Bose has something of a storied history when it comes to active noise cancelling headphones. Back in 1989, the company became one of the first to commercialise noise-cancelling headphone technology after its founder allegedly developed a mid-flight gripe with the noise of an aeroplane’s engine.

As such, Bose kicked things off with noise-cancelling headphones designed for pilots. It wasn’t until the year 2000, with the dawn of the QuietComfort series, that the technology made its way into the consumer market on terra firma.

The current flagship model from the series, the QuietComfort Ultra Headphones (2nd Gen) were awarded four stars by our review team for a smart folding design, superb noise cancellation and effective spatial audio. The headphones missed out on a fifth star, beaten by sterner competition with better sound quality and battery life.

We now have the updated standard over-ear models, the QuietComfort Headphones (2nd Gen), in for testing. Can these deliver a more appealing performance at a more appealing price?

Price

The Bose QuietComfort Headphones (2nd Gen) are priced at £300 / $359 / AU$550, sitting under the flagship Ultra (2nd Gen) model that originally cost a more premium £450 / $450 / AU$700. Having been on the market a while longer, we have seen the Ultra (2nd Gen)’s price drop to around £320 / $399 / AU$494, which puts some pressure on the performance of the new standard model.

Turning up the heat yet further, the headphones’ closest price rival outside of the Bose family are the five-star Sennheiser Momentum 5 Wireless (£330 / $400 / AU$750), which we praised for their “comfortable design”, “impressive battery life” and “refined presentation”. At a slightly lower price point, Sony has also recently introduced the WH-1000XM4C, a reborn version of the Award-winning original WH-1000XM4, which have just gone on sale for £219 / $300 / AU$450.

These formidable rivals mean the QuietComfort headphones (2nd Gen) have their work cut out for them, if they wish to stand out from the crowd.

Build & comfort

There is good sense behind making a pair of wireless headphones light and compact. Whether they are being chucked into a tote-bag, worn around your neck, or packed into a rammed suitcase, generally the smaller and lighter a pair of headphones can be, the better. In this area, the Bose QuietComfort Headphones (2nd Gen) excel, weighing just 230g in a neat, foldable design.

They are a comfortable pair of over-ear headphones to wear, with soft pleather lining the headband and earcups. Across our test team, we found these headphones fitted firmly, without becoming constrictive, even on the very largest and smallest of What Hi-Fi? reviewers’ heads.

Additionally, the earcups are satisfyingly roomy and make our ears feel nicely isolated from the outside world. The sloped interior of the earcup means our ears don’t rub up against the internal grille, as we find happens with the Sennheiser Momentum 5 Wireless.

These headphones feel breathable compared to rivals, and we find that even on a hot summer’s day, we are quite comfortable wearing them for extended listening sessions.

Our test pair arrive in the Dewdrop Mint finish, with a satisfyingly colour-coordinated headband and earpads. But if a minty-fresh look isn’t your thing, there are four other finishes available: Black, White Smoke, Rosewood Mauve and Eucalyptus Green.

By price standards these wireless headphones look a little basic, and lack the visual flair of rivals like the Sennheiser Momentum 5 Wireless. Details such as the Sennheisers’ fabric headband and metallic badges go a long way to give an impression of luxury, which is something that these Bose headphones lack.

Unlike the Ultra Headphones (2nd Gen), the standard model doesn’t feature capacitive touch controls, but we enjoy the simplicity of the built-in buttons, as well as the fact that we don’t accidentally end up skipping songs while brushing our hair out of the way or readjusting the headphones.

The right earcup features three buttons: a central button for playback and call controls, flanked by buttons for increasing and decreasing the volume.

The left earcup has a button for controlling Bluetooth as well as a ‘shortcut’ button, which can be assigned to cycle through immersive modes, access voice assistant (on compatible devices) or control Spotify via the Bose control app. Buttons are responsive and easy to find, so after a while, we find ourselves using the controls instinctively.

The right earcup also has a USB-C input for charging and wired audio playback (up to 24-bit/48kHz), alongside a small LED indicator showing Bluetooth, charging, and battery status.

It is worth noting that because the USB-C connection is slightly inset on the side of the earcup, larger-fingered members of our review team find the provided USB-C cable somewhat challenging to unplug.

In terms of battery life, the QuietComfort Headphones (2nd Gen) can run for 24 hours with ANC enabled – less than half the 57-hour battery life of the Sennheiser Momentum 5 Wireless. Switching on the QuietComfort’s immersive modes will reduce their runtime further to 18 hours. After which, a full charge will take three hours.

While 24 hours of battery life isn’t an insignificant figure, it is clear now that Bose lags well behind the best of the competition.

Features

The QuietComfort Headphones (2nd Gen) support Bluetooth 5.4 for standard AAC and SBC codecs, as well as Bluetooth Low Energy, which uses significantly less power than regular Bluetooth for short-range connectivity.

At this price, we are a little disappointed to find that Bose hasn’t included support for hi-res codecs such as aptX HD or aptX Adaptive.

Bluetooth multipoint connectivity is supported, alongside Google Fast Pair for Android users, and we find that connecting to devices and switching between them is a breeze thanks to the Bose app.

What’s more, our connection to our smartphone remains stable throughout testing, and we experience no dropouts, even when passing through busy areas such as train stations and shopping centres.

Bose’s immersive audio settings have by now become something of a hallmark of the more up-to-date QuietComfort Headphones, offering access to the company’s take on spatial audio.

There are three immersive audio settings – ‘Still’, ‘Motion’ and ‘Cinema’ modes – that can be explored via the Bose control app.

‘Still’ and ‘Cinema’ fix audio in place, keeping your music in position even as you move your head (‘Cinema’ provides an extra boost for voices, clarifying dialogue in dense film soundscapes), while ‘Motion’ lets your music move with you, tracking head motions and reconfiguring the stereo field accordingly.

We find that ‘Still’ mode works well, adding a sense of depth to our music, despite a slightly more processed sound. ‘Motion’ mode, on the other hand, becomes distracting due to a slightly laggy response to movement, causing us to feel disorientated while listening to music on the go.

We end up switching all immersive modes off, as they ultimately distract us from enjoying our music.

Through the Bose app, which is intuitively laid out and easy to use, you can also create and save your own personalised ‘modes’, with modifiable features including the amount of ANC, enabling/disabling wind blocking and immersive settings.

A three-band equaliser is also accessible within the app, with +/- 10 points of treble, mid and bass control. The range of adjustment is subtle, but large enough to be practically useful. Even at the equaliser’s upper bounds, we find that tonal changes avoid becoming unpleasantly extreme.

ANC & call quality

Between the first and second generation of QuietComfort Headphones, Bose says it has made subtle active noise cancellation improvements, as well as including the option for ANC to be switched off.

With ANC switched on, users have access to two settings: ‘Quiet’ and ‘Aware’.

‘Quiet’ is the fully-fledged noise-cancelling option. Using a six-microphone array to detect and cancel unwanted external sound, the Bose do a sterling job, effectively countering the low-frequency rumble of trains, as well as the hubbub of traffic and ambient chatter.

Even in a bustling city centre, music takes centre stage, and podcasts, too, are delivered with only minimal interruption from the most shrill of nearby voices.

The engineers claim to have made improvements to the headphones’ noise-cancelling array in order to compensate for gaps in the earcup’s seal when wearing glasses. Bespectacled members of the What Hi-Fi? review team agree that the ANC remains highly effective with glasses on, and we notice no discernible difference in performance with or without glasses.

If the heavy hand of ‘Quiet’ mode isn’t your cup of tea, selecting ‘Noise Control’ lets you toggle how much ANC you want to apply. We find that dialling the noise cancellation back alleviates the suction-cup feeling that Bose’s intense noise-cancelling processing can cause.

The headphones’ ‘Aware’ mode does what it says on the tin, letting external sounds in, so you can remain aware of your surroundings. Nonetheless, Bose has taken pains to ensure that sudden environmental sounds won’t deafen us using their ActiveSense technology, which allows the ANC to kick in automatically to soften sharp spikes in ambient noise.

We find that the setting works well, and even the slam of a car door doesn’t overpower our music. Compared to the Momentum 5 Wireless’ version of Aware mode, the Bose headphones let more sound in, keeping us well aware of the wider world.

Testing the QuietComfort Headphones’ call quality, we find that the built-in microphones do an excellent job of filtering out environmental noise and wind sounds, even while standing near to a busy main road.

Compared with the Sennheiser Momentum 5 Wireless, which deliver voices with a more full-bodied, natural sound, the Bose leave our voices sounding somewhat tinny on the other end of the line. But despite the slight tonal imbalance, our voices remain clear and comprehensible.

Sound

Like the premium QuietComfort Ultra Headphones (2nd Gen), these wireless headphones sound a little uptight right out of the box. But given some time to warm up, they offer a smooth and well-balanced sound. Indeed, the QuietComfort Headphones (2nd Gen) handle even the very most extreme test tracks in our Tidal music library with a cool, mature hand.

We begin testing with Geese’s 100 Horses and find that overdriven bass and shambling drums are rendered with pleasing low-frequency weight, richness and a good degree of texture. Guitar parts and percussion, meanwhile, are appropriately detailed and capable of sparkle without overwhelming the sonic balance.

Further into the song, when Cameron Winter’s vocal harmonies fill the soundfield, the QuietComfort Headphones (2nd Gen) showcase their tightly controlled but nonetheless expressive midrange, and we feel every last drop of emotion in Winter’s warbling tone.

We know that these headphones will be used wirelessly most of the time, but we enjoy the uplift in dynamics and clarity that comes with using a wired connection to our source device.

These headphones also provide pleasing separation between instruments. In the dense, funky arrangement of Superman's Big Sister by Ian Dury & The Blockheads, Wilko Johnson’s jagged rhythm guitar remains sharply defined against a busy backdrop of saxophones, slapped bass and orchestral strings, which all occupy their respective places with clear-cut authority.

We feel that the QuietComfort Headphones (2nd Gen) could provide a greater degree of dynamic subtlety and nuance. Listening to Mahler’s Symphony No. 9 in D Major, large jumps in volume are convincingly rendered and arrive with impact, but the composition’s finer dynamic details feel less explicit than we would expect at this price.

In terms of rhythmic drive, we feel that the QuietComfort Headphones (2nd Gen) could do a little more, too, with a performance that is somewhat less propulsive and energetic than price competitors. In a piece such as 100 Horses, which should carry you along with its rhythm, we find ourselves feeling somewhat left behind.

Verdict

Bose has tackled its second generation of QuietComfort Headphones with an ambitious attitude that sees features of the flagship Ultra model trickle down to the standard model. In terms of functionality, this approach has expanded the QuietComfort Headphones' horizon, with a truly impressive feature set for the price.

Despite missing out on a class-leading sonic performance, these wireless headphones are nonetheless capable and articulate. Paired with their ergonomic, foldable design, they are worthy of consideration for music fans on the move.

SCORES

• Sound 4
• Build 4
• Features 4

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Technics has today announced a new direct-drive DJ turntable, the SL-1210MKX, which the company says was “developed with direct input from working DJs and sound engineers to deliver greater stability, enhanced pitch precision and expanded creative freedom”.

According to the Technics, the new model is positioned above the SL-1210MK7 as the latest evolution of its iconic SL-1200 series.

The turntable has been designed specifically to address the challenges DJs face “in high pressure performance settings where powerful sound systems, deep bass, structural vibration and extended operating periods place exceptional demands on equipment.”

To confront these challenges, the SL-1210MKX features a “significantly heavier, optimally balanced chassis”, which Technics claims improves resistance to external vibration, while the turntable’s isolation feet have been re-engineered to balance “effective feedback isolation with the stability required for confident scratching and performance use.”

In a first for the SL-1200 Series, the SL-1210MKX features a ±4% pitch modulation range, allowing users a finer degree of adjustment for “accurate beatmatching and subtle tempo correction”. Alongside standard pitch settings, there is also a ±50% range, which expands the series’ tempo variation options.

Other developments include a quieter reset switch, which Technics says was inspired by earlier SL-1200 models, and a coreless direct-drive motor with adjustable start-up torque and brake speed, 78rpm playback and reverse functionality.

Emphasising the model’s “premium character”, a polished silver tonearm and a black finish pay tribute to the SL-1200MK2, a staple turntable in DJ history.

According to Stefanie Baron, manager Technics DJ channel Europe, Panasonic Consumer Europe (PCEU): “The SL-1200 Series has earned its reputation through decades of real-world performance in clubs, on stage and in studios around the world. With the SL-1210MKX, we wanted to build on that legacy by working closely with professional DJs and sound technicians to better understand the challenges they face. The result is a turntable that delivers even greater stability, precision and creative freedom while staying true to the qualities that have made the SL-1200 an industry standard for more than five decades.”

The SL-1210MKX will be available from January 2027 for £1299 (we will add US pricing once we get it). At this price, the turntable comes up against the slightly cheaper, What Hi-Fi? Award-winning Rega Planar 3 RS Edition, which is currently available for around £1099 / $1,795. We can’t wait to see how these turntables compare.

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Nagra has announced the latest addition to its Series II range, the Nagra Amp II-S.

Following the arrival of the Preamp II-S earlier this year, the Swiss brand’s new stereo amplifier aims for outstanding “musical coherence, transparency and refinement”. Although conceived as the natural partner to the Preamp II-S, Nagra bills the Amp II-S as equally at home in a wide variety of high-end setups.

At its heart is a new linear power-supply, built around a custom-made 800 VA potted transformer. Thanks to the greater energy reserves and increased voltage headroom, Nagra promises its latest amp reproduces “demanding musical passages with greater ease and authority”.

The new model delivers 120 watts of Class A/B power per channel into 8 ohms, with the first 10 watts operating as purely Class A.

The amp’s input board derives from Nagra’s high-end Reference Amp, aiming for improved channel separation and spatial precision. Revised circuit layouts, internal wiring, and isolated controls work together to improve overall transparency and clarity.

The high-end amplifier’s mechanical construction includes a massive CNC-machined heatsink for providing “exceptional thermal inertia” while minimising vibrations, whereas a specially designed transformer suspension also reduces the transmission of unwanted mechanical oscillation.

The Amp II-S sports Nagra’s established front-panel ‘Modulometer’, a precise analogue audio level meter inspired by the company’s IV-S reel-to-reel recorder from 1971.

The Nagra Amp II-S is available to order now, priced at £21,998 (further prices pending).

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I’ve been very open about my love for the Sony Bravia 8 II – some might say nauseatingly so – having done the modern equivalent of shouting it from the rooftops by writing about it on the internet time and time again.

When it launched last year, the Bravia 8 II didn’t so much beat its very accomplished competition; it smashed it, leaving the likes of the LG G5, Panasonic Z95B and Samsung S95F sobbing and nursing their wounds.

Rightfully, it romped to victory in the 2025 What Hi-Fi? Awards, taking the Product Of The Year gong in the TV category.

It’s testament to Sony’s achievements with the Bravia 8 II that even this year, it is still very nearly the best TV available.

Wave after wave of new rivals have appeared, both OLEDs and fancy RGB Mini LED sets, and the Bravia 8 II has stood firm, batting each back while barely breaking a sweat.

With one exception: the Samsung S99H.

Yes, the only TV that we, as a team, and I personally rate higher than the Bravia 8 II is Samsung’s flagship QD-OLED. And, I’ll confess, it isn’t the TV I expected to topple the mighty Sony.

There’s no such thing as perfection

So, the S99H (known as the S95H in most regions outside the UK, where the S95H is an entirely different model) is now perched atop our list of the best TVs, but it isn’t without its controversies.

The most obvious is its wide metal bezel, onto which the main panel is mounted to look as if it’s floating.

It’s a striking design that looks stunning when the TV is wall-mounted, but weird and incongruous when it’s plonked on a TV stand with the (let’s face it, unforgivably cheap-looking) bundled feet attached.

Samsung has done away with the excellent One Connect box of its previous OLED flagships, too. Which means that, rather than having a separate device through which all connections (and power) are routed, leaving just one cable running to the display, the S99H has a typical collection of ins and outs on its rear.

Given that the design encourages wall mounting, that’s a bit of a shame. Yes, the S99H is compatible with Samsung’s new Wireless One Connect Box, but this is an expensive optional extra that is far from widely available (I currently can’t find a single UK retailer that’s selling it).

The final fly in the ointment is a lack of Dolby Vision support. I realise this is nothing new for Samsung TVs, but it remains a major annoyance. Samsung’s own HDR10+ is all well and good from a dynamic metadata point of view, but it doesn’t marry that to ‘as the director’ picture tuning with a single preset in the way that Dolby Vision does when it’s done right.

Even better than the best where it matters

Those flaws, though, pale into insignificance in the face of everything the Samsung S99H gets right.

Picture quality is, of course, the most important factor to any TV. And the S99H is the only TV that has got the better of the Bravia 8 II in this regard.

It very much feels as though Samsung has looked at what makes the Bravia 8 II so good and found a way to beat it at its own game. So, while the S99H has a newer, significantly brighter QD-OLED panel than the Bravia 8 II, Samsung has combined that with the most subtle and cinematically authentic tuning that we have yet seen from the brand.

In other words, this is a TV that is capable of dazzling to an almost unprecedented level, that pairs perfect blacks with the sort of brightness usually associated with a top-end Mini LED model; but put it into its Filmmaker Mode and it will also deliver your movies and TV shows in the manner the director intended.

One area in which the Bravia 8 II was always head and shoulders above its rivals was solidity and three-dimensional depth. The S99H is a match for it here as well. This is an image with a great sense of scale and immersion, without any sense of over-sharpening.

There really is no way in which the S99H’s picture is anything other than excellent, regardless of what it is you look for in a TV. And it has a feature set to match.

The HDMI sockets might be mounted to the rear of the TV, but they are all full-fat HDMI 2.1 affairs (the Bravia 8 II has just two of these) capable of handling 4K/165Hz signals (the Bravia 8 II tops out at 4K/120Hz), VRR and ALLM.

And yes, if you can find one, the Wireless One Connect box can add even more HDMI 2.1 sockets, should you need them.

Pair that specification with the actual gaming performance, which is exemplary, and this really is a gamer’s delight of a TV.

Tizen is rapidly returning to the top of the smart TV platform charts, too, regaining some of the usability it lost in a redesign a few years ago while offering one of the most comprehensive app selections you will find on any TV.

All of those apps are really well optimised, too, delivering all of the resolutions and dynamic range formats they should (Dolby Vision notwithstanding).

The S99H even sounds good by TV standards. Yes, it would still be close to criminal not to pair a TV this good with a dedicated sound system, but if you really must use the integrated speakers, they are at least decent – albeit not quite to the level of the Bravia 8 II’s Acoustic Surface Audio+ setup.

All hail the new flagship TV king

All of which is to say that the Samsung S99H is a magnificent TV. It’s the one model that has finally bested the Bravia 8 II in our testing, and the only TV I would seriously consider swapping my own Sony for.

Given how much I’ve raved about the Bravia 8 II over the past year, that’s about as strong an endorsement as I can give.

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Watch Bayern Munich vs Arsenal live streams

Bayern Munich vs Arsenal sees the Bundesliga and Premier League champions serve up a fascinating clash of styles. Bayern's front three are the envy of most of Europe, but Michael Olise is suspended, while the Gunners are the lowest-scoring side in the automatic qualification spots, but they're also the only team yet to concede in the 2026/27 Champions League.

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Watch Bayern Munich vs Arsenal live streams in the UK

The Bayern Munich vs Arsenal game is being shown on TNT Sports 1 in the UK.

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Fans travelling abroad can access their preferred UCL stream by using NordVPN.

Bayern Munich vs Arsenal: Need to know

What is the Bayern Munich vs Arsenal head-to-head?

Bayern Munich have won eight of their 15 previous encounters with Arsenal. The Gunners have won four, and the other three ended in draws.

