The most defining characteristic of Sharp’s latest Roku TV is its price.

£350 (and we have seen it available for even less) is practically peanuts for any 50-inch TV, never mind one which, as in this Sharp’s case, boasts both a comprehensive smart system and a Quantum Dot colour system.

With more than a few other ultra-budget QLED TVs failing to make their on-paper colour advantage count, though, can the HJ6725K buck the trend?

Price

The HJ6725K’s £350 price is so key to its identity that we’ve pretty much covered it already.

It’s a UK-only model, and the 50-inch model we’re testing is the only size in which it’s available. Sharp does sell 55- and 43-inch Roku TVs with slightly different designs and specifications, but this 50-inch set is the only one with the HJ6725 designation.

Similarly sized smart TV rivals for the same sort of money aren’t particularly numerous, but they do exist. While the Sky Glass Air isn’t available in 50 inches, opting instead for 43- or 55-inch versions, it’s hugely affordable given the picture quality and integrated streamed Sky TV service it carries – especially if you buy it with monthly payments through your Sky subscription.

Samsung’s U8000H range, the successor to the brand’s impressive U8000Fs, also includes a 50-inch model that also costs £299, but we’ve not yet had the opportunity to test it.

Design

Handling the HJ6725K while attaching it to its simple pair of included desktop feet reveals it to be unsurprisingly pretty lightweight in its build quality. You hardly need to be Arnold Schwarzenegger in his prime to tuck this under your arm and cart it anywhere in your home where you care to use it.

Once you’ve set Sharp’s TV down and stepped back, though, its finish is glossy enough to disguise the plasticky bodywork underneath.

Its screen frame is unusually narrow for a budget TV, too, and parts of its rear, at least, are thinner than most budget TVs. There is a chunkier part of the rear where the TV’s connections, speakers and processors live, but while this might make the TV look slightly awkward if hung on a wall, it’s not something you’ll notice if you’re just using it on its feet.

The HJ6725K’s remote control is as flimsy-feeling as the TV. While you won’t be able to use it for bicep curls, though, its layout is straightforward and its buttons are big and well spaced.

Features

Despite how cheap and compact it is, the Sharp HJ6725K is a 4K TV with HDR support in the HLG, HDR10 and Dolby Vision flavours. It’s built on a 60Hz VA panel with direct LED lighting. Using a VA panel would normally mean we should expect limited viewing angles but better contrast compared with the alternative IPS panel option.

Colours, surprisingly, are delivered by a Quantum Dot system which, on paper at least, should be capable of a wider and more subtle colour range, as well as more brightness than the basic RGB filter system typically seen on budget TVs. We should add, though, that it’s not uncommon for Quantum Dots not to work at all as intended when introduced to TVs at the entry-level end of the market.

The HJ6725K’s provision of a Roku TV smart system is mostly welcome. Yes, the system’s interface looks primitive compared with most of today’s other smart TV systems, and it doesn’t provide as many features when it comes to things such as multiple user profiles and the ability to learn your viewing habits and make intelligent content suggestions. Its lack of sophistication does enable it, though, to be incredibly straightforward and simple to use, and it also runs slickly and stably even on TVs which, like this Sharp, aren’t equipped with powerful processors.

A free Roku App for your phone opens up the possibility of voice search, and the set also works with Google Home, Apple Home, Apple AirPlay and Alexa.

The Roku smart system is well known, too, for its consistent ability to provide all of the key global and local streaming services – though just for good measure, the HJ6725K additionally carries the Freely system, through which UK users can live-stream most of the channels available on Freeview HD, removing the need for an aerial on their house.

Connections on the HJ6725K comprise three HDMI ports, two USB ports, satellite and RF antenna ports, a headphone jack, an optical digital audio output and an Ethernet port.

The HDMIs only support 4K at up to 60Hz (the panel is only a 60Hz one) and don’t handle VRR, though the TV does support ALLM switching so that it can switch automatically to its fastest-responding Game mode without you having to do it manually. In this mode, the screen’s input lag is a very respectable 13.3ms.

The HJ6725K’s USB ports support a wide range of video, photo and music file formats, while built-in wi-fi is provided, of course, so that you don’t have to physically tether the TV to your router to enjoy its streaming capabilities.

The HJ6725K’s audio system, finally, is a straightforward 2 x 10W set-up with Dolby Digital but not Dolby Atmos or DTS:X support.

Picture quality

There’s nothing flashy about the HJ6725K’s picture quality, but as with everything else about this £350 TV, it gets the basics right.

Particularly good to see at this level is a solid combination of brightness and contrast. There’s enough brightness to give HDR content a clear lift in intensity compared with SDR, yet just as importantly, this HDR brightness boost doesn’t lead to dark scenes looking excessively washed out or greyed over.

Blacks do look a touch greyer in HDR mode than they do in SDR, but the difference is small enough to be offset by the extra brightness of the lighter HDR elements.

In other words, overall HDR images contain a wider light range than SDR ones do, with neither dark nor bright areas looking as compromised by trying to accommodate each other as we would have expected with a TV that doesn’t have any local dimming.

The fact that there isn’t any local dimming in the HJ6725K shows that its decent contrast has to be a result of the native capabilities of the panel.

That’s an impression underlined by the fact that, despite dark areas achieving deeper blacks than expected, they also retain plenty of shadow detail. In fact, you might see a little more detail in dark areas when watching HDR than content creators wanted you to see – but this is preferable to the alternative, and isn’t severe enough to leave dark scenes looking noisy and confusing.

The presence of so much subtle detail in dark areas means that dark scenes enjoy pretty much the same sense of depth as bright ones. Add to this the minimal greyness they’re affected by compared with many budget TVs, and even a slight green undertone to dark scenes can’t stop the HJ6725K from delivering a really consistent image that’s easy to become immersed in. That green tone is in fact so faint that we find ourselves pretty much tuning it out after we’ve been watching the TV for a few hours.

Inadequate backlight control can mean that deploying Quantum Dots on really cheap TVs such as the HJ6725K can actually lead to pictures that look more washed out and flat than those of old-school RGB filter TVs. Not so with this Sharp Roku TV, though. It’s instantly and gratifyingly obvious that the HJ6725K is capable of delivering a wider, richer colour range than most TVs in its class, delivering an obvious uptick in vibrancy and saturation when the TV switches from SDR to HDR content.

Unusually for such a cheap TV, the HJ6725K carries a dynamic tone mapping system designed to make incoming HDR signals make maximum use of the screen’s capabilities. And even more unusually for such a cheap TV, this system works well for the most part, resulting in noticeably more dynamic HDR10 images than you get without it, yet without the more extreme images looking forced or strained. The only tone mapping issue is that it can cause subtle shading details to become ‘whited out’ in the very brightest parts of the picture. The benefits of the tone mapping system comfortably outweigh this solitary negative, though.

Colours don’t lose saturation in bright or dark HDR scenes either, and skin tones are rendered with enough subtlety to stop actors turning into mannequins. There can be a slightly coarse look to areas of HDR shots that contain especially high levels of subtle detail and texture (trees, bushes, meadows and so on), but this is a minor point that doesn’t devolve into actual noise. The worst that can be said of it is that in conjunction with a slightly slow response time from the LCD panel, fast-moving scenes can look fractionally blurry with 24p footage. There’s no real issue with judder with such footage, though, despite the TV not having any motion processing to its name.

The HJ6725K’s brightness, contrast and colour make it able to function unusually well in both bright and dark room settings by budget TV standards, and it’s balanced and controlled enough in its HDR Dark setting to deliver as good a sense of ‘creative intent’ as you’re going to get with a budget TV.

There are inevitably other limits to the HJ6725K picture performance. For all our talk of how contrasty and bright its pictures look, and how this helps it handle HDR better, we’re clearly not talking about anything like the brightness and colour range/volumes you can get with more expensive TVs. It can’t give you anything like a full sense of HDR’s capabilities; it just handles what it can deliver exceptionally well.

Also, while the Dolby Vision Normal setting takes great advantage of the extra picture information Dolby Vision can provide to deliver more dynamism and control than the HJ6725K does with more basic HDR10 feeds, the Dolby Vision Dark mode can reduce brightness to a point where shadow detail starts to be crushed out of the picture.

And, last but not least, the HJ6725K’s effective viewing angles are very limited, with black levels in particular dropping off a cliff if you have to watch the TV from an angle of as little as 20 to 25 degrees off axis.

Provided you can sit pretty much opposite it, though, the HJ6725K’s pictures can overall be considered better than we would expect for the price.

Sound quality

In terms of audio, the HJ6725K again opts to do the core stuff well rather than showboating badly. So while the staging is only stereo with no real attempt to add a 3D feel, and while there’s no dedicated subwoofer in the speaker system to help it churn out really deep bass, its sound is actually enjoyably clean, balanced and engaging.

Voices retain good clarity even in the middle of dense action scenes, background effects remain background effects rather than becoming too dominant in the mix, and high-pitched effects don’t sound harsh or warbly.

Low-frequency sounds aren’t especially deep, but they don’t succumb to crackling or buzzing distortions, and also tend to sound nicely balanced with the rest of the sound.

The speakers are sensitive enough to bring out faint sound details without overstating them, too, so that the soundstage always feels busy despite not really pushing far forward or beyond the screen’s left and right edges.

The HJ6725K can flatten off a bit early when faced with the growing density and dynamics of a big action sequence, and sometimes its speakers pretty much give up on trying to recreate the deepest bass, but we prefer this 'leave it alone rather than mess it up' approach.

Verdict

While any £350 50-inch TV is going to come with significant performance strings attached, Sharp’s HJ6725K Roku TV does an unusually astute job of delivering all of the picture and sound quality basics well, resulting in a sensibly well-rounded and balanced performance that works precisely because it doesn’t try to be too spectacular.

Add in Roku’s basic but dependable and comprehensive smarts, and the HJ6725K is exceptional value for money.

SCORES

• Picture 4
• Sound 4
• Features 4

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If radios could talk, we are fairly sure they would make great use of the phrase “back in my day”. Indeed, times used to be simpler for the humble wireless radio. In the not too distant past, it only had to cope with two wireless bands, FM and AM. Talk about having it easy.

Since those days of yore, of course, the radio landscape has shifted, with DAB, Bluetooth and wi-fi streaming expanding the traditionally expected feature set of modern portable radios.

Founded in 2002, Pure entered the picture at a time when the wheels of change were beginning to roll into motion. Nonetheless, as the pace has picked up, the company has kept up, producing a variety of internet radios in recent years.

But sometimes it is good to go back to basics. Indeed, many brands, such as Roberts and Ruark Audio have recently produced great portable radios that stick to their guns with DAB+, FM and Bluetooth listening options. Pure’s latest radio, the Bloom, does just that, but comes up against steep competition from the current What Hi-Fi? Award-winner for the best radio under £100, the Roberts Revival Petite 2.

Facing an Award winner is no small challenge for a new product, so we look forward to seeing what this radio has in store.

Price

At a price of £120 / $140 / AU$190, the Bloom lands towards the middle of Pure’s Bluetooth-equipped radio offering. The radio’s main rival at this price is the five-star Roberts Revival Petite 2, which currently costs £100 / $120 / AU$196. The two radios are similarly equipped and while they have a clear size difference, we can’t help but wonder what that small additional expense is going to provide.

Build

The Bloom is a modestly sized radio, just a little bit smaller than a compact two-slice toaster, at 12.8 x 19 x 7.8cm (hwd). Weighing just 1kg and featuring a synthetic leather strap, it is eminently portable, but it is just as well-suited for home use, and will fit seamlessly into living spaces, thanks to its understated, classy design.

The radio’s plastic casing feels robust and has an IPX5 rating for water resistance, which will come as good news to anyone hoping to get out of the house and make the most of its portability. Its matte finish also avoids collecting fingerprints remarkably well.

The Bloom is available in three colourways of Sage, Sand and Black. We have test samples of both the Sage and Sand finishes, which are pleasingly subtle and look good wherever we place the radio. A woven plastic grating protects the radio’s frontal 63mm full-range driver and looks convincingly cloth-like.

Looking at the radio face on, you’ll see a 37mm colour display, which despite its petite dimensions, keeps text at a decent size and looks crisp and clear. During radio playback, the screen displays the selected station, time, signal strength and battery level. While streaming from Bluetooth, the source device and track title are shown.

The screen’s brightness can be adjusted, but in its default setting it is bright enough to be clearly readable in a well-lit room.

To the screen’s right, there are five assignable preset buttons (for both DAB+ and FM) and a ‘+’ button, which accesses the full list of 40 preset slots. Notably, 40 presets are available for both FM and DAB+, which is more than we can ever imagine ourselves using.

The front of the radio also houses buttons for Bluetooth, Home menu access, and skipping tracks/cycling radio stations. There is also a nicely sized volume dial, which doubles as a control for the menu screen once it is selected.

When streaming via Bluetooth, clicking the dial will pause the song that is playing and skipping forwards / backwards on the radio will also control the source device. We enjoy this feature because, paired with the on-screen display, it allows us to spend time away from our mobile devices.

On the back of the radio, a passive bass radiator, etched with a floral emblem, dominates most of the rear panel. The remaining space houses a small bracket for the telescopic antenna and a thick silicone flap, which protects the USB-C charging port and a recessed factory-reset button.

Features

The Bloom supports DAB, DAB+, FM and Bluetooth playback, which offers plenty of listening options from thousands of radio stations as well as any streaming services from your smartphone or laptop.

It doesn’t include any options for wired listening. The lack of a headphone output is a little disappointing, given that cheaper rivals such as the Roberts Revival Petite 2 include a 3.5mm stereo headphone output.

The Pure pairs easily with our iPhone via Bluetooth 5.3, and, once connected, keeps up a stable connection throughout testing. Only the standard SBC Bluetooth codec is supported here, but we wouldn’t usually expect high-res codecs at this price.

Clicking the radio’s ‘Home’ button opens the main menu, where users can select their sound source. Settings are also accessible via the main menu, and include an equaliser, sleep timer, time/date settings, screen brightness, automatic safety alert set-up, factory reset and details about the software version. There’s a fairly wide array of languages available, too, which is a nice, inclusive touch.

The built-in equaliser includes three default settings: ‘Dynamic’ is intended for outdoor and cross-room listening and seems to add an extra kick to bass and high frequencies, ‘Comfort’ rolls off high frequencies and processes sound for a more relaxed, close-range-listening-friendly presentation, while ‘Neutral’ aims to deliver music as faithfully as possible to the source material. For everyday listening, we opt for the ‘Neutral’ setting as it provides the most balanced sound.

A ‘Custom’ equalisation option can also be configured using a three-band EQ. It isn’t uncommon for radios of this sort to include treble and bass controls, but a midrange control is a nice touch, adding that extra portion of tonal adaptability.

When it comes to battery life, the Bloom falls slightly behind cheaper competitors, with just 16 hours available on a full charge. The rival Roberts lasts for a claimed 20 hours.

During testing, when we play the radio for long periods, we find ourselves needing to recharge the radio every two days. Given that users will often leave radios playing in the background, we would have liked a slightly longer battery life.

When the battery runs out completely, the Bloom recharges in approximately five-and-a-half hours via a USB-C port on the back panel.

Sound

Sonically, the Pure Bloom radio has plenty of virtues, with a balanced sound that is also capable of shining a light on musical subtleties. Of course, sound quality depends on the strength of your signal, but once a strong signal is secured, the radio maintains a solid performance across DAB+ and FM stations. Streaming via Bluetooth adds an extra touch of clarity, letting the Bloom’s dinky driver shine to the best of its ability.

Relative to its size, the unit delivers a decently weighty low-end but, crucially, it manages to keep bass well under control. The radio’s midrange is a particular highlight, rendering voices with a natural, even-handed sound that occupies centre-stage without becoming overly dominant. Song vocals sound detailed and expressive, while radio presenters come across with ample clarity and personality.

In terms of absolute clarity, however, we feel that this radio could do a little more. Listening to Tchaikovsky’s Symphony No. 5 in E Minor via Bluetooth, the orchestral arrangement is warm and fairly expressive, but we find that rivals such as the Roberts Revival Petite 2 offer a more impactful performance with an enhanced sense of drama and air. While listening to music with dense high-mid frequencies, the Bloom also sometimes struggles to keep up, and can start to sound a touch coarse.

Dynamically, this radio tracks subtle shifts in volume with a reasonable degree of precision. Across genres, from jangling pop songs to ambient electronic soundtracks, the Bloom lets dynamics flow with ease. Rhythms, too, are clear and compelling. Listening to New Muscles by Mary In The Junkyard, the strong central beat remains powerful, and we find ourselves carried along by the music.

When we crank the volume up, the Bloom does well to hang on to a sense of composure up to all but its very highest volumes, where the sound becomes a little too boisterous. At low volumes, the radio retains its sonic character, delivering a full-bodied and rich sound.

Verdict

The Pure Bloom is a reasonably priced and well-equipped portable radio. With an entertaining sound and a healthy set of features, this handsome little unit will be just as at home on a picnic blanket as on a bedside table.

While it misses out on a class-leading sonic performance, we think that anyone looking for an affordable and capable portable radio should pay close attention to the Bloom.

Review published: 27th October 2026

SCORES

• Sound 4
• Build 5
• Features 4

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It’s unmistakably another Leica: the Leica Cine Compact 1 is marked out by the company’s now-familiar aluminium Bauhaus-style housing, with key characteristics starting with right from the clear glass frontage.

Glass is Leica’s secret weapon, and this projector number three from Leica’s Smart Projection division again leverages the brand’s special abilities with lens manufacture.

Leica is, of course, known to consumers primarily as a high-end camera maker, though in fact there are multiple independent Leica arms with fingers in their various pies of geosystems, biosystems and microsystems.

It all began in the German town of Wetzlar in the 1860s where Ernst Leitz made initially telescopes and subsequently microscopes, before his son, Ernst Leitz II, famously committed the company to building Oskar Barnack’s revolutionary compact camera, with its idea of using 35mm cinema film, soon to become the standard for still photography.

So right from the offset, it was image quality which drove the company, and older readers may recall how Leitz/Leica home slide projectors were once the gold standard for home projection of still images (Leica’s first such projector was released in 1926).

So the company’s now three-strong smart home cinema projector range is extending their imaging expertise back into home projection, after a few decades of absence.

Build & facilities

The Cine Compact 1 brings a new entry point to the Leica line, since this is a smaller projector than the award-winning Leica Cine Play 1, and is also far more affordable at $2990.

(The larger Cine Play 1 originally launched at £2950 / US$3795 / A$5990, while the original ultra-short-throw Cine 1 is experiencing rather variable pricing internationally, currently [Oct 2026] at UK£6495 in the UK or US$6495 in the UK, but price-reduced in Australia from A$13,990 to A$7990 (we suspect a new edition of this model will arrive in the not-too-distant) future).

This more affordable smart mini Leica much resembles the larger Cine Play 1, but once you put them side by side the new model is clearly smaller at 209 × 226 × 193mm, while promising output of up to 1700 lumens (the specs note this is in ‘Ultra’ mode, so standard use will be slightly lower), and to support projection sizes of up to 220 inches.

Inside the projector, Leica’s optical system includes a Leica Summicron zoom lens with aspherical elements, optimising the output of a 0.47-inch pico DMD and triple RGB lasers to promise pixel-shifted 4K images which further benefit from the secret sauce of the company’s proprietary LIO (Leica Image Optimization). There is Dolby Vision and HDR10+ onboard to display any such High Dynamic Range material to its maximum ability.

It has smart set-up features: zoom, autofocus, keystone correction and intelligent screen framing, set up automatically wherever you may choose to throw the image from the projector’s integrated “360° rotation system”, a rotating base and stand which, as Leica notes, makes the projector a particularly versatile solution for everyday use.

It brings built-in sources as well as connections for external devices; crucially there is the VIDAA operating system onboard to access streaming services like Netflix, Disney+ and Amazon Prime, while VIDAA also now hosts all Australian catch-up services and Foxtel apps, several of which were missing from earlier Leica VIDAA versions as licences were still being negotiated).

The Leica Cine Compact 1 also has one HDMI input, with eARC compatibility so it could be used to take streaming sound to an external audio system, should you wish to expand on the built-in stereo speaker system; there is no optical or analogue audio output available for this. There’s a USB-A slot, presumably for file replay, along with screen sharing via Wi-Fi, and audio streaming available via Bluetooth or Apple AirPlay.

One inclusion which may attract a particular sub-set of movie fans: there’s a 3D Mode available here, compatible with DLP Link active shutter 3D glasses. With 3D pretty much now gone from all consumer TVs, projection is the only way left to enjoy all those 3D movies you bought in the 2010s.

And while a screen is always recommended for best performance, Leica has optimised the Cine Compact 1 for real-world scenarios including projection on walls or ceilings, even outside in gardens or on balconies.

The mini projector comes with an eco-friendly transport case; there’s an optional Leica tall stand available, while the integrated tripod thread enables the projector to be mounted on benches or the ceiling.

And the remote control is another gorgeous wand from Leica (pictured below); it’s genuine aluminium, it has a microphone for speech entry, and it’s wireless as well as IR, so no need to point. There’s no backlighting but the buttons are largely intuitive in position for volume, mute, and also useful on-the-fly brightness adjustment.

A little more hazardous for inadvertent operation are adjacent buttons to change the Picture Mode and Audio Mode. The Picture Mode button is in a position commonly used for the ‘Back’ key, so that we were erroneously invoking it regularly. But these Mode options do save you jumping out of a movie to otherwise access menus via the main VIDAA home screen. The bottom-left ‘menu’ remote button similarly accesses a set of adjustment menus that appear at the bottom of the screen for easy use over running content.

