the same £179.99 fee as the JBL option. They don't have a smart charging case, but still, food for thought…

JBL Live Buds 4 review: specs

Should I buy the JBL Live Buds 4?

Buy them if…

Don’t buy them if…

JBL Live Buds 4 review: also consider

How I tested the JBL Live Buds 4

• Tested over the course of three weeks
• Used in the office, on walks, and on public transport
• Mainly streamed tunes over Tidal, but tapped into Spotify too

I spent three weeks putting the JBL Live Buds 4 through their paces. During this time, I listened to countless hours of music, messed around with everything the smart charging case had to offer, and exhausted their various features.

As always, I made sure to use these buds in a range of environments — including at home or at the office, but also when out on walks near busy roads, and when on public transport like buses and trains. When listening to tunes, I predominantly streamed music over Tidal on my Xiaomi 17 phone, but I also jumped into Spotify now and then. I made sure to soft through the multi-genre TechRadar reference playlist, but also bumped a bunch of tunes from my personal library.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as a Senior Reviews Writer. I’ve reviewed everything from premium wireless headphones like the Sony 1000X The Collexion to hulking party speakers like the Marshall Bromley 750. Of course, I’ve also tested many pairs of wireless earbuds, so I know exactly what it takes for a model to stand out in a highly competitive market.

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

The Bravia 7 II’s picture quality is great overall. It demonstrates excellent backlight control that delivers OLED-level blacks when viewed straight on, with minimal signs of blooming. It also delivers spectacular colors that rival the best OLED TVs, as well as refined, realistic detail and textures that bring pictures to life. It also delivers excellent motion handling for fast-paced action on screen. While not perfect, due to its reflective screen and signs of backlight blooming and faded contrast when viewed off-center, the Bravia 7 II’s picture is still very good.

Sony’s TVs are often among the strongest for built-in sound, but while the Bravia 7 II shows promise, its built-in sound wasn’t quite as good as I hoped. Getting the settings right is key (check out the sound quality section for more info), and once set up, it does deliver a clear, detailed, and accurate sound profile with decent bass. Yet, the sound felt too contained for my liking. I’d recommend one of the best soundbars here if you’re a regular movie viewer.

Gaming is well supported on the Bravia 7 II, with 4K 120Hz, VRR, ALLM and Dolby Vision all featured. The Bravia 7 II even produced a 10.4ms input lag time; one of the stronger times I’ve seen from a Sony TV. This translates well into real-life gaming, as I found performance smooth and responsive. While it has just two HDMI 2.1 ports and its picture can get muddy during fast-paced sequences, the Bravia 7 II still gives the best gaming TVs a run for their money.

Using Google TV as its smart TV platform, the Bravia 7 II has a good number of picture and audio settings, with fairly easy-to-navigate menus. Performance is strong overall, with only the occasional stutter, and while the large banner ads on the home menu can be distracting, Google TV is a decent smart TV platform.

The Bravia 7 II is solid value for money. While it is a premium-priced ‘mid-range’ TV, it delivers very good performance with a strong feature list and even goes toe-to-toe with rival OLEDs like the LG C6. The 65-inch launched at $2,599 / £2,299 / AU$3,299, with prices already dropping to $1,799 / £1,899 / AU$3,295. The Bravia 7 II may still be pricey, but it’s mostly in line with other RGB TVs and OLEDs for what it offers.

Sony Bravia 7 II review: Prices & release dates

• Release date: July 2026
• 50-inch price: N/A / £1,899 / AU$2,295
• 55-inch price: $2,099 / £1,999 / AU$2,499
• 65-inch price: $2,599 / £2,299 / AU$3,299
• 75-inch price: $3,099 / £2,999 / AU$4,499
• 85-inch price: $3,999 / £3,999 / AU$5,999

The Bravia 7 II is the more affordable model in Sony’s True RGB TV lineup, sitting below the flagship Sony Bravia 9 II. The 65-inch model I tested for my review launched at $2,599 / £2,299 / AU$3,299, putting it at a similar launch price to the LG C6 OLED.

Since its release, the Bravia 7 II has been on sale several times, with the same 65-inch model I tested dropping to $1,799 in the US and £1,999 in the UK. Prices remain unchanged in Australia at the time of writing.