Bayern Munich vs Arsenal: Predicted XIs

Bayern Munich predicted XI (4-2-3-1): Neuer; Laimer, Upamecano, Tah, Davies; Kimmich, Pavlović; Karl, Saibari, Luis Díaz; Kane

Arsenal predicted XI (4-2-3-1): Raya; Timber, Konsa, Gabriel, Calafiori; Rice, Lewis-Skelly; Saka, Ødegaard, Madueke; Havertz

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Esoteric has launched its latest high-end CD player, the Grandioso K1XE, alongside the Grandioso PS1 XE, an optional external power supply.

Touted as the brand’s flagship ‘Super Audio CD player’, the K1XE features a premium suite of Esoteric’s high-end technologies and materials, all designed to push towards “the pinnacle of all-in-one CD and DAC performance”.

The flagship player incorporates Esoteric’s in-house ‘VRDS-ATLAS’ transport mechanism, featuring an exceptionally rigid, heavyweight platform engineered for outstanding mechanical precision.

The K1XE is also fitted with a Master Sound Discrete DAC G2, designed in-house, deploying a fully dual-mono configuration and discrete components in pursuit of boundary-pushing performance.

The flagship model is built using a multi-layer chassis, designed to prevent interference between circuit components in pursuit of greater sonic purity. A semi-floating top panel – a design signature found across many of Esoteric’s high-end amps, including the five-star F-01 – aids a more open presentation.

For physical connections, you are furnished with USB, XLR, and optical outputs, as well as an ‘ES-Link 5’ input for granting a connection to Esoteric’s Grandioso N1T streaming transport.

Complementing the K1XE as an optional addition is the PS1XE power supply. This is designed to enhance the performance of the Master Sound Discrete DAC G2 via its four independently aligned power transformers and optimised filter circuits.

Like its CD player companion, the new model also boasts a multi-layer chassis and a semi-floating top panel, as well as advanced isolation feet for reducing resonances and enhancing sonic clarity.

The Esoteric Grandioso K1XE and PS1XE will be available in November 2026. The K1XE will cost £37,999 / $45,000, while the PS1XE will set you back an additional £16,500 / $19,000.

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It has been a tough time for Spotify users. Prices have risen significantly, AI ‘artists’ abound, and extraneous features have received a mixed reception from the fanbase.

Now, Spotify has quietly announced that it is rolling out a new way of clamping down on Family plan sharing, aiming to make it far trickier for members to share their accounts with users who aren’t actually living under the same roof. No more farming out access to your mate who lives in a different country, then.

As you’ll find on Spotify’s support page, Family plan members may need to “verify they live with the plan manager by scanning a QR code. The code appears on the plan manager’s device and is scannable following a pop-up on the device of the member wishing to be added.”

A foolproof method, then. Well, unless you use video calling to scan the code via, say, FaceTime, but given that it is designed to change every few seconds, that could throw a spanner in the works.

Spotify is playing hardball with its implementation, too. Users have a seven-day window between when the QR code prompt first appears to complete the process, and if you miss that window, you won’t be able to join a different Family or Duo plan for 12 months. You can still sign up for an Individual plan, because hey, business is business.

We imagine that this is the way that the wind is blowing for most major streaming subscriptions, be they audio or visual.

Netflix’s recent crackdown restricted account sharing to members living under the same roof, and with services (supposedly) facing rising operating costs, don’t be surprised to see them use every trick in the book to claw back as much revenue as possible.

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“It’s not our job to fix a bad recording” – Goldmund’s brutal pursuit of honest sound, according to its head of acoustics

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What is perfect sound? It’s a question that has haunted many an audio brand.

Some brands like to argue they get a unique “good” sonic signature from their hardware. One that – like when I hear anything that King’s X guitarist Ty Tabor plays – any fan can identify after one note.

Others take a more clinical approach, arguing that, in the strictest audiophile terms, it’s about accuracy and being as true to the recording as possible.

And some play sonic Switzerland. They stay neutral, arguing that “it’s all about enjoying the music”. So each camp is technically right as long as they’re having fun.

Which is why, continuing the Swiss theme, when I got the chance to visit high-end powerhouse Goldmund’s Geneva factory, I couldn’t resist the urge to quiz Dr Véronique Adam, its long-standing head of acoustic research and development, on the topic.

And her answer is simple.

It's all about being honest

“We try, always, to be as transparent as possible,” she says.

This might not sound controversial, but Adam admits it can be problematic when listening to older or poorly recorded tracks:

“Modern tracks recorded at the highest level are better. But many of our customers listen to older recordings, and that can be a problem for us – because their reference and standard is completely different.

“New recordings are more clean; it’s just more clear. And sometimes customers tell us ‘okay, I can’t listen to the old recording any more’ – because there’s not enough detail. And that’s because the detail comes from the recording; it belongs to it.

“It’s the same problem with bad movie dubs. If you go to the cinema as a customer and say ‘the translation is not as good as the original’, we [the people making the hardware playing it] cannot do anything. It is what it is.”

She adds that Goldmund believes it would be a bigger wrong to try to hide weaknesses in the recording:

“We are not responsible for the recording, or fixing a bad source,” she says. “We are responsible for accurately reproducing it.”

This, according to Adam, has been the core focus of Goldmund since it was founded.

“I learned a lot with Michel Reverchon [Goldmund’s founder]. I don’t know how many hours we listened together, but it was over a lot of years, with a lot of different genres. He liked the blues and jazz; I like classical. It was a long process and a long way to come, but from it, we know what our reference is, and we make sure it’s based on fact,” she says.

“With the new recordings, things always change. You don’t hear the same types of songs for ever, so you’re always learning; the experience just continues – we’re never at the end. But the most important thing is to be sure that we don’t diverge from the reference we have set.”

She adds that this remains the case with the firm’s latest hardware and will continue in the future as Goldmund continues its quest for sonic perfection and evolution under its newly elected leadership team, which took over the company 18 months ago.

Do you agree with Dr Véronique Adam’s approach? Let us know in the comments below!

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Bluesound has today announced that support for Apple Music will be integrated into its wireless speakers, stereo components and soundbars through a free BluOS software update. Among the company’s compatible products are its Node streamer and Pulse Flex and Pulse Cinema wireless speakers.

The update will also affect compatible BluOS devices from other manufacturers, including NAD Electronics, PSB Speakers, Dali, Cyrus, and Monitor Audio.

The streaming service is the latest to join a host of platforms already available via the BluOS Controller app, including Tidal, Qobuz, Spotify and more. Apple Music support is added to existing support for Apple AirPlay 2, which has been part of the BluOS platform for some time.

Bluesound says the service will grant users access to “over 100 million songs, ad-free”. Aside from music, personalised recommendations, expert-curated playlists, artist-hosted shows and global radio programming can also be accessed via the streaming platform.

To make the most of the update, users will require an Apple Music subscription, which costs £12 / $12 per month at the time of writing. For those already signed up, logging in to Apple Music with the BluOS Controller app will let you access the service on any compatible device.

Apple Music can also be used with BluOS multi-room, allowing users to stream using a single Bluesound device or share music across multiple players throughout the home. Using the multi-room function, rooms and ‘audio zones’ can be grouped together, allowing for a “whole-home music experience” or “something different in each room”.

According to Matt Simmonds, Bluesound’s product manager: “ Bluesound has always been about music discovery and the freedom to enjoy their music their way, in every room they listen in. Adding Apple Music means even more listeners can bring the music they love to their Bluesound system, with the simplicity of the BluOS Controller app and the sound quality Bluesound is known for.”

MORE

Read our full Apple Music review

Plus, our full Bluesound Node review

Stay up to date with our pick of the best music streamers tested by our expert reviewers

When Apple added active noise cancellation to its eartip-less AirPods 4, it worked so well that both new-generation AirPods 5 models have active noise cancelling as standard now.

The new Apple AirPods 5 also promise 50 per cent improved ANC and better sound than before, a new custom EQ, all while retaining a familiar design and many of the features that made these wireless earbuds so popular.

It’s certainly more a case of evolution than completely rehauling a tried-and-tested design, but are the new AirPods 5 still competitive in today’s growing open earbuds market?

Price

As before, there are two AirPods 5 variants, but the delineation between them is now less clear-cut. In the AirPods 4, the pricier model had ANC, the cheaper model didn’t – simple, right?

In the AirPods 5, the differences come down to on-stem volume control, a wireless charging case, and an extra hour of battery life. We’re not sure if these are crucial enough differences for buyers to make a clear choice, and we wonder why Apple didn’t just make a single version of AirPods 5 that had all the complete features.

The base model of the AirPods 5 cost £119 / $129 / AU$219, while the step-up version with the wireless charging case – which is the sample we are reviewing here – is yours for £139 / $149 / AU$249. There’s less of a price gap between the two than in previous generations, and it once again makes us question why Apple felt the need to make two versions. We fully expect the cheaper model to go down in price for the holiday season to make it a more attractive proposition.

On the plus side, the AirPods 5 are less expensive than the previous generation: the ANC model launched at £179 / $179 / AU$299 in 2024, while UK buyers can save a whole tenner on the standard AirPods 4’s original price (£129 / $129 / AU$219).

Build & design

Place the two generations of AirPods side by side, and you’ll find them to be identical in design. The AirPods 5 have the same ‘semi-open’ design as the AirPods 4 so you are aware of your surroundings when wearing them, with no silicone eartips to create an acoustic or ANC seal.

How comfortable and effective the design is proves, as before, to be entirely dependent on the shape of your ears – they either don’t sit securely for some members of the What Hi-Fi? review team, while others found wearing them perfectly comfortable.

Getting the ‘nozzle’ of the buds pointing towards your ear canal at all times without being dislodged is the tricky bit, especially if you want the best sound quality. Apple’s always-on Adaptive EQ aims to keep the sound consistent to account for different ear shapes, although this doesn’t help if the buds don’t stay in your ears.

Those who don’t like the feeling of eartips burrowing in will appreciate the less-intrusive design, though, and the buds are small and lightweight enough to wear for long hours. They also have an improved IP57 rating for water and sweat resistance, which is ideal for those who wear these buds while commuting, running or exercising.

The base model features force-sensitive controls, where you pinch the stems to control music playback, change noise modes and accept calls, while gesture controls – a nod or a shake of the head – can be activated to accept or reject incoming calls.

The pricier AirPods 5 model features all of the above and adds the swipable volume controls from its Pro sibling, meaning you can swipe up and down on the buds’ stems to change volume. As we found with AirPods Pro 2 and Pro 3, it’s swift and intuitive in use.

Both charging cases look identical from the outside: small, pocketable, with a USB-C charging connection. The pricier model (clumsily called AirPods 5 with Wireless Charging Case) has wireless charging capabilities, working with Qi-compatible and Apple Watch chargers, and the case emits a sound to indicate low battery status or when you’re trying to locate it using Find My. The standard model can only be charged with a USB-C cable, which neither model provides in the box.

Features

The AirPods 4 were already so stacked with features we’re not sure how they have space for more, with Apple continuously bringing flagship-level features down to its standard line with every iOS update. The AirPods 5 and Pro 3 models are almost identical in features these days thanks to sharing the same H2 headphone chip, with only the hearing aid, hearing test and heart rate sensors now reserved for the flagship.

The cheaper AirPods 5 model gets the bigger upgrade here, with it now having pretty much the same features as its bigger brothers: with ANC ability comes adaptive audio and transparency modes, the conversation awareness mode that lowers media volume when it detects you’re speaking, and all AirPods running on the H2 chip (the 4, 5 and Pro models) now feature live translation.

The AirPods 5 continue to support personalised spatial audio with dynamic head tracking and other iOS-centric features such as easy switching between connected iOS devices and compatibility with the updated Siri AI. These are all useful to varying degrees and work as well as expected.

We would recommend downloading the latest version of iOS 27 when using the AirPods 5 for the best performance, as we initially found a few instances of lag in our review sample. We’re talking mere milliseconds here, but it’s noticeable when we’re used to a seamless, intuitive feedback with Apple products – although these issues ironed themselves out after the software update.

The iOS 27 update also brings with it a more orderly AirPods settings interface, adjustable adaptive audio, and a three-band custom EQ. Available in the Audio & Routing section in the AirPods’ settings, you can adjust the low, mid and high frequencies to customise the sound when music is playing.

The adjustments are subtle, and it’s a nice feature to have, but you can’t save multiple presets; alternatively, you can simply leave it on Apple’s recommended default EQ.

The most disappointing part of the AirPods 5 experience is battery life. The AirPods 5 with Wireless Charging Case offer just five hours on a single charge, with 22 hours in total with the charging case. It’s worse on the base AirPods 5 model, with a measly four hours unchanged from the previous generation.

A five-minute charge in the case does give you an hour, but dipping into the case continuously for extra juice means you’ll be needing to charge the ’Pods more regularly overall. With the AirPods 5’s ANC powers and feature set matching those of traditional premium wireless earbuds, they’re lagging behind the eight hours quoted on the AirPods 3 and Sony WF-1000XM6. Even cheaper ANC buds such as the Sony WF-C710N offer 8.5 hours on a single charge.

We know the demands of these extra features and improved ANC performance put additional pressure on the battery life, especially in a more open design, but we would hope that Apple would counteract those power-hungry updates with a larger battery capacity.

ANC & call quality

It’s taken us long enough to get to the real heart of the AirPods 5 design: improved ANC. We were impressed with how effective the noise-cancelling was when we reviewed the AirPods with ANC, and the same is true in the AirPods 5.

For a design without any eartip seal, the full noise-cancelling mode does a great job at quietening the sound of traffic, train engines and general hubbub around you. Higher frequency noises will be heard clearly, as is expected for this kind of earbud design, and we find the lower frequencies are suppressed even more on the AirPods 5 than on the AirPods 4 with ANC.

It’s a more obviously powerful effect too. If you want a more natural blend of environmental awareness and your music, the adaptive audio mode does a fine job of automatically adjusting the ANC levels according to the noise around you. You can now fine-tune the level of adaptive audio; move the slider left or right depending on whether you want more transparency or more noise-cancelling. It’s a subtle but useful addition to have.

Call quality is another high point, with our voices sounding clear and detailed, with only a slight hardness around the edges. What’s impressive is how the AirPods 5 don’t transmit any surrounding noises to the caller. We were on a very busy road with rush hour traffic when testing voice calls, and the other person on the line couldn’t hear any hint of cars passing.

The AirPods 4 with ANC have a similar silencing effect, although voices sound a little thinner and sibilant compared with the more solid sound of the AirPods 5. For their noise-cancelling prowess and excellent call quality, the AirPods 5 are highly recommended if these are your priorities.

Sound

We’ve been fans of Apple’s recent sonic balance: detailed, agile, natural, open. With every generation, the standard AirPods have had a knack for knitting music together in a way that sounds immediately enjoyable, even if they don’t necessarily trouble the class leaders when it comes to absolute clarity, dynamism or insight.

The AirPods 5 exhibit many of the same sonic characteristics of the older AirPods 4, and it doesn’t take us long to enjoy our Tidal and Apple Music playlists in the earbuds’ airy soundscape.

Apple doesn’t give specifics, but it has updated the innards of the AirPods 5 by way of a new “multiport acoustic architecture”, and the result is a sound that has greater extension and weight in the lower frequencies. For such an open design, the amount of power and heft to the sound is quite impressive.

The outside world will intrude upon your music or podcast listening if you don’t have any kind of noise-cancelling turned on, but even still, we find ourselves enjoying the amount of detail and spaciousness you get with the AirPods 5.

The enhanced bass power comes to the fore when listening to the taut, fast bassline in Ice T’s Addicted To Danger, which sounds more menacing and muscular than before; while Max Richter’s The City Was A Chaos instrumental is admirably delivered with deep punchiness and increasing scale and intensity. Highs have plenty of headroom to soar too, with no hint of sharpness or brightness to disturb our listening.

Dynamically, there is enough variety to hold our attention, although the AirPods 5’s open design still doesn’t hold a candle to their eartip-equipped sealed counterparts when it comes to outright punch and dynamic contrast.

With certain songs, we find the AirPods 5’s newfound weighty balance can overpower more delicate, subtler moments at times. The finer details and nuances of The Unthanks’ singing in Here’s The Tender Coming are a little subdued. Voices are less prominent in the mix than before and as a result don’t sound quite as clear; we find the leaner sound of the older AirPods 4 with ANC delivers a sweeter and more agile presentation.

Many will find the older AirPods 4 to have a lightweight sound in comparison to the AirPods’ more full-bodied presentation, and it simply depends on which balance you prefer.

Verdict

An open design will always have its compromises when it comes to outright dynamic punch and clarity, but the AirPods 5’s more powerful and weightier sound does a fine job of keeping the music front and centre even as you’re constantly aware of your surroundings.

This fifth-generation model is a fairly gentle evolution that aims to bring wider iOS ecosystem features to all price points, while those using older generations of AirPods will find it a much bigger and more satisfying update. The AirPods 5’s highly effective ANC performance in this kind of open earbud design is the biggest draw here, and we’ve yet to encounter an open alternative that sounds this good.

SCORES

• Sound 4
• Features 4
• Build 4

MORE:

Our pick of the best wireless earbuds for all budgets

Read our full Apple AirPods 4 with Active Noise Cancellation review

Check out our AirPods Pro 3 review if you want the very best earbuds from Apple

I'm excited for Apple's newly announced AirPods 5 – but one major issue has me scratching my head

Want your hard-earned cash to stretch as far as you possibly can?

Then you might want to consider the TCL C7L. This performance-per-pound champ brings you all the features of a premium Mini LED TV at what is barely a mid-range price.

And that price just got even better. Our review, where we tested the 65-inch C7L at £1199, went live only yesterday. But you can now scoop up the C7L for £1079 at Amazon – just make sure to tick the voucher price box before you head to checkout.

The TCL C7L boasts an awful lot of features, with two big improvements over its predecessor, the C7K.

First up is TCL’s new Super Quantum Dots, an upgrade on traditional Quantum Dots that should result in more stability, better colour accuracy, and improved efficiency.

There are also 10 per cent more local dimming zones than in the C7K – 1152 to be precise, which is very generous at this price level.

But what is the impact on the all-important picture quality? Well, we’re pleased to report that the C7L is a shining star for its price.

“The shining starts quite literally, with levels of both full-screen brightness and small peak brightness that you won’t find anywhere else for the C7L’s money,” our TCL C7L review reads. “The radiance with which the TV can deliver bright HDR content is a phenomenal spectacle in the set’s excellent Standard preset, but also contributes to a really eye-catching light range with the set’s Filmmaker Mode.”

This is thanks to some seriously impressive light control, with bright whites and colours delivered on the same frame as deep, rich blacks without major light haloing. There’s a lovely colour performance too, with the Super Quantum Dots generating impressive subtlety and nuance in the darkest and brightest colours.

The C7L is stuffed with gaming features also – there is support for 4K at frame rates of up to 144Hz, and HD at a whopping 288Hz. This is backed up by VRR, a Dolby Vision game mode, ALLM switching and a respectably low 13.4ms of input lag.

Dolby Vision Game Mode is just the tip of the C7L’s HDR support – Dolby Vision IQ, which adjusts the picture in response to ambient light, is also on board, along with HDR10+, HDR10, and HLG.

Google TV provides the smart features, with TCL going the extra mile to ensure catch-up services for the UK’s main terrestrial broadcasters are included too.

The Bang & Olufsen 2.2-channel, 60W system sound system is rather premium for such an affordable 65-inch TV, and has the power and speaker quality to produce a substantial soundstage. There’s room for improvement when it comes to some harsh treble and unenthusiastic bass, but it’s a decent performance overall.

The TCL C7L is absolutely stuffed with features, then, particularly for gaming; but it also comes with a bright, colourful and contrast-rich display that excels in Filmmaker mode. It’s an absolute bargain for £1079 at Amazon.

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Read our TCL P8L review

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Watch PSG vs Barcelona live streams

PSG vs Barcelona is a must-watch blockbuster between the two outright best teams in Europe that may well turn out to be a dress-rehearsal for the Champions League 2026/27 final. And best of all for neutral observers, both backlines are hemorrhaging goals.

Follow our guide below for where to watch PSG vs Barcelona live streams from anywhere with a VPN.