The one-touch-access buttons on the remote for Netflix, Prime, YouTube and Disney+ can also be hazardous, since an accidental press instantly cancels current programming and whisks you off to those services which are paying Leica for its remote real estate. But overall the remote control here is a delight, and far above the usual fare supplied with a mini projector like this.

Set-up & viewing

While the Leica can correct for off-axis projection, such correction does require remapping, which eats into your full pixel count, so if you can give your Leica a straight line to your screen or wall, so much the better. It fitted into the projection cavity at the back of our viewing room neatly, even with its little stand attached, allowing us to aim it down at just the right angle to fill our 100-inch screen without using any mechanical vertical shift.

We chose to adjust its screen-fit manually, which proved very simple and quick from our three-metre projection distance thanks to the excellent zoom options and other versatile projection settings accessible through the VIDAA interface for size, and shifting, and keystone edge adjusting, if necessary. Officially the optical throw ratio is 1.0 to 1.3, though you can go far beyond with a further digital throw of 1.3 to 3.2.

There’s a dedicated button on the remote control for auto-focus; this pops up a focus pattern for about four seconds; job done. Use it whenever you like. You can also choose which parts of auto-set-up you leave permanently active, your choice depending on whether you’re setting and forgetting in one position, or regularly moving the Compact around the home.

It was clear immediately that there was sufficient brightness to present a watchable 100-inch image even against moderate ambient light, impressively so from a projector so small. Meanwhile its full abilities naturally grew as darkness fell. Leica quotes a maximum projection size of 220 inches, but such a giant screen would receive lower illumination levels across the wider area.

That’s positioning sorted, but the image quality is subject to a full range of menus under the picture options. The basic picture modes are individually tweakable, starting from the defaults for Standard, Filmmaker, Cinema Day and Cinema Night, plus Dynamic and Sports.

Your choice can lean towards your preferences and also the current ambient light levels to overcome. General defaults were good, but we got best results starting from Filmmaker, switching the temperature back to Standard from Warm, then tweaking.

There’s HDR processing available here, for Dolby Vision material and HDR10 HDR10+; when streaming Dolby Vision you get additional picture mode options of Dolby Vision Bright, Dark and the very useful Dolby Vision Custom. On-the-fly brightness becomes unavailable in these modes.

One interesting option is to adjust the colour gamut, an option labelled as “Change the range of colours the Device displays.” There was a big difference in colour balance between relatively ruddy ‘Native’, more neutral ‘Auto’, and a clearly preferable midpoint of realism for our tastes, especially on skin tone, when DCI-P3 was selected. So we left it there. (The projector’s specs promise greater than Rec.2020 overage, seemingly without specifying DCI-P3 coverage.)

With colour and fit sorted, we started experimenting with motion.

From the external HDMI input the projector can handle all frame rates natively, 24, 50 and 60 frames per second in 4K, and up to 240Hz in 1920×1080 with ‘Gaming Mode’ activated.

From the internal streaming module it’s not so clear; we criticised the previous Leica Cine Play 1 for having its VIDAA interface locked to 60 fps output, causing pull-down judder when playing 50Hz material, such as is served by Australian catch-up services. We think that is still the case on this unit; with our torture test of Nemesis S1E2 on ABC iView, two minutes in (Canberra lake shots post-credits), the 50-to-60fps pulldown was mild but clearly visible as judder, and remained visible even after investigating the best possible custom smoothing settings (there is dejudder in levels of 1 to 10, though no deblur).

But that is a torture test, and we can’t say that judder distracted us in daily use, even on 50Hz catch-up services, and even on sports which might most betray such pulldown. So motion is well handled here, if not perfect. Some GoogleTV dongles which lock to 60Hz do allow an often-deep menu option to switch to native 50 fps operation; after we’d returned the projector Leica Germany said there are motion menus to switch to 48Hz for a 24Hz movie “to prevent judder effect applying at 60Hz”, though we haven’t seen this option, and no such switching seems available for 50Hz.

For critical image watchers wanting certainty of native frame-rate delivery, the easy answer is to use the HDMI input to attach an external media player that follows frame rate according to the source, like an AppleTV 4K. The projector will then follow these native rates, and you are relatively assured of being judder-free.

All settings optimised (some, like ‘AI Picture Optimisation’, seemed to do nothing), we were impressed by both the colour performance and the available brightness here from such a usefully compact projector. Even on difficult US and international TV shows, skin tones were kept impressively realistic, or were within an easy tweak of it.

Higher quality streams watched in a darkened room were able to get into truly impressive territory with wonderfully cinematic delivery; it might be easy to accredit the sharpness to Leica’s glass, though without a polymer version alongside to show the differences, the variables are many. It’s an important question, though, because the glass, and Leica’s algorithms, are a clear differentiator with what’s underneath.

Hullo Hisense

Because what’s underneath is another souped-up Hisense model. Even before we fully unboxed this Leica, we had a moment of recognition: the outer eco-case was familiar from a Hisense PX3 Pro previously sent to us for review. The closer visual match is with Hisense’s ‘C’ projector range, though we couldn’t match the Leica’s dimensions to any specific C model, so couldn’t directly compare to see exactly what has been changed.

We asked, of course. While Leica doesn’t broadcast the Hisense connection on its websites, the company has been pretty open that its projectors have been based on Hisense models; this has been described as a two-way collaboration, though we gather not one in which Leica will be sharing its glass!

In this case Leica locally agreed there is no direct model comparison in Hisense’s ranges here, but that the key upgrades applied by Leica to the Hisense original include the Summicron lens, of course, but also alterations achieving a higher lumen output than the Hisense original, including a light engine where stray light levels have been reduced. The internal sound system was also improved over the original, we are told.

As we’ve seen on previous models, the good glass really does help achieve sharp focus and colour uniformity right to the edge of the image. Good glass can also improve brightness: polymer lenses are less transparent, while glass is better at controlling colour dispersion.

One thing much improved over the previous Leica projector is the VIDAA interface. As mentioned it is now fully populated with Australia’s complete suite of catch-up streaming TV apps, and best of all, you no longer have to sign up to a VIDAA account to use it all. When we reviewed the Leica Cine Play 1 you couldn’t use that projector at all without agreeing to VIDAA’s privacy policy and end user licence agreements, which together totalled 20,000 words, and which allowed many forms of data collection, including mobile tracking if you used a mobile device. Leica Germany noted that “the VIDAA compliance boards are located in the US and EU, following US and EU regulations”, but we still didn’t like it.

Now, you don’t need to sign in to VIDAA at all; this seems only to prevent multiple profiles or a Kidoodle TV log-in option, and the Art Gallery. Small price to pay for a rare bit of privacy these days!

Meanwhile VIDAA ran responsively and smoothly, offering lots of recommendations; it lacked a ‘keep watching’ line of the things you’re in the middle of, but that may have been because we had refused those privacy options.

Sound options

As with all front projectors that have built-in sound, there’s the obvious disconnect that the sound doesn’t come from or even pretend to come from the screen; it’s likely to be coming from behind you.

That unavoidable positioning flaw aside, Leica has conjured a surprisingly meaty and balanced sound from this little box, despite only 10W of power and a simple stereo system within. It’s small and localised sound if compared with a proper hi-fi, of course, let alone a surround system, but it’s not unpleasant; ‘Music’ mode is cleanest and least spitty, ‘Standard’ adds a bit of edge to speech, while the ‘Theatre’ mode makes the sound a little more spacious but also a little more artificial.

We also went through the VIDAA projector menus to connect a pair of wireless Bluetooth headphones, to which the audio instantly diverted. This was great for private listening, for cranked listening, or simply for better quality than via the internal speakers. The inherent delay of Bluetooth transmission is a danger here, and even with the delay slider minimised (it seems greyed out for headphone use anyway) there was just a little latency, but not enough to make things unbearable, and we’re fairly picky on latency. So headphones are a good option here.

We also sent the Bluetooth output to Primare’s all-in-one Allt-i-Ett audio system; again latency delay was just on the right side of bearable.

A final audio option is to take the sound out of the projector from the HDMI input socket, which offers eARC playback; it could thereby travel to a hi-fi or active speaker or even AV receiver; we suspect no surround sound in this configuration, as VIDAA seems not to request it (e.g. Netflix defaults to the AMBEO-encoded ‘Spatial Audio’ stereo mix rather than offering 5.1 or Atmos options).

Using the eARC in this way also uses the only HDMI input. With an AV receiver you might connect multiple sources, and run one HDMI cable to the projector, as if it was a TV, also bringing its own VIDAA stereo sound back again. So plenty of options here.

Conclusions

Leica’s Cine Play 1 and this new Compact 1 look similar, but the Compact is some 30% smaller in volume and 2kg lighter, so easier to move around, while its set-up is simple, helpful and versatile. And this smaller model nevertheless delivers delightfully sharp imaging which retains sufficient brightness for a 100-inch image to be viewable even over significant ambient light, still more so if you give it a real screen such as the ambient-light-rejecting screens available from Leica.

And once daylight fades, the Cine Compact 1 shines to its best abilities, delivering truly cinematic imaging, with Dolby Vision and other HDR capabilities, strong realistic colours and effective motion options.

And all this with VIDAA streaming inside, and serviceable built-in speakers too, all inside Leica’s highly attractive rebuilt casing, and with a gorgeous remote control. At this price it’s a double thumbs-up from us.

• See all our Australian reviews from Sound+Image and Australian Hi-Fi magazines

Despite obvious modernisation, there is something reassuringly familiar about Audio Research’s new LS-2/S-200 pre/power pairing. Their styling may be cleaner and less workmanlike than previous efforts, but this amplifier combination still has an appealing, no-nonsense aura that we can’t help but love.

Despite the hefty combined price, this two-box combination is still only an early rung in the company’s amplification ladder. Having experienced some of the brand’s more premium offerings, we can confirm that performance standards continue to rise with price.

Features

As standard, the LS-2 preamp (£8298 / $9950 / AU$16995) is a line-level unit with a generous six inputs, two of which are balanced XLR. Its output connectivity also includes balanced and single-ended options. Headphones? You’ll have to buy a dedicated amp for that.

In the past, such a focused design would have been perfectly acceptable, but the high-end market expects more now, and Audio Research is happy to oblige.

The company offers add-on modules to increase the LS-2’s functionality. There is a phono board (£1000 / $1000 / AU$1595) that is compatible with both moving magnet and moving coil cartridges. It offers a choice of 42 or 62dB of gain, and adjustable MC loading from 50-1000 ohms, so should be happy with all but the most extreme of cartridges on the market.

Digital is very much on the menu, with a DAC module (£1000 / £1000 / AU$1995) that offers USB Type B, coaxial and optical connectivity. The LS-2 can accommodate both the digital and phono modules together. Unfortunately, neither was fitted to our review sample, but given the company’s heritage, it would be surprising if they weren’t at least competitive in terms of performance.

Oddly, one of the single-ended analogue inputs becomes inactive when a module is fitted. If both the DAC and phono stage are both installed, then two analogue inputs get taken out of action.

Design

Audio Research’s formidable reputation is built on valve-powered amplification, so it comes as no surprise to find a pair of 6H30 dual-triodes at the heart of the LS-2 zero-feedback, Class A circuit. These valves have a decent service life of around 4000 hours before needing replacement.

However, there is a twist. While the preamp’s single-ended RCA outputs are directly driven by the valves, the balanced XLR outs are fed through a solid-state J-FET buffer to provide the desired low output impedance. Interestingly, the original Audio Research LS-2 preamp from 1991 was a proper valve/solid-state hybrid design that combined a single ECC88 valve with FET devices.

The solid-state S-200 (£12,798 / $12,950 / AU$24,995) is a brute of a stereo power amplifier. It is a dual-mono design right from the single mains input, using dedicated toroidal transformers for each channel to feed the fully balanced Class A/B amplification circuits.

The power output is prodigious, with Audio Research claiming 200 watts per channel into 8 ohms and double that as impedance halves. That is enough grunt to drive any price-compatible speaker to high levels, even in large rooms.

The S-200’s connectivity mirrors the balanced XLR and single-ended RCA found on the preamp, with a small back-panel toggle switch to select the desired option.

Build & compatibility

Both of these units feel solid and well made. Fit and finish is up to a good standard, though below the immaculate levels we experienced with the similarly-priced Yamaha C5000/M5000 pairing we reviewed recently. The two rotary control dials on the front feel durable enough but don’t operate with the precision we noted from the range-topping Yamaha rival.

Even so, take a look inside either Audio Research product, and the neat internal layout and obvious care in assembly are impressive. These products are clearly built to last decades.

They are nice to use too. We are surprised to find that the LS-2’s large LCD display is in fact a touchscreen, which makes going through the various set-up menus a breeze. In the sub-menus, you will also find a counter that keeps track of usage, which takes the guesswork out of deciding when to replace the valves. This is a thoughtful touch.

The supplied remote is a simple metal handset, but it is nice to hold and intuitive to use.

These Audio Research products prove easy to get up and running. Those unfamiliar with valve-powered components may find the initial installation of the two 6H30s a little intimidating, but it is a simple process that takes just a few minutes.

Audio Research even provides the required Allen key to remove the LS-2’s lid. From there, the valves, which are clearly labelled, are simply pushed into place. If you are worried about the installation, we are sure the selling dealer will be happy to do the job.

The transistor-based S-200 power amp needs no such procedure, and is as simple to connect as any other design.

At this level there should be no shortcuts when it comes to system matching. Our sources are Naim’s range-topping ND 555/555 PS DR music streamer and a current-generation MacBook Pro running Audirvana music software feeding a Chord Hugo TT2 DAC.

As for speakers, PMC’s monster MB2 SE are used extensively alongside our usual ATC SCM50 monitors. Sonus Faber’s new Olympica III G3 floorstanders are also pressed into service (review coming soon).

Our comparison amplifiers are the aforementioned Yamaha C-5000/M-5000 combination, our reference Burmester 088/911 Mk III and PMC’s Cor integrated. Recent experience with Rega’s Mercury/Solis combination helps to form our opinion too.

Sound

The use of valves in the preamp may lead people to expect an easy-going, lush presentation, but that’s not how things turn out. Audio Research has never done things that way. The company’s valve products tend to focus on neutrality and resolution, rivalling solid-state alternatives in those respects. The benefits of valves only really show up in the lucidity and naturalness of the presentation, and that’s the case here with the LS-2.

This is an impressive preamplifier. It sounds clean, clear and beautifully balanced, particularly through its single-ended RCA output. We are less smitten with the performance using the balanced XLR connection, where some of the preamp’s finesse is traded for a slightly bolder and less subtle approach.

Partnered with the S-200 (connected single-ended) there is much to like about the overall performance. Given the monster power output, it will come as no surprise to find that this Audio Research pairing delivers a sound with plenty of scale and authority.

As we play Rachmaninoff’s Symphony No. 2, we can’t help but admire the muscularity of the presentation and the amplifier’s ability to play loud while retaining an enviable degree of composure. As volume levels head northward, the lack of obvious stress and harshness is deeply impressive.

We have no complaints about tonality, with the various orchestral sections coming through with pleasing natural balance, plenty of body and rich texturing. The line between high-frequency bite and refinement is negotiated with skill.

Given the dual mono nature of the power amplifier, we aren’t surprised to find the LS-2/S-200 pairing renders a wide and stable stereo image characterised by a sharp focus and precise positioning, laterally, at least.

The depth perspective was shallower than we expected. The shortfall isn’t massive, but given our experience with other Audio Research amplifiers, it is still something of a surprise.

The LS-2/S-200’s authority works well with other types of music too. We enjoy the dark and brooding nature of Massive Attack’s Mezzanine, particularly the way this two-box amplifier punches out Angel’s intricate and rumbling bassline with such conviction.

There is plenty to praise when it comes to outright clarity. Vocals are easy to follow, and rendered with natural warmth and body intact. Scale is convincing, and it is easy to track individual instrumental strands even when the recording gets busy. Overall, the sense of organisation and control is as good as we have heard at this level.

However, we want more. For all its neutrality and power, we feel this pairing could do with more finesse in the way it handles low-level dynamics and complex rhythms. It doesn’t sound quite as articulate or agile as we would like, and edges towards a matter-of-fact presentation that lacks a degree of verve.

Now, let’s be clear about this. We aren’t asking this pairing to add extra flavouring to the sound. We just want it to convey the energy already present in the recording, and this Audio Research pairing tempers that to a degree.

Listening to the pre and power separately points the finger at the S-200. For all its talents, this chunky power amplifier just doesn’t share the LS-2’s all-round sonic excellence, and ultimately limits what the preamplifier can do.

Verdict

We love the LS-2. It is everything we would hope for in a high-quality valve preamp. It is quiet, insightful and beautifully natural in its delivery. We like using it too, with the touchscreen display being a nice bonus.

While we admire many aspects of the S-200 power amp, it isn’t quite the all-rounder we crave. It will certainly do the job with difficult speakers and with certain types of music, but we feel it isn’t good enough to allow the preamp to truly shine.

That said, we like the direction Audio Research has taken with its new series of products. They are easier to use, smarter to look at and, in the case of the LS-2 preamp, still wonderful to listen to.

Review published: 26th October 2026

SCORES

• Sound 4
• Build 4
• Features 4

MORE:

Read our review of the Yamaha C5000/M5000

Also consider the Chord Ultima 3 pre/Ultima 6 power

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Canadian audio brand Paradigm will be a familiar name for many when it comes to home cinema sound. Especially to those au fait with the custom install market, as the company has a wide array of in-wall and in-ceiling speakers for serious home cinema enthusiasts.

We are told by our office's facilities department that, unfortunately, we can’t take a hammer and hacksaw to our AV testing room’s walls, so it’s the new Premier v2 speaker range that has caught our attention.

This 5.1 speaker package opts for a more traditional route, mixing stately floorstanding and standmount speakers for a surround sound experience that you can add to any room – provided you have the space.

With a name like “Premier”, it seems as though these speakers are made for the red carpet and should, therefore, take cinematic sound in their stride. But there is a host of five-star speaker systems from Dali, KEF and Wharfedale that have recently upped the ante in this sector; so can this Paradigm package keep up?

Price

UK retailers aren't currently offering this specific system as a complete package, so you’ll need to purchase the components separately.

For the set-up we are testing here, you will need the Premier 720F v2 floorstanders (£2499/pair), the 220B v2 standmount surrounds (£1299/pair), the 520 LCR v2 centre channel (£999), and the Defiance S12 subwoofer (£1850). This brings the system to a total price of £6647.

In the US, things change slightly as Paradigm sells each speaker separately. The 720F v2 comes in at $1000 each, whereas the 220B v2 sells for $550; remember you’ll need to order two of each. The 520 LCR v2 costs $900, and the Defiance S12 comes in at $1600; taking the full price of the package to $5600.

Things are slightly simpler in Australia, where these speakers go back to being sold in pairs. Here you’ll find the 720F v2 for AU$3799, the 220B v2 for AU$1999, the 520 LCR v2 for AU$1599, and the Defiance S12 sub for AU$2999. That comes to a total of AU$10,396.

There haven’t really been any other speaker packages at this price to enter our AV testing room recently. The Premier v2 5.1 package sits squarely between two Award-winning speaker systems: the KEF R Meta 5.1 (£10,499 / $13,200 / AU$19,400), and the Dali Sonik 5 5.1 (£2199 / $4800 / AU$4596).

The Paradigm package, therefore, has to outperform the Dali to succeed. While beating the KEF would be a pleasant surprise, we certainly don’t expect it, given the considerable price jump for the R Meta 5.1.

Design and build

If there’s one area where Paradigm has hit the nail on the head, it's in the design of these speakers. This is an eye-catching, well-built and premium-looking cohort of speakers which will look suitably stylish in most living rooms and home cinema spaces.

All components match nicely, with a cohesive design across the range. The most notable design element is the spiral-style grille found on the front and surround speakers, which also serves as a visual motif across most of Paradigm’s speaker ranges.

We are also fans of the protruding industrial-looking feet that extend from the bottom corners of the 720F v2 floorstanders. They give these speakers a touch of individuality. And they provide more than just a certain look; these "Outrigger Shock-Mount Isolation Feet", as Paradigm calls them, work to physically decouple the speaker enclosure from the floor, to mitigate unwanted vibrations.

Speaking of the 720F v2 speakers, these sizeable three-way rear-ported floorstanders measure 100 x 32 x 43cm (hwd), making them fairly comparable to the KEF R7 Meta speakers from the Award-winning R Meta system. They are slightly lighter at 26kg per speaker, too.

The 220B v2 are an equally substantial set of surround speakers by standmount standards. These two-way ported speakers measure 37 x 21 x 33cm (hwd) and weigh 9.1kg. These surrounds require a sturdy stand, and there is no keyhole mount for wall mounting.

Moving on to the 520 LCR v2, this three-way sealed centre-channel speaker measures 21 x 59 x 31cm (hwd), and weighs 14kg. It should sit beneath a wall-mounted TV or projector screen without too much hassle, but you may find it a squeeze to fit it within a traditional media unit.

The Defiance S12 subwoofer rounds things out in this hefty system. This sub measures 38 x 40 x 43cm (hwd), and weighs 24kg, making it more substantial than the KEF KC92 subwoofer.

Our review system sports the Walnut finish, although you can also have the system in a Piano Black, Black Walnut or Satin White finish. The Defiance S12 subwoofer, on the other hand, is available only in Gloss Black.

Features

This speaker package is packed full of Paradigm’s proprietary driver technology across all of the components.