Sony Bravia 7 II review: Specs

Sony Bravia 7 II review: Benchmark results

Previous

1 / 4

Next

Brightness Measurements

Taken using a colorimeter and test pattern generator. Click the test name for measurements and select the chosen test from the dropdown menu.

HDR FilmmakerHDR StandardSDR FilmmakerSDR Standard

Sony Bravia 7 II

HDR Filmmaker Mode (10% window)

1114

HDR Filmmaker Mode (Fullscreen)

829

LG C6

HDR Filmmaker Mode (10% window)

1427

HDR Filmmaker Mode (Fullscreen)

247

Samsung R95H

HDR Filmmaker Mode (10% window)

1977

HDR Filmmaker Mode (Fullscreen)

612

05001,0001,5002,000

nits

HDR Filmmaker Data

Product	HDR Filmmaker Mode (10% window) (nits)	HDR Filmmaker Mode (Fullscreen) (nits)
Sony Bravia 7 II	1114	829
LG C6	1427	247
Samsung R95H	1977	612

Sony Bravia 7 II

HDR Standard Mode (10% window)

1295

HDR Standard Mode (Fullscreen)

788

LG C6

HDR Standard Mode (10% window)

1364

HDR Standard Mode (Fullscreen)

243

Samsung R95H

HDR Standard Mode (10% window)

2066

HDR Standard Mode (Fullscreen)

647

07501,5002,2503,000

nits

HDR Standard Data

Product	HDR Standard Mode (10% window) (nits)	HDR Standard Mode (Fullscreen) (nits)
Sony Bravia 7 II	1295	788
LG C6	1364	243
Samsung R95H	2066	647

Sony Bravia 7 II

SDR Filmmaker Mode (10% window)

90

SDR Filmmaker Mode (Fullscreen)

94

LG C6

SDR Filmmaker Mode (10% window)

333

SDR Filmmaker Mode (Fullscreen)

237

Samsung R95H

SDR Filmmaker Mode (10% window)

115

SDR Filmmaker Mode (Fullscreen)

185

0100200300400

nits

SDR Filmmaker Data

Product	SDR Filmmaker Mode (10% window) (nits)	SDR Filmmaker Mode (Fullscreen) (nits)
Sony Bravia 7 II	90	94
LG C6	333	237
Samsung R95H	115	185

Sony Bravia 7 II

SDR Standard Mode (10% window)

608

SDR Standard Mode (Fullscreen)

476

LG C6

SDR Standard Mode (10% window)

391

SDR Standard Mode (Fullscreen)

234

Samsung R95H

SDR Standard Mode (10% window)

413

SDR Standard Mode (Fullscreen)

187

0200400600800

nits

SDR Standard Data

Product	SDR Standard Mode (10% window) (nits)	SDR Standard Mode (Fullscreen) (nits)
Sony Bravia 7 II	608	476
LG C6	391	234
Samsung R95H	413	187

HDR color gamut

Closer to 100% is better. Taken using a colorimeter and test pattern generator.

Sony Bravia 7 II

UHDA-P3

98.6

BT.2020

89.6

LG C6

UHDA-P3

99.7

BT.2020

75.9

Samsung R95H

UHDA-P3

148

BT.2020

94.1

037.575112.5150

HDR Filmmaker Data

Product	UHDA-P3 ()	BT.2020 ()
Sony Bravia 7 II	98.6	89.6
LG C6	99.7	75.9
Samsung R95H	148	94.1

Picture accuracy

A lower score is better. Taken using a colorimeter and test pattern generator.

SDR Delta-E

Sony Bravia 7 II

6.5

LG C6

1.3

Samsung R95H

3.7

01234567

SDR Delta-E Data

Product	Value
Sony Bravia 7 II	6.5
LG C6	1.3
Samsung R95H	3.7

Input lag

Lower is better. Taken using a Leo Bodnar 4K HDMI Video Signal Lag Tester.