With Khvicha Kvaratskhelia, Ousmane Dembele and Desire Doue in the PSG ranks and Lamine Yamal and Raphinha raiding down the Barcelona flanks, each side's attacking prowess needs little introduction. Only Luis Enrique's men have outscored Hansi Flick's in the UCL this season, while Barca are – by a country mile – the most prolific team in Europe's top five leagues.

However, Barcelona are without a clean sheet in 17 straight Champions League games and have conceded first in eight of their past 11 in the competition. Similarly, PSG have conceded in nine of their 10 games across all competitions this term.

Forget attack against defence. Tonight's encounter at Parc des Princes stands to be a playground classic in the best possible way: an all-guns-blazing shootout where attack is the only form of defence.

PSG vs Barcelona team news

PSG team: Safonov, Hakimi, Marquinhos, Pacho, Hernandez, Neves, Vitinha, Fabian, Doue, Dembele, Kvaratskhelia

Subs: Chevalier, Mouak, Lucas Beraldo, Torres, Akliouche, Digne, Godts, Mayulu, Fernandez, Zaire Emery, Ndjantou, Zabarnyi

Barcelona team: Joan Garcia, Joao Cancelo, Cubarsi, Gerard, Espart, Bernal, Gonzalez, Yamal, Olmo, Gordon, Raphinha

Subs: Szczesny, Livakovic, Balde, Farinas, Gavi, Lopez, Gabriel Jesus, Adeyemi, Rodri, de Jong, Abdelkarim, Campos

How can I watch PSG vs Barcelona for free?

Lucky viewers in Ireland can watch PSG vs Barcelona for free, courtesy of Virgin Media Play. For linear viewers, the game is being televised on Virgin Media Two.

Free-to-air RTL Play is showing the game in Belgium.

If you're currently abroad, you can simply use a VPN to tap into that free PSG vs Barcelona coverage. More details below...

Watch PSG vs Barcelona live streams from anywhere

You won't be able to watch your regular PSG vs Barcelona live streams while travelling abroad. The platform will detect that you're in a foreign country and block you. You can, however, use a VPN to get round this.

We rate NordVPN as one of the best VPN for streaming sports. It offers a generous 30-day guarantee for all your money back if you're not happy with the service.

Watch PSG vs Barcelona live streams in the US

PSG vs Barcelona is being shown on Paramount+ in the US.

The Paramount+ Essential package costs just $8.99 a month or $89.99 a year. A Premium package is available from $13.99.

However, you can access Paramount+ Premium virtually for free with a Walmart Plus 30-day trial for $1.

Abroad for PSG vs Barca? Use NordVPN to access your preferred coverage of the UCL game.

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• View the latest TV deals on Amazon

Watch PSG vs Barcelona live streams in the UK

The PSG vs Barcelona game is being shown on TNT Sports 2 in the UK.

Alternatively, you can live stream the game on HBO Max, which includes TNT Sports on certain plans. Prices start at £30.99 a month on a rolling basis or £25.99 a month if you commit to a whole year.

Outside the UK today? Use NordVPN to watch PSG vs Barcelona as if you were back home.

Watch PSG vs Barcelona live streams in Australia

PSG vs Barcelona is available to watch on Stan Sport in Australia, which costs AU$20/month on top of a AU$9.99/month Stan base plan.

Fans travelling abroad can access their preferred UCL stream by using NordVPN.

PSG vs Barcelona: Need to know

What is the PSG vs Barcelona head-to-head?

PSG have won six of their 16 previous encounters with Barcelona. The Blaugrana have also won six, and the other four ended in draws.

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We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Every year, when it comes to the What Hi-Fi? Awards, the TV category is always hotly contested, and 2026 has been no different. Our list of winners is packed with new entries, from LG, Samsung and TCL, all of which have managed to knock old favourites off their perch.

It was a great year for LG, with the C6 winning four Awards over several different sizes. Samsung swooped in and took the best premium TV Award, while TCL took home the best budget TV gong.

If you'd like to see them in all their glory, we have all the Award-winning TVs below, as well as their best prices at the time of writing...

If you're short on space, it's LG's mid-range 42in OLED that is our top pick this year. The small-screen wonder delivers contrast and detail in abundance, proving you don't need a huge TV to have a big cinematic impact. LG's usual stellar gaming specs are on offer too, all of which make up for the middling sound. For the best LG C6 42-inch price of £899 at Amazon, claim 10 per cent cashback from LG – full T&Cs here.

For the mid-size 48-50inch category, it's the LG C6 once again. The LG C6 48-inch is arguably the most interesting of LG's new OLEDs, with a surprisingly bright, colourful picture that pushes vibrancy to impressive levels.

Rumours suggest this size sports an RGB Tandem OLED panel, though LG refuses to confirm – either way, though, it's a fully featured TV that's talented in the picture and sound departments. Use the code RSTV50 to bring the price down to £1049, and once again you can claim 10 per cent cashback from LG for a total of £944 at Richer Sounds.

For our budget 55-77inch TV Award, it's a TCL model. For £749 at Amazon, the TCL P8L is an incredible value TV that punches well above its weight in terms of picture quality and specs, and sounds pretty good too. Those with super-bright rooms may struggle with the reflective coating, but otherwise the P8L offers a balanced and authentic picture as well as strong gaming specs.

With our mid-range 55-77inch TV Award, the LG C6 makes it a trifecta. The LG C6 65-inch delivers a bright, rich and refined picture that sets a new benchmark for step-down OLEDs. Sound is very good for this level, while the typically awesome gaming specs return. Save £100 with the voucher code GDTV100, and once again you can claim 10 per cent cashback from LG for an overall total of £1619 at Sevenoaks.

Given how much we've mentioned the LG C6's gaming specs, it may not surprise you to hear that the set has won the best gaming TV Award also. All three sizes sport four full-bandwidth HDMI 2.1 sockets capable of handling signals up to 4K/165Hz with VRR and ALLM, which, along with its stellar picture, makes it the top choice for hardcore gamers and prospective GTA 6 owners.

The flagship OLED to beat, it's the Samsung S99H, which has surprisingly unseated the Sony Bravia 8 II for our premium 55-77inch TV Award. The punchy, wonderfully three-dimensional picture is hard to beat, while the feature set blows most other TVs out of the water.

Add in a greatly improved sound system compared with last year’s model, and you've got Samsung's best TV to date, and the best premium model of 2026. For the £1749 at Richer Sounds price, use the code RSTV100 and then claim £150 cashback from Samsung to get this price – full T&Cs here.

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Check out our Best OLED TV buying guide

The What Hi-Fi? Awards 2026 winners have been revealed!

Our pick of the best TVs for every budget, including flagship OLEDs and budget Mini LED sets

Over the past couple of years, one question has been nagging at home cinema nerds, myself included: are giant TVs going to kill off projectors?

There are good reasons to think they might: the average TV is currently capable of producing brighter highlights, deeper blacks and more vibrant colours than a typical projector; they tend to have more robust smart platforms and better gaming specifications; they don’t require the purchase and installation of a separate screen; and prices are coming down at a ridiculous rate.

But there’s a romanticism and cinematic authenticity to projection that a television can’t match, at least in the minds of many. And, while TVs are getting much larger, once you go over 100 inches, projection tends to be much more affordable.

It’s a thorny subject – one that my colleague Lewis Empson and I recently discussed on video.

You can watch that video below, but how does the projector industry itself feel about it? Are manufacturers worried that they are about to be rendered obsolete by their TV-producing brethren? We decided to ask them to find out.

If Sony, Optoma, Anker and Xgimi are worried, they certainly don’t seem it (we also reached out to BenQ, JVC and Epson, but didn’t hear back).

In fact, they all pointed to the unique qualities that projectors offer and TVs can’t match – and those qualities are thankfully much more quantifiable than “projectors make it feel like being in the cinema”.

Projectors don’t take over your room

A recurring theme in the responses was that projectors offer greater flexibility when it comes to how a room looks and functions:

“Projection continues to offer something televisions cannot easily replicate: a truly cinematic experience at 100, 120, 150 inches and beyond, without requiring a permanently dominant screen in the room,” says Optoma’s UK sales manager, James Fitzgerald.

“As homes become more multi-purpose and design-conscious, many consumers still value the ability to enjoy a large-screen experience when they want it while keeping their living spaces flexible and uncluttered,” he continues.

That’s a sentiment shared by Anker’s managing director for the UK, Ireland, Italy, Spain, and Portugal, Faraz Mehdi: “Projectors are compact in size, take up no wall space, and become ‘invisible’ once turned off.”

And Apollo Zhong, Xgimi’s Founder and CEO, concurs: “A 100-inch TV is still a large piece of furniture that takes up space all day, every day,” he says. “A projector gives you the same scale when you want it, but doesn’t permanently occupy your room when you don't.”

Unlike the other manufacturers we spoke to for this piece, Sony produces TVs as well as projectors, so it has a foot in both camps. Still, Adrian Bond, Sony Europe’s product marketing manager for home projector and Bravia, agrees with his contemporaries:

“A projector in hidden housing with a retractable projector screen is vastly more discreet and flexible in aesthetics than a monolithic super-large screen TV.”

Projectors offer more flexibility over where you watch

Unsurprisingly, given the lifestyle and portable models they produce, a couple of the manufacturers were keen to point out the flexibility that a projector can offer over a very large TV.

“Many of today’s projectors also offer a level of flexibility that televisions simply cannot match,” says Optoma’s James Fitzgerald, “with compact designs that can be moved easily from room to room, taken to different locations, or set up indoors and outdoors depending on the occasion.”

Anker’s Faraz Mehdi agrees: “They allow portability, being easily moved and used in various settings such as bedrooms, living rooms, and campsites, which TVs cannot offer.”

But it’s not just about portability, argues Sony’s Adrian Bond; there can be benefits for those building dedicated home cinema spaces, too.

“Transporting, manoeuvring and installing a 115-inch TV is far more challenging than hanging a projector and screen, especially for any premium install in a high-rise apartment building,” he says.

Projectors are simply more cinematic than TVs

While a lot of the answers to our questions had a clear practicality argument at their core, Sony’s Adrian Bond wanted to make the point that, in some ways at least, projectors are simply better than TVs.

According to him, “our projectors still offer a different, elevated and more precise experience for the discerning cinephile.”

“A 100-inch+ TV is an epic viewing experience for sure”, he continues, “Our new FWD-115XR95M2 will deliver exactly this. But for the fully immersive experience that engulfs the peripheral vision and has a wider angle, then dedicated home cinema projectors are superior.”

Of course, a suitably large TV screen at the appropriate distance will also fill your vision in the same way, but Bond says there are also changing aspect ratios to consider:

“A TV at 100+ inches will still be fixed in 16:9 aspect ratio due to its form factor,” he says. “To watch in CinemaScope, you will still incur the black bars at the top and bottom of your screen, whereas with a home cinema projector and screen, you can enjoy CinemaScope as intended, on purpose-built screens.”

He makes an excellent point about sound, too: “With premium micro-perforated or woven projector screens, super high-end centre speakers can be placed directly behind the screen, perfectly matching audio with the action/dialogue on screen.”

This is, of course, the sort of sound-from-picture experience that we’re all used to from the local cinema, but it’s very hard for TVs to replicate, thanks to their typically frame- and/or rear-mounted speakers.

As Bond points out, this is the philosophy behind the Acoustic Surface Audio technology of Sony’s OLED TVs, which feature actuators that vibrate the actual screen to make sound. As clever and effective as this solution is in some regards, though, and as good as Sony’s OLEDs tend to sound by prevailing TV standards, it’s not in the same league as having a large, properly calibrated, hi-fi-quality speaker handling centre-channel duties by firing directly through a quality perforated screen.

The final word (for now)

So, are projector manufacturers concerned about the rise of giant TVs? It certainly doesn’t sound like it.

As Xgimi’s Apollo Zhong says, “We don't really see larger TVs as a threat. If anything, they confirm that people want bigger and more immersive screens. We also don’t think it’s a zero-sum competition. TVs and projectors solve different problems.”

I’m not entirely convinced the industry can afford to be quite so relaxed, though.

As TVs get bigger and more affordable, the advantages of projection will inevitably become harder to sell. Modularity, as pioneered by solutions such as Samsung’s The Wall, could also help to overcome some of the practical challenges of installing a truly enormous TV.

For now, though, I am inclined to agree with Optoma’s James Fitzgerald when he says that “projection remains uniquely positioned to deliver scale, flexibility, portability and cinematic impact in ways other display technologies cannot.”

A retractable screen, a portable projector or a dedicated home cinema setup can offer flexibility that a giant TV simply can’t, while a properly designed projection system can deliver the sort of scale and immersion that remain, for now, prohibitively expensive to achieve with a conventional TV.

And then there’s that elusive sense of cinema.

Perhaps it’s the sheer size of the image, the way it fills your field of view, the beam of light travelling through the room before the picture is reflected back from the screen, or simply the ritual of settling down in a darkened room to watch a film. Whatever it is, projection has a particular magic that even the best TVs struggle to replicate.

But I keep coming back to one question: what happens if cinemas themselves move away from projection?

Samsung Onyx LED screens already offer a TV-like alternative in some cinemas. If that approach becomes more widespread, will we still associate projection with that special sense of cinema? Or will we eventually come to regard a wall-sized TV as just as cinematic?

I don’t know the answer. But while TVs continue to close the gap, I suspect the future of projection will depend on more than just how big an image it can produce.

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Jamo’s HYG Series just got a new flagship. The HYG 5 is a wireless speaker that looks a bit like a portlier, friendlier HomePod, but with one added skill: motion controls.

A wave of your palm wakes the HYG 5 and resumes playback from the last source. In standby, the touch interface dims so as not to distract you from the speaker’s sleek aesthetic, while the warm ambient light ring adjusts depending on the room’s brightness.

All well and good. But what’s under the hood?

There are two 2.5-inch full-range drivers angled upwards and outwards to spread the stereo image as wide as possible. On bass duties is a 4-inch down-firing woofer, with two symmetrical flared ports beneath the cabinet and ribbed port walls to limit unwanted vibrations.

The speaker is compatible with Spotify Connect, TIDAL Connect and Qobuz Connect, as well as TuneIn and QPlay II, while AirPlay 2 and Google Cast allow for simple casting and multi-room playback.

You can also beam audio to it via Bluetooth 5.0 (though sadly not the newer Bluetooth 6 standard), while those of a wired bent can hook up a turntable or CD player via a stereo RCA line input. The HYG 5 also supports hi-res audio up to 24-bit/96kHz.

You can control the HYG 5 from the Jamo Play app for iOS and Android, and also adjust the EQ to suit your taste and surroundings.

The HYG range takes its name from the Danish word ‘hygge’, which, as anyone who read a Sunday supplement 10 years ago will tell you, means cosiness and comfort, especially in the cold winter months.

Jamo previously announced the HYG Reflect bedside speaker, HYG Flow for outdoors and HYG Flex for taking from room to room.

It has been a busy few months for Jamo. After being sold off in 2024, the brand made a return earlier this year under new ownership, and promptly announced two premium ranges of Concert passive speakers followed by the HYG range. In 2028, it will celebrate 60 years in the hi-fi industry – a milestone that not many brands have reached.

The HYG 5 is out now for £349 / $399 (around AU$670).

MORE:

The best wireless speakers it is up against

The best multi-room speakers

Multi-room audio: everything you need to know

Pound for pound, the TCL C7K was arguably last year’s best value TV.

So, with added local dimming zones and TCL’s fancy new Super Quantum Dots on board, you’ve got to hope that this successor, the C7L, is going to be more than up to the job of repeating its predecessor’s success.

Price

The £1199 / AU$1790 price for the 65-inch C7L we’re testing is broadly in line with what last year’s 65C7K cost at the same stage in its life cycle.

That is pretty impressive, given that the newer model introduces a host of substantial hardware and software improvements – not least the step up to new Super Quantum Dots for colour reproduction.

In the US, the equivalent model is the QM7L, which costs $1200. However, while the C7L and QM7L are apparently identical in terms of hardware, we understand that the tuning is different, so this review shouldn’t be considered as applying to the QM7L.

Strangely, in the UK, the 65C7L costs a fairly whopping £700 less than TCL’s step-up 65C8L – a much more significant price gap than we see at other screen sizes (the 55-inch C7L, for instance, is only £200 cheaper than the 55C8L).

Similarly specified 65-inch TVs in the 65C7L’s price ballpark are tough to find. Recent price cuts make Hisense’s 2025 but still widely available 65U8QTUK probably the closest rival, though the 65-inch version of Hisense’s 2026 RGB LED UR8 TV currently costs £1699.

Samsung’s new 65QN80H model also costs £1199, though this doesn’t feature new SQD or RGB LED technologies, sticking with a relatively straightforward Mini LED backlighting system.

Design

The C7L features a premium design distinguished by its metallic finish and the extreme trimness of the bezel around the screen.

It’s not the slimmest TV around the back by today’s svelte standards, though, and the build quality is reasonable rather than fantastic.

You only notice this when you’re setting it up, though; from a normal viewing distance, there’s nothing cheap about the way it looks.

Happily, the C7L avoids the current trend of sitting big-screen TVs on feet placed under their bottom corners, going instead for a square plate stand under the screen’s middle that makes it easy to position the set on even the narrowest cabinets and tables.

The C7L doesn’t ship with the glamorous silver metallic handset you get with the C8L. Its remote instead sports a relatively plasticky black finish and a slightly cluttered-feeling full button count, including a set of numeric keys.

It does helpfully still retain, though, both a dedicated mic button for voice instructions and direct buttons for Netflix, Prime Video, YouTube, Disney+ and TCL’s own TCL Channels service of streamed TV.

Features

We should start this section with the two main areas where the C7L delivers clear claimed hardware improvements over its illustrious predecessor.

TCL’s new Super Quantum Dots might not wear capes, but they do feature no fewer than five different structural layers compared with the two used in traditional Quantum Dots. This results, it is claimed, in more stability, better colour accuracy/purity, and improved efficiency.

The 65C7L also features around 10 per cent more local dimming zones than its predecessor: 1152 versus 1008, to be precise. That’s a very generous number for the C7L’s price level.

TCL claims a peak brightness of 3000 nits for the 65C7L, too – though while this is another very high number for such an affordable TV, it doesn’t represent an increase on the claim of last year’s C7K.

The Super Quantum Dots have been applied to the second generation of TCL’s WVHA panel design. This ushered in a plethora of picture-enhancing features to great effect last year, including increased transient response for improved motion sharpness, advanced blooming controls beyond the mere dimming zone count, enhanced light control for subtler shading and premium shadow detailing, and substantial power consumption savings.

TCL’s AiPQ processing has been optimised for the new colour and backlight system, of course, while the C7L’s panel joins that of the C8L in supporting playback of 4K at frame rates up to 144Hz, and HD at frame rates up to 288Hz (thanks to Direct Line Gate technology).

These excellent gaming features are backed up by support for VRR, including in the AMD FreeSync Premium Pro format; a Dolby Vision game mode; ALLM switching; a respectably low 13.4ms of input lag in the screen’s fastest response Game mode; and a dedicated game menu screen offering a mix of graphics information and gaming aids.

The only disappointment from a gaming perspective is that only two of its four HDMI ports support the full range of cutting-edge gaming features, but at this price, that feels fairly forgivable.

The Dolby Vision gaming mode is just a small part of the C7L’s extensive HDR support. It also supports Dolby Vision IQ, where the picture adjusts in response to ambient light conditions, as well as the alternative HDR10+ premium HDR system, and, of course, the core HDR10 and HLG formats.

Smart features come courtesy of Google TV, but TCL has gone the extra mile to make sure that the C7L carries all of the catch-up services for the UK’s main terrestrial broadcasters that Google itself does not cater for.

The 65C7L’s startlingly advanced picture technology for its price is joined by a sound system that’s the result of another collaboration with premium AV brand Bang & Olufsen. This 2.2-channel, 60W system is short a few watts and a channel versus the 65C8L’s system, but it’s still a premium design for such an affordable 65-inch TV.