You’ll find a 25mm AL-MAC Ceramic Dome tweeter loaded by a heavily dished waveguide on both the 720F v2 floorstanders and 220B v2 standmounts. AL-MAC refers to a rigid, lightweight compound of aluminium, magnesium, and ceramic used in the dome diaphragm of this high-frequency driver.

Paradigm claims that the mix of materials was chosen to produce stable and lifelike high-frequency effects, while the waveguide “precisely shapes output to focus sound on the listening area while reducing unwanted room reflections”.

The centre channel changes things slightly by placing the same tweeter within a coaxial 15.2cm AL-MAG midrange cone. It features a 50mm high-temp multilayered voice coil wound around an Apical (a polyamide plastic film) former designed to handle high thermal stress without deforming.

The fronts and surrounds also share the same midrange driver found on the centre channel, though it sits behind a Perforated Phase-Aligning (PPA) Lens on these speakers. This unique spiral-patterned waveguide is designed to ensure that all frequencies will reach your ears simultaneously for a more harmonious sound.

It also acts as a physical shield and acoustic filter designed to block out-of-phase signals; Paradigm says that we should notice a more three-dimensional soundscape as a result.

You’ll also find two 15.2cm CARBON-X Unibody Cone bass drivers on the floorstanding speakers and centre channel. These unibody cones are designed for “maximum strength and minimal mass”, with Paradigm citing deep and controlled low end even at high volumes. They are placed towards the bottom of each floorstanding speaker, and they flank the tweeter on the centre channel.

Such drive-unit consistency across the speaker package is a good way to maximise sonic cohesion across the channels. It’s also worth noting here that the fronts, surrounds and centres are all bi-wireable.

Rounding out the package, the Defiance S12 subwoofer sports a 30.5cm anodised aluminium cone, which sits within a steel chassis for enhanced rigidity and stability. It is powered by 800W of Class D amplification, and Paradigm claims its frequency range can reach as deep as 16Hz.

This powered subwoofer features support for the company’s ARC Genesis room correction software, which can also be found on Anthem AVRs. The microphone and software are sold separately, and you’ll need a Mac or PC to complete the process. It does mean, however, that the subwoofer can be calibrated separately to the rest of your speakers.

When it comes to connectivity, the S12 offers a range of physical connections, including a balanced XLR, speaker-level inputs or RCA phono inputs for connecting to hi-fi systems, or an LFE RCA input for connecting to an AVR. Unusually, Paradigm includes a wireless transmitter in the box for connecting this subwoofer wirelessly.

Sound quality

While an exhaustive list of proprietary technologies across the drive units is impressive on paper, what really counts is how this speaker package performs.

We have it hooked up to our reference Denon AVC-A1H home cinema amplifier to power the system, and have applied the Audyssey X32 room correction system. We are using our trusty Oppo UDP-230 4K Blu-ray player to play cinematic content.

It is first worth mentioning this speaker system’s strengths, as there are many to note. Playing F1: The Movie, we are met with a big, spacious and powerful sound, with the opening providing a serious soundscape of cinematic audio. Car engines roar, announcers’ voices boom, and tyres screech in a muscular first outing for the system.

This is underpinned by an impressive level of detail, with the Premier v2 system refusing to leave any small sonic detail out of the overall presentation. This extends to voices coming through the centre channel, as both Stack and Mary’s voices during a fraught conversation in Sinners are presented with clarity and directness, which means no dialogue is missed within the greater mix.

Continuing the scene, the medley sequence, which features music from past and present, highlights the sonic cohesion between the components of the package.

Everything gels together with excellent consistency and fluidity, with no noticeable gaps, and the surround channels blend in seamlessly without distracting us. Instead, the system delivers a well-constructed bubble of sound around us, with surprisingly impressive dispersion that even fills out some sound above our seating position, despite the lack of dedicated height channels.

And we have to commend the overall highlight of the package – the subwoofer. The Defiance S12 pumps out rich, deep and controlled bass, meaning it hardly breaks a sweat with the tricky chapter two sequence of Blade Runner 2049.

The subwoofer digs deep without introducing unwanted fuzz or distortion, and its top-notch timing ensures tension is built throughout the sequence effectively.

If there is one takeaway you may have noticed from the Paradigm system, it’s that it's big and powerful. While that’s an asset, the system unfortunately leans a bit too far into the broad, heavy and punchy sound, and doesn't pay as much attention to sonic subtleties.

There’s an immediate sense that low-level dynamics are an issue, as voices are lacking in expression, and emotion isn’t communicated as clearly as we would like.

The hushed and emotional conversation in Sinners that we mentioned previously sounds like it’s being yelled at us, despite volume levels being modest, with Stack’s mic-drop line of “that I love you? That I think about you every day?” coming across as icy rather than vulnerable or heartfelt.

The flattening of voices and a lack of natural warmth means that we lose the character and inflexion of dialogue quite easily. Yelena’s cheeky one-liners in Thunderbolts* can sound dry rather than playful and sarcastic, and voices sometimes pierce through action sequences in a way that’s not wholly natural.

The longer that we listen to the system, the more we find it overbearing and insistent. Despite plenty of run-in time, there’s a hardness to the sound that doesn’t relent regardless of whether it's a bombastic action sequence or a softly spoken dialogue-led scene.

This experience extends to stereo music when we just have the floorstanders running.

There is plenty of power, rich bass and clarity, but Saviour Complex by Phoebe Bridgers feels aggressive for a softly sung track. Punchier tracks, such as Kiss The Ring from Hans Zimmer’s Dune: Part Two soundtrack, lend themselves better to the full-on sound, but even this can feel overdone.

If spectacle and punch are what you’re after, the Paradigm package may be plenty for you. But when it comes to nuance, finer expression in voices, and conveying emotion, the Paradigm struggles to let go of that punchy, “in your face” attitude, which can compromise the emotive intention of dialogue.

Verdict

Paradigm’s Premier v2 5.1 speaker package sports a refined look and more proprietary speaker technology than you can shake a stick at, but its overly assertive nature lets it down.

That’s not to say it’s a sonic write-off; there’s tons of detail to glean from this system, and the subwoofer is genuinely excellent, but punch and power need a softer edge to create a holistically cinematic experience.

SCORES

• Sound 3
• Design 5
• Features 5

MORE:

Here are all of the best surround sound systems you can buy right now

Check out our Dali Sonik 5 5.1 review and KEF R Meta 5.1 Speaker System review

After reviewing Merlin’s excellent new Tarantula speaker cable earlier this year, we couldn’t pass up the opportunity to have a listen to the partnering interconnect.

Having spent some time in its company, we’re glad we did. While the Tarantula RCA may not be the pinnacle of performance for interconnects at its price, it is still fine value and is based on solid engineering principles.

Build & design

The Merlin Tarantula RCA uses a four-core, opposing pair geometry (normally found in balanced designs) rather than a basic coaxial two-conductor build, as most rivals do. Merlin’s approach should lead to reduced noise levels and improved sound.

Each of the 99.99% pure oxygen-free copper conductors is wrapped in an XLPE (cross-linked polyethylene) dielectric, which is generally recognised as offering lower losses than the more common PVC alternative.

That conductor core is shielded with a combination of an aluminium/Mylar foil and tinned-copper braid to minimise the effect of external electrical noise. The shield is connected at the source end, making the cable directional. The Tarantula RCA’s correct signal orientation is indicated by the blue bands at the source end, but also by the direction of the writing on the outer sheath.

Any internal vibrations are damped by what Merlin describes as ‘natural fillers’. Dealing with such mechanical issues may seem trivial, but the company claims it makes a significant difference when signal levels are small. Finally, the cable is hand-terminated with in-house RCA plugs that feature silver-plated contacts and PTFE insulation.

The Tarantula RCA makes a great first impression as we unpack it. It feels nicely made, and the RCA plugs are finished to a high standard. There is an XLR version of this cable available for those who need a balanced lead.

We try these Merlin interconnects in a range of systems from a Cyrus CDi CD player, Arcam A15+ amplifier and Epos ES-7N speakers to a Naim ND 555/555 PS DR streamer feeding PMC’s Cor integrated and driving a pair of ATC SCM50.

Our main cable comparison is the similarly-priced Chord Company ClearwayX ARAY Analogue RCA, a multiple Award-winning interconnect that has been the benchmark for a number of years now.

Sound

There are many people who don’t think cables make a difference, but that hasn’t been our experience. Even the best of the breed can’t improve the signal, but in our opinion they do preserve its integrity better. While we don’t feel that the Tarantula RCA is quite a class leader, it isn’t far off.

The character of this Merlin interconnect cable remains consistent as we swap it between our systems. By general price standards, it helps them deliver a clear, clean and balanced sound.

As we listen to Arvo Pärt’s Passio, we can’t help but be impressed by the scale of the presentation. There is certainly a greater sense of space compared with using the Chord ClearwayX, and the results are more tonally even.

The Tarantula RCA is a well-balanced design that doesn’t lend undue emphasis to any particular part of the frequency range. It is refined too; our systems’ highs retain plenty of bite but, once given a little time to settle, the Merlin cable avoids introducing any hint of harshness or edge, even with aggressive recordings.

We are impressed with our system’s midrange clarity and the unforced way the choir in this choral piece is reproduced when using the Tarantula RCA interconnect. There is a natural sense of dynamic flow and the ability to keep track of low-level instrumental strands, even when the music becomes dense.

The good news continues when we switch genres to Janet Jackson’s The Velvet Rope set. Here, we find our systems have plenty of punch and decent rhythmic drive. The song’s rich bassline has plenty of heft and decent agility while Jackson’s voice comes through with attitude intact.

Swapping the Merlin for its Chord Company rival reveals a little more midrange verve and greater grip over the lows. There is a slightly improved sense of musical momentum, too. Add these qualities together, and it is enough for the ClearwayX to remain our cable of choice at this level.

Verdict

That said, there remains much to like about the Tarantula RCA interconnect.

Merlin has designed a balanced and unfussy interconnect that will work well in a wide range of systems. Partner it with the excellent Tarantula speaker cable, and you will have a lovely consistency of sonic character through the system’s signal path. This interconnect is a solid effort that shouldn’t be ignored.

Review published: 22nd October 2026

SCORES

• Sound 4
• Build 5
• Compatibility 5

MORE:

Also read our Chord Company ClearwayX ARAY Analogue RCA review

Our pick of the best audio cables for a range of budgets

VAF Research has been designing and hand-building loudspeakers in Adelaide since 1978, giving the company a long and continuous history in Australian hi-fi. Its range spans everything from accessible standmounts to serious high-end floorstanders, and the Signature i91 has held a particularly enduring place within it.

First introduced around 1999, this large standmount has been tinkered with over the years, benefitting from iterative upgrades all in the pursuit of the best-possible sound.

I certainly went into this review with high expectations as my previous experience with VAF’s more affordable DC-2S standmounts (AHF #543) revealed the company is capable of delivering impressive imaging and musical engagement. Given the Signature i91 MkIII on review here is a far more substantial proposition in both price and size, I was already filled with excitement before I’d even unboxed them.

EQUIPMENT

This MkIII version was introduced around 2021. VAF doesn’t necessarily market it as an entirely new speaker, but rather a refined continuation of a well-established formula.

It’s certainly retained its physical presence. This is a substantial standmount speaker in every sense. Standing 440mm tall, 220mm wide and 360mm deep, and weighing 15kg apiece, the Signature i91 MkIII is considerably larger and more solidly built than the average bookshelf design. As a result, each speaker arrives in its own carton, and getting the 15kg cabinets safely onto suitably heavy-duty stands is best treated as a two-person task.

The weight is not solely the result of MDF panels measuring up to 36mm thick, but also VAF’s substantial internal bracing. VAF adds the Signature i91 MkIII uses precisely mitred joints, substantial internal cross-bracing and its own Hypersoft damping material, all intended to suppress internal reflections and standing waves. The combination, says the company, “ensures maximum attenuation of any internal standing waves”.

The pair supplied for review wear VAF’s handsome Feature Eucaplypt timber veneer, priced at $5,158. I cannot say for certain whether it was the finish itself, but unboxing them produced an unexpected first: I noticed the smell of a pair of speakers! It was a pleasant, warm timber aroma — an oddly specific detail, perhaps, but one that immediately reinforced the sense that these were carefully finished objects rather than boxes from a production line.

The surfaces are equally enjoyable to touch, smooth as anything, with an attractive sheen that brings the grain to life. Alternative finishes include Black Oak, American Cherry, Tasmanian Blackwood and Australian Jarrah; having experienced the Feature Eucaplypt, I am now rather curious how those smell, too!

Once they were out of their individual boxes and on some stands, it was pleasing to see the i91 MkIII marry a good aroma with stunning looks. They adopt a similar visual aesthetic as the more cost-friendly DC-2S, which in turn proves they are unmistakably a VAF design. And if you weren’t too sure on first look, just take a glance at the bottom-right corner and you’ll see the company’s logo taking pride of place.

At the centre of the i91 MkIII is a 170mm coaxial driver, manufactured especially for VAF by SEAS in Norway. SEAS — short for Scandinavian Electro Acoustic Systems — has been producing loudspeaker drive units since 1950, and its engineers developed one of the earliest soft-dome tweeters in 1968. The company was also heavily involved in the production of the Dynaco A-25, released in 1969 and which went on to become one of the best-selling loudspeakers in history.

The driver in the Signature i91 MkIII combines a polypropylene woofer with a Sonomex soft-dome tweeter mounted at the cone’s centre — the same coaxial driver features in the smaller, more affordable Signature i90 too — while the crossover uses hand-wound copper inductors.

Such a configuration allows VAF to achieve its goal of time alignment, since the tweeter and woofer share the same acoustic centre, meaning their output arrives together more consistently than in a conventional multi-driver array. VAF says this has further benefits, including broadening the general listening area, as opposed to delivering sound to a ‘sweet spot’. Indeed, VAF’s Head of Sales, Mike Ziersch says “With coaxial drivers, pretty much everywhere is the sweet spot!”

The i91 MkIII uses dual front-firing bass-reflex ports, positioned above and below the coaxial driver, meaning they’re a little more forgiving when it comes to placement than rear-ported designs. It doesn’t mean you can or should immediately place them up against a wall of course, as the cabinet’s proximity to room boundaries will still have an effect on bass and tonal balance, but you at least get a little more wriggle room.

Around the back, a substantial full-height terminal plate projects from the cabinet rather than sitting flush with it. It accommodates two pairs of gold-plated binding posts for bi-wiring or bi-amping; the review pair arrived bi-wired. Conventional single-wire connection remains possible — the terminals accept bare wire, spade, and banana plugs — but the arrangement gives owners scope to experiment with cable routing or separate amplification for the tweeter and woofer sections.

VAF quotes a 45Hz–18kHz frequency range for the i91 MkIII, that low-end figure no doubt being a byproduct of the generous cabinet volume and twin ports. It suggests the i91 MkIII can cover most music with convincing bass weight without immediately requiring a subwoofer, although listeners wanting the lowest rumbles or home-cinema ambitions may still want a dedicated sub.

It is worth distinguishing the standard i91 MkIII from the externally similar i91 MkIII SE. Both share the same cabinet and coaxial layout, but the SE is effectively a more comprehensively upgraded variant. It employs VAF’s newer high-excursion magnesium-alloy woofer and magnesium-alloy tweeter. Its crossover is necessarily redesigned around those different driver materials and also uses higher-specification Solen and SCR capacitors in critical signal paths. Internally, the SE receives van den Hul 12AWG silver-coated copper cable — the same wiring used in VAF’s flagship Signature Series floorstanders — whereas the standard i91 uses high-quality 12AWG OFC copper.

On paper, the SE promises greater bass impact and more midrange and treble detail, while the company describes the regular model as the more delicate and relaxed of the two, with excellent imaging and soundstaging. In fact, VAF goes as far to say the regular Signature i91 provides a “level of accuracy and performance not seen in any other loudspeaker at their size or price”.

The i91 MkIII is rated at a relatively accommodating 90dB sensitivity and a nominal 6-ohm impedance, making the process of selecting partnering equipment relatively simple. For this review, it was partnered with Marantz’s Model 50 integrated amplifier, with 70W-per-channel output into 8 ohms, rising to 100W into 4 ohms.

LISTENING SESSIONS

For my listening, I placed the VAF Signature i91 MkIII approximately 25cm from the wall behind them (measured to the rear terminal plate). And, since the company’s coaxial-driver arrangement is intended to maintain time alignment across a broad listening area rather than concentrate performance into a narrower sweet spot, I left them firing straight into the room, rather than being toed in towards a listening position.

I had an absolute blast spending time with the VAF Signature i91 MKIII. Alongside familiar favourites, the speakers had me flicking through old playlists and uncovering forgotten classics — always a good sign. Rather than feeling like they demanded “audiophile” recordings to impress, the i91 MkIII made me want to keep listening to anything and everything, from high-energy dance tracks to slow and sultry ballads. Fortunately they lapped everything up that I could throw at them.

One such rediscovery was Alt-J’s debut album An Awesome Wave. I admit I was never completely sold on the group when they hit the scene way back in 2012, which was a little annoying at first because my friends could not get enough of them. Whenever one of them was the designated driver for a day out, Alt-J was almost inevitably playing. The band eventually did grow on me however, and ‘Taro’ is now one of my favourite tracks.

When played through the VAF i91 MKIIIs, ‘Taro’ was delivered with exceptional cleanliness and organisation. The track’s shifting, irregular rhythmic patterns remained easy to follow, with each instrumental element afforded enough space to make sense of the arrangement as a whole.

The speakers had no trouble separating the higher frequencies from the low bass line, preventing a tangled mess, which gave the song a controlled and open presentation.

Music was streamed from Tidal Connect to Marantz’s CD 50n network CD player, before being passed to the Model 50 integrated amplifier. However, most of my song choices came from my expansive Apple Music playlists (I’m still holding out hope for an Apple Music Connect feature one day). The main one I used for this review comprised thousands of songs that were once on my Spotify account but that were eventually migrated over to Apple’s service some 10 years ago. After I left Alt-J, I came to the Cs and Chris Rea — on went ‘The Road to Hell Pt. 2’.

Rea’s crooning vocals and instantly recognisable melody allowed the i91 MKIII to show off its more restrained strengths. The opening melody carried a lovely warmth, while the overall presentation was detailed, clean and natural. What impressed me most however was the fact the speakers never once seemed to overdo it. They didn’t once feel as though they were trying a “hey, look at me” performance, rather they simply revealed the track with relaxed confidence.

While it may be that, on paper at least, the standard i91 MKIII is less bass-capable than its SE counterpart, I nevertheless wanted to really test the low-end capabilities because, with my initial playthroughs, it seemed plausible that the speakers might benefit from a subwoofer to add more low-end authority.

Billie Eilish’s ‘bad guy’ quickly challenged that assumption. The i91 MKIII immediately used the large enclosure and ability to get down towards 45 Hz extension to its advantage, delivering the track’s pulsating bass line with depth and energy. There was ample drive and punch for a properly zealous listen, yet Billie Eilish’s vocal remained crystal clear and precisely placed above the heavy bass foundation.

Fat Freddy’s Drop’s ‘Shiverman’ took the VAF Signature i91 MKIII further still, revealing another level of low-end capability. The speakers were able to dig deep into the track’s dub-influenced bass without losing their sense of control or cohesion. Rather than merely producing more bass, they retained the separation and rhythmic poise that made earlier tracks so convincing, allowing the groove to feel weighty, immersive and genuinely physical.

The i91 MkIII’s strengths were not confined to close, focused listening at enthusiastic volume either. I moved my seating position back to around five metres, and even when reducing the Marantz Model 50’s output, London Grammar remained strikingly clear and communicative. On ‘Stay Awake’, in particular, the speakers preserved the delicate texture of Hannah Reid’s voice, while the track’s dynamic shifts retained their impact without requiring high playback levels. Of course, increasing the volume only had a positive effect, but I was pleased to find the Signature i91 MkIII had little trouble firing into a large space.

CONCLUSION

For all their talents, what I ultimately took away from this review was the knowledge that the i91 MkIII has an uncanny ability to make music feel inviting. The speakers keep every element of a track easy to follow without stripping away its warmth, character or sense of fun. They can deliver proper low-end impact, too, without allowing bass to obscure everything above it. They are truly wonderful speakers to listen to, to look at — and, apparently, to smell. I can also readily imagine them being a pleasure to live with.

LABORATORY TEST REPORT

Readers interested in a full technical appraisal of the performance of the VAF Signature I-91 Mk III Loudspeakers should continue on and read the LABORATORY TEST REPORT published on this page. Readers should note that the results mentioned in the report, tabulated in performance charts and/or displayed using graphs and/or photographs should be construed as applying only to the specific sample tested.

Newport Test Labs measured the in-room frequency response of VAF Signature I-91 Mk III Loudspeakers using wideband pink noise as the test stimulus, with the measuring microphone at a distance of one metre from the tweeter, on the tweeter axis.

The result of this test is shown in Graph 1 (above), and you can see that the response extends from 44Hz to 20kHz ±3.5dB. This is an excellent result under any circumstances, but made even more impressive because the speaker was tested on a stand, remote from all wall boundaries. If the speakers are positioned on a bookshelf or on stands close to a wall, the already impressively extended (for the driver diameter and cabinet size) bass response would be extended downwards even further.

The low-frequency performance of the single co-axial driver in the VAF Signature I-91 MkIII is shown in Graph 2 (below), where Newport Test Labs has used a well-known nearfield measurement technique that replicates the response that would be obtained if the driver were to be measured in an anechoic chamber.

You can see that the response of the bass/midrange cone starts rolling off at 70Hz, but is extraordinarily flat above this frequency, right out to the graphing limit of 500Hz, essentially being within ±1.5dB between these two frequencies.