Sony Bravia 7 II

4K 60Hz

10.4

1080p 120Hz

5.7

LG C6

4K 60Hz

9.2

1080p 120Hz

4.7

Samsung R95H

4K 60Hz

11.7

1080p 120Hz

9.4

03.757.511.2515

ms

HDR Filmmaker Data

Product	4K 60Hz (ms)	1080p 120Hz (ms)
Sony Bravia 7 II	10.4	5.7
LG C6	9.2	4.7
Samsung R95H	11.7	9.4

Sony Bravia 7 II review: Features

• RGB mini-LED panel
• XR Processor
• Perfect for PS5 features

The Bravia 7 II is one of Sony’s True RGB TVs and features an RGB mini-LED backlight. This introduces red, green and blue LEDs instead of the normal white you’ll find in a standard LED/mini-LED panel for greater color volume and (generally) higher brightness. Along with the RGB backlight, there are numerous named RGB features, including RGB Backlight Master Drive Pro and RGB Triluminous Max

The Bravia 7 II is equipped with Sony’s own XR Processor, which supports picture features such as XR Clear Image (for better motion clarity), XR Motion Clarity (for smoother motion) and XR Contrast Booster (for enhanced contrast).

Dolby Vision HDR is supported but not HDR10+ (which isn’t unusual for Sony). There's also support for IMAX Enhanced content.

The Bravia 7 II supports an X-Wide Angle Pro feature for better viewing angles, something RGB TVs from most brands say is one of the advantages of the new technology, as standard mini-LED, when viewed from an angle, can often result in backlight blooming.

As for audio, the 65-, 75- and 85-inch models have a 40W speaker system consisting of two full-range speakers and two subwoofers. The 50- and 55-inch models use two full-range speakers and two tweeters. The Bravia 7 II supports AI Voice upscaling and room calibration audio features, and both Dolby Atmos and DTS:X (as well as DTS-HD) audio formats.

For gaming, the Bravia 7 II has two HDMI 2.1 ports that support 4K 120Hz, ALLM and VRR gaming. The other two ports are standard HDMI 2.0. There are also Perfect for PS5 features, including Auto HDR Tone Mapping, Auto Genre Picture Mode (where the TV will automatically switch to game picture mode when a PS5 is detected), and support for the PS Remote Play app, where you can control your PS5, PS5 Pro or PS4 from another location via the TV.

The Bravia 7 II uses Google TV as its smart TV platform and supports the usual streaming apps such as Netflix and Prime Video, as well as Sony’s own Bravia Pictures Core streaming service. In the UK, there is support for BBC iPlayer, ITVX, Channel 4 and Channel 5 streaming apps. In the US, the Bravia 7 II features an ATSC 3.0 tuner.

• Features score: 4.5/5

Sony Bravia 7 II review: Picture quality

• Brilliant color reproduction
• Excellent contrast
• Blooming when viewed off-center

Starting with brightness measurements, the 65-inch Bravia 7 II registered 1,114 nits peak HDR brightness in its Professional picture mode (its equivalent to Filmmaker), 1,295 nits in Standard mode, and 1,163 nits in Cinema mode. This makes it one of the dimmer RGB TVs I’ve tested out of the box, with the Hisense UR8 hitting 2,097 nits and the Samsung R95H hitting 1,977 nits, both in HDR Filmmaker Mode.

As for HDR fullscreen brightness, the Bravia 7 II registered 829 nits in Professional mode, a solid number that beats both the UR8, which hit 771 nits, and the R95H, which hit 612 nits: again, both in Filmmaker Mode.

The Bravia 7 II also registered promising peak SDR brightness in Standard mode, hitting 608 nits, and in Cinema mode, hitting 663 nits, making it a good TV for standard daytime and broadcast TV and other non-HDR sources.

One of the first things I noted about the Bravia 7 II while testing it in our lab is that it has a reflective screen. Any dark scenes viewed in bright lighting showed mirror-like reflections on the screen, especially when there was a lot of black. If you’re watching a darker movie or TV show, it’s definitely worth watching in ambient conditions.

Moving to 4K, HDR content, the Bravia showcases excellent color reproduction: some of the best I’ve seen on an RGB TV so far. Watching The Super Mario Galaxy Movie, colors really pop on-screen with superb vibrancy. As the Lumas all gather in the room for story time, the Lumas themselves are vibrant, showing off the Bravia 7 II’s fantastic color volume. Other bright colors throughout the movie, such as the green of Yoshi’s skin, are bold and rich, too.