Picture quality

The first thing to say about the C7L’s picture quality, albeit rather unfairly, is that this year it falls some way short of the more expensive C8L. This is absolutely fair enough, of course, given the price difference between the two models. But we mention it because last year the C7K’s pictures arguably outperformed those of the C8K, at least in some areas.

Crucially, though, the bigger picture difference this year is down solely to the C8L improving so much; there’s certainly not been any sort of drop-off in the C7L’s performance. On the contrary, it’s still a shining star for its price.

The shining starts quite literally, with levels of both full-screen brightness and small peak brightness that you won’t find anywhere else for the C7L’s money. The radiance with which the TV can deliver bright HDR content is a phenomenal spectacle in the set’s excellent Standard preset, but also contributes to a really eye-catching light range with the set’s Filmmaker Mode. This is despite Filmmaker Mode understandably adopting a much dimmer baseline brightness to ensure it matches today’s most common video mastering values.

The 65C7L can deliver such compelling pictures in both its screen-tech-showcase Standard mode and accuracy-based Filmmaker Mode because it possesses some seriously impressive light control to go with the brightness. Intensely bright whites and colours can be delivered by the new SQD screen at the same time – as in, literally in the same image frame – as the screen is producing deep, rich blacks without generating major light haloing around the bright highlights. The resulting contrast is a marvel for a TV at the C7L’s price point.

The exceptional brightness and light management feeds into another lovely TCL colour performance, too. In fact, presumably thanks to the new ‘Super' Quantum Dots, there’s even more subtlety and nuance in the darkest and brightest colours than there was with last year’s C7K. That’s despite the fact that the screen’s contrast is even more extreme.

While the C7L’s Filmmaker Mode delivers a beautifully nuanced, accurate and cinematic image, where colours still look rich and HDR highlights still look punchier than they do with any other LCD TVs we can think of at this price, the 65C7L’s colours still look balanced and believable even when you’re watching the TV in its much brighter, bolder Standard preset. So whether you fancy a lights-down movie night or you want a picture that still looks spectacular in a bright living room, the C7L has you covered.

The C7L also serves up an impressively vibrant, responsive, crisp and clean video game performance (provided you use one of the two full bandwidth HDMIs), as well as crisp, detailed images with both native 4K and upscaled HD sources.

The Natural Cinema motion processing mode TCL provides does a good job, too (a better job, strangely, than it seems to on the C8L), of retaining sharpness and clarity over and around moving objects, without causing excessive unwanted processing side effects or the soap opera effect.

We mentioned above, though, that there is a clear gap between the C7L and the C8L in performance terms, so we now need to get into the cheaper model’s (relatively tiny) limitations.

First, extreme contrast content does reveal a little more backlight blooming than the C8L exhibits, especially in the black bars that are present above and below wide aspect ratio content. Blooming becomes much more noticeable, too, if you’re viewing the TV from a wide angle.

The Dolby Vision Dark and Standard HDR10 presets can both cause a few subtle shading details to become lost in the blackness of extremely dark scenes, too – though with HDR10 sources you can improve this artefact of the TV’s slightly over-enthusiastic dynamic tone mapping system by nudging up a provided Black Level setting. You can’t go too far with this, however, as the feature also raises black levels.

While some AV fans will like the glossy finish of the C7L’s screen compared with the matte look of some of this year’s key rivals, it can leave some quite obvious reflections if you have a direct light source anywhere opposite the TV.

Finally, TCL’s implementation of its new Eco features is a bit obscure and complicated, leaving us worried that at least a few C7L buyers will end up leaving their shiny new TV delivering pictures with only a fraction of the impact the screen is capable of with its Eco features turned off.

None of these issues, though, are remotely serious or common enough to stop the C7L from being, like its predecessor, arguably the best all-round value TV we’ve seen all year.

Sound quality

The C7L’s Bang & Olufsen audio co-production is good in some ways, but also not without its flaws.

The best thing about it is the way it has the power and speaker quality to produce a substantial soundstage that spreads right across your room from left to right, rather than remaining locked in the TV’s bodywork. There’s even a reasonable sense of height to the C7L’s sound ‘wall’, helping it get more benefit than most mid-range TVs from Dolby Atmos’s overhead effects.

There’s lots of detail in the spacious soundstage, too, making the world of whatever you’re watching feel busy and involving, and for the most part, effects – including individual voices during dialogue sequences – are placed with decent accuracy. Or, to be more precise, they’re placed quite accurately within a soundstage that mostly seems to be happening behind the screen, as the C7L doesn’t push its sound forward as much as we’d like.

Treble sounds, though, while clear, can sound a little harsh and brash at times, and bass doesn’t reach as deep or get as actively involved in the mix as we had hoped. In fact, low frequencies can drop out almost completely during the heaviest movie rumbles.

Overall, the sheer scale and clarity of the C7L’s sound, together with its ability to get seriously loud, ensure it’s a decent performer overall. We just can’t help but think, though, that TCL’s collaboration with B&O is capable of more – especially given the obvious quality of the core speaker components being used.

Verdict

The TCL C7L’s picture quality is really unfathomably good for a 65-inch TV that costs just £1199 / AU$1790.

It is bright, colourful and rich in contrast, but also balanced, subtle and natural, regardless of whether you’re watching it in its spectacular Standard preset or its more cinematically authentic Filmmaker Mode. It’s an excellent gaming display, too, provided you don’t need more than two full-bandwidth HDMI 2.1 ports.

SCORES

• Picture 5
• Sound 4
• Features 4

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Also consider the TCL C7K

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The Sony Bravia 8 II might have missed out on a What Hi-Fi? Award this year, but as a 2025 Product of the Year, it's still an excellent buy.

And the Bravia 8 II's age means it's available much cheaper than many of our current Award winners – the 55-inch model is currently at a new low of £1549 at Smart Home Sounds, a whopping £950 off our 'tested at' price.

There are a few steps you need to go through to get this price, though – the code SHSTV150 brings the price down to £1649, and then you can claim £100 cashback from Sony. Full T&Cs are here.

We'd advise not updating the system software once it's out of the box, though – a recent Bravia TV software update has caused problems on several Sony TV models. The issue appears to be related to HDMI passthrough, with our very own TV & AV Editor, Tom Parsons, experiencing audio dropouts when using an external source and a sound system.

If you're not planning on connecting any HDMI-equipped sources in the short term or you're fine with holding fire on that update, you'll have a wonderfully cinematic TV on your hands.

When we first tested the Sony Bravia 8 II, we found it delivers an epic cinematic picture and backs it up with great sound quality.

"The Sony Bravia 8 II is a truly exceptional TV," our Sony Bravia 8 II review reads. "Its combination of sizzling brightness, vibrant colours through all degrees of light, terrific shadow detail and razor-like sharpness combine to produce an image with regularly astonishing dynamism, depth and realism."

Colours are vibrant, even in low-light areas, and there's far more shadow detail than any other Sony TV we've tested at the time of writing.

One of the Bravia 8 II’s greatest strengths is its presets, with no tinkering required to get a supremely authentic picture. We recommend Dolby Vision Dark for Dolby Vision content or Professional for everything else.

Sony's Acoustic Surface Audio+ setup also helps make the Bravia 8 II one of the best-sounding TVs we've ever heard. The sound is balanced, weighty and dynamic, and even manages to sound impressively spacious too.

Picture quality this good deserves a dedicated sound system if you have the funds, but this is very impressive audio by flatscreen TV standards.

Features are just as impressive as the audio and sound quality. Dolby Vision and Atmos are both on board, as well as HDR10 and HLG. The Bravia 8 II is also IMAX Enhanced certified for cinema-grade picture and sound.

Gamers can also enjoy 4K/120Hz, VRR and ALLM support, as well as a Dolby Vision Game mode. Beware that there are only two HDMI 2.1 sockets, one of which doubles as an eARC port, which may be an issue if you have multiple high-speed gaming consoles.

Current Award winner or not, the Sony Bravia 8 II remains one of the best value premium TVs out there right now. We'd advise against updating the system software right now, but otherwise £950 off at Smart Home Sounds is a phenomenal bargain.

MORE:

Read our full 55-inch Sony Bravia 8 II review

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We rate the best gaming TVs available right now for all budgets

When streaming entered the music-playing limelight, at some point in my late teens, I was swept off my still growing feet. Any song I could possibly desire, available for a sum of money that I could, at that time, just about scrape together from my part-time job’s salary, seemed to me something akin to what fire must have felt to neanderthals.

But, as sometimes happens with such incendiary infatuations, our relationship eventually came under hard times – to the extent that I am now considering leaving music-streaming services altogether. I should clarify that this will be for personal uses only; streaming services such as Tidal play an integral part in how we test certain products here at What Hi-Fi?, be it an all-in-one hi-fi system or a humble Bluetooth speaker.

So what pushed me over the edge?

Having grown up with an inexhaustible supply of music at my fingertips, this is no small decision. But recently, as AI-generated music has flooded online streaming platforms, resulting in a flurry of hastily assembled AI-charters and fraud-prevention strategies, I think I’ve finally had it.

Don’t get me wrong: I’m relieved the platforms are taking action. A few months ago, Tidal implemented an ‘allow AI content’ switch, and Deezer has also recently granted users an option to exclude any music detected as AI-generated from their libraries. But, as this new technology infiltrates every corner of life, bringing with it equivalently mind-bending benefits and risks, I simply don’t want to question whether the music I am listening to has been made by a real person or not. As such, I am taking physical music as a place of refuge.

Not long has the drawbridge risen, however, before I realise the challenge I am facing.

Abandoning the streaming services results in a tediously inconvenient and sometimes costly process of recovery. Quite understandably, that is often enough to put people off. There’s a term for this sort of thing: ‘path dependence’. In the social sciences, it means that past events or decisions constrain or define later events or decisions.

In relation to technological developments, we have all become dependent on all sorts of ‘paths’. How we would now struggle if the internet suddenly fizzled out of action, or even if the lights went out for any prolonged period of time. In my specific case, I find myself wondering how much money I will have to spend to recover some semblance of my former music library.

Choose your fighter

So, as I look, for want of a better phrase, to get physical, the first step is to decide on my chosen format. Of course, there’s an appeal to taking the retro route and going fully vinyl. Here, I envision joining the ‘vinyl revival’ and being taken into the arms of a cheering horde of fashionable, cigarette smoking, wax-spinning hipsters. Fond as I am of that idea, however, records are simply too expensive.

With a starting price of anywhere between £25 and £40 per album, anyone looking to make regular updates to a vinyl collection is sure to find themselves facing a staggering bill in no time. It’s all too easy to overlook the fact that many people simply cannot afford to transition back to physical media, no matter how much they adore and care about the formats or musical artists in question.

Furthermore, shopping for second-hand vinyl has become a gamble. Recent exposures of large-scale counterfeit operations – including one that generated a staggering £2.7 million between 2017 and 2024 – mean it can be hard for collectors to be sure what they are buying.

But it’s not all doom and gloom

These days, the CD is an eminently affordable form of physical media, with constantly renewing bargains popping up in charity shops, record stores and at online retailers. At the charity shop near my house, I often see great CDs on sale for prices starting from £1.99. For just slightly less than Spotify’s monthly subscription fee, I could buy six CDs each month – I think that’s enough to keep me entertained.

What’s more, many people have old, neglected CD players hiding in their attics, which keep things even cheaper by mitigating the expense of picking up new equipment.

If you’re looking for a more up-to-date set-up, however, some manufacturers, such as Marantz, NAD, FiiO and Roberts are developing new and affordable CD-focused products, from portable, Discman-style options to fully fledged separates components.

Among the more affordable CD players we recommend for less than £500, the five-star, Award-winning Marantz CD70 (£499 / $750 / AU$1000) is a solid choice for anyone looking to integrate a CD player into a wider hi-fi system, with a modern design and a precise, powerful sound. The CD player’s older sibling, the six-time What Hi-Fi? Award-winning CD6007 (currently priced at around £349 / $650 / AU$900) is also still available for cheaper at the time of writing, although only while stocks last, of course.

There are cheaper, if somewhat less hi-fi options, too. FiiO, for example, recently announced a highly versatile CD player, the DP11 (priced around £200 / $170), which can act as a DAC and preamplifier, too. Back in December 2025, the company also released a portable CD player that supports hi-res Bluetooth and doubles as a DAC, called the DM15 R2R (priced at £249 / $269).

Fantastic though some of these products are, I understand people’s reservations.

This is a hard dream to sell

Although CDs strike a fantastic middle ground in terms of audio quality, they aren’t as high-resolution as the offerings of some premium streaming services. Neither is it a small sacrifice to forgo the millions of songs from a streaming service that were once at your fingertips. There are sure to be withdrawals and growing pains. Nevertheless, while online services grapple with getting AI music under control, I want to give it a try.

By choosing physical media and accepting the relatively tame sacrifices that come with that option, I feel a bolstered confidence that the ‘path’ I am on is one I won’t regret in ten or twenty years’ time.

Unbeholden to the whims of tech giants – at least when it comes to listening – I will still own my CDs further down the line, whether they have by then become relics or taken on a newfound relevance. Perhaps most crucially of all, however, for each one I purchase, I will know that a human being has been paid for their ever more necessary work of expression. And that, I hope, is a cause we can all get behind.

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Sky Sports is adding new accessibility features to its Premier League coverage, making it easier for blind, partially sighted and hard-of-hearing fans to support their team.

The British-based company claims that “the two services mark a significant step forward in making live sport more accessible to a wider audience.”

The first is a Live Descriptive Audio Commentary feature which is targeting football fans with sight loss. Instead of offering occasional commentary, as the previous audio offering did, Sky is moving to a continuous description of the match action that Sky says is “closer to the style of traditional radio commentary”.

Sky adds that it helps supporters better understand the movement of play, as well as the atmosphere on and off the pitch, creating a “richer and more immersive live football experience”.

It is available across around 109 Premier League matches per season, which equates to roughly one match per day in each gameweek.

To check if you can watch it on certain matches, just open your TV Guide and scroll to the programme. Sky says that the AD logo will appear, and a short beep will also sound to indicate that the feature is available.

For hard-of-hearing and deaf football viewers, there’s good news too. The Live Subtitles feature lets you follow live commentary, analysis and on-screen dialogue in real time. You can find it on all front-channel Premier League matches, covering approximately 210 games each season.

The features are available across Sky+, Sky Q, Sky Glass, Sky Stream and NOW, as well as to customers watching via Virgin Media.

Both features may not be available across all of the Premier League matches on Sky, but this is still a step in the right direction to make sure that every football fan can get better access. Let’s see if other providers can step up their game as well.

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Swiss high-end hi-fi firm Goldmund has unveiled its latest premium pre-amplifier, the Mimesis Statement.

The analogue pre-amp was unveiled at the firm’s Geneva headquarters at a press event attended by What Hi-Fi?.

Featuring a three-box design that mixes a cover glass display and metal-coated front-panel controls for the amp section with two power supply boxes, at first glance the Statement continues Goldmund’s hard-edged, minimalist design philosophy.

However, Goldmund COO Gaspar Baldunciel told us the pre-amp is otherwise completely new and the result of vast R&D investment, with nearly every part being either proprietary to, or newly developed by, the firm.

For starters, the Statement is the first from Goldmund to feature a dual-mono power supply, with one box dedicated to feeding either the left or right channel.

Goldmund head of engineering, Dr Mehran Erza, clarified that every part of the power supply has been custom-designed by the internal team, with the aim of helping minimise noise and interference.

Despite housing the amplification electronics in one box, the firm has also taken a different approach with the pre-amp section’s design, working to isolate and separate the left and right channels as much as possible. This includes physically separating them with a custom “unique heat dissipation component” on the board.

“[For the amplification] if you see the main board, you’ll see things for controlling [things like] input/output selections, displays, volume. But everything relating to the sound and the signals will not go through the main board,” he explained.

“They’re going into the dedicated audio boards [on top], which are separated into the left and right channels, which each has its own power supply. Everything is separated to reduce crosstalk and interference. And again, the circuitry we’ve developed for that is not something you will find anywhere else.”

This, according to Goldmund, means the Statement can deliver a wide-bandwidth signal – 0.2Hz-1.5 MHz (±3 dB) – with low distortion.

He added that he believes the design is more elegant and less problematic for the end user than a four-box design.

Connectivity-wise, the Statement features three balanced XLR and seven single-ended RCA line-level inputs. For outputs, you will find three balanced XLR and three RCA connections.

Goldmund confirmed the amp has been tuned to deliver “a pure” listening experience that lets the original recording “pass through with minimal alteration”.

The Mimesis Statement costs £220,000, which makes sense given its place at the top of the range and recommended matching with the firm’s latest Telos 9800 power amp.

The step-down pre-amp, the Mimesis Reference, is around £145,000, and the partnering monoblocs are around £350,000 each.

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“Goldmund, isn’t that a Bond villain?” That’s the question a friend down the pub asked when I told him I had to skip drag bingo night, as I’m on a press trip in Switzerland. To be clear, it’s not.

Editor’s Note: He’s thinking of Goldfinger from the book and film of the same name. Or if we’re going lowbrow (which would make sense for him), Goldmember from the Austin Powers satire.

But there is a connection with the franchise’s fictional villains, as Goldmund – which, to be clear, is a Swiss high-end hi-fi brand responsible for some of the best premium amplifiers we’ve tested recently, including the five-star Goldmund Mimesis 37S NextGen/Telos 300 from 2023 and Telos 690 from 2024 – does have a penchant for secrecy and rarely lets people into its Geneva headquarters.

So, when I got the golden ticket and was offered a chance to get a behind-the-scenes look and listen with its latest Goldmund Mimesis Statement pre-amplifier (£220,000) and Telos 9800 power amplifier (£370,000 / €430,000 / $500,000), which both include numerous firsts for the firm, I couldn’t get on the plane fast enough.

Here’s what my audio sleuthing revealed.

Lots of changes are afoot

Both products are being pitched as “a new beginning” by Goldmund, which shifted its leadership 18 months ago, when CEO Marius Chapel, CCO Gaspar Baldunciel, and COO Paul Tétaz took over the company.

The firm says this means every circuit and aspect of its new pre- and power-amps are new, rather than tweaked versions of old designs. After a chat to the R&D team, and a sneak peek at both units’ internals, I can confirm there is proof in the pudding – though the firm remained fairly tight-lipped when pressed for specific details on its technology.

Capable of delivering a staggering 1560 watts of power into 8 ohms, the Telos 9800 is being pitched as the firm’s most powerful and advanced mono power amp to date. Featuring a towering design that physically separates the power supply and amplification circuitry into two interconnect boxes, the unit comes loaded with a wealth of custom hardware.

Though Goldmund didn’t go into detail, these include everything from a unique PCB (printed circuit board) design to creating custom capacitors and transformers – each “designed by and only manufactured for Goldmund”.

On top of this, the amp features a proprietary power management system, with what it describes as “the largest capacitor bank ever developed by the company”, and backed up by Goldmund's 'Leonardo' processing algorithm tech. Leonardo works to digitally realign frequencies, reducing phase distortions and “dreaded accidental oscillations”.

“Pure, precise, stable” – the three words are muttered throughout the demo.

Outside of this, the Telos 9800 features all the trappings of a high-end power amp, featuring balanced XLR and RCA inputs and a quartet of speaker binding posts. The power amp also features a coaxial digital input, letting you connect digital sources with a volume control directly to it, should you so choose.

The new Statement preamplifier continues the theme, being the first analogue design from Goldmund to feature a dual mono power supply housed in two boxes.

The twin power supplies feed into the preamp, which, while a single box, has a ‘twinned’ design Goldmund claims “you won’t find anywhere else”, where the left and right channels are isolated and physically divided by a “unique heat dissipation component” on the board.

The circuit has an atypical "symmetrical" design the firm claims reduces noise and interference while improving overall “signal purity", resulting in a more accurate, precise and articulate sound.

When it comes to connectivity, the Statement offers three balanced XLR and seven single-ended RCA line-level inputs. Three balanced XLR and three RCA outputs then follow.