Although the output of the cone starts rolling off at 70Hz, you can see the outputs from the two front-firing bass reflex ports (the red and blue traces on the graph) both peak at 58Hz and provide appreciable energy from 35Hz to 90Hz, essentially extending response downwards and reinforcing the bass response.

It’s notable that despite being located at opposite ends of the front baffle, the outputs from the ports are almost completely identical, so VAF has obviously taken considerable care with the internal design of the enclosure to deliver this result. There is evidence of a slight port resonance at around 260Hz, but it’s very slight and has minimal effect on the overall frequency response of the system.

The overall impedance of the VAF Signature I-91 MkIII is comfortably in ‘nominally 8-ohm’ territory, with Graph 3 (below) showing that the impedance (red trace) drops below 8-ohms only between 120Hz and 500Hz, and then only to a minima of 6.9-ohms at 200Hz.

The slight glitch on the impedance trace at around 260Hz is additional evidence of the slight resonance mentioned previously. The phase angle (orange trace) is very well controlled to within ±30-degrees right across the audio band, which is excellent. Newport Test Labs’ individual measurements of the low- and high-frequency sections of the crossover (the blue and green traces) show that the electrical crossover point is at 2.4kHz.

The efficiency of the VAF Signature I-91 MkIII, as measured by Newport Test Labs, was rather lower than average for all hi-fi loudspeakers (which is 87dBSPL), but about spot-on for the average of two-way designs in small-to-medium sized cabinets, with the lab reporting sensitivity of 85.5dBSPL at one metre, for an input of 2.83Veq.

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.

Review published: 21st October 2026

SCORES

• Sound 4
• Build 4
• Features 4

MORE:

Read our Sennheiser Momentum 5 Wireless review

Also check out our Bose QuietComfort Ultra Headphones (2nd Gen) review

Our pick of the best wireless headphones for every budget

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.

Review published: 20th October 2026

SCORES

• Sound 4
• Features 4
• Build 4

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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

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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

MORE:

Read our review of the TCL P8L

Also consider the TCL C7K

Read our TCL C8L

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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.

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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

MORE:

Read our review of the Sonos Era 300

Also consider the Apple HomePod 2

Best multi-room wireless systems tested by expert reviewers

The Mu-so Hekla felt like a big deal for Focal and Naim. While branded as a Focal product, the all-in-one Hekla represented a careful collaboration between the French manufacturer and its sister company Naim Audio, with Naim’s Mu-so wireless speaker pedigree adopted under the prestigious Focal banner.

The new Naim Mu-so Utopia promises to take that symbiosis to new levels of performance and price. Billed as the “Hekla with the brakes off”, the new Mu-so Utopia all-in-one wireless system once again takes the amplification and pedigree from Naim’s Award-winning range of Mu-so wireless speakers, and marries it with trickle-down technology taken from Focal’s high-end range of Utopia-branded loudspeakers.

The Hekla but better? Focal driver tech powered by Naim amplification? One listen was never going to be enough, so we headed to both Naim’s UK headquarters and Focal’s facility in France to get a proper taste of what the Mu-so Utopia can do.

Price

The Naim Mu-so Utopia will set you back £4499 / $5500 at launch, a good deal more than the £3000 / $3600 for the mighty Hekla we took for a spin earlier in the summer, and a lot more than, say, the £1299 / $1699 for the five-star Ruark Audio R410 all-in-one system we have so admired since its 2023 launch.

That’s a decent wad of cash by most objective standards, but when you have a product that’s touted as a soundbar, a streaming hub and a Dolby Atmos-powered hi-fi and surround system, the numbers do make more sense. On paper, at least.

Build and design

We’ll do our best to rein ourselves in here. We know that the Utopia doesn’t come cheap, that we have encountered it only in a demo setting, and that taste is an inherently subjective and slippery beast; but it’s hard not to be enchanted by the imposing allure of this substantial all-in-one system.

The Naim Mu-so Utopia follows the same core design language as the Focal Mu-so Hekla and Naim Mu-so 2 systems that preceded it. It has a brushed black anodised aluminium chassis complemented by a red trim that runs lengthways across the unit’s 100cm-wide body.

Speaking of which, the Utopia is a pretty sizeable beast, weighing in at around 14kg – so you’re going to need a reasonable amount of space and a sturdy rack capable of giving it proper support. If you intend to integrate it within a home cinema system, a separate rack from your TV is probably going to be required if you don’t want to block the bottom of your screen.

At the top of the all-in-one wireless system, you will find the same white illuminated dial used across the Mu-so range. You can control volume with a turn to the side, with the dial acting as a touch screen to adjust input and power. While we didn’t have the chance to try it out for ourselves, our time using the Hekla suggests that we are likely to be equally happy getting up close and personal with the Utopia when we get the chance.

Physical connections include HDMI eARC, for integration within a home cinema system, as well as an optical input and an RCA output if, say, you want to pair your Mu-so Utopia with a bass-boosting subwoofer. There is also an Ethernet port for granting a more stable internet connection.

Inside, the Mu-so Utopia packs 720 watts of Class D and A/B amplification driving a whopping 15 drive units, teasing an “immersive experience” that will happily cover rooms up to around 50m² in size.

Most of the drivers are powered using Class D amplification, including a pair of 2.75cm ‘M-shaped’ mid-range woofers and four full-range drivers housed at the sides and top of the unit.

Twin 25mm ‘PRISM’ tweeters – derived from those used on Focal’s high-end Scala and Diva Utopia loudspeaker ranges – are driven using Class A/B power, with Focal’s engineers telling us that A/B grants greater control and precision in the upper frequency ranges.

Features

At this kind of price, you should expect an extensive streaming suite backed by decent high-resolution file support. So Tidal, Qobuz and Spotify are all on board in their ‘Connect’ versions, as are AirPlay 2, Google Cast and Bluetooth 5.3 with standard AAC and SBC codecs.

UPnP streaming supports playing stored files from your local network, whereas multi-room capabilities let you create a chained system with compatible Naim and Focal products.

The Utopia is capable of handling hi-res files up to 32-bit/384kHz PCM alongside DSD128, while Dolby Atmos support is one of the system’s big trump cards.

There are plenty of sound modes from which to choose, including a ‘Dolby Movie’ mode for smaller or more standard listening rooms, alongside ‘Sphere Music’ and ‘Sphere Movie’, the latter of which uses Focal’s beamforming tech to construct “exceptional clarity and spatial accuracy”.

There is even a Night Mode, which reduces dynamics and bass so you don’t disturb your neighbours or co-habitants.

You can choose your desired listening mode using the Focal & Naim app, a platform from which you can also calibrate your system’s settings via an equaliser and Focal’s ‘ADAPT’ (Adaptive Acoustic Personal Tuning) room-calibration technology.

ADAPT collects and analyses data about your listening space and then adjusts the resultant audio output accordingly; just be aware that you will need to know your room’s dimensions first if you want a proper tailor-made experience.

The Mu-so Utopia doesn’t come with its own dedicated remote, so you will be operating predominantly via the dedicated app or, if you’re an iPhone user, Siri voice control. HDMI CEC further allows your television’s remote to control your Utopia without needing a separate device.

Sound

At What Hi-Fi?, we like to be thorough, and we like to do things properly. As such, we have heard the Mu-so Utopia in two separate countries, listening at Naim’s headquarters in Salisbury, England, before flying over to France to discover how it sounds in Focal’s dedicated Saint-Étienne facility.

These demonstrations are, naturally, never going to be as in-depth as having the product to ourselves, and we will need to get a review sample of our own before we know whether or not Naim’s latest system makes the grade. Still, the two trips have given us a firm idea of what the Mu-so Utopia can do.

Our Salisbury session was, as the French might say, something of an apéritif. Even with Naim’s gentle warning that its particular model still needed a bit of tinkering to its tuning, our three-track sampler gave us a taste of the system’s abilities.

Lyle Lovett’s The Road to Ensanada hints at the unit’s capacity to bring texture and delicacy to the track’s gentle guitar strums, whereas Leo Kottke’s Across the Street sounds fulsome and rich as Kottke’s meatier guitar playing fills Naim’s listening room with breadth and authority. Like the best demos, it leaves us wanting more.

A few weeks down the line, that’s exactly what we get. With a Mu-so Utopia firing on its native turf, we have the chance to hear what the premium all-in-one system can do across music, movies and even a short gaming showcase.

The cinematic portion of the demo includes a Dolby Atmos clip from 2014’s Unbroken, during which the American Air Force is sent on a bombing mission against Japanese installations on Nauru during the Second World War.

The Utopia’s ability to fill Focal’s 50m² test room without breaking stride is remarkable, but what really gives us hope is how it handles directional audio.

There is a tangible sense of definite sonic placement as anti-aircraft explosions burst and thud amidst the soaring allied planes. And, as an enemy fighter whizzes past our central heroes, we experience the sound of the aircraft’s engine moving from right to left as the Utopia tracks that roaring growl with precision and authority.

Away from movies, the Mu-so Utopia can be integrated as part of a gaming set-up – something Focal’s enthusiastic team demonstrate via a Dolby Atmos-powered clip from the ever-chaotic Star Wars: Battlefront II.

It’s a typically barnstorming sampler, and once again the Naim seems accomplished in how it grants genuine scope and scale to the unfolding action as lasers blast, soldiers bark orders to one another, and spaceships whizz across the crowded sky.

Our continental demonstration ends with the Mu-so Utopia flexing its musical muscles via renditions of Bittersweet by Billie Eilish, Happiness Is Simple by Simon Franglen from Avatar: The Way of Water, and Annette Askvik’s Liberty.

Again, our initial impressions are positive. Subtler textural insights rarely appear to go missing amid the Utopia’s remarkably powerful, room-filling approach, be they the whispered idiosyncrasies of Eilish’s signature vocals or the mournful strings that rise and fall across the elegiac Liberty.

Happiness Is Simple further hints at the Mu-so Utopia’s apparent talents for blending power and precision, with the premium system granting shape and scale to the track’s arcing strings as they soar above simple percussive rhythms and impish pipes.

If we had to raise any point of concern, it would be that the Utopia occasionally showed hints of hardness in the mid-to-upper ranges, especially during a closing stereo recording of Dr Dre’s What’s the Difference. This, though, could well have been due to the volume the track was playing at and our proximity to the unit itself.

A more suitable listening position and volume – not to mention ample running-in time to smooth out those hard edges – may well rectify any potential issues.

Early verdict

Does the Mu-so Utopia live up to its name tag as an all-in-one system capable of taking you to a higher plane of audio enjoyment?

It’s too early to say. That asking price is far from a modest sum, especially when compared with the five-star Hekla, so the step-up model is going to have to work hard to justify not only its higher price tag, but its place within the Mu-so range.

We’ll need much more time to get to grips with everything that new system can do, but it’s hard not to be optimistic at this stage. The Utopia has ample Mu-so pedigree on its side, and when you’ve got trickle-down tech from Focal joining with amplification from Naim, you’re always going to have a fighting chance.

For now, though, all we can do is wait until we get a Naim Mu-so Utopia into our own test rooms to give it the full What Hi-Fi? test treatment. Stay tuned.

MORE:

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Sony has a formidable line-up of wireless headphones, offering talented performances at various levels, from flagship noise-cancelling over-ear options such as the Sony WH-1000XM6, to the budget but nonetheless class-leading WH-CH730N.

The most affordable wireless headphones in the line-up are the new Sony WH-CH530 on-ear headphones, which replace the five-star WH-CH520. From the outside there is little to differentiate between the two models, apart from some minor cosmetic details.

On the inside, there isn’t too much difference either. The drive units are the same, but Sony claims to have made advancements in the digital signal processing and algorithms used inside the headphones, promising a major sonic boost over the previous model.

The question is, will the changes made between designs prove worthy of a new model?

Price

The Sony WH-CH530 are currently available for £50 / $70 / AU$100. Their predecessor, the WH-CH520, were released at a similar price of £49 / $59 / AU$79, but having been on the market a while longer, that figure has since fallen as low as £25 / $34 / $58.

If you do want a pair with noise-cancelling, you’ll have to pay more for Sony’s step-up pair, the CH-730N, which are yours for £100 / $180 / AU$230.

It goes without saying that these figures aren’t exactly pricey for a pair of well-equipped, wireless on-ear headphones. In fact, the WH-CH530 face such scarce competition at the price that their main rival remains the older Sony model.

Build & design

It would hardly be reasonable to expect a premium build at this price, and indeed, the WH-CH530 have a relatively spartan appearance. That is besides their vibrant range of colourways, which includes Black, White, Cobalt, Mint, Pink and Coral options.

Our test pair arrive in Coral, and they are impressively radiant – so eye-catching, in fact, that we find them catching stray glances as we wear them while on the London Underground.

The headphones feel somewhat plasticky to touch, but we could level the same accusation at headphones far further upmarket; materials like plastic are often chosen for their cost-effective resilience and lighter weight. With a quoted weight of approximately 150g, these headphones aren’t going to bog you down. It is worth noting, however, that they do not fold down or include a transport case, so some caution is necessary while packing them into bags.

Despite their plasticky feel, we find the WH-CH530 are a well-built pair of headphones for this budget level. Their on-ear (rather than over-ear) design fits securely across the various heads of the What Hi-Fi? testing team, and their adjustable headband is robust, clicking between sizes with a reassuringly solid feeling.

We find the medium-thickness pleather padding on the underside of the headband and the earpads to be fairly comfortable, but we also find that the firm fit of these on-ear headphones can cause aching ears among the larger-headed members of our test team during longer listens, though we suspect this small gripe would ease with longer-term use.

The fact that the earcups swivel slightly helps with finding a more comfortable fit, too, and the pleather lining does a good job of mitigating unpleasant ear warming, in all but the very hottest of listening conditions.

The trade-off of a somewhat tighter fit is that these headphones do a reasonably good job of keeping outside sounds out, which is important as the CH530 don’t feature active noise cancellation. Loud sounds will make it through the earcup’s barrier, as will any high-pitched screeches, but for everyday street wear, we find the passive noise isolation to be ample, allowing our music and podcasts to take centre stage in most environments.

Features

For headphones of their price, the WH-CH530 have a fairly comprehensive feature set.

Wireless connection comes via Bluetooth 6.0, with support for Auracast and Google Fast Pair for Android devices. The WH-CH530 also support Bluetooth Multipoint, for simultaneous connection to two devices, and they are compatible with SBC, AAC and LC3 codecs – LC3 is the standard codec for Bluetooth Low Energy, which uses less power than regular Bluetooth for short-range connections.

It’s a shame that Sony didn’t push the boat out and include high-resolution codecs such as aptX HD, but as the Rolling Stones famously sang, “You can’t always get what you want”, and Sony tends to reserve higher codecs such as LDAC for its more premium models.

Sony claims a connection range of 10 metres for the headphones, and we don’t encounter any problems with connectivity within this radius.

Physical controls are housed on the right earcup, in the form of a three-button strip. Controls include Power on/off, Bluetooth pairing, skipping forwards and backwards, volume up/down, and answering, ending and rejecting calls. Skipping between songs is done by holding buttons either side of the central button for a couple of seconds, and we find ourselves accidentally raising the volume (which requires a single, unsustained press) from time to time.

Besides this small hiccup, however, we find that the buttons are responsive, large enough for most fingers and easy to use.

A single microphone handles calls, which is aided by AI-assisted noise reduction. When we test the call function, we find that our voices come across with a fairly full-bodied and clear sound that is perfectly acceptable for the price. We have no trouble hearing or being heard by the people we are speaking to.

While the built-in physical controls are all well and good, for further functionality, users can turn to the Sound Connect app, which is available for iOS and Android. The app provides a stable and intuitive control interface.

It features a 10-band equaliser, with set presets alongside personalisable EQ slots. The equaliser offers a useful range of tonal modification, and we enjoy the flexibility provided here.

Other features include the option to set a maximum headphone volume, a ‘Find Your Equaliser’ function, which runs a hearing test to help you identify your ideal EQ setting, and access to Sony’s Digital Sound Enhancement Engine (DSEE) – a proprietary Sony upscaling technology, which claims to restore frequencies lost during lossy audio compression. We find the feature works well, and adds a sense of air to our music.

Sony has also made the Sound Connect app compatible with certain immersive audio apps, such as 360 Reality Audio Live, Artist Connection and Nugs.

The headphones charge via a USB-C input on the right earcup. It is worth noting that this input does not accept audio, however, and can only be used for charging.

The WH-CH530’s battery life comes in at an impressive 55 hours for music playback, which drops to 35 hours for calls. We aren’t sure that even the most intense long-distance romance would require a 35 hour phone-call, but if it did, Sony claims these cans would be up to the task. After a full charge, we get through four days of frequent listening without needing to reach for the charging cable.

When the battery does eventually deplete, a fast charge of just three minutes will give you up to 1.5 hours of listening. Testing this function, we find that the Sonys give us more than enough charge for our similarly timed commute to work.

Sound

Given that these headphones are essentially the same design as their predecessors, we were intrigued to see whether Sony’s digital signal processing tweaks would deliver on their promise of a sonic boost. We are pleased to report, they most certainly do.

Right off the bat, the WH-CH530 establish themselves as a well-balanced, expressive, and frankly, surprisingly enjoyable listen for the price. They offer more insight than we are accustomed to in this budget price range, with an energetic, musical sound that keeps us interested in our music library.

Streaming Shrine by Chat Pile from Tidal, formidable, grungy bass arrives with a good degree of crunch and low-end power, while a tightly tuned kick drum hits appropriately hard, offering a well defined, thumping rhythm. Despite the power of the bass, these headphones do well not to overwhelm the midrange, and the gleam of guitars goes on undisturbed, but heartily supported.

The WH-CH530’s midrange is expressive by price standards. Listening to John Martyn’s Solid Air, the singer’s voice is well-textured and detailed enough to convey a real sense of subtle rasping tones when Martyn pushes his voice to its limits. Across frequencies, these headphones put in a nicely integrated performance, and the mid and high frequencies flow effortlessly into one another, without a defined or uneven-sounding border.

High frequencies, too, are lucid and expressive. The WH-CH530 bring the cymbals of Sonny Rollins’ I’m An Old Cowhand to life, allowing them to shine alongside a busy, energetic saxophone. Notably, these headphones balance shine and substance well, and the saxophone resists becoming shrill, retaining a sense of body even in combination with bright percussion. Admittedly, fine detail is somewhat reduced in the high frequencies, but for headphones at this price, these Sonys put in a solid effort.

Dynamically, clear improvements have been made over the previous model, and the WH-CH530 are sensitive enough to convey the subtle shifts in volume of Debussy’s Le Rappel Des Oiseaux with compelling gravitas. In pieces with a larger dynamic range, such as Stravinsky’s The Rite Of Spring, the WH-CH530 sound animated and impactful, even if they don’t quite have the headroom to provide the jumps in volume we would expect to hear from a more premium set of headphones.

During classical pieces and rock songs alike, these headphones pleasingly keep up with rhythms and don’t let us lose track of the pulse of our music. We find ourselves pulled into the songs we listen to, toes tapping and heads bobbing.

Verdict

The Sony WH-CH530 are highly talented performers within their price range. While Sony didn’t make many changes between this and the previous model, the work it has done has resulted in a small but definite step up in performance.

Considering that they’re pretty comfortable, sensibly specified and have a seriously competitive battery life, we think anyone searching for a pair of headphones that will be kind to both their music library and bank balance should pay serious attention to these budget Sony headphones.

Review published: 14th October 2026

SCORES

• Sound 5
• Build 4
• Features 5

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Read our review of the Sony WH-CH520

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Building a speaker package around two different five-star models doesn't guarantee success, but it's certainly a promising start.

And that's what we have here. The Dali Sonik 5 5.1 package, which replaces the Award-winning Oberon 5 5.1 Speaker Package, uses a pair of five-star Sonik 5 floorstanders at the front and a pair of equally acclaimed Sonik 1 standmounters as surrounds.

They're joined by the Sonik Cinema centre speaker and Dali's long-serving Sub E-9 F subwoofer, which first launched back in 2013.

We already know the Sonik 5 and Sonik 1 are excellent, and the Sub E-9 F has proved its worth over the years. But how well do they work together, and can the Cinema centre maintain the same high standard?

Price

Buying the components separately in the UK would cost you £2396, but retailers such as Richer Sounds are doing a package deal that drops the total price to £2199. As we’ll see, that’s excellent value for the performance on offer.

While we’ve not been able to find any such packages in Australia, the total cost to buy the components separately is AU$4596, which again looks like very good value, essentially being a close-to-direct currency conversion from the UK price.

It’s a different story in the US, where again there are no pre-bundled packages, and the cost of buying the speakers separately will set you back $4800. If we were to simply do a currency conversion on the UK price, the US price would be around $3000.

While the package is still a compelling option at $4800, such is the level of performance it offers, it’s not the no-brainer bargain that it is in the UK and Australia.

Design

The first thing that strikes you about this package is how compact each component is. The Sonik 5 floorstanders are delightfully dinky, measuring just 83cm once the spikes are attached.

They’re relatively narrow, too, and while their surprisingly diminutive form might immediately make you question their ability to produce satisfying cinematic scale (something we’ll get to in the Sound Quality section), it also makes them vastly more living room friendly than typical floorstanders.

The Sonik 1 surrounds have the same 16cm width as the floorstanders, but they’re just 21cm deep and 28cm tall. They’re not so small as to be confused for ‘lifestyle’ speakers, but for proper hi-fi speakers, they’re decidedly bijou.