In a real-world movie, namely Speed Racer, the Bravia 7 II renders the gaudy interior of the Racer home and their outfits with real accuracy and some impressive clarity. The purple of Royalton Industries is another highlight, where the Bravia 7 II shows excellent highlights and great color luminance.

It’s not surprising the Bravia 7 II delivered brilliant colors as it scored highly in the HDR color gamut coverage tests. It registered 87.7% of the BT.2020 color space and 99.2% of the UHDA-P3 color space: both excellent results that are up there with QD-OLED TVs. While other RGB TVs I’ve tested have broken the scale of the UHDA-P3 coverage, with both the Hisense UR8 and Samsung R95H hitting over 145%, this didn’t stop the Bravia 7 II colors from looking fantastic. In fact, in my Bravia 7 II vs R95H comparison, I often preferred the Bravia 7 II’s color profile. It even gave the C6 a run for its money in my LG C6 vs Bravia 7 II comparison.

The Bravia 7 II’s contrast is strong. In The Batman, the dark walls and floors of the Batcave balance well with the bright tones from the overhead lights and monitors Bruce uses when reviewing video footage. There’s also great shadow detail, where textures such as the back wall of a subway platform Batman stands on are legible while still maintaining rich dark tones.

In Dark City, blacks are deep and inky, and again there’s powerful contrast at work. I did notice some occasional black crush in some scenes. When John is talking to the hotel clerk, the texture of his curly hair isn’t as clear, but black tones are still rich. In my Bravia 7 II vs Samsung R95H comparison, the R95H proved to have better black detail in this scene.

The Bravia 7 II showed superb detail and crisp textures throughout my testing. In footage of a snow-covered deer from the Spears & Munsil UHD Benchmark 4K Blu-ray, the deer has a near-3D-like look, showing some nice depth that really made the image come to life. This is true in other reference scenes I used too, such as how people look in Speed Racer. Skin looks lifelike, and other textures, like the detail of the Mach 5 car, were delivered with gorgeous clarity.

It also demonstrates excellent motion handling, even with motion settings turned off. As cars glided around the track in the opening race of Speed Racer, there were very minimal signs of judder or blur. The Bravia 7 even effectively handled the commentators moving across the screen, something I’ve seen produce serious judder on other TVs.

While I did find that viewing angles of the Bravia 7 II were better than a standard mini-LED, I noted that when viewed from an extreme angle, some backlight blooming was visible, especially in dark scenes. As white text appears against a black background, there's a halo effect around the writing. This is an area where OLED, which RGB aims to rival, is still superior, as OLED has self-dimming pixels for better control. However, the Bravia 7 II did mostly deliver very good backlight control when viewed head-on.

• Picture quality score: 4.5/5

Sony Bravia 7 II review: Sound quality

• Good dynamics and detail
• Effective Acoustic Room Calibration
• Sound can still feel contained to screen

The 65-inch Bravia 7 II has a 40W speaker system, consisting of two full-range speakers and two subwoofers. Rather than the conventional sound modes of other TVs, it focuses on a much more manual approach, with an equalizer and processing settings for users to experiment with.

During the opening race of Speed Racer, the Bravia 7 II delivered accurate sound with clear dynamics. As cars swerved around the track, the sound was accurately mapped to the picture on screen. In one section, as Speed grinds his car on a rail, the subtle grinding noise was audible amongst the chaos of the race. There was some solid, punchy bass capturing the sound of the engines, but I couldn’t help but feel it lacked the ‘oomph’ I’ve come to expect from Sony’s TVs.

Activating Acoustic Room Calibration added some much-needed edge to the sound. The soundstage widened, creating a more immersive sound, and bass was heftier, rendering the roar of the engines more accurately. Voices were clear with and without the calibration, but they were clearer with the calibration active. Atmos effects such as cars flying overhead as they cleared the track’s jumps were also more audible.

Still, the sound could be harsh at times, especially when in the ‘compressed’ dynamic range. I opted for ‘standard’ for a quieter, warmer sound profile. The sound again felt artificial at times, and still felt contained to the rear of the TV. While the overall sound is decent, it won’t beat a good soundbar.