But the important question is: after all these changes…

How do they sound?

I was able to listen to this pre/power combination as part of a system in Goldmund’s newly built listening room – which, sadly, hadn’t been fully finished while we were visiting, with things like a bare, reflective door next to the system and unfinished treatment making for less than optimal conditions.

The system featured a Mimesis Statement and two Telos 9800s connected to Theia Passive speakers (£190,000), with the Eidos Excellence SACD player (£55,000) and Eidos streamer (£25,000) acting as sources.

We can’t make any final judgments about sound quality until we have them in our listening rooms. But Dr Véronique Adam, Goldmund’s long-standing head of acoustic research and development, told us the firm’s mission to create the most transparent – to the point of being brutally honest – sound possible, and not try to “fix” a bad source, has not changed. That was apparent the moment the listening session began.

Starting with Prince’s Get On The Boat, the system delivers a punchy, dynamic sound, ably dealing with the interlinking grooves with a solid sense of rhythmic timing and precision. The soundstage feels expansive and wide, creating an accurate stereo image, where every part of the freeform big-band funk experience holds its spot, refusing to congest in the middle and devolve the piece into a muddy wall of sound.

This continues as we transition to Philip Glass’s Floe, where the complex arrangement retains a suitable sense of drive, while leaving enough room for each interlinking instrument to breathe – the dreaded bass synthesiser remaining firmly in its lane, rather than drowning out the more subtle sections, making it possible to count along with the composition’s direct 2:3 polyrhythm.

Moving to SMV’s Thunder, the booming basses hit you in the gut as the system delivers an impressive amount of low-end heft. But the higher-frequency scooped slap bass sections began to take on a hard edge and feel a bit raised compared to the other parts, making for occasionally unpleasant listening, despite its otherwise capable handling of the tricky piece’s dynamics. I suspect the less-than-perfect acoustics of the unfinished demo room are to blame here.

Pressing the issue with Steve Vai’s Touching Tongues, a famously bright song, this continues, as the system delivers the squealing lead guitar with so much force it veers towards forthrightness in its earnest delivery. Again, the system occasionally feels forced, with the track not quite sticking the landing with the upper frequencies, in particular – an issue that, again, could easily be explained by the room.

All in all, it left an impression, but we’d really like to listen to it again in a room we’re familiar with that has been fully treated – at this level, it’s not fair to play the hardware in anything less.

Final thoughts

While I didn’t get enough time with the new Goldmund amps to make any final judgments, our time with them and the company’s new leadership team shows the firm is looking to make big changes, both to how it runs and its product range.

That alone makes me eager to hear more and see what that means for the iconic Swiss hi-fi brand and its offerings – especially given the sweeping changes that have been made in developing the new Telos and Mimesis amps since the new leadership team took over 18 months ago.

Add to this the strong impression of its bold designs and ongoing unapologetic focus on a pure, unadulterated sound, and I can’t help but feel we should all be keeping an eye on Goldmund, as it continues its metamorphosis.

MORE:

These are the best stereo amplifiers we’ve tested

We rate the best CD players

Our picks of the best floorstanding speakers

French audio firm Triangle has expanded its Borea Series with a new large-format standmount speaker, the BR05.

The company says that the BR05 combines “retro-chic styling with contemporary acoustic design”.

At the heart of the new speaker is a 21cm mid/bass driver made from natural cellulose pulp.

Triangle says that the driver’s material “gives voices and instruments a sense of texture and presence, while the cone profile and dust cap are tuned to balance scale with finesse”.

The mid/bass motor system features a 120mm ferrite magnet and a 40mm voice coil, while a “rigid, open basket promotes airflow and heat dissipation to help the BR05 stay composed during dynamic passages”.

To handle high frequencies, the BR05 uses the Borea Series’ signature 25mm silk dome tweeter with a phase plug. Triangle claims this lets the speakers deliver a more precise soundstage.

The bi-wirable speaker’s internally braced cabinet is made from high-density MDF. Triangle claims that its proprietary driver vibration absorption system “[dissipates] mechanical energy before it reaches the cabinet”, using a high-density foam gasket to connect the rear of the motor to an internal brace.

Two forward-facing bass-reflex ports have also been included to make the speaker “less sensitive to distance from the rear wall and easier to position in a real room”.

A supplied base tilts the speaker back by eight degrees to “improve soundstage coherence, while maintaining a discreet visual footprint”.

For those looking to raise the speakers to listening height, optional S03 stands are available for £225 / $299 per pair. According to Triangle, the eight-degree tilt is maintained in both positions

The Borea BR05 are available to order now for £729 / $999 in five finishes: Light Oak, Black Ash, Chestnut, Green and Frosted White.

This makes them the most expensive standmounter speakers in the Borea range but still cheaper than the firm's premium Borea BR10 floorstanders (priced at £1379 / $1149).

The speakers' main rivals at this price are the What Hi-Fi? Award-winning Acoustic Energy AE3000 Mk2. Here's hoping they're up to the challenge when we get them in for testing.

MORE:

Read our full Triangle Borea BR04 review

And our Triangle Borea BR03 review

Stay up to date with our pick of the best standmounter speakers tested by our expert reviewers

Last week was a big one for hi-fi and home cinema announcements, not least because we revealed the What Hi-Fi? Award winners for 2026.

But we also saw some big announcements from key brands too, with Apple, Cambridge Audio, NAD, Naim and Rega all launching products that we can’t wait to get into our test rooms.

Join us for a quick recap of all the key stories that you need to know about…

We announced 111 Award winners

After weeks of blood, sweat and tears, our team of expert reviewers took the wraps off the What Hi-Fi? Awards 2026. We released the names of no fewer than 111 winning products across 24 hand-picked categories.

From turntables to TVs, speaker packages to stereo amplifiers, every single one is a worthy winner. All that’s left now is to announce the very best of the best, i.e. our Product of the Year winners for each category, at our special Awards night on the 12th November…

Read the full story:

The What Hi-Fi? Awards 2026 winners have been revealed!

Apple finally made the announcement we’d been waiting for

After what felt like years of waiting, Apple finally unveiled the latest iteration of its Apple TV 4K streaming box.

It’s promising big upgrades for picture and sound with the addition of a brand new video decoder and the ability to create a wireless four-speaker surround system using HomePod speakers.

Speaking of which, Apple also took the opportunity to announce the HomePod Mini 2. The latest version of its dinky smart speaker comes with a more powerful processor and is available in a range of new colours too.

Read the full story:

Apple finally unveils a new Apple TV 4K streamer – and it comes with major surround sound, picture and Siri AI upgrades

It's official! The HomePod Mini 2 has finally landed – and there's good news and bad news

Cambridge Audio dropped a new deck

Turntables haven’t been a huge part of Cambridge Audio’s hi-fi offering in recent years, but last week the company took the wraps off a new £329 / $499 player, Spira.

According to Cambridge Audio, “Spira has everything you need straight out of the box,” including a pre-fitted Audio-Technica cartridge, a built-in phono stage and a Bluetooth transmitter for streaming to wireless headphones or Bluetooth speakers.

It’s available in a range of colourful finishes to match the company’s L/R S active speakers, and we can’t wait to get our hands on one.

Read the full story:

Cambridge Audio’s new Spira turntable is “built to grow alongside” your record collection

Naim unveiled a huge all-in-one system

We’re huge fans of Naim’s Mu-so range of wireless music systems, so we were excited to see its brand new addition, the Mu-so Utopia, in the flesh for the first time last week.

As we said in our news story, “it combines Naim-powered amplification with trickle-down technology taken from Focal’s high-end series of Utopia loudspeakers”. It’s packed with streaming smarts, hi-res audio support and HDMI eARC, and you can read more in our hands-on review.

Read the full story:

Naim’s high-end all-in-one system boasts Dolby Atmos support alongside HDMI eARC and an expansive streaming suite

Hands on: Naim Mu-so Utopia review

Rega launched a new entry-level record player

Rega knows how to make a decent record player, so we were excited to see it launch a brand new entry-level deck boasting an all-new design. The Replay is a plug-and-play design and is attractively priced at just £259.

It features some of the core elements of its five-star Planar 1, including the platter and tonearm, but with a new minimalist plinth. Needless to say, this is another turntable our review team has its eye on, so stay tuned for our verdict.

Read the full story:

Rega’s new budget turntable wants to “remove all the paranoia and confusion” for vinyl newbies with a minimal plug-and-play design

NAD’s new matching hi-fi separates caught our eye

The sight of new electronics from a big hi-fi brand always gets us excited, so we were extremely pleased to see a press release for the C 359S streaming amp (£1099) and C 569 CD player (£749) appear in our inbox.

The C 359S brings streaming smarts to a traditional Class A/B amplifier design via Bluesound’s BluOS platform, while the C 569 uses NAD's Dynamic Digital Headroom (DDH) and QRONO d2a technologies in an attempt to bring out more detail and depth from your CD collection.

Read the full story:

Modern Classics: NAD unveils a new streaming amplifier and CD player in its Classic Series

MORE:

Our pick of the best CD players you can buy

And the best stereo amplifiers

Leeds vs Man Utd: match preview

Leeds have had an excellent start to the season. So much so that going into the weekend's fixtures, they found themselves sitting pretty in seventh position just behind Chelsea. Prior to the 2-1 loss at Arsenal last weekend, Daniel Farke's team were boasting two wins and three draws in their last five Premier League matches and will be desperate for a win against their bitter rivals.

The same good form cannot be said of their opponents, Man Utd. In fact, in the six games since the beginning of the season, the Red Devils have only managed to accumulate six points, helped along by a 5-2 victory over Ipswich Town, but that was way back in August.

Going into the game, the pressure is firmly on the Red Devils, especially given Lisandro Martinez's scathing comments about the club's ownership. Another loss could spell the end of Michael Carrick's tenure, and Leeds would be happy to inflict that blow.

Here's how to watch Leeds vs Man Utd in the 2026/27 Premier League from anywhere in the world.

Team News

Leeds United XI: Trafford, Bogle, Justin, Elvedi, Muharemovic, Gudmundsson, Ampadu, Tanaka, Stach, Okafor, Calvert-Lewin.

Man Utd XI: Lammens, Dalot, Maguire, Martinez, Yoro, Diallo, Tielemans, Santos, Baleba, Fernandes, Mbeumo.

How to watch Leeds vs Man Utd for FREE

Leeds vs Man Utd is available for free in Brazil on CazeTV's YouTube Channel. It won't require a subscription or even a YouTube account.

Proton VPN can unblock your stream of Leeds vs Man Utd on CazeTV if you're outside Brazil right now.

Watch Leeds vs Man Utd streams from abroad

The Leeds vs Man Utd gme is being streamed all over the world, but what if you are outside your usual country and can't watch your home stream?

Don't worry – this is where a VPN comes in very handy. The best VPNs allow you to appear as though you're still at home regardless of where you actually are in the world, meaning you don't have to miss out because of geo-restrictions. Proton VPN is one of the providers we most recommend:

Watch Leeds vs Man Utd live in the US

In the USA, the Leeds vs Man Utd live stream will be shown on USA Network.

To access USA Network, you can use a variety of cord-cutting options, including Fubo, Hulu + Live TV (both carry free trials) and Sling TV.

On holiday while the game is on? Get Proton VPN to access your usual Premier League streams.

Watch Leeds vs Man Utd in the UK

TV coverage of Leeds vs Man Utd is available on Sky Sports Main Event in the UK.

New customers can get a Sky Sports package for £35 per month or £22 per month if they already have a Sky TV contract. If you want to watch on your laptop, mobile, or tablet, then you can use the Sky Go app.

You can also use a NOW Sports Membership to watch the match, with 24-hour passes costing £14.99.

Outside the UK today? Get Proton VPN to access your Leeds vs Man Utd stream.

Watch Leeds vs Man Utd in Australia

Leeds vs Man Utd is available on Stan Sport in Australia.

To tune in, you'll need both a Standard Stan package (from $9.99 a month) and the Stan Sport add-on (a further $20).

Australian viewers travelling abroad can access this game using Proton VPN.

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• Where to watch a free F1 live stream
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• Shop our best TV deals

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Watch South Africa vs Australia 2nd Test live streams

South Africa welcome Australia to St George's Park, Gqeberha (formerly Port Elizabeth) for the 2nd Test of this three-match series. The first series between the sides in South Africa since the infamous 2018 Sandpapergate incident, it kicked off at Kingsmead in Durban, where the visitors claimed a convincing 214-run victory. Matt Renshaw was named Player of the Match for his 190 and 82.

The Proteas will now look to bounce back. They are the defending World Test Championship winners, but Australia currently sit ahead of them in the 2025-27 cycle’s standings. South Africa have also gone unbeaten across their last seven Test series, the most recent being a memorable 2-0 triumph over India in India. Temba Bavuma's epic 179 has ensured South Africa won't lose this Test, with a draw highly likely.

Follow our guide below for where to watch South Africa vs Australia 2nd Test live streams online and on TV wherever you are.

• South Africa vs Australia 2nd Test: October 18-22
• FREE: SABC 3 (South Africa)
• US: Willow TV
• UK: Sky Sports
• Watch anywhere — try NordVPN 100% risk free

Can I watch South Africa vs Australia 2nd Test for free?

Yes, in South Africa the South Africa vs Australia 2nd Test will be shown for free on SABC 3.

You'll need a VPN to prevent you from getting geo-blocked if you're abroad right now. We recommend NordVPN.

How to watch South Africa vs Australia 2nd Test live streams using a VPN

You won't be able to watch your regular South Africa vs Australia Test live streams while travelling abroad. The streaming service will spot that you're in a foreign country and block you.

You can use a VPN (virtual private network) to get around this, though. It's a straightforward piece of software that sets your device to appear as if it's in a different country, allowing you to watch any South Africa vs Australia Test series live stream from anywhere in the world.

We rate NordVPN as one of the best VPN for streaming sport. It offers a generous 30-day guarantee for all your money back if you're not happy with the service.

How to watch South Africa vs Australia 2nd Test live streams in the US

In the US, dedicated cricket streaming service Willow TV is the place to watch South Africa vs Australia 2nd Test.

If you don't have it as part of your cable package, you can watch Willow's coverage through your choice of Sling TV's Desi Binge Plus or Dakshin Flex plans – starting from $10 per month.

Not in the US right now? Use NordVPN to watch your regular cricket stream.

• Expert TV advice: best OLED TVs for sports fans
• View the latest TV deals on Amazon

How to watch South Africa vs Australia 2nd Test live streams in the UK

The South Africa vs Australia 2nd Test is being shown on Sky Sports with full coverage on the Cricket channel.

Sky Sports subscriptions start at £35/month, or £24/month for existing Sky customers. If you prefer a NOW Sports subscription, plans are available from £14.99/day or £27.99/month.

Looking to invest in Sky Sports? Check out our dedicated guide to all things Sky.

Outside the UK right now? Use NordVPN to access your preferred coverage of the cricket.

How to watch South Africa vs Australia 2nd Test live streams in India

In India, the South Africa vs Australia 2nd Test is available to watch on the FanCode app and website.

Monthly prices start from just ₹199, but you can also get a standalone pass (₹39) for a match pass for the 1st Test.

If you're currently out of India but want to watch a South Africa vs Australia live stream, you'll need to get yourself a VPN, as per the instructions above.

How to watch South Africa vs Australia live streams in Australia

In Australia, the South Africa vs Australia 2nd Test is available to watch on Fox Cricket via Foxtel, with live streaming available via Kayo Sports.

Kayo Sports starts at AU$30 per month after a 7-day free trial. Or you can get your first month for AU$1.

Outside Australia right now? Use NordVPN to access your preferred South Africa vs Australia Test series coverage.

How to watch South Africa vs Australia live streams in South Africa

The South Africa vs Australia 2nd Test is being shown on Supersport and SABC 3 in South Africa.

You'll need to get a DStv access package to watch Supersport coverage of the three-match series, with prices starting at Rs399/month for the streaming version.

As we've mentioned above, SABC 3 coverage is free.

Outside South Africa right now? You'll need to get a VPN to access your usual South Africa vs Australia Test series coverage from back home.

South Africa vs Australia 2nd Test: Day 4 Preview

Australia and South Africa meet for the second Test with the visitors leading the three-match series 1-0. Rain disrupted the first two days, but a full third day of play saw South Africa fight back brilliantly, with Temba Bavuma’s 179 helping the hosts declare on 425-9 and put themselves in a strong position to challenge Australia.

Bavuma dragged South Africa out of trouble after they slumped to 110-6 on Day 3. He shared a 132-run partnership with Marco Jansen (85), before Simon Harmer (82) helped extend the hosts’ total through a record eighth-wicket stand of 183 with Bavuma.

There have been questions over whether the hosts should have declared earlier to give their pacers more time to exploit the gloomy conditions. Kagiso Rabada struck in the first over of Australia’s reply, dismissing Nic Maddinson, but the visitors finished the day at 3-1 after only three overs of spin could be bowled before bad light stopped play.

With two days left and so much time already lost to rain, South Africa face an uphill battle to force a result. They will need to dismiss Australia cheaply and potentially enforce the follow-on to keep their hopes alive, while the visitors will be looking to bat their way towards a draw and preserve their series lead.

Australia won the first Test rather comfortably after Matt Renshaw’s statement 190 helped them recover from 124-6 to post 390 in the first innings. South Africa fell 106 runs short in reply before Australia piled on the runs in the second innings to set a daunting target of 421. The hosts eventually lost by 214 runs, with Josh Hazlewood picking up a six-fer in the second innings.

The Proteas have made changes in the second Test, bringing in-form batter Matthew Breetzke for Tristan Stubbs after his century against Australia in the ODI series. Ryan Rickelton has taken over wicketkeeping duties from Kyle Verreynne, while Kagiso Rabada has replaced Maharaj. Opener Marques Ackerman is making his debut as well.

• Fancy an upgrade? Here are the best TVs
• Or save money with these unmissable cheap TV deals
• Where to watch F1 in 2026 for free

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

Watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams

Pakistan, Sri Lanka and England will lock horns in a seven-match ODI tri-series hosted by Pakistan in Lahore and Rawalpindi. Each team will face the other twice in the round-robin stage, with the top two sides advancing to the final in Lahore on October 31.

England have already faced Sri Lanka home and away this year, winning both three-match series 2-1. They also beat India by the same margin at home, making them favourites to win the tri-series, which will serve as valuable preparation for the 2027 ODI World Cup.

England will be led by their long-term white-ball captain, Harry Brook, while the squad features new faces Henry Crocombe, Mason Crane, and all-rounder James Coles. However, much of the responsibility will rest on experienced campaigners such as Joe Root, Will Jacks, and Adil Rashid. Jos Buttler misses out through injury, while Jofra Archer has been rested. But Sam Curran is back.

Pakistan will be led by ace pacer Shaheen Shah Afridi, with big names such as Babar Azam, Haris Rauf and Naseem Shah in the squad. Interestingly, Sahibzada Farhan, who impressed in Pakistan’s recently concluded T20I series against Sri Lanka, will not feature in the ODI tri-series.

Sri Lanka are arguably the weakest of the three, having also lost their recent T20I series against Pakistan. Captain and wicketkeeper Kusal Mendis will lead the team, with Eshan Malinga, Kamindu Mendis, Dasun Shanaka, and Maheesh Theekshana among the key players to watch. However, they’ll be without star batter Pathum Nissanka, who is out due to a hamstring injury.

Follow our guide below for where to watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams online and on TV wherever you are.

• England, Pakistan and Sri Lanka ODI tri-series 2026: October 18-31
• FREE: Tapmad (Pakistan)
• US: Willow TV
• UK: Sky Sports
• Watch anywhere — try NordVPN 100% risk free

Can I watch England, Pakistan and Sri Lanka ODI tri-series 2026 for free?

Cricket fans in Pakistan are in luck! The England, Pakistan and Sri Lanka ODI tri-series 2026 is being shown for free on Tapmad.