These compact dimensions make the Sonik 1s easy to find space for on a shelf, and there are even eyelets on the back so they can be hooked onto wall screws, though a pair of solid stands will get you the very best performance.

The E-9 F is very small by subwoofer standards, too, which is great for flexibility over positioning, if mildly concerning from a bass depth point of view. We’ll get to the sound it produces below, but it is worth noting that the E-12F, a larger subwoofer with a larger driver, is available in the same range, should you have the space and bass demands to warrant it.

Given the sizes of the other speakers, we were slightly concerned that Dali might have gone tiny with the centre. Instead, proportionally speaking, it feels like the most substantial speaker in the system.

This is a good sign as far as we’re concerned: with so much audio going through the centre channel, most notably the all-important dialogue, it’s vital that the centre speaker is a serious bit of kit, rather than the afterthought it occasionally appears to be in some packages.

Unusually, the centre speaker uses a pair of elongated reflex ports on the front, flanking the trio of drivers, whereas the Sonik 5 and Sonik 1 use the conventional circular variety on their rears.

The front-facing ports make the Cinema centre more comfortable right up against a wall, which is where it may well find itself. The rear-ported speakers, though, benefit from having just a little room to breathe – about 10cm from a wall in the case of the little Sonik 1, and around 40cm for the Sonik 5.

If they’re much closer, you may find that bass is a little exaggerated – a good AV amplifier will be able to compensate for this at least to a degree, but it’s best to get the placement as correct as possible.

Speaking of which, Dali recommends that the Sonik 5 are positioned facing directly forwards, rather than toed-in a little as is the norm for stereo speakers. We found this advice to be well worth following when testing them as a stereo pair in our hi-fi room, but in our AV room, where we tend to position front left and right speakers a little further apart, we find that a minor amount of toe-in provides an excellent stereo image with music without compromising the width and openness of the cinematic soundstage.

As well as having living room-friendly dimensions, the Sonik speakers have a very living room-friendly design, with straight edges and a smooth MDF finish.

Four colours are available – white, black ash, walnut and the natural oak of our review samples – with the wooden speakers having a clean front panel that complements the subtle grain of the rest of the cabinet. The slightly beige colour of the front panels of the speakers in our oak package won’t be to everyone’s taste, but in the right room the speakers will look lovely.

The one shame is that the E-9 F subwoofer is only available in black or white, so if you choose the walnut or oak finish for your speakers, you will have a subwoofer that doesn’t match. That won’t be an issue for those who plan to hide their sub out of sight, but a consideration for those who expect to position it on show.

Features

Every speaker in this package uses the same driver technology, which is a good starting point for achieving a cohesive surround sound presentation.

Each has a 29mm woven-fabric soft-dome tweeter, while the 13cm mid/bass drivers use a combination of paper pulp and wood fibre. The Sonik 5 floorstanders and Sonik Cinema centre each have two of these mid/bass drivers, while the smaller Sonik 1 make do with one.

Those mid/bass drivers also incorporate Dali’s patented Soft Magnetic Composite (SMC) technology in the motor system, which the company says reduces distortion by combining very high magnetic conductivity with very low electrical conductivity.

Each speaker uses a two-way crossover, and sensitivity is relatively consistent across the range: 88dB/W/m for the Sonik 5, 86dB/W/m for the Sonik 1 and 89.5dB/W/m for the Sonik Cinema. All have a nominal impedance of 6 ohms, so the specifications suggest no obvious obstacles to partnering them with a suitable AV amplifier.

There’s just one pair of speaker terminals on each model, so bi-wiring isn’t an option.

The E-9 F subwoofer has a 23cm driver powered by a Class D amplifier rated at 170W RMS, with a quoted frequency range of 37-200Hz.

Sound

It’s hard to resist the draw of Sinners when testing a new piece of home cinema kit, but we skip past the usual genre-bending performance by Sammy and kick off with the intoxicatingly wild Rocky Road To Dublin section.

There’s excellent detail as Stack and Sammy drag another poor soul out of the club, while the first lines of Remmick’s song echo airily across the room, as if travelling over open fields. There’s no sense of individual speakers producing the sound; instead, the perfectly matched speakers place effects exactly where they should be.

Despite the lack of upfiring or ceiling speakers, the Sonik package manages to place effects such as rolling thunder high in the space, while sending sounds convincingly behind the listening position, too. Adding dedicated height speakers and additional rears for a full Dolby Atmos system would increase immersion further, but this cohesive, room-filling 5.1 package already delivers impressive scale.

That cohesion isn’t just spatial; it’s tonal, too. When the song kicks in fully, the subwoofer does a terrific job of integrating the thumping drums while giving them plenty of power and texture. Unsurprisingly, given the size of its driver, the E-9 F doesn’t produce the deepest bass, but it compensates with impressive rhythm and expression. It never sticks out in the way some larger, less sophisticated subwoofers can, either.

These qualities are further illustrated by our usual bass stress test: the opening of the second chapter of Blade Runner 2049, which can turn many a subwoofer into a sobbing, distorting mess. The E-9 F again doesn’t dig as deep as a larger sub might, but it produces more depth than you’d expect from its size, remaining composed while gamely delivering the rhythm within the dense low end.

The Sonik Cinema centre speaker is excellent, too. Like the other Sonik speakers, it combines dispersion and directness expertly, giving dialogue a lovely focus without drawing attention to the speaker itself. Dialogue is detailed, with the low-level dynamic subtlety needed to convey emotional inflection and the tonal expression to make each character’s voice sound clear and natural.

Subtle, refined and composed it might be, but the Dali Sonik package is also capable of thrilling dynamic shifts. The opening race in F1: The Movie is packed with bombastic moments, which the system reproduces with terrific authority while remaining composed throughout.

We already know the Sonik 5 floorstanders are excellent with music, and they prove it again when we switch from surround sound to lossless stereo.

Playing Feeling Like a Stranger by Midnight Faces, we’re struck by how the speakers combine spaciousness with stereo focus. The instrumentation has room to breathe, while the vocals remain clear and direct. The gentle sax is a delight, too, with a lovely balance of airiness and tangibility.

My Curse by Killswitch Engage demonstrates the speakers’ ability to marshal a bludgeoning metal composition without letting it become mushy or suppressing the soaring vocals. The Mother, from Nick Cave and Warren Ellis’s haunting score for The Road, meanwhile, is delivered with all the subtle detail of the analogue-style recording intact.

Verdict

The Dali Sonik 5 5.1 package is a superb all-rounder.

Regardless of the movie we’re watching or the track we’re listening to, it delivers a beautifully cohesive performance, combining smooth openness and detailed directness with impressive scale. Nothing sticks out, nothing feels out of place, and the system handles everything we throw at it with effortless composure.

Few speaker packages offer such a comprehensive blend of talents, and the fact that the Sonik 5 does so at this price only adds to the achievement.

At this level, it’s among the very best we’ve heard – and it gives packages in the class above a serious run for their money.

SCORES

• Sound 5
• Design 5
• Compatibility 5

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Also consider the KEF Q Concerto Meta 5.1 Speaker System

Read our Dali Oberon 5 5.1 Speaker Package review

Best surround sound systems: home cinema speakers and soundbars put to the test

While it’s always a thrill to review the latest and greatest flagship TVs, there’s something really satisfying about discovering an affordable model that punches above its weight.

That’s precisely what we have here. Having tested myriad budget sets as part of our Awards judging process, one model stands head and shoulders above its rivals: say hello to the TCL P8L.

Price

The 65-inch TCL P8L we’re testing launched with a price tag of £849, but it can now be bought for an even more attractive price of £749.

If you want to go a little smaller and/or cheaper, there’s a 55-inch P8L with a price tag of £649, and the range goes up to a whopping 98-inch model, although pricing for that one has not yet been revealed.

The P8L series is designed to offer a more budget-conscious alternative to LG's C-series, but the specs still look very attractive for the price, with Mini LED backlighting, Quantum Dot colours and 4K/144Hz gaming all on the menu.

If you’re wondering about US and Aussie pricing, there isn’t any, as the P8L isn’t available in either of those regions. We understand that the US QM6K model is at least very similar, but the potential for differences means this P8L review shouldn’t be considered as also applying to the QM6K.

Design

The TCL P8L is a pretty good-looking TV for its price. Plastic features heavily, of course, but it’s been largely successfully disguised to look like metal.

The thin bezel is black on three sides, with a slightly thicker silver lip at the bottom. There's a TCL logo at the centre of this bottom lip, and another badge that says ‘Premium QLED’ close to the top of the right edge. It looks rather like a cuff at the top of someone’s ear, and it really bothers some of our reviewers.

In the box are two silver feet that can be positioned either fairly close together, giving the TV a footprint that’s just 56cm wide, or further apart to make more room for a soundbar. The amount of clearance beneath the bottom of the screen is just 6.5cm, though, so do bear that in mind.

At its thickest point, the TV is a not inconsiderable 7cm, but this tapers at the edges in a fairly attractive way. This thickness serves a purpose, too, as in the centre of the rear of the TV is a large Onkyo-branded ‘Ultra Bass’ subwoofer that will hopefully give the TV’s audio some low-end heft.

Features

Also on the back of the P8L is a recess for the physical connections, which include four HDMI sockets, through two of which the TV can handle 4K/144Hz (and 4K/120Hz) gaming. VRR, ALLM and Dolby Vision gaming are all supported, too, even via the two 4K/60Hz ports.

Dolby Vision is of course supported for movies and TV shows, too, but so are HLG, HDR10 and HDR10+, which means the P8L scores a clean sheet of high dynamic range format support – something that no TV from Samsung, Sony or LG offers, regardless of price.

As is the norm for TCL TVs, the P8L runs the Google TV smart platform, which brings with it a huge app selection. TCL has also gone out of its way to support all four of the UK’s terrestrial catch-up apps.

In fact, of the 32 apps we check every TV for, just four are absent from the P8L: the Amazon Luna and Xbox cloud gaming apps, Apple Music and Amazon Music. Not only is everything else on board, but every app that should support 4K, HDR and/or Dolby Atmos does so.

In terms of core panel tech, the P8L is of course an LCD set, but it features Quantum Dot colours and a Mini LED backlight with, according to our count, 72 independent dimming zones.

The P8L also boasts one of TCL’s HVA panels, which launched last year and have quickly garnered a reputation for providing better viewing angles and less blooming than typical VA panels. TCL says that this is backed up by a ‘Bionic Lighting Algorithm’ that is designed to optimise details of light and dark scenes.

‘Transient Response’, meanwhile, is designed to reduce ghosting caused by backlight lag, and there are, as is the norm in 2026, umpteen AI picture processing features on board, though we elect to avoid these in favour of a more authentic picture that’s truer to creative intent.

It’s worth noting that the P8L’s panel features quite a reflective glossy coating that can prove a little troublesome in very brightly lit rooms. Of course, that also means it doesn’t have the raised black issue that is common with TVs with matte coatings.

For sound, TCL has teamed up with Onkyo, which has produced a 2.1-channel system comprising the aforementioned rear-mounted, 15W subwoofer, and two 10W speakers built into the TV's underside. Dolby Atmos is supported via this speaker system and the HDMI eARC port.

Picture quality

At the P8L’s level, we still see lots of TVs with no local dimming, and yet more with very poor local dimming. The TCL’s Mini LED backlight, though, is a breath of fresh air.

While blooming around bright objects on black or very dark backgrounds (studio logos at the start of movies, for example, and the spotlights during the bomb test scene of Oppenheimer) certainly isn’t non-existent, it’s subtle and diffuse enough not to distract, and while blacks certainly aren’t OLED-deep, the P8L skillfully avoids producing the flat, grey image that’s typical of similarly priced rivals.

In fact, this is a pleasantly dynamic performer that delivers punchy highlights and impressive depth for the money. It skilfully balances the requirements for sparkling stars and deep, dark space in the opening of Alien: Romulus, for example.

This knack for balance is evident in the way the P8L handles colours, too. The reds and oranges of the recovery ship’s cockpit lights are punchy and vibrant against their dim, metallic housings, but character skin tones are rendered in natural hues and shades.

This balance is achievable with very little user input required, too: the Filmmaker Mode has been really well tuned to deliver impressive cinematic authenticity without the lifelessness that can afflict this same preset on other budget-oriented TVs.

That said, if you prefer a bit more pop, the Standard preset provides a crisper, cooler, brighter picture that’s still surprisingly nicely judged – just remember to reduce the Motion Clarity setting to Low or Off if you choose this preset, as the default Medium setting over-smooths motion in that soap opera fashion we all know and loathe.

On the subject of settings to watch out for, be sure to delve into the TV’s Energy Dashboard to switch off Dynamic Brightness, as this can artificially dim the picture.

Even when uninhibited, the P8L isn’t the brightest TV. It’s bright enough to deliver the benefits of HDR, but in a very bright room, it can struggle somewhat to punch through, even in its brighter presets.

And while we’re talking flaws, while the P8L’s black levels are satisfyingly deep considering the price of the TV, there’s also a little black crush, with some fine details lost to dark shadows. Raising the Black Level setting just a touch can resurface this lost detail at the expense of some depth, but it’s tricky to find the perfect balance. We find 53 to be the sweetest spot, but it still doesn’t quite provide the perfect blend of depth and shadow detail.

These really are minor niggles considering the price of the TV and the overall picture quality it provides at that price, and that remains true when we drop from the 4K HDR movies used so far to an HD SDR stream of The Turkish Detective from BBC iPlayer, which once again demonstrates the TV’s considered approach to colours and contrast while also proving it to be capable of clean, detailed upscaling.

The P8L is a strong option for gamers, too, with those impressive specs being backed up by a punchy, responsive performance. Gamers looking for a big, budget TV to accompany their PS5 or Xbox Series X should put this TCL to the top of their lists.

Sound quality

Considering the down-firing nature of the drivers, the sound they produce is impressively well anchored to the screen, with the dialogue of The Turkish Detective appearing to come directly from the characters. And while voices aren’t projected particularly far out into the room, they’re still clear, relatively detailed and reasonably emotive by the standards of affordable TVs.

That said, there’s a bit of a lack of lower midrange that can make deeper voices sound a little more lightweight than they should.

Switch to a Dolby Atmos movie, and the P8L has a surprisingly successful stab at supplying cinematic width and height, with effects stretching reasonably far to the left and right, and even a little way above the TV. And while the lower-midrange might be a little lacking, the subwoofer provides a useful bit of upper-bass that gives the presentation some additional solidity.

Of course, while the P8L sounds pretty good for a TV in its price range and will do the job with everyday content, you really need to budget for a dedicated audio system if at all possible. One of the best budget soundbars will boost your overall movie enjoyment substantially.

Verdict

The TCL P8L is a rare find. It’s not the cheapest TV, but it punches well above its weight in terms of picture quality and specs, and it sounds good by general TV standards, too.

Those with super-bright rooms might find its unspectacular brightness and reflective coating a slight issue, but for everyone else, this is the new benchmark for large, sub-£1000 TVs.

SCORES

• Picture 5
• Sound 4
• Features 4

MORE:

Read our review of the Amazon QL65F602U

Also consider the TCL C8L

Best TVs: flagship OLEDs and budget Mini LED sets tried and tested

Machines like the Arcam CD25 are becoming a rare sight, which means that when one does appear on the scene it’s an exciting occasion. We imagine you get the same kind of feeling when you stumble across a silverback gorilla in a tropical rainforest. Sort of.

Our excitement has been heightened here by the fact we rate the step-down model from Arcam’s Radia range of separates, the CD5, extremely highly. It’s a five-star machine and a current What Hi-Fi? Award winner.

If Arcam can take the performance of that CD player and elevate it to a new level, we could be looking at something quite special, not to mention a great excuse to pause our music streaming subscription.

Price

At £1499 / $1800 / AU$3295, the CD25 is more than double the price of the entry-level model CD5 (£699 / $699 / AU$1495). It sits somewhere between that model and firm five-star favourite of ours in this mid-tier arena, the TEAC VRDS-701 £2499 / $3799.

Its closest natural rival is the multi-Award-winning Cyrus CDi – we tested it at £975 back in 2014, but this is a model that, after an extremely long innings, is now discontinued and extremely difficult to track down new.

Design & build

In the flesh, the CD25 is quite an impressive specimen.

It’s styled to match Arcam’s other Radia components, so you're getting a large full-width chassis with a moody black finish and yellow accents, including stripes on the left and right side panels, a small yellow ring around the power button, and rings around the base of each foot. Think bumblebee-chic.

Its stance appears a bit more imposing thanks to a cowl, which stretches over the back of the unit to protect the player’s sockets from attracting dust. It adds a little extra depth to the unit, which, in case you were wondering, measures 32.9cm.

The glossy, glass OLED display is a classy touch and gives it a sharper, crisper appearance than the display on its CD5 sibling – the CD25 both looks and feels like a proper step up.

It’s relatively basic in terms of the information it displays – there’s no CD text, for example – but it’s nice and clear, and easy to read.

The CD25 feels solid and sturdy. The loading drawer slides out confidently and quickly, and we’re surprised just how quiet the mechanism is once it’s been fed a disc and starts to tee it up.

Some machines (including the Cyrus CDi) can be a cacophony of clicks and whirs, whereas the Arcam goes about its business calmly and quietly. It’s a very smooth operator.

Our only minor gripe is that there is a slight delay between you pushing the eject button, either on the fascia or remote, and the player actually doing your bidding. We wouldn’t say it’s sluggish, just that some players are a bit quicker.

Features

You won’t find too many surprises on the feature front. There are both analogue and balanced outputs for connecting to an integrated amplifier, or you have the option of either an optical digital or coaxial digital output should you want the player to feed an external DAC.

Through the remote control, you can dim the player’s display and change its playback mode between normal, shuffle, repeat one and repeat all.

You can also switch between the player’s analogue and digital outputs depending on how you want to use it and turn autoplay on or off. Regarding autoplay, we found it mildly distracting for the CD to immediately start spinning every time we closed the drawer, so we disabled it during testing.

Those who like to tinker with their sound have a choice of DAC filters. The options are: Min Slow, Min Fast, Apodizing, Linear Slow and Linear Fast.

We switch between them during testing, and can report that the differences are small and very subtle. However, we settle on Min Slow, which just seems to be the most sonically neutral and balanced.

Unlike on the Arcam CD5, there’s no USB playback – the port on the rear of the CD25 is for servicing only.

As with Arcam’s other electronics from its Radia range, you get a small remote control with complementary black and yellow styling to match.

It performs all the basic functions without issue, although we do miss the time when remotes had a full complement of numbers so you could choose a specific track, instead of having to hammer the skip button repeatedly. Ah, those were the days.

Sound

We plug the Arcam into our main reference system first, which consists of a Burmester 088/911 Mk III pre/power amplifier combination and ATC SCM50 speakers, and the biggest compliment we can give the CD25 is that it doesn’t sound out of place.

We also plug it into a more price-comparable set-up which includes the fantastic Naim Nait XS 3 amplifier and PMC Prodigy 5 floorstanders, and once again we are extremely pleased with the results.

We start with Mountains from the Interstellar OST, and there's an immediate quietness that descends over the track before the wooden clicking kick-starts the song’s tempo.

As the track progresses, it becomes beautifully layered with percussion and strings weaving their way through the background. The clicking is integral to the track’s sense of timing and rhythm, and the Arcam ensures that all the other elements surround the leader, following it with precision and accuracy.

All that space around the track’s individual strands helps deliver a real rush of adrenaline as the strings rise and soar while the track delivers its payload. Each dynamic jump is communicated clearly and accurately – the sense of scale that the Arcam delivers is hugely impressive.

The intensity of the percussion ramps up, as does the feeling of solidity and weight behind the piano and organ play. It’s a confident, assured and wonderfully engaging and believable performance that oozes with detail.

The Arcam manages to capture and convey the drama of the track superbly, and even without watching the movie, you can sense just how big the accompanying scene is.

Our long-term favourite, the Cyrus CDi, is good, but it can’t match the extra gears the Arcam can show, the extra detail it can uncover and that wonderfully clear, quiet backdrop.

We drag ourselves away from Interstellar just long enough to spin White America by Eminem and the CD25 delivers a powerful performance, full of energy and vigour.

The plane screaming across the soundstage in the opening seconds is delivered with power and precision, but it doesn’t sound harsh or edgy.

That quiet background comes to the fore once again, allowing bass notes to hit with authority and conviction. There’s real weight and momentum behind each one.

Eminem’s delivery really stands out too. The Arcam’s excellent insight and attention to detail allow it to communicate the intent and intensity of his delivery. His vocal flow comes through loud and clear, with texture and feeling.

The Arcam CD25 delivers a very grown-up sound, but it’s still an enjoyable listen. It’s detailed but doesn’t overanalyse and is more than happy to just go with the natural flow.

Verdict

If you were considering dumping your CDs in favour of a streaming subscription, it’s machines like the Arcam CD25 that will make you change your mind.

It’s a clear step above any entry-level player on the market and brings a level of sophistication, musicality and clarity that will have you shopping for new additions to your CD collection. A very talented performer that we’d seriously recommend taking for a spin.

Review published: 12th October 2026

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Read our review of the Cyrus CDi

Also consider the TEAC VRDS-701

Best CD players: budget to premium options tested by expert reviewers

The 13-inch iPad Air has always occupied a particularly appealing position in Apple’s line-up for AV addicts like us. It is, after all, the most affordable way to get your hands on a 13-inch Apple tablet, with the 13-inch iPad Pro being vastly more expensive.

Of course, the iPad Pro boasts an OLED screen these days, whereas the Air has an LCD panel, but thanks to Apple’s still-under-appreciated attention to cinematic tuning, the two previous generations of the Air have proven to be something of a sweet spot in the iPad range.