• Sound quality score: 4/5

Sony Bravia 7 II review: Design

• ‘Invisible’ stand
• Hefty build
• Bulkier than rivals

The Bravia 7 II has a central pedestal stand. Made of tough, sturdy metal, the Bravia 7 II feels secure on a tabletop stand, and against the right background (I use a dark-wood stand), the stand can blend in to create a more ‘floating’ look.

The Bravia 7 II itself is on the weightier side, mainly due to its bulkier frame. Compared to many other TVs in today’s market, the Bravia 7 II is much deeper and thicker, probably to handle its built-in speakers. The TV's bezel is trim, allowing plenty of room for the pictures on screen.

There are two remotes included with the Bravia 7 II (one mainly for UK users, as it has numbered buttons), but the main one is the Bravia Voice Remote. The button layout is functional and easy enough to understand, but it feels on the cheap side, being made of light plastic. For a TV at this price, I’d have liked a more premium remote.

• Design score: 4/5

Sony Bravia 7 II review: Smart TV & menus

• Google TV
• Good number of settings
• Ads and performance can frustrate

Like most Sony TVs, the Bravia 7 II uses Google TV as its smart TV platform. Once logged in with your Google account, there will be recommendations from various apps based on your viewing history, which is useful for finding new content. However, the home page is beset with large banner ads that sometimes fill half the screen, which can be very distracting. Google TV supports all major streaming apps, including UK-based platforms such as BBC iPlayer and ITVX.

In terms of settings, the Bravia 7 II has plenty of picture settings and modes for users to get stuck into. There are tons of ways to customize picture settings, with AI-based tools and more traditional brightness, color, contrast and motion settings. The aforementioned sound settings (in the Sound Quality section) also allow for some freedom, but can be daunting for those looking for easy set-up.

I did find that while navigating through some apps and menus, the Bravia 7 II’s performance could stutter at times. This was also true when using the UB-820 4K Blu-ray player, with some stutters here and there. Performance for the most part was solid; just not as slick as on LG’s TVs, say.

• Smart TV & menus score: 4/5

Sony Bravia 7 II review: Gaming

• 10.4ms input lag time
• 4K 120Hz and VRR supported
• Only two HDMI 2.1 ports

The Bravia 7 II supports 4K 120Hz, VRR, Dolby Vision gaming and ALLM, featured on two HDMI 2.1 ports. Using a Leo Bodnar 4K HDMI Input Lag Tester, I measured the Bravia 7 II’s input lag at 10.4ms at 4K 60Hz, which is a big improvement over other Sony TVs we’ve tested at TechRadar, such as the Bravia 8 II OLED, which clocked in at 16.3ms (4K 60Hz). The Bravia 7 II also registered 5.7ms at 1080p 120Hz: a solid time compared to other TVs I’ve tested this year.

These strong input lag times translate to actual gaming. Playing Battlefield V on Xbox Series X, the Bravia 7 II demonstrated responsive performance, which felt smooth even during chaotic battle sequences with a lot of free-flowing movement. Locking onto targets felt snappy with almost no signs of judder.

The Bravia 7 II’s picture quality while gaming was strong for the most part, showing excellent detail with 3D-like textures, as well as bold brightness, rich contrast and punchy colors. I did notice that during faster-paced moments, a dirt screen effect could occur, where textures became a bit muddied, but this didn’t happen all the time.

• Gaming score: 4.5/5

Sony Bravia 7 II review: Value

• Solid value
• Very good performance and features
• Similar price bracket to LG OLED C6

The Bravia 7 II is a mid-range model, and while its 65-inch model, which currently costs $1,799 / £1,899 / AU$3,295, is a premium price tag for this price bracket, it performs well for the money, giving both the LG C6 and Samsung R95H (Samsung’s flagship RGB TV) a run for their money when I tested them side-by-side: and it’s cheaper than both.

The Bravia 7 II’s closest OLED competitor is the LG C6, which costs $1,799 / £2,099 / AU$3,295 for a 65-inch, meaning it’s the same price in both the US and Australia. While the Bravia 7 II doesn’t quite top the C6 in terms of value for money, as it's missing some features, like four HDMI 2.1 ports, which the C6 has, the Bravia 7 II is good overall value for money in the new RGB world.

• Value score: 4/5

Should I buy the Sony Bravia 7 II?

Buy it if...

Don't buy it if...

Also Consider

How I tested the Sony Bravia 7 II