You'll need a VPN to prevent you from getting geoblocked if you're abroad right now. We recommend NordVPN.

How to watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams using a VPN

You won't be able to watch your regular England, Pakistan and Sri Lanka ODI tri-series 2026 live streams while travelling abroad. The streaming service will spot that you're in a foreign country and block you.

You can use a VPN (virtual private network) to get around this, though. It's a straightforward piece of software that sets your device to appear as if it's in a different country, allowing you to watch any ODI tri-series live stream from anywhere in the world.

We rate NordVPN as one of the best VPN for streaming sport. It offers a generous 30-day guarantee for all your money back if you're not happy with the service.

How to watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams in the US

In the US, dedicated cricket streaming service Willow TV is the place to watch the England, Pakistan and Sri Lanka ODI tri-series 2026.

If you don't have it as part of your cable package, you can watch Willow's coverage through your choice of Sling TV's Desi Binge Plus or Dakshin Flex plans – starting from $10 per month.

Not in the US right now? Use NordVPN to watch your regular cricket stream.

• Expert TV advice: best OLED TVs for sports fans
• View the latest TV deals on Amazon

How to watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams in the UK

The England, Pakistan and Sri Lanka ODI tri-series 2026 is being shown on Sky Sports, with the three England round-robin matches on full coverage on Sky Sports Main Event.

Sky Sports subscriptions start at £35/month, or £24/month for existing Sky customers. If you prefer a NOW Sports subscription, plans are available from £14.99/day or £27.99/month.

Looking to invest in Sky Sports? Check out our dedicated guide to all things Sky.

Outside the UK right now? Use NordVPN to access your preferred coverage of the cricket.

How to watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams in India

In India, the England, Pakistan and Sri Lanka ODI tri-series 2026 is available to watch on the Sony LIV app and website.

Sony LIV subscription plans in India start at ₹599 for the Mobile-Only yearly plan, while the Premium yearly plan costs ₹999.

If you're currently out of India but want to watch a Pakistan ODI tri-series live stream, you'll need to get yourself a VPN, as per the instructions above.

How to watch England, Pakistan and Sri Lanka ODI tri-series 2026 live streams in Australia

In Australia, the England, Pakistan and Sri Lanka ODI tri-series 2026 games involving Pakistan are available to watch on Fox Cricket via Foxtel, with live streaming available via Kayo Sports.

Kayo Sports starts at AU$30 per month after a 7-day free trial. Or you can get your first month for AU$1.

Outside Australia right now? Use NordVPN to access your preferred England, Pakistan and Sri Lanka ODI tri-series coverage.

• Fancy an upgrade? Here are the best TVs
• Or save money with these unmissable cheap TV deals
• Where to watch F1 in 2026 for free

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

I've covered more Apple launches than I'd care to admit in the past four years. From the annual iPhone unveilings in September to WWDC in June, and many miscellaneous events in between, there's been one running theme throughout all of them: no new Apple TV 4K.

That changed with Apple's latest low-key event, which took place earlier this week. It centred around smart home devices, including a Siri AI-enabled smart speaker with a display that can be used to view video doorbells, display recipes, and stream music. While the HomeView looks like a nice piece of kit, my attention was squarely on the new Apple TV 4K 4th Generation.

Last refreshed in 2022, the Apple TV 4K has been the neglected stepchild in Apple's lineup for the past four years; the company has been too busy cramming wildly powerful in-house developed processors into new Mac computers and iPads.

Thankfully, Apple saw sense and has decided to refresh the streamer with the same A19 chip from the iPhone 17 with a dedicated AV1 decoder for more efficient streaming, improved wireless connectivity, Siri AI and built-in far-field microphones for hands-free navigation, and an improved remote with built-in 'Find My' functionality.

Now, I've been mulling over the new streaming box since its announcement on the 13th October, and the shine really has worn off. This contemplation has led me to an unfortunate realisation: I have no intention of buying the new Apple TV 4K.

What I was convinced would be an instant no-brainer purchase has been derailed thanks to a couple of key factors, and yes, the biggest issue is the price.

Apple has previously offered two configurations of this streamer. There was a cheaper 64GB model which launched at £149 / $130 / AU$219, and saw a price increase to £199 / $199 / AU$299 in June this year, and a 128GB version with an Ethernet socket which released for £169 / $179 / $249, and received a similar price increase to £249 / $249 / AU$399.

Apple now only sells a single 128GB configuration, meaning the 4th Generation starts at a staggering £299 / $299 / AU$449. Plenty of geo-economic factors explain this price increase to some extent: RAM, storage and chip shortages, plus global conflicts, are mostly to blame.

But two price increases in six months? That's starting to feel egregious, especially considering that the 'starting' price for the Apple TV is now double what it used to be.

Furthermore, the existing Apple TV 4K is technically receiving some of the features from the new model.

Apple notes that, "Siri AI is available as a beta on Apple TV 4K (2nd generation or later), and is available at launch in the US, Australia, Canada, India, New Zealand, Singapore, South Africa, and the UK in English," which means if you have the 2021 or 2022 Apple TV 4K, you'll be able to use the new Siri AI voice commands and search functions.

And that new Siri Remote with Find My built in? Apple is selling that separately too, and it's compatible with multiple generations of Apple TV HD and 4K, with the Find My feature supported on the 2021 and 2022 models too. It's set to cost £59 / $59 / AU$89; that's a much more wallet-friendly upgrade.

Now, we're expecting important picture and sound upgrades with this new generation, and the upgraded processor is likely to harbour more features in the future and enhanced longevity in the long run. And of course it's entirely possible that my mind will be changed once we review the upcoming Apple TV 4K, which is set to release at the end of the month.

That said, if you've got Apple TV 4K FOMO like me, but are averse to dropping £300 on the new model, then these features might just tide you over as well.

MORE:

Read our full Apple TV 4K (2022) review

Check out our picks for the best streaming devices

As well as the best OLED TVs

If you are a regular What Hi-Fi? reader, then you likely will have seen that we announced the 2026 Award winners earlier this week. For those who have not seen them yet, don't panic; you can see the list of winners here.

Leading up to the final results, we have been testing a huge range of different home cinema and AV products in order to find the best of the bunch. And that has called for us to test a diverse set of movies and TV shows to see how these products perform.

There are some discs that we reach for time and time again (Blade Runner 2049, Dune Part Two, for example), but we also want to have a fresh supply of films and shows at our fingertips.

In our monthly Now Showing column, we take a look at what the reviews team have been watching to challenge a product's picture or sound performance.

East Of Eden (2026 –)

Words by Ioan Hazell

If you attended secondary school after 1990, there’s some likelihood that a novel by John Steinbeck ended up stuffed into your school bag alongside a Walkman, iPod or iPhone. Schools tend to opt for Steinbeck’s shorter stories, such as The Grapes Of Wrath or Of Mice And Men, but the author’s self-proclaimed magnum opus, East Of Eden, is less commonly on the curriculum.

And that’s a shame, because, while the book’s critical reception was varied upon release, there’s good reason for it since becoming one of Steinbeck’s most widely loved novels.

The Netflix adaptation of the story follows the Trask family through three generations, the latter two of which grapple with a brotherly Cain and Abel dynamic. This Biblically-charged tension is only compounded when the character of Cathy Ames (Florence Pugh) crawls bloodied to the door of a Connecticut farmhouse owned by Adam and Charles Trask (Christopher Abbott and Mike Faist), the second generation.

For fear of spoilers, I’ll keep schtum about what follows. But for lovers of the novel, I should say that, while this adaptation doesn’t quite deliver the gut-punching emotional blows of the book, it is still a gripping, if somewhat blatantly theatrical watch. Visually, it is a feast for the eyes, with painstaking care taken on set design and costumes. The New Zealand landscapes used as a simulacrum for California’s Salinas Valley don’t hurt, either.

Come to think of it, this series is probably best summed up by a quote from the novel itself: “Now that you don’t have to be perfect, you can be good.”

Teenage Sex And Death At Camp Miasma (2026)

Words by Alastair Stevenson

As a kid who grew up watching The X-Files, Gillian Anderson is as close to a global treasure as you’ll get in the world of acting, in my humble opinion.

So when, as a horror fan, I saw she was doing a genre-bending movie with Hacks star Hannah Einbinder, it was a pure “shut up and take my money” moment. And while it’s quite heavy-handed with its symbolism, boy am I happy I did, as from the moment I started watching, Teenage Sex And Death At Camp Miasma proved to be an audio-visual treat.

Though it’s full of great performances (especially from Anderson, who plays a reclusive horror actress), it was the visuals that really stood out for me, with every decision and minor detail contributing to the story and intended tone.

First, there’s cinematographer Eric Yue’s decision to shoot almost all of the film in 35mm, to replicate the grainy, noisy tone of its ’70s and ’80s slasher film inspiration. Then there’s the use of the classic glass matte painting Hollywood technique for backdrops, over the easier and more common CGI used in most modern films, which adds to its unique, surreal feel.

The end result is an experience that blends retro nostalgia with modern storytelling to create something truly unique. If you haven’t seen it yet, I’d strongly recommend any horror fan give it a go.

Stream Camp Miasma on MUBI

Pre-order Camp Miasma on 4k Blu-ray

Pearl (2022)

Words by Robyn Quick

Mia Goth is building up quite the horror discography, with one of her biggest breakouts coming from her role in the 2018 reboot of Suspiria. But another entry cemented her as one of this generation's go-to horror greats: enter Pearl.

Goth plays the titular lead (and also co-wrote the screenplay), with the film following the rural schoolgirl. Stuck looking after her family's farm and caring for her ailing father, Pearl also has a ravenous desire to be a star. And she will pursue her dream, no matter what it takes.

Not only is it hugely entertaining, bloodthirsty viewing, but Pearl is a great test of your home cinema system's picture. The beautiful farm landscapes call for a great amount of detail and clarity, from the fields of barley to the fluffy clouds in the sky.

It will challenge your system's sound performance as well. During the iconic dance scene as Pearl performs to a straight-faced panel of judges, the soundtrack evokes classic Hollywood tunes rather than modern slashers. Accompanying the sprightly score is the sound of footsteps on the stage, which also tests out your system's ability to place these precisely around the soundfield.

Buy Pearl on 4K Blu-ray from HMV

Stream Pearl on Apple TV

The Social Network

Words by Lewis Empson

David Fincher has directed numerous films that I'd consider to be a cut above the rest, and in my humble opinion, The Social Network is his very best work.

It has sat comfortably in my personal top 10 ever since I watched it over a decade ago, and it's a film I've since used to test a wide array of AV and home cinema products.

It's now been accompanied by a sequel that (while I haven't seen it personally) hasn't been receiving the best reviews, which is somewhat disappointing. That said, a surge in popularity for one of my favourite films is still a win in my books, and I hope the release of The Social Reckoning is drawing some well-deserved attention to the original.

If there's one word that I'd use to describe this film, it would be "slick". Performances are deeply engaging, the cinematography and camera work are fluid, and the soundtrack is an electronic masterpiece courtesy of Nine Inch Nails' Trent Reznor and Atticus Ross.

This movie is a must-watch for anyone who has just invested in a new sound system; seriously, the soundtrack is just that good, especially the ingenious interpretation of In the Hall of the Mountain King. A scene in a nightclub also springs to mind, as the sound mixing is impressively realistic and immersive.

Frustratingly for 4K Blu-ray fans such as myself, a physical copy can seemingly only be obtained if you purchase the £500 Columbia Classics: 4K Ultra HD Collection, Volume 2 box set, or if you can track down a limited edition steelbook that was released early last year.

However, the good news is that Apple has added The Social Network to Apple TV (formerly Apple TV+), with a 4K version with Dolby Vision and Dolby Atmos currently available to stream.

Stream The Social Network on Apple TV

MORE:

Check out our list of the best 4K Blu-ray players

These are the best TVs you can buy right now

And these are the best Dolby Atmos soundbars, too

Watch Australia vs New Zealand 2nd Test live streams

Australia's hopes of ending their Bledisloe Cup drought are over for another year, after the All Blacks stormed to a 50-19 victory last weekend in Auckland. However, there is still plenty for the Wallabies to play for as they host their old rivals in the second and final match at Sydney's Accor Stadium.

Australia head coach Les Kiss may have seen his unbeaten start end following the All Blacks' barnstorming second-half display, but there were still positives for the 61-year-old to take from the performance. The Wallabies trailed only 17-14 at the interval, raising hopes they could claim become the first team to beat the All Blacks at Eden Park in 40 years but injuries to Ben Donaldson and Len Ikitau eventually told. Kiss has made four changes to his starting XV for the return fixture, with fly-half Declan Meredith and former All Black Aidan Ross among the players to come in as Australia hunt a first victory in this competition since November 2020.

New Zealand cross the Tasman Sea with the Bledisloe Cup safely secured for another year, but Dave Rennie's side are unlikely to take their foot off the gas. Still smarting from their 3-1 defeat by South Africa in the Rugby's Greatest Rivalry series, the All Blacks showed their clinical edge with five second-half tries in Auckland. They will now be keen to secure a 2-0 victory, and Rennie has freshened up his 23 with eight changes in total. That includes three alterations to the starting XV, as loosehead prop George Bower, lock Fabian Holland and wing Josh Moorby all get the nod.

Follow our guide below for where to watch Australia vs New Zealand live streams from anywhere with a VPN, including for FREE.

How can I watch Australia vs New Zealand for free?

US viewers can watch Australia vs New Zealand live and for free on RugbyPass TV, which you can also access via the RugbyPass app (iOS/Android).

Fans in the States will also be able to stream the game at no cost on World Rugby's YouTube channel.

Meanwhile, viewers in Australia can watch the matches live and for free via 9Now and Channel 9.

Rugby fans in New Zealand can watch the 2nd Test on free-to-air ThreeNow on tape delay later on Saturday, with coverage due to start at 8.30pm NZDT.

And in 40+ other territories where there's no domestic broadcaster for this series, the game will be streamed for free on the SANZAAR TV Channel on YouTube. Countries include Belgium, Georgia, Italy, Romania, Sweden, Switzerland, China and India. You can find a full list here.

If you're from any of those countries but are currently overseas, you can simply use a VPN to tap into your free coverage. More details below...

Watch Australia vs New Zealand live streams from anywhere

You won't be able to watch your regular Australia vs New Zealand live streams if you're travelling overseas this weekend. The platform will detect that you're in a foreign country and block you. Thankfully, you can use a VPN to get round this.

We rate NordVPN as one of the best VPNs for streaming sports. It offers a generous 30-day guarantee for all your money back if you're not happy with the service.

How to watch Australia vs New Zealand in the US

As detailed above, RugbyPass TV will broadcast Australia vs New Zealand live and for free in the US. All you need to do is register an account.

Fans in the States can also access the game via World Rugby's YouTube channel.

Overseas right now? Use NordVPN to access your preferred coverage of the rugby.

• Expert TV advice: best OLED TVs for sports fans
• View the latest TV deals on Amazon

Watch Australia vs New Zealand live streams in the UK

You can stream the Australia vs New Zealand 2nd Test on Sky Sports in the UK. The game is live on the Sky Sports Main Event channel.

Outside the UK? Use NordVPN to watch on Sky Go as if you were back home.

Watch Wallabies vs New Zealand live streams in Australia

Free coverage of the 2026 Bledisloe Cup 2nd Test will be available via 9Now online and on Channel 9 in Australia.

Stan Sport subscribers will also be able to watch this match on the pay-to-stream platform and app. Stan Sport costs AU$20/month on top of a Stan subscription, which starts at AU$9.99/month.

Those visiting other parts of the world from Down Under can use NordVPN to watch all the rugby action for free as if you were back home.

Watch Australia vs All Blacks live streams in New Zealand

Sky Sport is the exclusive New Zealand broadcast partner for the 2026 Bledisloe Cup, with coverage on Sky Sport 1.

If you don't have Sky then you can still watch thanks to Sky Sport Now, which costs $29.99 a day, $59.99 a month or $549.99 for a whole year.

Australia vs New Zealand: Need to Know

• Where to stream the Premier League in 2026/27
• Or save money with these unmissable cheap TV deals
• Where to watch F1 2026 for free

We test and review VPN services in the context of legal recreational uses. For example:1. Accessing a service from another country (subject to the terms and conditions of that service).2. Protecting your online security and strengthening your online privacy when abroad.We do not support or condone the illegal or malicious use of VPN services. Consuming pirated content that is paid-for is neither endorsed nor approved by Future Publishing.

If we asked you to think of two brands from the worlds of hi-fi and automotive that you thought should work together, the names Bowers & Wilkins and Aston Martin would probably crop up more than a couple of times.

It might surprise you to know, though, that these two officially tied the knot only in 2023, when Bowers & Wilkins was announced as Aston Martin’s audio partner.

The first project was a 15-speaker system for the then all-new Aston Martin DB12 – but we are here to talk about one of B&W’s more recent systems, the 23-speaker set-up for its DBX S SUV.

Price

As you would probably expect from a performance SUV with an Aston Martin badge on board, the Bowers & Wilkins system for DBX S isn’t cheap. The car itself starts from £210,000, and the speaker package is a meaty option which comes in at around £8500.

That, though, is roughly what we’d expect a set-up at this level to cost – especially when it comes to top-tier automotive brands. It’s a similar story when talking about the Naim for Mulliner audio option for Bentley’s Bentayga SUV.

In the grand scheme of the actual cars themselves and the other options you can pay for, the step-up audio systems can actually make a lot of sense.

System

As standard, the Aston Martin DBX S comes with the 790 watt, 14-channel Premium audio system, which features 13 speakers and a subwoofer.

Tick the Bowers & Wilkins option, and power more than doubles to 1600 watts, while the speaker count increases to 23 with 21 channels of amplification.

The speaker count breaks down as follows:

4 x 17cm paper-cone woofers split between the front and rear doors

7 x 25mm aluminium tweeters spread through the dashboard, front/rear doors and roof lining

4 x 40mm full-range speakers in the front and rear ceiling

7 x 10cm midrange speakers split between the dashboard, front and rear doors and the roof

1 x 19cm x 13.3cm subwoofer in the boot

Those midrange speakers all use Bowers & Wilkins’ proprietary Continuum cone material, which you can find on all the brand's domestic loudspeaker ranges.

The double dome aluminium tweeters can be found in the likes of B&W’s 600 Series speakers – behind each one you'll find special spiral diffusion channels to help absorb reflected sound and reduce vibrations.

The DBX S system also uses Bowers & Wilkins’ tweeter-on-top speaker configuration, which places the tweeter in a separate enclosure to isolate it from vibrations caused by other drivers in the same cabinet. The result is a more open, transparent sound.

In the Aston Martin, each tweeter is hidden behind an intricately designed grille, which looks distinctive and premium, and this grille design is used to cover larger drivers elsewhere in the cabin.

Audio processing for the system is controlled using a combination of QuantumLogic Immersion and Dirac Unison.

The former crunches the numbers and separates your stereo track into individual elements before it then decides where to send them within the system for the best listening experience.

The latter optimises loudspeaker performance and includes bass-management tech to get all the speakers working together in unison.

Sound modes

As is the case with most premium car audio systems of this type, the user has a range of different sound modes at their disposal.

First, you have a choice between ‘studio’ and ‘stage’. Studio is designed to be the most authentic and purest sound mode, while stage is designed to replicate the feeling of being in the middle of a live performance, with extra processing that makes the mode feel more immersive.

Once you’ve picked your flavour (we prefer the studio mode for a more accurate sound), you also have the option of switching the focus of the system between an ‘all seats’ listening mode, a more specific ‘driver’ mode or a ‘rear’ mode biased towards your back-seat passengers.

In our experience of other systems on the market, choosing between these modes tends to come down to personal preference. And the same rings true here. During testing, we edge towards the all seats mode because it delivers a nice blend of immersion, detail and focus.

The driver mode is a bit more intense and the effect more obvious than in other systems we’ve tested. Vocals in particular are brought right into focus in front of the driver, and they sound quite pronounced. This isn’t in a negative way; we just find the effect more noticeable, and during testing it took us a bit longer to get used to.