This new model should prove to be more of the same, because it is, well, more of the same, with identical screen and speaker specs as its predecessors.

The changes are, as the name suggests, to the hardware powering the device, with Apple's M4 chip and 12GB of RAM giving the new iPad plenty of power for demanding productivity and AI tasks, including Apple's new Siri AI.

Those things have very little bearing on movie and music performance, of course, but that’s okay, because this remains an excellent tablet in both regards.

Price

There’s some bad news to get out of the way first. While the 13-inch iPad Air (M4) launched for £799 / $799 / AU$1349, the price has since been raised to £949 / $949 / AU$1599. Predictably, the global RAM shortage is apparently to blame.

That price gets you the entry-level wi-fi version with 128GB of storage. There are also 256GB, 512GB and 1TB versions available, should you need more storage and be willing to pay for it, and adding cellular support will incur a premium of £150 / $150 / AU$250 on whichever capacity model you choose.

If that sounds like a lot of money for a tablet, that’s because it is, but bear in mind that the 13-inch iPad Pro currently starts at £1499 / $1499 / AU$2599, and the 13-inch Air starts to look almost like good value.

Regardless, unless you’re happy to go second-hand (which is a very viable option), this is, as we said, the cheapest way to get your hands on a 13-inch Apple tablet.

Design

While design stagnation is never really something to celebrate, particularly over three product generations (could we not even have new colours, Apple?), there’s no denying that the 13-inch iPad Air remains a gorgeous bit of kit.

At 6.1mm thick and weighing 616g for the wi-fi model, it’s impressively slim and light for a tablet with such a generous screen. The aluminium chassis feels reassuringly solid, while the flat edges, rounded corners and slim bezels give it a clean, understated look. It’s a design that feels premium without being flashy, and the large display makes it a particularly appealing device for watching films and TV on the move.

The familiar Touch ID button sits on the top edge, while the USB-C port handles charging and data transfer. There’s also support for the Apple Pencil Pro and Magic Keyboard, should you want to turn the Air into something more laptop-like. As before, though, those accessories come at an additional cost.

Of course, one benefit of the repeated design is that anyone upgrading from either of the last two generations will find that their existing Magic Keyboard remains compatible, so there’s no need to splash out on a new one.

Interestingly, the "Air" monniker that was once reserved for Apple's thinnest and lightest devices is here attached to an iPad that is thicker and heavier than the iPad Pro. That razor-thin OLED-equipped Pro weighs in at just 579g; is it time for Apple to rename the Air?

Nevertheless, there’s little to criticise about the Air’s design, but equally little here that’s new. If you liked the previous model, you’ll like this one just as much; if you were hoping for a fresh look to accompany the M4 chip, you’ll have to wait a little longer.

Features

The big change this time – and the very reason for this new iPad’s existence – is the M4 chip, which is backed by 12GB of memory rather than the 8GB found in the M3 model. It's a substantial amount of power for a tablet, and it’s primarily aimed at people who use their iPad for demanding creative tasks, graphically intensive games and Apple's expanding suite of AI features.

For those with more of a content-consumption persuasion, though, the biggest benefit is likely to be longevity. The M4 gives the Air plenty of performance in reserve, which should help it remain snappy and responsive for years to come, even as Apple adds more demanding features with future versions of iPadOS. It's not a particularly compelling reason for existing 13-inch iPad Air owners to upgrade, but it does make the M4 a reassuring purchase for anyone buying a new tablet now.

Our delay in getting to the M4 iPad Air means our sample is running iPadOS 27, rather than the iPadOS 26 that was pre-installed at launch.

The big news with this is the introduction of Siri AI, Apple's more conversational assistant with personal-context understanding and awareness of what's on screen. It can help find information across your apps, answer questions and assist with writing, and it is genuinely useful, even though it’s currently officially in beta form.

Of course, you don’t need to buy the new version of the iPad Air to get access to Siri AI – it’s compatible with models as far back as 2022’s iPad Air (5th generation).

For watching films, though, nothing has changed on paper. The 13-inch Air uses Apple's Liquid Retina LCD panel, with a 2732 x 2048 resolution, 264ppi pixel density, and a quoted peak brightness of 600 nits. It also has a fully laminated screen and an anti-reflective coating.

What it doesn't have is the OLED technology, higher peak brightness or 120Hz ProMotion refresh rate found on the more expensive iPad Pro. The Air's screen remains a strong proposition for watching video, but those looking for the very best picture quality Apple offers will need to stump up the considerable extra money for a Pro model.

Battery life of the 13-inch iPad Air is unchanged, with Apple quoting up to 10 hours of video playback on a single charge – a number that holds up during testing. That's enough for most flights and train journeys, and means you can comfortably get through a good chunk of a long trip without hunting for a power socket.

Audio is similarly straightforward. The tablet has the same landscape stereo speakers arrangement as the two previous generations. As we'll discuss in the Sound section, that doesn't prevent the Air from being an enjoyable device for watching films and TV, even if headphones remain the better choice for serious listening.

In short, the M4 brings welcome performance and longevity, while iPadOS 27 adds new software capabilities. But for AV enthusiasts, the core proposition remains much the same: a large, capable tablet with a beautiful, big LCD screen and capable built-in speakers, rather than a radical change in how the Air looks or sounds

Picture quality

There’s something incredibly enjoyable about having a 13-inch Apple screen that you can take almost anywhere. Whether you’re watching a film on a flight, catching up with a series on a train or settling down to watch something in bed, the big iPad Air gives you a properly generous canvas without requiring you to pay iPad Pro money.

The picture quality remains a real strength. Firing up F1: The Movie, the Air delivers the kind of sharp, natural and balanced image that captures all of the intended crispness of the super-high-budget production. Colours are rich and engaging without becoming overblown, while the presentation has the subtlety to keep skin tones and more restrained shades looking convincing.

The 13-inch display also makes a real difference to the viewing experience. Watching Detective Hole on Netflix, the extra screen real estate makes it easy to settle into the action, while the Air's refined presentation ensures that all of the gritty details remain clear. It’s an easy screen to watch for extended periods, too, with a natural-looking picture that doesn't feel as though it's trying too hard to impress.

That measured approach is also evident with high-definition material. Contact, purchased through the Apple TV app, is a useful reminder that there's plenty of life left in older films. The Air upscales the HD picture cleanly, keeping the image looking sharp and clean without making it appear artificially enhanced. The tablet’s handling of SDR also ensures that the presentation remains balanced rather than inauthentically punchy.

Back to 4K Dolby Vision, there's enough detail and colour depth to make The Hobbit: An Unexpected Journey an engaging watch, too. The Air's picture is punchy but composed, with a blend of vibrancy and naturalness that suits the film's mix of landscapes, character close-ups and darker scenes.

Of course, this isn't the best screen Apple makes. The OLED-equipped iPad Pro delivers superior contrast, with deeper blacks and greater impact, making it the better choice if picture quality is your overriding priority. An OLED iPhone 17 or iPhone 18 Pro can also produce a more impressive image in certain respects, too, but the much smaller screen makes for a very different viewing experience.

And therein lies the trade-off: the Air's LCD can't deliver the same contrast or HDR punch as the Pro, but the Pro costs vastly more, while an iPhone simply can't offer the same cinematic scale.

For watching films, the 13-inch iPad Air remains an extremely appealing compromise: a large, sharp and natural-looking picture in a device that will still fit in a modestly proportioned backpack.

Sound quality

As with the picture, the iPad Air's sound performance remains a strong part of its appeal. The stereo speakers and Spatial Audio processing are capable of making watching films and TV shows enjoyable without headphones, while connecting a decent pair of cans opens up a much more involving listening experience.

For music, we use Spotify Lossless with a pair of AirPods Max 2 connected to the iPad via USB-C for the best quality. Rosalía's Divinize is a good test of the Air's ability to deliver a full-bodied, rhythmically assured sound, while Dark Heaven by President demonstrates weight and impact without losing the definition of its more intricate elements.

The Air gives Feel Around You by Le Youth room to breathe, with its layered electronic production benefiting from the clear, well-organised delivery. A Perfect Circle's To Whom It May Concern, meanwhile, demonstrates impressive separation of instruments and the ability to maintain control when the arrangement becomes more dense.

For movies, we unplug the headphones. F1: The Movie is an excellent test of the iPad's Spatial Audio capabilities. The opening race sequence demands a convincing sense of space, with engines, trackside noise and the wider atmosphere of the event combining to create a surprisingly expansive soundstage.

Dialogue clarity is strong, too, and The Traitors on BBC iPlayer provides a useful test. Hushed conversations remain intelligible amid the programme's music and dramatic sound effects, and the Air's built-in speakers make it perfectly viable to watch an episode without reaching for headphones.

Ultimately, the Air remains a versatile audio companion. Its speakers are good enough for casual viewing, while a quality pair of headphones makes it a much more serious proposition for music and movies.

There are limits to what you can expect from such a slim device, of course, but the overall sound performance remains entirely in keeping with the Air's strengths as a portable entertainment machine.

Verdict

This iPad Air upgrade isn’t really aimed at us. The new chip brings welcome power, but has no real bearing on AV performance.

That’s no great disappointment, though, because the Air remains an excellent portable entertainment device, with a sharp, natural-looking picture, surprisingly expansive sound and battery life that’s ideal for travel.

The OLED iPad Pro offers even better picture quality, but it costs vastly more, while an iPhone can’t match the Air’s cinematic screen size.

If you want a big-screen iPad for films and TV, this remains a highly appealing option. The M4 doesn’t transform it, but there was little that needed fixing.

SCORES

• Picture 5
• Sound 5
• Features 5

MORE:

Read our review of the Apple iPad Air 13-inch (M3)

Also consider the Samsung Galaxy Tab S11 Ultra review

These are the best tablets for movies and music

LG’s 42-inch OLEDs have remained our top choice for space-conscious cinephiles for quite some time. They prove that you don’t need to sacrifice a large amount of space for a 65-inch (or larger) set to achieve a top-of-the-line picture experience.

While there haven’t been huge performance leaps between generations, we have found subtle improvements occur each year, and we expect to see a similar affair with the 42-inch C6 that we have before us today.

This compact OLED aims to deliver a large-scale cinematic experience that suits smaller rooms, which is a mission we’re more than familiar with after reviewing every generation of this TV since 2022’s C2; the first 42-inch OLED to hit the market.

The real question is, does it continue the legacy of the acclaimed series that’s been championed by cinephiles and gamers alike? We certainly think so…

Price

Originally launching at £1300 / $1399 / AU$1999, the OLED42C6 can now be found for around £999 / $1000 / AU$1695 thanks to months of discounts. Going back to that launch price, LG actually undercut the outgoing 42-inch C5, which launched at £1400 / $1399 / AU$2199, making it cheaper in the UK and Australia.

Speaking of which, there are still some C5 stragglers to be found for around £849 here in the UK. That’s a decent discount, but we could certainly make a case for spending the additional £150 to score the latest and greatest C-series TV.

Looking at the competition, LG’s main rival is, perhaps unsurprisingly, Samsung. The Samsung S90H is available in all the same sizes as the LG C6, with the equivalent 42-inch model currently available for £999 / $1000 / AU$1466.

Panasonic also offers last year’s Z90B, which we awarded five stars at 48 inches, in a 42-inch option. It costs slightly more than the C6 at £1099, but the Z90B’s front-firing speaker bar may appeal more to audiophiles.

Design

Place the 42-inch C6 next to the C5, C4, C3 and C2 from the previous five years, and you’d have a nearly impossible game of Where’s Wally on your hands. The C6 looks identical to its predecessors, although that’s no great shame as LG is sticking with a well-built and smart-looking formula.

The compact set rests upon two blade-style feet at each end; usually we prefer a central stand (as found on the C6 from 48 inches upwards) for maximum furniture compatibility, but the small footprint of this TV means that it’s not too wide and should fit on a majority of media units with ease.

And with 72cm between these feet, there is enough room to squeeze a soundbar between them; the Sonos Beam (Gen 2), for example, measures in at 65cm, meaning it should easily fit.

However, we should note that the feet can only be attached at one height, that being 3.7cm. That’s not loads of clearance; going back to the Sonos Beam (Gen 2), that soundbar stands at 6.8cm tall, so there is a chance that your soundbar may encroach on the C6’s bezel.

Assembly is simple thanks to the feet attaching with just two screws each, and the “small” screen size is easy for a single person to get into position provided they possess the appropriate wingspan.

Rounding things out with the remote, LG continues to offer just one button-heavy handset in the box. Its Magic Remote has some nifty features, such as a scroll wheel and Nintendo Wii-style motion pointer, but we’d still like to see a backlight and the return of a dedicated source select button, which has unfortunately been sacrificed for a general smart home-focused connected devices button.

Features

The 42-inch C6, much like the 48- and 65-inch versions, is a feature-packed OLED TV that’s equipped for cinephiles and gamers alike.

This TV sports a 4K WOLED panel, as has been the case with all previous iterations of LG’s 42-inch C-series TVs. While that may seem somewhat obvious given LG’s track record, it is worth highlighting this year, as LG seems to be mixing in Primary RGB Tandem OLED panel technology depending on the screen size.

Officially speaking, the 77- and 83-inch options tout LG’s Brightness Booster Max feature and Hyper Radiant Colour system, which require the Tandem OLED technology to work. On a more speculative note, we recently reviewed the 48-inch version of this TV, and its unexpectedly high brightness led us to believe that it too is using the more advanced panel technology, although LG will neither confirm nor deny whether that is the case.

Regardless, our main concern is how this TV performs, as panel technology and on-paper specifications are not always indicative of picture performance.

Moving on to the processor, the OLED42C6 sports the same Alpha 11 AI Processor 4K Gen3 as its larger siblings, which handles picture processing and runs the webOS smart platform. New for this year is a 12-bit processing pipeline, which reportedly enhances brightness and colour.

There are also countless AI picture and sound features, which are handled by this processor. Dual AI Super Resolution, for example, is a two-layer upscaling system (one for sharpening edges, the other to refine textures and details), which enhances lower-resolution content as well as 4K content.

AI HDR Remaster, another AI-backed persistent picture feature, enhances contrast, sharpness and colour using a frame-by-frame process. SDR content takes on a more HDR-like appearance, and HDR content should look “more vibrant and realistic”, according to LG.

AI Picture Pro serves as a hub for many of these picture features, and it also uses content recognition algorithms to tweak the C6’s settings depending on the content you’re watching. Alongside this is AI Sound Pro, which works in a very similar way, albeit for the audio settings instead.

For those hoping to add a more personalised touch to their AI experience, Personalised Picture Wizard and Personalised Sound Wizard allow you to choose from a range of preset image and sound samples to adapt the settings to best suit your taste without having to dig into the system settings menu.

That said, we find that LG’s AI settings can be a bit heavy-handed and usually don’t preserve picture and sound authenticity. Switching to Filmmaker Mode in the picture settings is a much more effective and equally easy way to dial this TV’s picture in.

Stepping away from AI and back to the realm of AV, the 42-inch C6 supports HDR in the HDR10, HLG and Dolby Vision HDR formats. HDR10+ isn’t supported, which isn’t a surprise considering the format was created by Samsung.

Dolby Atmos immersive audio is also supported via the 2.0 channel sound system and through connected HDMI eARC audio devices.

Speaking of HDMIs, LG’s established formula for winning over gamers remains, as the OLED42C6 sports four full-bandwidth HDMI 2.1 sockets capable of handling signals up to 4K/165Hz with VRR and ALLM. For those without a console, the C6 also supports a wide range of cloud gaming apps, including Xbox, Nvidia GeForce Now and Amazon Luna. LG claims that the C6 is also the first TV capable of 4K/120Hz game streaming via Nvidia GeForce Now.

webOS 26 is also home to plenty of non-gaming-related streaming apps too, including a strong array of regional and global offerings, from BBC iPlayer and Channel 4 to Disney+ and Apple TV. Our biggest criticism is how advertisement-heavy the operating system is, but sponsored content can be switched off in the settings menu.

Picture quality

While the 48-inch C6 surprised us with its bright, rich and punchy performance, the 42-inch C6 follows in the footsteps of its 65-inch sibling by acting as a subtle but appreciated improvement over its predecessor. That’s to say it's a refinement on a five-star formula in the picture department, which is fine.

As has been the case with several previous C-series OLEDs, we gravitate towards Filmmaker Mode as our preferred picture setting, although we do switch to Cinematic Movement in the TruMotion settings as we feel this irons out judder effectively without introducing the soap opera effect.

LG’s Cinema Home setting – which is essentially its version of the “movie” preset found on other TVs – is also a setting that’s worth exploring for those who crave a touch more punch, or who are viewing the C6 in environments with abundant ambient light.

With these settings dialled in, the 42-inch C6 serves up a superb cinematic image that never reminds us that we’re watching a “small” TV.

Much like the 65- and 48-inch versions of the C6, the 42-inch excels when it comes to contrast. The opening of F1: The Movie features impressively punchy highlights, including stadium lighting and fireworks, which juxtapose the inky-black night sky effectively.

There is an impressive sense of depth, solidity and richness to the picture as Sonny Hayes waltzes towards the garage and pit lane during the opening of the film, which, when paired with the sharp outlines of subjects and strong detail levels, develops an excellent sense of immersion.

Switching to Civil War, the C6 proves it can deliver a balanced, natural image during the military base sequence. Foliage looks crisp and verdant without straying into over-vibrant shades of green, and there is a real sense of three-dimensionality to the picture too.

As fighter jets soar over the camp, we find that the 42OLEDC6 takes fast-moving objects in its stride, with no apparent judder. Switching to Blade Runner 2049 affirms this, as a sequence in which Officer K’s flying Peugeot hurtles towards the LAPD and passes behind a handful of buildings in the foreground reveals no artefacts or flickering motion.

Simply put, the 42-inch C6 ticks every box in our picture testing process, and its large-scale cinematic picture isn’t held back by its modest display size.

Sound quality

LG’s small OLED TVs have never blown our socks off when it comes to sound performance, and the C6 isn’t really an exception. That said, it’s not a total disaster either; it’s more of a mixed bag, if anything.

We do like that the sound presets are pleasingly simple, and things become even easier with our guidance: skip the AI-labelled sound modes and stick with standard. While they aren’t without use (the dialogue setting will certainly be handy for those who struggle to hear voices, for example), they do compromise the overall mix and apply a synthetic finish to the sound. Our advice is to stick with “standard”.

With that in mind, we use the opening sequence of F1: The Movie to assess the C6’s performance. Overall, there are a few strengths to note here; the C6 produces quite a clear and detailed sound, which especially extends to voices. While they don’t project all that well, there is certainly definition and a touch of tonal variation, which is appreciated given dialogue really is the most important factor.

Furthermore, the sound of race cars soaring around the track (and, from our perspective, across the screen) flows nicely from right to left, and there is a sense of spaciousness and openness that is quite impressive given the size of the set. The sound doesn’t fill our testing room, but we have to commend the sense of space it is able to muster given its speaker configuration.

While there isn’t a huge amount of height to the fireworks that burst over the race track and shower sparks onto the cars below, the C6 presents them with satisfying snaps, crackles and pops; although, much like Rice Krispies, there isn’t much weight behind them.

And that brings us onto the overarching issue with the 42 C6’s sound: there just isn’t much oomph. Given that this is a 2.0 channel, subwoofer-less system in a relatively small chassis, that’s to be expected, but it isn’t helped by the shortfall of absolute volume. When cranked to 100 per cent, it remains easy to talk over the C6 without having to raise your voice, and there is a dip in the midrange that leaves the sound (especially voices) feeling a bit hollow and lightweight.

Paired with a somewhat drab approach to dynamic expression, which leaves Led Zepplin’s Whole Lotta Love sounding flat, the C6 is best accompanied by a compact Dolby Atmos soundbar for serious movie watching sessions.

Verdict

The 42-inch LG C6 once again proves that you don’t need a huge TV to score genuine cinematic impact.

Middling sound aside, the C6 delivers a seriously impressive experience, underpinned by a composed approach to contrast and sharpness, resulting in oodles of cinematic depth.

While we’re used to sets 55 inches and above, we’d happily spend hours watching movies on this compact OLED.

SCORES

• Picture 5
• Sound 3
• Features 5

MORE:

Read our review of the LG C6 48-inch

Also consider the LG C5 42-inch

Read our Panasonic Z90B 48-inch review

Best TVs: flagship OLEDs and budget Mini LED sets tried and teste

Back when we reviewed the Bravia Theatre Trio, Sony’s soundbar-in-three-parts, we also tested it with the optional Rear 9 surround speakers and Rear 8 subwoofer.

We found the system to be excellent in both guises, but we theorised that an upgrade from the Sub 8 to the Sub 9 might solve the one remaining niggle (very occasional buzzing from the subwoofer) and elevate the system from excellent to truly exemplary.

Over the last couple of weeks, we’ve been testing that theory, and at the risk of tooting our own horn in an undignified fashion, we were absolutely right. Although we think there’s a way it could be made better still…

Price

The Bravia Theatre Trio alone is a premium product with a £1999 / $2000 / AU$2999 price tag, and the Rear 9 speakers and Sub 9 will set you back £699 / $750 / AU$1299 and £899 / $900 / AU$1299 respectively when bought separately.

However, in the UK, you can get the extra components for half price when they’re bought with the core system, taking the total price to £2798. In the US, meanwhile, we’ve found everything bundled together for a not-quite-as-discounted price of $3250.

No such discounting currently exists in Australia, so Aussies will currently have to pay AU$5597 to put this complete system together.

Alternatives at this level aren’t terribly common, but the Sonos Ultimate Immersive Set with Arc Ultra (£2516 / $2446 / AU$4366) is a strong option, while the LG Sound Suite Immersive Suite 7 Pro (£2300 / $2150 / AU$3996) is a much less appealing one.

Another alternative, particularly for those who don’t want the soundbar component, regardless of how compact it is, is Sony’s own Bravia Theatre Quad, which is also compatible with the new Sub 9. That pairing will set you back £2949 / $2496 / AU$4998.

Design

As we said in our original review, the Bravia Theatre Trio is an unusual proposition from a design perspective, replacing the traditional soundbar with three separate speakers.

The centre speaker is essentially a very narrow soundbar, while the left and right speakers are substantially larger cylindrical units with fabric coverings, metallic top rings and up-firing drivers. They're attractive and reassuringly solid, if a little imposing.

The centre speaker's low-profile design means it’s unlikely to obstruct your screen, and Sony supplies spacer feet if you need it to straddle your TV's pedestal stand. The left and right speakers have flat backs and can be wall-mounted using suitably positioned screws.

The two Rear 9s have a strong resemblance to the Trio's front left and right speakers, but they're a little shorter and lack the extended, flat back.

They can still be wall-mounted directly using a suitable screw, though, or attached to the supplied brackets if you want to angle them towards the listening position, which, thanks to Sony's calibration system (which we'll get to shortly), isn't really necessary unless your placement is particularly unusual.

Then there's arguably this system's centrepiece, the Sub 9, which is quite a different proposition. This is a huge, almost cube-shaped subwoofer that looks rather like two Sub 8s that have been fused together.

At 23.3kg, it's also almost twice the weight of a Sub 8, so you'll want plenty of space for it and a bit of muscle to get it into position. Measuring 39 x 40 x 35cm, it's not something you can casually tuck behind a sofa, either.

All five speakers are wireless, of course, so there are no cables to run between them, but each obviously needs a mains connection.

One omission is the lack of a display. The Trio relies on status lights and the Bravia Connect app to tell you what it's doing, which is fine for changing volume but less convenient if you simply want to check that you're correctly receiving, say, Dolby Atmos.

If you don't have a recent Sony TV that can display this information for you, you'll need to pick up your phone, unlock it and open the app to find out. That's more faff than there really should be for such a simple task.

Features

The Bravia Theatre Trio is a 3.0.2-channel system on its own, with a claimed 405W of amplification.

Add the two Rear 9 speakers and Sub 9, as we have here, and it becomes a full 5.1.4-channel system, with a further 180W claimed for the rear speakers and a substantial 600W claimed for the Sub 9. That’s a hefty 1185W of claimed total system power.

The system supports Dolby Atmos and DTS:X, and the addition of the rear speakers and subwoofer means it’s also fully IMAX Enhanced certified.

Sony's 360 Spatial Sound Mapping technology remains at the heart of the system, using the physical speakers as the foundations for up to 24 phantom speakers around the room. With the Rear 9s adding physical speakers behind the listening position, the surround field should be considerably more convincing, with Sony's processing continuing to fill in any remaining gaps.

The Rear 9s also broadly mirror the driver arrangement of the Trio's front left and right speakers, with a woofer, tweeter and up-firing driver, and while the rears use slightly smaller woofers and tweeters to the front speakers, the up-firing drivers are the same, potentially boosting consistency and cohesion, particularly of height effects.

Set-up is handled through the Bravia Connect app, which walks you through the process and asks for the positions and heights of the individual speakers. You can use approximate, relative positioning to get through the process quickly, and this produces excellent results in typical layouts, but it’s also possible to add specific distances, which results in even greater cohesion and accuracy of effect placement, particularly in unusually shaped rooms and/or when the speakers are positioned asymmetrically.

The calibration system is particularly neat. The speakers have their own microphones, but Sony also supplies a dedicated USB-C calibration microphone that plugs into your phone. You then hold the phone in the listening position and let the system measure the room.

It's a much more reassuring solution than relying on the microphone built into whatever phone happens to be running the app, and it makes the calibration process both consistent and thorough.

The system then adjusts itself to account for the room and the actual positions of the speakers, including compensating for speakers that aren't perfectly positioned. The whole process is surprisingly quick, too.

There's plenty of scope for tweaking afterwards, including bass level, voice enhancement and different sound modes, but the default settings are accurate and sensible enough that most people will never need to venture into the advanced settings.

In terms of physical connections, there’s an HDMI eARC port for connection to your TV, plus a dedicated HDMI input that supports 4K/120Hz, VRR and ALLM. There's also Bluetooth, wi-fi, Apple AirPlay and Spotify Connect on the wireless side.

If the TV to which the Trio is connected is a recent Sony model, various controls and settings are integrated into the on-screen menus, which is genuinely handy, but the dinky bundled remote is fine as an alternative, and the aforementioned Bravia Connect app is excellent if you can be bothered to pick up and wake up your phone.

Sound quality

The Bravia Theatre Trio was already an impressive performer on its own, but adding the Rear 9s and Sub 9 transforms what is already a big, cohesive presentation into a genuinely immersive home cinema system.

Arrival in Dolby Atmos is an excellent demonstration of what the complete system can do. Dialogue is clean and precisely anchored to the screen, while the more subtle elements of the soundtrack are reproduced with impressive delicacy and insight.

When the soundtrack suddenly opens up, such as when a squadron of jets buzzes Louise's school or the transport chopper lands on her lawn, the system fills the room with sound.

The cohesion and precision are deeply impressive. You don't hear the speakers, you hear the sound they make. The jets fill the ceiling and streak from one side of the room to the other in a completely natural fashion, with no obvious gaps as they move around the soundstage. There's enormous scale here, but also excellent tonal consistency and enough refinement to prevent the presentation becoming hard or harsh.

The Rear 9s add considerably more than simply sound from behind you. Effects move seamlessly from front to rear, while the system maintains the same sense of cohesion that impressed us with the Trio on its own. The result is a convincing bubble of sound around the listening position, rather than a front-heavy presentation with occasional effects coming from the rear.

The first trip into the alien vessel is particularly effective, with the system creating a cavernous, echoey environment and giving the aliens' deep ‘voices’ a wonderfully convincing presence. There's a strong sense of space, but also plenty of detail within it, allowing individual sounds to remain clearly defined rather than becoming lost in the overall effect.

The system's precision is just as impressive in Blade Runner 2049. The adverts outside K's apartment are positioned perfectly, high above the listening position, while individual raindrops in the balcony scene are placed with remarkable accuracy. This is the sort of three-dimensional positioning that makes Dolby Atmos feel genuinely worthwhile, rather than simply adding a vague sense of height to the presentation.

Bass is another major strength of the complete system. Arrival contains plenty of low-frequency information, but it isn't simply a succession of brutal bass drops. The Sub 9 handles the soundtrack's varied low end with impressive subtlety, sounding tuneful and controlled when required, before delivering enormous weight when the soundtrack demands it.

Its integration with the rest of the system is excellent, too; it never feels like a separate speaker doing its own thing.

The improvement over the Sub 8 we tested with the Trio previously is particularly obvious with chapter two of Blade Runner 2049. The minor buzzing we heard from the smaller subwoofer has disappeared, replaced by an almost sub-sonic thump that is both exceptionally deep and tightly controlled.

The Sub 9 also resolves the rhythm within those deepest notes much more cleanly, where lesser speakers can turn them into an indistinct rumble. The result is greater impact, but also greater definition and composure.

The system has plenty of dynamic firepower elsewhere, too. Civil War's chaotic battle sequences and the aerial action of Top Gun: Maverick show how effectively it can transition from quiet dialogue and subtle background detail to huge, room-filling effects.

Despite its wireless and relatively lifestyle-friendly design, this is capable of the sort of scale, dynamics and precision we'd expect from a much more conventional home cinema system.

For music, the system gives you a useful choice of presentation. Leave Sound Field switched off and stereo material is played through the front left and right speakers and Sub 9, giving you the most direct and authentic stereo presentation. Switch Sound Field on and you can either have the system upmix stereo material into a surround presentation or select Multi Stereo to send it through all of the speakers.

Being the purists that we are, our preference is to turn Sound Field off, which gives you the kind of authentic stereo experience that a soundbar can’t match. That said, we would like the option to play stereo music without the involvement of the subwoofer: while it’s impressively integrated and tuneful for a speaker of its type, the two front speakers are capable of producing a cohesive, balanced delivery without it.

The Bravia Theatre Trio was already an unusually accomplished home cinema system, but adding the Rear 9s and, crucially, the Sub 9 turns it into something genuinely exceptional.

The scale, cohesion, precision and bass performance are all outstanding, while the wireless design and clever calibration make it considerably easier to accommodate than a conventional 5.1.4-channel speaker package.

Most importantly, our theory about the Sub 9 has proved correct. The occasional buzzing we heard from the Sub 8 has disappeared, while the larger subwoofer delivers deeper, cleaner and more controlled bass.

Combined with the Rear 9s, it gives the Trio the kind of immersive, room-filling performance that makes this feel much more like a proper home cinema system than a collection of wireless lifestyle speakers.

There are a couple of minor niggles: we'd like the option to remove the Sub 9 from the stereo music configuration, and the lack of a display makes checking the incoming audio format more fiddly than it should be. But these are tiny blemishes on what is otherwise an outstanding package.

A properly configured AVR and Dolby Atmos speaker system will still have the ultimate performance advantage, but it will be considerably more complicated to accommodate and set up.

Verdict

If you want serious, genuinely cinematic surround sound without turning your living room into a speaker installation, the Bravia Theatre Trio with Rear 9s and Sub 9 is the best alternative to a traditional AVR and Dolby Atmos speaker system that we've tested – and we'd be very tempted to add a second subwoofer…

SCORES

• Sound 5
• Design 4
• Features 4

MORE:

Read our review of the Sony Bravia Theatre Trio

Also consider the LG Sound Suite System

Read our Sony Bravia Theatre Quad review

Best surround sound systems: home cinema speakers and soundbars put to the test

It appears that sightings of people with cables hanging out of their ears are on the up, which must mean wired headphones are back in fashion, right?

Whether or not there’s any longevity in this latest trend remains to be seen, but it does feel like more headphone manufacturers are adding wired options to their model ranges, as an alternative to wireless earbuds.

However, because the 3.5mm headphone socket has become rarer on modern smartphones, you’re more likely to come across a pair with a USB-C connection than a 3.5mm jack, just like the Sennheiser CX 80U.

Now, with this category of headphone, you do need to bear in mind that some of the manufacturer's costs needs to be assigned to the built-in DAC (digital-to-analogue converter), which takes the digital signal from your source’s USB-C output and converts it into analogue for your ears, as well as a pair of amplifiers.

So when you look at the price of the Sennheisers, you’d be forgiven for wondering if this leaves any room to make an in-ear headphone that’s up to scratch sonically? Let’s find out.

Price

At just £35 / $40 / AU$59, the CX 80U sit firmly at the budget end of the wired earbuds market. The closest comparable pair that we have tested and rate highly is the USB-C-equipped SoundMagic E80D, which will set you back £39 / $44 / AU$66.

Design & comfort

Cheap and cheerful is the name of the game here, and that’s reflected in the build quality and plastics used in both the headphone cable and earbuds.

They’re a lightweight design, and the buds themselves are tiny, which means that although they can be a bit finicky to get to grips with, they do fit snugly and don’t protrude out of your ears.

Add the soft silicone eartips into the equation, which come in small, medium and large sizes, and everything adds up to a comfortable, discreet fit with good passive noise isolation.

There is some cable noise, which isn’t exactly unexpected given the design – what could be useful here is a rubber clasp that can keep the left and right earbud cables connected so there’s less rustling about when you’re on the move. This is something you do get with the SoundMagic E80D.

Features

Given their asking price, you won’t be unboxing the Sennheiser CX 80U expecting a long list of features.

There’s obviously the USB-C connection for your smartphone, tablet or laptop, inside of which sits the DAC, which converts all the digital files you feed into them.

Speaking of which, the DAC can support hi-res files up to 24-bit/96kHz natively and will downsample anything higher. We think this level of compatibility is going to be more than enough for most users.

The inline remote control is housed on the cable for the right earbud. You can answer calls, play, pause and skip tracks through different combinations of tapping and holding the button.

There aren't any volume controls on the remote, though – you’ll need to use your source device should you need to turn it up or down. And, being particularly picky, we’d like a simple travel pouch to keep them protected.

Sound

We plug the USB-C connector into an iPhone 15 Plus and are immediately taken aback by the surprising level of maturity and sophistication that greets us.

For the money, you might be expecting a slight imbalance at one end of the sound spectrum, either scratchy, wince-inducing highs or fat, blobby bass, but the CX 80U produce nothing of the sort.

In fact, what greets us is brilliantly judged sound that’s both rich, detailed and surprisingly sophisticated for the money.

15 Step by Radiohead is a tricky test of timing, and the Sennheisers pass with flying colours. Not only do they hold on to and organise all the different musical threads that intertwine throughout the track, but they also extract an impressive amount of information from them.

There’s a fine sense of space around the different elements too, and a sense of expression and natural tone from the vocal that poorer-performing in-ear headphones at this price just wouldn’t be able to provide.

And as we’ve mentioned, there’s no obvious bias in their tonal balance: highs sound crisp but never harsh. Bass notes have a wholesome flavour but don’t arrive at your ears overpowered and lacking definition.

We switch to Arctic Monkeys’ I Bet You Look Good On The Dancefloor and the Sennheisers display musicality in spades.

You’re encouraged to tap along to the brisk, pointed drum play. The CX 80U showcase speed and agility, and that goes for the accompanying electric guitar play too. The track is off to a frenzied start, but these earbuds don’t find themselves flapping. It’s a very mature sound for the money, and an even more rewarding listen than the SoundMagic E80D.

Each thwack from the drum kit sounds solid, the bassline is precisely cut and easy to follow, and the vocal is natural and expressive – the headphones do a great job of capturing Alex Turner’s northern swagger and keeping your attention all the way to the end of the track.

Verdict

If you’re tired of charging or losing your wireless earbuds, or just want to relive a time when wired earbuds were all the rage, we seriously recommend the Sennheiser CX 80U.

You might not be expecting much given the price, but we think you’ll be shocked – in the best way possible.

Review published: 9th October 2026

SCORES

• Sound 5
• Build 4
• Comfort 5

MORE:

Also consider the SoundMagic E80D

Best wired earbuds: top in-ear models tried and tested by our experts

For a new flagship phone from Apple, the iPhone 18 Pro is unusually easy to overlook.

On the one hand, while the iPhone 17 Pro was the biggest redesign of the Pro line in years, this new model looks essentially identical to its predecessor. On the other, Apple's first foldable iPhone is about to arrive, attracting much of the attention that would normally be reserved for a new flagship.

And yet, while the changes to the iPhone 18 Pro may not be immediately obvious, they add up to a phone that's subtly better in some important ways. The new A20 Pro chip brings more power and efficiency, the variable-aperture main camera is an impressive piece of engineering, and battery life has taken a significant step forward.

For us, though, the biggest question is what Apple has done with the bit that hasn't apparently changed. The screen and audio hardware are almost identical to those of the 17 Pro, yet our testing reveals some surprisingly worthwhile improvements to both picture and sound.

Price

There is a disappointment to get out of the way immediately, though: the iPhone 18 Pro is £100 / $100 / AU$100 more expensive than its predecessor was. That means the price for the entry-level 256GB model is £1199 / $1199 / AU$2099.

The 512GB version again commands a premium of £200 / $200 / AU$400, but the cost of the 1TB model has now jumped to a disproportionate £1799 / $1799 / AU$3299.

If that’s still not enough storage for you, there’s also now a 2TB model, which will set you back the princely sum of £2399 / $2399 / AU$4499.

If you’d like a bigger screen, meanwhile, a 6.9-inch iPhone 18 Pro Max costs £100 / $100 / AU$200 more than a 6.3-inch iPhone 18 Pro of the same capacity.

Design

There's very little that's new about the iPhone 18 Pro's design, but that's hardly a complaint.

This is a beautifully made, exceptionally handsome phone, with its combination of smooth surfaces, premium materials and robust construction giving it the kind of in-hand comfort and reassuring solidity you'd expect from a flagship iPhone.

The Ceramic Shield 2 front and Ceramic Shield back should help it withstand the knocks of everyday use, too, and the IP68 rating remains.

At 211g, it's just 7g heavier than the 17 Pro, while the dimensions are identical.

The new colours are Black, Glacier and Burgundy, joining the returning Silver. Our Burgundy review sample looks considerably better in person than it does in pictures, but we don't think it's quite as handsome as the Deep Blue finish of our 17 Pro review sample. It's also a shame that there's no particularly vibrant option this time around, with nothing quite as eye-catching as last year's Cosmic Orange.

Those are minor niggles, though – the iPhone 18 Pro is an absolutely lovely device from a design perspective.

Features

The biggest changes from last year's iPhone 17 Pro are the new A20 Pro chip, a larger vapour chamber for better cooling, longer battery life and an extremely impressive variable aperture on the 48MP Fusion Main camera.

Apple claims that the A20 Pro delivers up to 20 per cent faster CPU performance and up to 40 per cent faster GPU performance than the A19 Pro, while the new cooling system helps deliver up to 40 per cent better sustained performance.

As ever, this is more power than a humble portable movie and music player is ever likely to need, but it will be useful for long sessions on iOS’s most advanced games, and it should make more advanced AI tasks that bit quicker and speed up jobs such as video editing, should that be your sort of thing.

For most of us, perhaps the biggest benefit to all of that power will be how long the phone should remain capable of delivering a satisfying performance – if you’re a content consumer, this is a phone that could last you years.

On the subject of AI, Siri AI is finally available – albeit officially in beta form. This delivers an AI experience much closer to that which many people have become accustomed to with ChatGPT and its rivals, but with added personal depth thanks to integration with your messages, emails, calendar, etc. It’s worth noting, though, that you don’t need to buy the iPhone 18 Pro in order to access Siri AI – it’s available via phones as old as the iPhone 15 Pro.

The iPhone 18 Pro’s more efficient chip, combined with the improved cooling system, also contributes to better battery life, with Apple quoting up to 34 hours of video playback compared with 31 hours for the 17 Pro. Opt for the iPhone 18 Pro Max, and that battery life leaps to a whopping 43 hours of video, up from the 37 hours of the iPhone 17 Pro Max.

Charging is faster, too. Apple says the 18 Pro can reach 50 per cent charge in around 15 minutes, although you'll need a suitable 60W charger with Adjustable Voltage Supply to achieve that. There's no charger in the box, of course.

The camera system's biggest change is the variable aperture on the 48MP Fusion Main camera, which automatically adjusts for lighting and depth of field. This really is a very impressive feat of engineering, with six laser-cut blades, each thinner than a human hair, arranged in a circle and able to open and close to physically control the amount of light hitting the sensor. This isn’t the first time such technology has been implemented in a phone, but the iPhone 18 Pro is the only mainstream phone that currently features it.

To go with this new pro-style camera hardware are several pro-style software features, including ‘Pro’ controls for the aperture, upgraded photographic style customisations, smart focus tracking and improved low-light video, and cinematic effects can now be applied after you’ve recorded your video.

Of course, this is largely overkill for those of us of a more point-and-shoot persuasion, but the variable aperture does appear to make the promised improvements to low-light shots, which are crisper and more detailed than those we capture with the iPhone 17 Pro. In fact, across the board, we find the iPhone 18 Pro produces subtly sharper photos than its predecessor, even when simply left in the Auto mode.

As ever, though, our real interest lies in the picture and sound performance, and in this respect, on paper, almost nothing has changed.

The one small screen change is that the Dynamic Island has been shrunk, so it should prove even less likely to distract when watching full-screen movies.

Specs-wise, though, this is the same screen as before: a 6.3-inch Super Retina XDR OLED with a 2622 x 1206 resolution, 460ppi and ProMotion with adaptive refresh rates up to 120Hz.

Maximum outdoor brightness remains 3000 nits, HDR format support is once again universal, and Apple quotes a 2,000,000:1 contrast ratio and a minimum brightness of 1 nit.

Apple hasn’t flagged any changes to the speaker system or audio hardware, either, so in theory, the iPhone 18 Pro should deliver movies and music exactly as the iPhone 17 Pro does.

Picture quality

Despite the identical screen specs, there are subtle but noticeable differences in the picture quality of the iPhone 18 Pro compared with the iPhone 17 Pro.

Playing F1: The Movie, we’re treated to an awesome contrast-rich, sharp and detailed delivery. The crispness of the rendering of the GT cars in the opening of the scene is superb, even as they bomb along the back straight of Daytona, and the deep, inky OLED blacks give the night-time scene a wonderful presence and solidity.

All of this is true of the iPhone 17 Pro, too, though. The difference lies in colour temperature, with the new model skewing slightly cooler. It’s not so cool as to give the presentation an overly blue, uncinematic appearance, but it does lend the whole scene an even cleaner, punchier look, with highlights that have even more bite. For a movie such as F1, the new balance works brilliantly.

It’s slightly less of a qualified success with a movie such as Shutter Island, though, where the cooler balance removes some of the intentionally old-fashioned richness of the mastering.

In truth, the iPhone 17 Pro perhaps skews a little too warm, exaggerating this richness, and the perfect balance probably lies somewhere between the delivery of the two phones, but the new model makes Leonardo DiCaprio look even more pale than he’s supposed to, and also robs his ridiculous tie of some of its vibrancy. On the other hand, though, peak highlights again pop a little more dynamically, as seen in the ceiling lights of the hospital and gleam off the barrel of a silver pistol.