As you might expect, this driver-specific setting gives you a greater sense of your own personal stereo image when you’re behind the wheel – there’s greater precision within what feels like a tighter soundfield. You are also aware of a greater sense of verticality and height with the stereo image compared with the all seats setting.

We see the appeal of the driver-focused mode, but in this instance we think you sacrifice a bit too much of the free-flowing nature of the sound – we prefer the greater spread and feeling of immersion encouraged by the all seats mode.

In addition to these modes, you also have traditional tone controls at your fingertips for bass, midrange and treble, none of which we feel we need to tinker with during our time with the system.

Sound

The better-sounding premium systems we have tested all deliver a more mature, refined and sophisticated performance than entry-level set-ups, and this Bowers & Wilkins set-up definitely fits into this category.

It’s an expressive and exciting listen, with one particular highlight being the level of refinement and detail you can hear at the very top end.

The system does a great job of extracting detail and pushing high frequencies without overstepping the mark. You get crisp, sharply drawn lines from the tweeters, but they don’t sound stressed or harsh when pushed.

It’s sometimes difficult to convey subtlety and low-level dynamics of a track when you have external factors such as road and engine noise to contend with, but the DBX S’s interior does a great job of isolating you from outside interference.

This allows the system to peel more layers away from the music and delve impressively deep into the fine detail. Spin a couple of minutes of Nothing Arrived by Villagers and you soon get the drift.

The speakers do a great job of communicating the intimate nature of the track. The system captures and surgically extracts the intricate plucking of the acoustic guitar extremely accurately but delivers it with a sense of life and expression too.

You get a real feel for each note; a mixture of intensity, delicacy and authenticity hooks you in.

The system does an excellent job communicating the dynamic shifts in the track’s vocals and the guitar strings, as the pace slows and the dynamics quieten before everything shifts back up through the gears.

Play something with a bit more power and drive, such as Macklemore & Lewis’s Downtown, and Bowers’ system hits with intensity and power. The track marches along in a lively and energetic fashion.

As the different vocals rotate around each other from verse to chorus, the system paints each element with impressive texture and tonality. Here, the studio mode really delivers refinement and sophistication in spades.

However, although there is an impressive amount of bass weight and power on display and the system can drop to impressive depths, the lows don’t gel quite as smoothly with the rest of the frequency range, in our opinion.

They have a tendency to stick out from the rest of the presentation, and we’d also like a greater level of definition.

It’s not a question of dialling down bass weight in the tone controls; the quantity isn’t really the problem. It’s more that the system doesn’t differentiate between bass notes quite as clearly and obviously as the very best systems we’ve heard.

Verdict

It can be tricky getting in-car systems to deliver like proper hi-fi, but the Bowers & Wilkins for Aston Martin DBX S system succeeds in many ways. The package delivers a large-scale, dynamic and refined sound with the midrange and treble being particular highlights.

In our opinion, it doesn’t quite have the quality of bass needed to secure that fifth star, but if it was our money, we still wouldn’t hesitate ticking the options box.

MORE:

Burmester 3D High-End Surround Sound System (2026 Porsche Macan Electric) review

Bowers & Wilkins Diamond Surround Sound System (BMW iX) review

Sonos Premium Sound System (2026 Audi A3) review

With their Rube Goldberg contraptions and quaint, cheese-heavy lifestyle, you wouldn't expect Wallace & Gromit to be at the forefront of AV tech. But a new exhibition casts them and the rest of the Aardman crew into an immersive, audio-visual extravaganza.

Prepare to see Shaun The Sheep, Morph and, of course, Feathers McGraw like never before.

Larger Than Life: The Aardman Story at the Lightroom in King's Cross is a fascinating look at the legendary animation studio and its considerable body of work over the last 50 years. And it's heavy on bespoke animation, including the iconic model train chase scene from the Oscar-winning The Wrong Trousers.

The right fit

If you haven't been to the Lightroom before, you can read more about it here, but it's basically an immersive experience with projectors beaming footage onto the four walls and floor with the audience plonked in the middle of it.

The model train chase scene from The Wrong Trousers shows the venue's capabilities at their best, with Gromit in hot pursuit of villainous penguin Feathers McGraw, the former laying down track pieces mere millimetres in front of his train. Except instead of following the director's shots, the chase happens on the walls around us, the audience, with the rest of the walls adorned with alternative angles, storyboard stills, initial sketches and more.

It's a loving recreation of an iconic scene, one which was described by Danny Boyle as one of the greatest ever action sequences. Though if I have one criticism, it's that Lightroom's projectors can't quite keep up with Gromit's speed-laying-down of track pieces, his arms at times becoming a literal blur.

A joy

But that's nitpicking. The show is a joy, pure and simple. Which is fitting, given the immense admiration that Aardman's work attracts.

From the cabaret-style intro, through a brief history of stop-motion animation, to the studio's early successes on Vision On to global recognition via A Grand Day Out (seven years in the making) and the music video for Peter Gabriel's Sledgehammer, it captures the spirit and playfulness that the studio brings to every project.

Not that it's comprehensive. The music video for Nina Simone's My Baby Just Cares For Me is nowhere to be seen, which is a shame. Nor is it presented in chronological order. Rather, as with previous Lightroom shows, it's divided up into chapters ('Characters', 'Miniature Worlds' etc) with the whole show running on a continuous loop.

But it has more of a coherent beginning and end than the venue's previous shows, top and tailed respectively by the cabaret intro – featuring the studio's most famous characters pumped out of a machine that takes in balls of clay – and Morph closing the lid on the whole presentation (but not before pointing and laughing at the audience, as if we're tiny creatures placed there for his amusement in a neat reversal of the usual viewer-character dynamic).

While completists might be better served elsewhere, it is still full of great tidbits. I was interested to learn that the studio takes its name from an early character it created (an underwhelming superhero whose name is a pun on Aardman, "Hard Man"). And I couldn't help but snigger at Steven Spielberg's response when pitched Chicken Run (sold as The Great Escape with chickens): "The Great Escape is one of my all-time favourite movies, and I've got 300 chickens."

We also get a peek behind the scenes of the studio's plywood panels and kept-dark stages to witness the painstaking animation process first-hand. Younger visitors might find these sections a bit dull, but for those of us old enough to remember A Grand Day Out airing on TV in the late ’80s, it's fascinating.

According to the head of the Lightroom, the show was between two and four years in the making (no one quite knows exactly when they started talking to Aardman about creating it). And it shows: as with all Aardman productions, a lot of love has gone into it, and as the studio's considerable body of work proves, if you want to get it right, it's worth taking your time over these things.

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Could Apple TV+'s immersive dinosaur experience be the future of cinema?

In case you somehow hadn't noticed, we announced the What Hi-Fi? Awards 2026 winners earlier this week.

It was an interesting mix of returning favourites, new entrants and surprise upsets across the various categories.

Out of the 111 winners, however, we're pleased to report that several of them are on sale.

This includes repeat winners such as the Sony WF-C510 and Cyrus 40 ST, which are now back to their lowest price, as well as savings on the newly victorious Sennheiser CX 80U and LG C6 42-inch.

There's plenty more, though – take a look for yourself:

Budget OLED TVs are tough to get right, but Samsung has made a mighty good go of it with their offering this year. The Samsung S85H is one of the best cheap OLEDs we've tested thanks to a punchy, three-dimensional picture, high brightness, and solid app and gaming support. Get this price by using the promo code RSTV50 and then claiming £75 cashback from Samsung – full T&Cs are here.

It's hard to go wrong at £28, but the Sony WF-C510 seriously overdeliver at this price. The budget buds have just won their third What Hi-Fi? Award in a row, thanks to their compact, comfortable design, solid, musical sound and 11-hour battery life.

If you prefer your budget headphones wired, then the Sennheiser CX 80U are the pair we recommend. Their small, lightweight design, comfortable fit and rich, solid sound make them the best budget wired earphones we have tested in years.

The LG C-series regularly makes an appearance in our launch line-up, and this year is no different. The LG C6 took home the gong for best 40-43-inch TV thanks to its crisp, three-dimensional and contrast-rich picture, along with excellent motion handling and gaming features. You’ll need to claim 10 per cent cashback from LG to get this full discount – full details here.

The Cyrus 40 ST is our favourite high-end music streamer, and has just received its third What Hi-Fi? Award in a row. It may not be cheap, but it's an incredible piece of kit with expressive, punchy and exciting sound, excellent rhythmic drive and a classy look.

The Samsung HW-Q990H is also a new Award winner, thanks to its detailed, full-bodied cinematic sound, immersive and spacious sound and superb connectivity. We tested it at a rather pricey £1599, but you can now pick it up for £999 thanks to a £400 cashback offer – full T&Cs here.

MORE:

Our pick of the best wireless headphones you can buy

And the best TVs for all budgets

Interested in the bigger picture? Here are the best projectors we have tested

After one of the best music streamers money can buy?

The Cyrus 40 ST isn't exactly cheap, but it does boast five stars and multiple What Hi-Fi? Awards. It's a strong all-rounder that can shine in a wide range of systems.

And that price just got a bit more palatable. The Cyrus 40 ST is available for £2649 at Richer Sounds, a £346 discount from the price at which we reviewed it.

So what is it about the Cyrus 40 ST that makes it stand out from its rivals? The all-important sound quality, of course.

"Dynamically, it is impressively expressive, rendering low-level shifts in intensity elegantly, and delivering large-scale orchestral crescendos with real conviction," our Cyrus 40 ST review reads.

"As we listen to Beethoven’s 9th Symphony it is hard not to be impressed by the Cyrus’s performance. It sounds big and brawny when required but still has a lightness of touch when the music demands it."

The 40 ST simply has a level of clarity and precision that we haven’t heard bettered anywhere near this price, while also sounding natural and engaging across all types of music.

While Cyrus's iconic half-width chassis design remains, the 40 ST sports a sleek, modern look with a new aluminium casework.

The 40 ST uses the BluOS streaming engine, which comes with ample streaming features, including support for AirPlay, Tidal Connect, Qobuz Connect, Spotify Connect, internet radio, and numerous other services. Bear in mind, though, that there's no Bluetooth or Chromecast, and hi-res file support is restricted to 24-bit/192kHz PCM and MQA.

There's also an upgrade option in the form of a 40 PSU outboard power supply, which brings gains in scale, power and authority. That unit will set you back a pricey £2495, though.

If you don't mind a few feature gaps, the Cyrus 40 ST has a breadth of talent and an even-handed nature that few others can match. With three Awards under its belt, the 40 ST is on its way to becoming a What Hi-Fi? legend, and it can be yours with £346 off at Richer Sounds.

MORE:

Read our review of the Audiolab 9000N

Also consider the Naim ND5 XS2

The What Hi-Fi? Awards 2026 winners have been revealed!

Imagine the premium wireless multi-room speaker market is a saloon from one of those classic spaghetti westerns. You’ve got Denon’s revamped Home 2 series leaning on the bar, Apple’s HomePod 2 and HomePod Mini playing a round of Three Card Monte, while Sonos’ Era 100 and Era 300 supremos menacingly spin their pistols as they eyeball prospective newcomers with a steely gaze.

Then, the wooden saloon doors swing open, and into the smoky scene steps JBL, armed to the teeth with its new three-strong Cove range. The talented titan has been the fastest gun in the West when it comes to its Award-winning range of portable Bluetooth speakers, but now it wants a slice of the multi-room treasure, starting with the flagship Cove X1 wireless speaker we have on test here.

Given its impressive portable pedigree and former multi-room experience with the now-defunct Link series and stylish Authentics range, JBL seemingly has what it takes to be the quickest draw in this particular shootout. On paper, at least.

Price

The JBL Cove X1 is priced at £430 / $450 / AU$650, making it the most premium member of the Cove range, eclipsing the £200 / $230 / AU$300 RRP of the Cove M1 and £400 / $400 / AU$600 tag of the Cove P1.

At this sort of money, you can scoop up the five-star Sonos Era 300 for £449 / $499 / AU$749 at the time of writing – though discounts will often drop this to around £349 / $399 / AU$649 – or get yourself the excellent HomePod 2 for £349 / $349 / AU$549 if you want a simple smart speaker and remain devoted to all things Apple.

Build & design

If you are familiar with JBL’s extensive portfolio of portable Bluetooth speakers, you’ll know that eye-grabbing colourways and funky style quirks are very much par for the course. Camo finishes, rubberised bumpers, even on-unit lighting for some newer-gen models – these are speakers designed to look as fun as they sound.

The Cove range does things differently. JBL says the new lineup is conceived to slot far more subtly into a domestic setting, hence the more utilitarian styling showcased by the X1 and its companions. Forget bright pinks and bold reds – black or white are the only finish options here.

The Cove X1, then, is not a particularly fun thing to look at, but considering that this is a speaker around the size of a small bread bin, it just about achieves its aim of fading into the background rather than drawing your attention like a fizzing sparkler atop a small cupcake.

At the top of the unit you’ll find a series of touch-capacitive controls, including volume, play/pause and Bluetooth pairing options, as well as a heart-shaped favourites icon for giving you quick access to a preferred playlist or range of soothing ambient sounds.

The small, subtle symbols do help to complement the deliberately understated aesthetic, but the lack of physical feedback does make for a less satisfying experience. Our test unit also lacks an auditory response straight out of the box, but you can adjust this by toggling on ‘Feedback Tone’ via the JBL One app.

Inside, the flagship Cove X1 houses a six-driver array, with 200 watts powering four 30mm tweeters – including one upfiring unit – alongside a pair of 9 x 12cm woofers to produce what JBL describes as an “ultra-wide sound with incredible detail” that, with the help of Constant Sound Field technology, “remains clear across the room”.

Encircling the entire speaker is a wraparound grille to facilitate that more omnidirectional sound, complemented by a smaller top-mounted grille under which sits one of the up-firing tweeters.

Features

The Cove range has been designed to be as user-friendly as possible, especially with regard to its multi-room capabilities, touting a flexible and expandable whole-home audio ecosystem powered by JBL's in-house platform and managed through the JBL One app.

In this regard, the X1 is a success. Our two review samples are easy to set up and get working, with both speakers requiring barely more than the push of a button to get hooked up to the wi-fi and grouped together in a stereo pair. Given how temperamental some wireless speakers (even five-star models from Sonos and Audio Pro) can be when it comes to connecting to the network and forming a cohesive pair or grouping, this is already a big plus.

You're not short on wireless streaming options. As well as being Roon Ready and offering Bluetooth 5.3 connectivity with standard SBC and AAC codecs, the Cove X1 grants support for AirPlay 2, Google Cast, Spotify Connect, Tidal Connect and Qobuz Connect. Dolby Atmos spatial audio is also on the menu. Wired listening via USB-C, meanwhile, is only available to US buyers.

For hands-free voice control, Alexa Plus is baked into the X1 and, once you’ve linked the speaker to your Amazon account, ready and willing to do your bidding. Just be aware that Alexa is tied into its own limited ecosystem, so while you can request playback from services such as Amazon Music and Spotify – and ask the usual questions about the weather and the meaning of life – there’s no voice control for Tidal and Qobuz.

To help you get the most out of your multi-room system, JBL’s own 'Constant Sound Field' automatically tunes the speakers to their given environment, while 'AI Sound Boost' further aims to optimise performance based on where and how you listen.

Sound

Just as the Cove X1’s mature aesthetic is at odds with the usually-funky JBL recipe, so too does the new model’s sonic presentation deviate from the one with which we’ve become so accustomed from the likes of the Award-winning Xtreme 5, Charge 6 and Flip 7 Bluetooth portables.

Instead of trading on that musical, fun and expressive nature that has earned JBL a small truckload of Awards for its portable roster, the Cove X1 favours a more subdued sonic presentation, one that leans further into weighty robustness rather than fleet-footed joie de vie.

To an extent, such a presentation plays into the JBL’s hands, and thanks to its considerable power and its omnidirectional driver array, the Cove X1 has no problems filling our test rooms with its big, weighty sound. If you’ve got a reasonably large listening space and need something that will fill it without much fuss, the X1 could be a suitable candidate.

That room-filling sound is reasonably detailed, evidenced by the fullness it brings to the opening cascade of drums on Pearl Jam’s Dark Matter or the soft, rasping vocals of Lana Del Rey’s delivery on Born To Die. The levels of clarity we hear are equally acceptable, with few hints of cloudiness or muddiness acting as an impediment to our musical catalogue.

Sadly, the Cove X1’s surprisingly unexpressive personality robs our tracks of any attention-grabbing spark. The Cove X1 has a direct and upfront presentation, but so much of JBL’s signature punch and dynamism has been replaced by a sound that lacks the potency to set pulses racing or hearts aflame. Hans Zimmer’s Dune soundtrack has a weighty presence, yet the music’s soul sounds subdued by this oddly flat approach.

Dynamic swings don’t land with the intent that we crave, in part owing to the lack of precision that the Cove X1 exhibits whenever things get too technical. Rhythms don’t have the brisk agility that we seek, either, a deficiency that’s made all too clear when we find ourselves desperately willing Eminem’s propulsive The Way I Am to kick into gear.

What really surprises us is how unbalanced the Cove X1 can sound. Top-end notes often exhibit a hardness that distracts us from the rest of the frequencies, while complex arrangements don’t tie together as convincingly as they do when we switch to the Award-winning Sonos Era 300. The Era 300 may have a smaller sound, but there’s no question that it sounds more agile, cohesive and satisfying than its JBL contemporary.

We tinker with the in-app sound settings to see if we can inject more life into our sample speaker, but we realise that this is far more a quality issue than one stemming from unbalanced tonality.

The Era 300 completely outguns the Cove X1’s attempts at spatial audio, too. Ludwig Göransson’s Sirens from The Odyssey soundtrack soars when played through the Sonos, benefitting from an airy and atmospheric presentation that bewitches us as a Siren song should. The Cove X1, by contrast, falls flat, failing to grant the track the enthralling feeling of space and scale as conjured by the superb Sonos.

Verdict

It’s hard not to be disappointed by the JBL Cove X1. Given JBL’s success in the portable Bluetooth market and its propensity to produce products that are both fun to listen to and own, we thought that the X1 had everything it would take to make the likes of Sonos and Denon quake in their respective boots.

Sadly, the Cove X1 misses the mark. Its seamless ease of use and heavy feature set lay some very decent groundwork, but the speaker’s unconvincing sound means it fails to capitalise on what is a very solid foundation. For us, this feels like a major missed opportunity.

Review published: 16th October 2026

SCORES

• Sound 3
• Build 4
• Features 5

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English manufacturer Audiolab has announced the release of its first standalone phono stage in almost 20 years, the PPA7. The company says that the new unit is “much more than a traditional phono stage”, calling it “a veritable multitool for vinyl lovers”.

It may not include a corkscrew or a nail file, but the PPA7 doesn’t fall short of its “multi-tool” status, with a built-in headphone amplifier and an analogue to digital converter (ADC).

In this case, the ADC serves the dual purpose of enabling wireless streaming to Bluetooth headphones or speakers via Bluetooth 5.3 (with support for the hi-res aptX HD codec), and also allows the unit to be connected to a PC or Mac via USB-C for digitising and storing records.

The ADC supports 16 and 24-bit recording at sample rates ranging from 44.1kHz to 192kHz. Audiolab says the ADC's adjustable output level allows users to “achieve an ideal balance between recording loudness and the audible noise floor”.

The company has acknowledged the PPA7’s visual likeness to the five-star rated D7 DAC, which launched last year. The units have identical 5.6 x 18 x 20.8 cm (hwd) aluminium cases, sharing features “right down to the multifunction rotary controls” which flank the 33mm OLED display.

Separate stereo RCA inputs are included for moving magnet (MM) and moving coil (MC) cartridges, alongside RCA outputs for connecting to an external amplifier or powered speakers. The output can be switched between fixed or variable modes, the latter of which engages a built-in volume control for direct connection to a power amplifier.

Both types of cartridge are well-accommodated by the PPA7. For MM cartridges, a 47kOhm input impedance can be switched between capacitances of 100pF and 220pF, while selectable 100 ohm and 330 ohm resistance loads provide further flexibility for MC cartridges. Audiolab claims that these settings allow users to “fine-tune the sound to suit their system”.

Gain can also be adjusted with a maximum value of 52dB for MM and 66dB for MC cartridges.

A front-mounted 6.35mm headphone socket can deliver up to 600mW of power to drive loads ranging from 20 to 600 ohms, supporting “a detailed and dynamic performance with a broad range of wired headphones”.

Future and past-proofing the PPA7’s design, a USB-A input has been included for firmware updates, while a 12V trigger inputs allow the unit to be integrated into a wider system for coordinated powering up and down.

We've previously seen headphone amps integrated into phono stages, with five-star products such as the Cambridge Audio Duo pulling it off in style, but we look forward to testing the extra functionality of Bluetooth and USB that the PPA7 has to offer.

The PPA7 will be available for £499 / $699 / AU$1099 in a choice of black or silver, with sales beginning in late October.

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Sony has lifted the lid on two new hi-res Walkmans, but they are both significantly more expensive than their 2022 predecessors.

But let's not dwell on that – after all, it would be a bit naive to expect new products at four-year-old prices. Let's focus on the good stuff.

And there's certainly plenty of that. The flagship NW-WM1ZM3 and step-down NW-WM1AM3 promise to "bring together Sony's most advanced audio technologies" and capture "subtle nuances throughout a performance, while maintaining clarity, scale and dynamics at higher volumes."

So what's the difference between them? The flagship NW-WM1ZM3 features a gold-plated oxygen-free copper (OFC) chassis which doesn't just hold the parts in place, but helps enhance the sound quality.

The 99.99 per cent (4N) purity OFC main chassis and OFC rear chassis are secured with screws secured with a low-resistance gold-plated treatment that's exclusive to the ZM3, which provides a stable ground connection to deliver "powerful bass, an expansive soundstage and smooth, extended high frequencies."

It also has the same thick Kimber Kable wiring as the massive DMP-Z1, which reduces noise and preserves signal integrity.

The NW-WM1AM3 isn't quite as premium, but still boasts an aluminium-alloy main chassis and gold-plated OFC rear chassis to enhance rigidity and hence sound quality.

Both models have upgraded power supply architecture, with the single high-polymer capacitor replaced by dual ones. Add in hand-soldered OFC wiring, and it should produce a cleaner, more stable power supply with less interference.

The larger, high-purity 4N copper coil used in the L-C filter optimises the balance output signal from the digital amplifier, while its flat conductive wire reduces resistance and distortion, meaning better clarity and detail across the frequency range.

The digital ground is further strengthened by an OFC milled block covering the digital components, resulting in more clarity and definition, Sony says.

Also onboard is Sony's S-Master HX digital amp tech, which was developed specifically for Walkmans, and promises a powerful, detailed sound. It's compatible with Native DSD formats, and includes a look-ahead noise shaper that predicts quantisation noise in advance and applies optimal processing for a clearer, faster sound reproduction.

The same look-ahead noise shaper features in Sony's five-star WH-100XM6 headphones, courtesy of the HD Noise Cancelling Processor QN3.

Sony's DSD Remastering Engine is there too, to resample PCM audio into an 11.2MHz DSD ultra-high-frequency stream. Sony claims this gives the sound a character that's closer to analogue.

You can now use the DSD Remastering Engine when listening to music streamed over wi-fi or that's been downloaded.

The 35-hour battery life (for both) is a big step on from the 18 hours offered by the ZM2, but there's a caveat. That figure involves listening to 128kbps MP3s, which would seem a bit of a waste considering the audio chops at your disposal. Listening to DSD files will drain the battery far quicker – we got less than 10 hours from the ZM2, which is around 50 per cent less than the quoted run time.

Over streaming, Sony claims the new players will last 31 hours (though that's in "offline mode with balanced connection").

The screens have also been enlarged, and now stand 5.5 inches across (half an inch bigger than the ZM2's). You can now customise the home screen interface, too. And the screens promise to be smoother and more responsive – which is good news, given that the clunky interface was one of our main criticisms of the last model.

Which brings us to the price. The NW1-WM1ZM3 costs £4299 / AU$8499 (around $5899 and the NW-WM1AM3 £2099 / AU$3999 (around $2999). That's an increase on their 2022 predecessors of £949 for the flagship and £799 for the step-down. Ouch.

We found the ZM2 to be a deeply impressive performer with beautiful build quality, but it was let down by its limited power output and rather clunky operation. Let's hope these improvements can help the new model earn that elusive fifth star.

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Watch Champions Cup 2026/27 live streams

The cream of Europe's (and South Africa's) rugby union club sides are once again doing battle for supremacy in the Champions Cup, with all comers from England, Ireland, Scotland and Wales trying to break the six-year French stranglehold on the crown.

Following two titles apiece for Toulouse and La Rochelle, Bordeaux Bègles have become the dominant force in the competition and are now looking to replicate Toulon's incredible three straight victories from 2013 to 2015. From the telepathic halfback partnership of Matthieu Jalibert and captain Maxime Lucu, the tries of flying winger Louis Bielle-Biarrey, and powerful forwards like Ben Tameifuna and Boris Palu, coach Yannick Bru's can rely on star quality all over the pitch. They started their defense with a thrilling draw at Gloucester, and face South Africa's DHL Stormers next.

When all is said and done after the final at the Parc Olympique Lyonnais in May, it will be Toulouse who will expect to have toppled Bordeaux and added to their record six previous titles. Revenge will be on the mind of Ugo Mola's men who have captured six of the last seven Top 14 titles — Bordeaux dumped them out of the Champions Cup for the last two seasons running. The squeezed past Exeter by three points in Round 1

Outside of France, England rugby's Exeter Chiefs were the last team to win this title. Their PREM Rugby form suggests that is likely to be beyond them this time around, but Northampton Saints, Bath Rugby and three-time champions Saracens all feature among England's eight-strong line-up of sides. Only one of the octet managed a win in the first round of fixtures, however, with the Saints getting the better of Cardiff.

It's now been a hard-to-believe eight years since an Irish team prevailed — an anomaly that Leinster, Munster and Connacht will all be trying to put right this time around (all three won in Round 1). The Bulls, Lions and Stormers are the trio of teams bringing high hopes from South Africa, while Glasgow Warriors and Cardiff are respectively seeking to win a first title on behalf of Scotland and Wales.

Follow our guide below for information on where to watch Champions Cup live streams in 2026/27 with a VPN — and potentially for FREE. We've also got the full schedule of tournament fixtures and results so far.

How can I watch Champions Cup 2026/27 for free?

The vast majority of Champions Cup games are available to watch only for rugby fans who pay for the privilege. But a handful of games are shown for free.

In France, two games per round (featuring French teams, of course) will be streamed for free on the France.TV website and app.

All of Cardiff Rugby's home matches will be shown on S4C in Wales, as well as streamed on the BBC iPlayer.

DAZN will also have one game per round for free in territories such as Japan, the Middle East and North Africa (MENA), the Caribbean, the Nordics, the Baltics, Benelux, Poland, the Pacific Islands, the DACH region, Brazil and Romania.

You can see which games are being shown for free on those services in the schedule at the bottom of this article.

Watch Champions Cup streams from overseas

You won't be able to watch your go-to Champions Cup live stream while traveling overseas. The streaming service will spot that you're in a foreign country and block you.

You can use a VPN (virtual private network) to get around this, though. It's a straightforward piece of software that sets your device to appear as if it's in a different country, allowing you to watch your preferred Champions Cup live stream from anywhere in the world.

We rate Surfshark as one of the best VPNs for streaming sport. It offers a 30-day guarantee for all your money back if you're not happy with the service.

Watch Champions Cup 2026/27 live in US

Comprehensive coverage of the 2026/27 Champions Cup in the USA comes from specialist rugby online platform FloRugby.

Subscribers can watch the action live or on demand through web browsers and the FloRugby app. It costs $39.99 a month or $155.88 for a whole year of rugby union action.

To access your usual streaming service from outside the US, you'll need to download a good VPN, as detailed above.

Watch Champions Cup 2026/27 in the UK

Rugby fans in the UK will need a Premier Sports subscription to watch Champions Cup rugby, with every game showing on the platform.

It costs £18.99 for a month of use, or get a whole year of Premier Sports from £150. You also have the option to add it to your existing Sky, Virgin Media or Prime Video subs.

Watch Champions Cup 2026/27 in Australia

All matches of the 2026/27 Champions Cup are being shown on the specialist EPCR TV platform in Australia.

Prices are in Euros, with a year of access costing €49.99. That's around AU$80.

Australian viewers travelling abroad can access their Champions Cup streams using Surfshark VPN.

Watch Champions Cup 2026/27 in Canada

Rugby union fans in Canada can watch the 2026/27 Champions Cup on FloRugby.

Remember, you can use a VPN to access your usual live stream when travelling away from Canada.

Watch Champions Cup 2026/27 in New Zealand

New Zealand is another of the 50 countries that gets its Champions Cup coverage through EPCR TV.

Costing from €49.99 for a whole year, that's around NZ$100.

Champions Cup Fixtures

Round 1

Friday 16th October
Gloucester Rugby 36-36 Union Bordeaux Bègles

Saturday 17th October
Sale Sharks 27-47 Glasgow Warriors
Vodacom Bulls 56-20 Stade Français Paris
ASM Clermont Auvergne 23-48 Leinster Rugby Watch free on France.TV
DHL Stormers 49-12 Bristol Bears
Connacht Rugby 45-36 Saracens
Stade Rochelais 31-14 10bet Lions
Munster Rugby 33-25 Racing 92
Bath Rugby 14-32 Montpellier Hérault Rugby

Sunday 18th October
Section Paloise 41-17 Leicester Tigers
Stade Toulousain 43-40 Exeter Chiefs Watch free on France.TV
Northampton Saints 28-12 Cardiff Rugby

Round 2

Friday 11th December
Stade Français Paris vs Northampton Saints — 3pm ET / 8pm GMT
Glasgow Warriors vs Section Paloise — 3pm ET / 8pm GMT

Saturday 12th December
10bet Lions vs Stade Toulousain — 8am ET / 1pm GMT
Leicester Tigers vs ASM Clermont Auvergne — 10.15am ET / 3.15pm GMT
Montpellier Hérault Rugby vs Vodacom Bulls — 10.15am ET / 3.15pm GMT Watch free on France.TV
Leinster Rugby vs Sale Sharks — 12.30pm ET / 5.30pm GMT
Saracens vs Stade Rochelais — 12.30pm ET / 5.30pm GMT
Bristol Bears vs Munster Rugby — 3pm ET / 8pm GMT
Cardiff Rugby vs Bath Rugby — 3pm ET / 8pm GMT Watch free on S4C/BBC iPlayer

Sunday 13th December
Exeter Chiefs vs Connacht Rugby — 8am ET / 1pm GMT
Union Bordeaux Bègles vs DHL Stormers — 10.15am ET / 3.15pm GMT Watch free on France.TV
Racing 92 vs Gloucester Rugby — 12.30pm ET / 5.30pm GMT

Round 3

Friday 8th January
Glasgow Warriors vs Leicester Tigers — 3pm ET / 8pm GMT

Saturday 9th January
Gloucester Rugby vs DHL Stormers — 8am ET / 1pm GMT
Exeter Chiefs vs Stade Rochelais — 10.15am ET / 3.15pm GMT Watch free on France.TV
Vodacom Bulls vs Bath Rugby — 10.15am ET / 3.15pm GMT
Leinster Rugby vs Section Paloise — 12.30pm ET / 5.30pm GMT
Montpellier Hérault Rugby vs Northampton Saints — 12.30pm ET / 5.30pm GMT
Connacht Rugby vs Stade Toulousain — 3pm ET / 8pm GMT
Stade Français Paris vs Cardiff Rugby — 3pm ET / 8pm GMT

Sunday 10th January
Racing 92 vs Bristol Bears — 8am ET / 1pm GMT
Saracens vs 10bet Lions — 10.15am ET / 3.15pm GMT
Union Bordeaux Bègles vs Munster Rugby — 10.15am ET / 3.15pm GMT Watch free on France.TV
Sale Sharks vs ASM Clermont Auvergne — 12.30pm ET / 5.30pm GMT

Round 4

Friday 15th January
Northampton Saints vs Vodacom Bulls — 3pm ET / 8pm GMT
Cardiff Rugby vs Montpellier Hérault Rugby — 3pm ET / 8pm GMT Watch free on S4C/BBC iPlayer

Saturday 16th January
Section Paloise vs Sale Sharks — 8am ET / 1pm GMT
10bet Lions vs Exeter Chiefs — 8am ET / 1pm GMT
DHL Stormers vs Racing 92 — 10.15am ET / 3.15pm GMT
Bristol Bears vs Union Bordeaux Bègles — 10.15am ET / 3.15pm GMT Watch free on France.TV
Stade Rochelais vs Connacht Rugby — 12.30pm ET / 5.30pm GMT
Munster Rugby vs Gloucester Rugby — 12.30pm ET / 5.30pm GMT
ASM Clermont Auvergne vs Glasgow Warriors — 3pm ET / 8pm GMT
Leicester Tigers vs Leinster Rugby — 3pm ET / 8pm GMT

Sunday 17th January
Stade Toulousain vs Saracens — 10.15am ET / 3.15pm GMT Watch free on France.TV
Bath Rugby vs Stade Français Paris — 12.30pm ET / 5.30pm GMT

Round of 16

Friday 2nd April – Sunday 4th April
Fixtures and kick-off times TBC

Quarter-finals

Friday 9th April – Sunday 11th April
Fixtures and kick-off times TBC

Semi-finals

Saturday 1st May – Sunday 2nd May
Fixtures and kick-off times TBC

The Final

Saturday 22nd May
TBC vs TBC — 9.45am ET / 2.45pm BST

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Sky has just announced two new Sky Sports memberships for their NOW streaming service.

The Football membership will provide access to Sky Sports’ football coverage only, with prices starting from £23.99 a month.

Conversely, the Multi-Sport Membership includes Sky’s non-football coverage. Formula 1, golf majors, international cricket, year-round tennis, darts, rugby, NFL and more are all part of the membership, which starts at £19.99 a month.

Fans can still enjoy access to all coverage through the regular Sky Sports membership, which has been renamed All Sky Sports and starts at £27.99 a month.

By choosing a Football or Multi-Sport membership, fans can save £4 or £8 a month, respectively compared to paying for an All Sky Sports membership.

However, these prices are only for the Standard membership with 720p picture quality and stereo sound. A Boost membership for 1080p Full HD quality and Dolby 5.1 sound costs an extra £6, while Ultra Boost for 4K and Dolby Atmos support is £9 more.

If we're to do the maths here, with Ultra Boost, that brings Multi-Sport to £28.99 a month, Football to £32.99 and All Sky Sports to £36.99. Do note, however, that no 4K channels are included with the Football membership.

The recently announced Multiview feature will also be available when selected Premier League fixtures overlap.

While these extra memberships will undoubtedly add some confusion to the already complex subscription options, we welcome the extra flexibility to pay only for the sports you actually watch.

It's been a busy few months for Sky – we recently had a sneak peek at the new TV OS, while the mobile streaming app is getting a picture quality boost.

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British hi-fi mainstay NAD has announced two new products in its Classic Series: the C 359S streaming amplifier and C 569 CD player.

The C 359S brings streaming smarts to a traditional Class AB amplifier courtesy of the BluOS platform. And the C 569 uses NAD's Dynamic Digital Headroom (DDH) and QRONO d2a technologies to bring out more detail, depth and presence from your CD collection.

While the C 359S uses Class AB amplification, it foregoes the large transformer and linear power supply usually associated with that design. Instead, it employs a high-current, low-noise switch mode power supply that's derived from NAD's flagship Class D amplifier platform.

Power conversion, signal processing and amplification are kept separate by a modern multi-layer architecture, while grounding, current paths and signal routing minimise unwanted interaction between the amp's various functions.

NAD claims the C 359S is "a remarkably quiet, responsive amplifier" that delivers 2 x 70 watts of continuous power into 8 ohms, and can handle demanding loudspeakers "without compromise".

Hi-res streaming and multi-room audio come courtesy of the BluOS platform, so you can beam audio to speakers dotted throughout the house. With aptX HD Bluetooth also onboard, a phono input for turntables, plus an HDMI eARC port for connecting to your TV, it's equipped to handle multiple audio sources.

By redirecting deep bass to the subwoofer via high-pass filtering, it eases the load on the main speakers and amp for better clarity, imaging and headroom within a 2.1-channel setup.

And the design is recognisably NAD, with push buttons, knob controls and a bundled IR remote.

The C 569 CD player sits between the entry-level C 538 and flagship (and much more recent) C 589. Onboard is the latter's Qrono d2a filtering technology, which refines timing and resolution for a more natural performance from PCM- and MQA-encoded music.

NAD's own Dynamic Digital Headroom (DDH) tech eliminates inter-sample clipping so that percussion and transients can hit harder and cleaner without digital distortion.

Both of these technologies are part of NAD's "Music First" design, which "favours musicality, tonal balance and clarity over exaggerated detail or specs", creating performances that are "naturally engaging" even during long listens.

Onboard are an ESS Sabre DAC, improved op-amps and a refined power supply that should lower noise while preserving low-level details, while the C 359 can also be used as a CD transport with a separate DAC.

The C 359 is out now and costs £1099 (around $1400 / AU$2000), while the C 569 CD player is coming in late November for £749 (around $1000 / AU$1400). The C 569 is just a tad pricier than the Award-winning Arcam CD5, so it'll be fascinating to see how they compare.

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Projector brand Xgimi has added three RGB triple-laser models to its collection, promising to bring the “big-screen experience home without the need for a dedicated home cinema space”.

The Horizon 30 Series comprises the Horizon 30 Pro, 30 Max, and 30 Ultra Max. All of them offer 4K resolution and have a 120Hz refresh rate, with Xgimi claiming that the latter results in “smooth, natural motion”.

This follows on from Xgimi’s Horizon 20 Series which came out last year, but the China-based company says the new models will deliver an “upgraded viewing experience with vivid images in rooms with ambient light, greater depth in dark scenes, and smoother motion for fast-moving content”.

There is a Dual Intelligent Iris system built into each model, which Xgimi claims can adjust light output as scenes change. Like its predecessors, all three projectors also support Dolby Vision, HDR10+, HDR10, and HLG, plus IMAX Enhanced content.

On top of the projectors’ 4k/120Hz offerings, gamers will be pleased to hear that they support variable refresh rates (VRR), and auto low latency mode (ALLM) for "faster, more responsive play".

According to Xgimi, the models can project an image up to 300 inches, which should make for an immersive viewing experience.

There are a range of features built-in to make set-up easier, including optical zoom, lens shift, automatic keystone correction, and autofocus. There are also obstacle avoidance and screen alignment features on hand. This easy set-up is helped by each projector’s built-in stand, which you can tilt vertically and rotate horizontally if you need to adjust manually.

The 30 Ultra Max offers the highest claimed brightness of the bunch at 6000 ANSI lumens. Then the 30 Max comes in at 5300 lumens, and the 30 Pro claims to go up to 4800 lumens.

Google TV is on board, which gives you access to the usual streaming apps, including Netflix, Apple TV and Disney+. The projectors also come with their own built-in sound system, consisting of two 12W Harman Kardon speakers.

So, how much will the new range set you back? The most expensive of the bunch is the Horizon 30 Ultra Max, which comes in at £2799 / $3199 / around AU$5366. Next is the Horizon 30 Max, setting you back £2399 / $2699 / AU$4599. Finally, the 30 Pro will cost you £2099 / $2099 / around AU$4025.

We tested Xgimi's older Horizon 20 Max and gave it a solid four-star review in our test room, praising its extreme brightness and room-filling sound by projector standards. We said in our review that the black levels aren’t the best so, if the new models can fix this issue, we could be getting an even stronger entry to the market.

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