It’s also worth noting that while the differences are relatively easy to spot when the two phones are viewed side-by-side, in isolation, both models are superb for watching movies on the move – it’s like having a small, high-quality OLED TV in your pocket.

Finally, a word on the Dynamic Island. As mentioned, this has been made smaller for the new iPhone Pro (though it can conversely expand further to present more live information when required).

As before, it’s invisible when watching movies in the default letterbox style, but it intrudes into the picture when you expand it to fill the display. We’ve always found the Dynamic Island surprisingly easy to ignore, with your brain quickly forgetting it’s there, but it’s even less noticeable on the iPhone 18 Pro.

Sound quality

We were really impressed by the iPhone 17 Pro’s spatial openness and organisation, and the iPhone 18 Pro is even better in these regards, albeit only very slightly so.

Watching the opening of F1: The Movie once more, as Sonny peers out at the racetrack from his team’s garage, the degree to which the sound of the cars stretches from far right to far left as they roar along the straight is disarmingly impressive, and the placement of all of the competing effects is even more precise than with last year’s model.

This precision helps dialogue emerge from the chaotic sonic backdrop even more clearly, too, and there’s a very small degree of additional dynamic subtlety and detail to voices.

Of course, we’re still talking about phone speakers here, so while the sound is remarkably impressive for a device this small, it’s still lightweight and shrill by absolute standards, and watching movies this way should really only be a last resort.

That’s even more true of stereo music, although the iPhone 18 Pro is very slightly better than the 17 Pro here, too, with a marginally cleaner and less congested presentation.

Of course, it’s when a pair of headphones is connected that the iPhone produces a sonic performance that’s really worth getting excited about.

Listening to Sleep Token’s The Summoning via a pair of AirPods Max 2 headphones connected via USB-C for maximum quality, the 18 Pro delivers all of the track’s bruising aggression without introducing any hard edges or harshness.

The initial percussive attack hits like a freight train, but the huge punches and massive volume shifts combine with fine detail and subtle low-level dynamics to deliver every part of the epic track’s evolution with the required balance of brutality and beauty.

Tonal balance is superb, too, with the hi-hat tinkling cheekily against the funky bassline of the unexpectedly groovy finale, and Vessel’s rich vocals projected cleanly.

This balance and blend of abilities make the iPhone equally adept with all genres of music, and as we switch from metal to folk, pop, classical and beyond, we’re not once disappointed by the delivery.

Of course, all of this is also true of the iPhone 17 Pro, and it’s true that the differences between the headphone presentations of the two phones are tiny. There is, though, a little additional precision to the leading edges of notes from the new model over the last, which was itself a touch punchier than the model before it. We really are talking minimal margins here, though.

Verdict

The iPhone 18 Pro is an outstanding portable movie and music player, with a superb picture, excellent sound and some surprisingly worthwhile improvements over its predecessor.

The picture remains the real star. The 18 Pro delivers the same exceptional contrast, detail and clarity as the 17 Pro, but its slightly cooler balance gives bright, punchy material such as F1: The Movie even more impact. It's not quite as successful with warmer, more deliberately rich material, but both phones produce an exceptional picture, and the 18 Pro has the edge overall.

Sound is similarly excellent, particularly through headphones, where the 18 Pro delivers superb clarity, dynamics and tonal balance. The built-in speakers are remarkably capable for their size, too, with impressive spatial precision and a slightly more refined presentation than the 17 Pro.

The key thing is that none of these improvements is transformative. If you already own an iPhone 17 Pro, there's no compelling AV reason to upgrade, particularly given the price increase.

For someone buying a new phone, though, the equation is different. The iPhone 18 Pro is a stunning portable AV device in its own right, while its more powerful chip, longer battery life and significantly upgraded camera give it plenty of advantages beyond movies and music.

SCORES

• Picture 5
• Sound 5
• Features 5

MORE:

Read our review of the iPhone 17 Pro

Also consider the iPhone 17

Read our Samsung Galaxy S26 Ultra review

Best smartphones: the best phones for music and movies

Take the Award-winning Planar 6 turntable, add elements from the next-tier-up Planar 8 model, and give it the visual treatment we liked so much in the Planar 3 RS Edition. It’s a formula that simply can’t go wrong, can it?

Rega’s experiment with its first ‘Rega Special’ Edition resulted in the superb, talented Planar 3 RS Edition (a prestigious Product of the Year winner, no less), and now it has given the RS treatment to the next rung on its turntable ladder. Considering the Planar 6/Nd7 package is a five-star, multiple Award winner, and the Planar 8 is also a five-star, former Award winner, a product that Frankensteins the best bits of these two models together is surely a recipe for success.

Can this more premium Planar 6 RS Edition win us over in the same way its sibling did? It doesn’t take long for us to answer that question.

Price

The Planar 6 RS with Nd9 moving magnet cartridge is cannily priced at £2000 / $3195 / AU$4199. This puts it right in between the standard Planar 6 with Nd7 MM cartridge at £1655 / $2595 / AU$3499, and the Rega Planar 8 with Nd9 at £2554 / $4200 / AU$5399. We tested the Planar 8 with the older Apheta 2 MC cartridge back in 2018, and the current package with the newer Apheta 3 MC costs £3000 / $4945 / AU$6299 in total.

The Nd9 cartridge included here as standard is the brand’s top-end moving magnet cartridge and costs £695 / $1095 / AU$1499 on its own, and features a boron cantilever and fine line nude diamond stylus profile that is based on the brand’s reference high-end Aphelion 2 MC cartridge (£3640 / $5545 / AU$7499). The Nd9 isn’t available as a factory-fitted option with the standard Planar 6, so adding it on separately will exceed the value of the 6 RS.

For those who prefer a moving coil cartridge, Rega offers a Planar 6 RS Edition bundle that includes the Ania MC fitted and Fono MC phono stage for the same price as the Nd9 package. It’s pretty compelling value no matter which option you choose.

Build & design

Rega’s use of the ultra-lightweight Tancast 8 polyurethane foam material in the plinth is what sets its premium models (Planar 6, 8, 10, Naia) apart from the MDF plinths in the sub-£1000 Planar 1, 2 and 3 models.

Rega’s defining engineering philosophy is that adding mass to a turntable absorbs energy and this saps the life out of the music, alongside transmitting unwanted resonances that negatively affect the sound – hence its continued pursuit of materials that are very light but also deliver exceptional stiffness.

The Planar 6 RS Edition uses the same Tancast 8 foam core sandwiched between two layers of very thin but stiff HPL (High Pressure Laminate) construction as the Planar 6 and 8, which offers a rigid but extremely low mass base for the turntable. Even after all this time, we’re surprised by just how light the turntable is when taking it out of the box.

Like the Planar 3 RS, the Planar 6 RS has a brushed metallic finish that not only looks stunning, but also acts as another ultra-thin skin around the plinth. As a way of visually differentiating the two RS models, this metal skin is a lighter finish on the Planar 6 RS and wraps all around the edges of the plinth, whereas the darker Planar 3 RS has mirrored black edges.

The Rega Planar 6 RS Edition is a lovely looking piece of hi-fi. Its minimal, belt-drive design is further accentuated by the sleek finish, while every element on the turntable – from the tonearm to the sub-platter to the screen-printed logo – is built to an impressively high standard.

That the Planar 6 RS sticks with the more conventional rectangular plinth design and full-size hinged dust cover is surely another reason why it has been so popular since it was announced earlier this year. It’s ideal for those who want the benefits of the Planar 8’s advanced technology, but aren’t enamoured with the skeletal plinth design or find its moulded dust cover impractical.

The Planar 6 RS adopts the hand-assembled RB880 tonearm found in the Planar 8, and this – along with the step-up Nd9 cartridge – is a big part of the 6 RS’s performance upgrade. The RB880 tonearm is a step up from the RB330 found on the standard P6, and is further refined to reduce resonances throughout the one-piece tube.

It features an improved aluminium and stainless steel vertical bearing assembly, with zero-tolerance bearings that are adjusted to less than a 1000th of a millimetre for near-frictionless movement. In use, there is no undue play and the movement is incredibly smooth.

Additionally, the 6 RS Edition features a twin motor pulley with two drive belts, which help deliver more accurate and stable speed control. It’s another design point taken from the premium Planar 8.

Other elements remain from the standard Planar 6, which include the nicely machined aluminium sub-platter, the dual-layer glass platter, and the double-brace system that strengthens the area between the tonearm mounting and the main hub bearing. This is a clever way of adding extra rigidity without adding too much unwanted mass to the turntable.

As with every deck from Planar 6 upwards, the 6 RS Edition’s low-noise 24v AC motor is powered by an outboard Neo Mk2 power supply unit, which offers electronic speed switching (33⅓ and 45 RPM) and is hand-tuned to match the motor on the turntable it is paired with. So if you’ll be auditioning the Planar 6 RS against the standard P6, make sure both models are used with their matching PSUs.

With the Nd9 factory-fitted, setting up the Rega turntable isn’t complicated at all. Simply balance the arm using the stainless steel counterweight, set the tracking weight and bias to the cartridge’s recommendations (1.75g in this case), and plug the captive phono leads into a capable stereo amplifier, and you’re good to go.

Sound

We plug the Planar 6 RS into our reference Naim Nait XS 3 integrated, and switch between the Epos ES-7N standmounts and PMC Prodigy 5 floorstanders during our testing. The Naim is discontinued now, so we would suggest Rega’s own Elicit Mk5 amplifier and the Fyne F502S or PMC Prophecy 1 speakers as a good pairing for the 6 RS Edition’s talents.

It doesn’t take us long to hear the step up in performance from the standard Planar 6. The recognisable Rega sonic characteristics are there – agile timing, superb dynamic ability, and a lovely balance between authority and subtlety.

We spin some of our favourite test records – Holst’s wide-ranging The Planets, Nirvana’s MTV Unplugged live set, the ambient soundscapes of Four Tet, and Fleetwood Mac’s Rumours – and find that the Planar 6 RS Edition simply elevates all those recognisable sonic aspects even further.

The upgrades on the Planar 6 RS all pull together to deliver a sound that is more stable and composed, and even more expressive and delicate. The turntable offers a quieter background for detail from the vinyl grooves to flourish, and it’s a more three-dimensional sound, too.

The positioning of instruments in Holst’s chaotic, intense Mars is more definite within the sweeping, broader soundstage, with the edges of notes relayed with a greater degree of authority and precision. The sweeter, delicate notes of Venus are just that – the higher tones of the flute, clarinet and violin sound subtle and textured alongside the delicate shine, with a fluidity that holds our attention even in the movement’s quieter moments.

That meaty bassline in The Chain is deep, punchy and pulled taut; the Rega’s tremendous agility combines with a greater amount of low-level dynamic finesse so that it sounds even more tuneful and impactful. The 6 RS Edition does a fine job of keeping all the strands of the chorus organised and balanced – no single element jostles for the limelight over another.

With Nirvana’s MTV Unplugged record, we find the 6 RS better conveys the space of the room the musicians are playing in compared with the standard model, while Kurt Cobain’s voice sounds even more raw and revealing. Dynamically, there’s simply more going on – guitar strums are more emphatic, silences are deeper, and the way his voice reaches hair-raising intensity during the closing track sounds more visceral and organic.

Switch back to the standard Planar 6, and we still find it delivers an agile, fluid and dynamically exciting performance, with plenty of fine detail. The 6 RS Edition simply locks everything into place with a greater sense of composure and confidence. Voices are more intimate and have more presence; the switch from a quiet moment to a big crescendo is more dramatic; and we are drawn into the music with greater emotion, no matter the genre.

Verdict

As the Planar 3 RS Edition bridged the gap between the standard Planar 3 and the step-up Planar 6, this model is a similar stepping stone between the P6 and the more premium Planar 8, and offers excellent value for the combination of its advanced technologies.

The Rega Planar 6 RS Edition is a beautifully and cleverly made turntable, and its stylish looks and great sound will be a siren call to any vinyl fans who can afford to level up to this price.

Review published: 8th October 2026

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Rega Planar 6/Nd7

Also consider the Rega Planar 8

Best turntables: top record players tested by our expert reviewers

Sony’s budget smartphones have filled a very specific niche for us for several generations. Pairing an affordable price tag with a strong set of AV-focused features, previous entries in the Xperia 10 range have really resonated with us.

The Xperia 10 VIII – that’s “mark eight”, not “vee-eye-eye-eye” – is the latest budget smartphone in Sony’s now just two-model lineup (the other model is the flagship Xperia 1), and it retains a lot of the features we applauded in its Award-winning predecessors.

However, with tough competition from Apple’s new affordable iPhone series, is the Sony Xperia 10 still a prime device for budget-conscious AV fans who need a handset that excels for movies and music?

Price

At just £549, the Xperia 10 VIII hugely undercuts every other phone we’ve reviewed this year. The Samsung Galaxy S26 Ultra (£1279 / $1300 / AU$1799), Apple iPhone 17 Pro (£1099 / $1099 / AU$1999) and Samsung Galaxy Z Fold 8 (£1699 / $1899 / AU$2699) all massively outprice the Xperia 10 VIII. Of course, those models all have more premium features, specs, and build quality to justify this.

Instead, the Xperia 10 VIII is aligned with other budget handsets on the market, such as the Apple iPhone 17e (£599 / $599 / AU$999), Samsung Galaxy A57 5G (£529 / $549 / AU$749) and Google Pixel 10a (£499 / $499 / AU$849). While we haven’t tested those models, we have reviewed last year’s iPhone 16e, and can therefore use it as a benchmark device.

You’ll notice that we haven’t listed pricing for the US or Australia, and that’s because this handset isn’t available in either country. Those familiar with Xperia devices will know that Sony hasn’t sold its smartphones in these regions for quite some time.

Design

Sony’s budget Xperia smartphone series has been unapologetically constructed almost entirely from plastic for many years now, and the Xperia 10 VIII is no exception.

It sports the same rather smart redesigned look introduced with last year’s Xperia 10 VII, with a horizontal rounded camera bar that spans the width of the device bearing the two cameras and the Sony branding.

The smooth frosted plastic back feels pleasant to the touch, but it picks up and proudly displays fingerprints and smudges a little too much for our liking, especially in the Frosted Grey finish of our review sample. The 10 VIII is also available in Frozen White – which we have seen and has a really appealing subtle blue-ish hue – and Misty Lilac.

The device is surrounded by a plastic frame, which bears a few ports and buttons of note. On the bottom you’ll find a USB-C charging and data port; on the right is a volume rocker, dedicated camera shutter button, and combination power and lock button with an integrated fingerprint scanner; and on the left edge is the SIM tray, which also features a spot for a micro SD card.

That final feature is especially appreciated, as we rarely see it on other handsets these days, and those with large owned media libraries who wish to load music and movies directly onto the device will be able to do so.

However, the best feature can be found on the top edge of the device; yes, you guessed it, it’s a headphone jack. This unicorn of the smartphone world is still alive and well on Sony smartphones, and while the Xperia 10 VIII doesn’t feature the premium components derived from Sony’s Walkman division that can be found on the flagship Xperia 1 VIII, it’s still a sight for sore eyes for audiophiles such as ourselves.

The Xperia 10 VIII’s display is covered by Corning’s Gorilla Glass Victus 2 coating, which should make it more resistant to scratches and cracks – we’re hesitant to launch our review sample toward a concrete floor, however, so we’ll have to trust Sony on this one.

Features

The main attraction of the Xperia 10 VIII is the 6.1-inch Full HD+ OLED display. It features a 1080 x 2340 resolution, a nippy 120Hz refresh rate, and an aspect ratio of 19.5:9.

Once upon a time, Sony handsets shipped with 21:9 displays that made portable movie watching a dream, as typical movies would fill the screen from corner to corner. Those days are, unfortunately, behind us now. That said, the more conventional aspect ratio has its benefits, namely when it comes to app optimisation and 16:9 video playback.

Interestingly, Sony is touting a significant boost in brightness this year – 50 per cent to be exact. While it hasn’t given an exact brightness figure in nits, this display should be more versatile when it comes to outdoor viewing in bright sunlight, and we expect it to handle HDR video better too.

Speaking of which, this budget smartphone can play back video in HDR, but this is your run-of-the-mill HDR10 format rather than HDR10+ (which is supported on Samsung Galaxy phones and iPhones) or Dolby Vision (which is also commonly found on iPhones).

Sony is proudly presenting the front-firing stereo speakers as a leading feature of the Xperia VIII. Flanking the display at the top and bottom of the device, these speakers are reportedly 15 per cent louder than those of last year’s model, and bass is an impressive 30 per cent deeper, too, according to Sony.

There’s also the headphone jack to be mindful of for wired audio, and wireless audio is supported via Bluetooth 5.4. Sony’s LDAC codec is on board for wireless high-resolution audio, alongside Qualcomm’s aptX Adaptive codec for supported headphones. Sony’s 360 Reality Audio and DSEE (Digital Sound Enhancement Engine) Ultimate also feature.

Moving away from the AV features, the Xperia 10 VIII sports Qualcomm’s Snapdragon 6 Gen 3 processor. Interestingly, this appears to be the same chipset as last year’s Xperia 10 VII. It’s backed up by 8GB of RAM and 128GB of storage, which can be expanded via microSD, as mentioned.

Running the show is Android 16, with Sony’s minimal skin running on top. While Sony opts to keep most things stock, it’s missing a few creature comforts from other phones, such as a dedicated weather widget and app drawer customisation, and it can look a bit barebones and dated compared with other mobile operating systems.

As is the case with almost every modern Android phone, you’ll find Google Gemini and a range of AI features within the camera app.

That said, Sony is also only promising “up to four” operating system upgrades and “up to six years” of security updates, while its rivals are offering around seven years of OS updates in comparison.

Sony certainly wins back some ground with its battery life claims, though. The 10 VIII has a 5000mAh cell crammed inside – that’s the same size as the much more expensive Samsung Galaxy S26 Ultra – and it can reportedly last for two days on a single charge. Sony has also implemented an optimised charging system which will reportedly ensure that it keeps a healthy capacity for up to four years.

Rounding things out with the cameras, the Xperia 10 VIII sports three in total: a 50MP main sensor, a 13MP ultrawide camera, and an 8MP front-facing selfie camera. While megapixels don’t tell the full story, our testing proves that these cameras are fine for day-to-day shooting, but are easily outclassed by the step-up models on the market.

Picture quality

Sony’s budget Xperia smartphones have, in the past, caught us off guard with picture performances that are much better than their price tags suggest, and the Xperia 10 VIII continues the trend.

We’ve loaded a range of streaming apps onto the phone, including HBO Max, Amazon Prime Video and Apple TV to assess the picture quality, and we have the iPhone 16e on hand as a reference device.

Before we get stuck properly into testing, we have a controversial piece of advice when it comes to our preferred display settings.

Sony offers a Custom picture preset that it says is better for video content, as it tweaks the display to provide warmer colours and target a more “Filmmaker Mode-like” experience. Somewhat surprisingly, we prefer to leave this off and stick to the default settings, as our testing reveals that it dulls and flattens the picture in the pursuit of a more authentic experience.

Sony has squeezed an impressively cinematic image from this budget handset. It’s crisp, impressively bright, and balanced, especially during the introduction of F1: The Movie on Apple TV. Highlights and colours pop without looking overpronounced, and the image has a sense of depth and solidity that enhances realism.

Switching to Blade Runner 2049 on Prime Video, the Sony presents the opening sequence with a sharp, detailed and balanced image that instantly draws us in. Detail levels are solid across the board, and the horizon seems to stretch on endlessly in an aerial shot of the solar panel farm.

Motion is impressively consistent too, with a difficult panning shot and a tracking shot of Officer K’s drone scoping out Sapper Morton’s protein farm both handled well by the Sony. We do notice some subtle banding in the fog throughout this scene, but it’s certainly not offensive.

What is most striking, however, is how the Xperia 10 VIII utilises its higher brightness capabilities. The picture really pops, especially with animated content such as Spider-Man: Across The Spider-Verse, also on Prime Video.

Compared head to head with the iPhone, the Xperia 10 VIII’s punchier, sharper and brighter image ensures that the Sony outpaces its Apple rival in the picture department.

Sound quality

Sony has already scored bonus points by including a headphone jack on the Xperia 10 VIII, but it’s only useful if the phone can meet our expectations when it comes to sound quality.

The good news is that the 10 VIII excels here too, offering a crisp, clean and balanced sound that makes it an impressive portable music player for the money. The opening guitar plucks of Taylor Swift’s Babylon sound impressively natural, and the ensuing vocals sound full and textured.

Switching to Retrograde by James Blake, the Sony sounds suitably spacious and open, while also remaining organised and timing well. As the track swells to introduce an array of electronic elements at the mid-point, the Sony remains consistent and ensures each effect has room to breathe.

The Sony misses the mark slightly on delivering a big dynamic punch here, which dampens the dramatic effect of this shift, and bass could have more weight and punch, but Sony’s focus on sonic subtleties should be commended.

Comparatively, the iPhone delivers a touch more warmth and cohesion, but you’ll need to step up to the pricier iPhone 17 for a real leap in audio performance.

Unplugging our headphones to try the Xperia’s reportedly upgraded speakers, we find Sony’s claims of upgraded bass ring true. With Blade Runner 2049, there is some genuine impact to the thuds of Sapper Morton slamming Officer K into, and subsequently through, a wall.

Furthermore, the speakers benefit from being front-firing, mostly due to them being harder to block when holding the phone in a landscape orientation.

At the end of the day though, while these are decent stereo speakers in terms of clarity and detail, they are smartphone speakers – the sound generally doesn’t carry much weight, and it’s not particularly spacious.

Given the price of the handset, we deem the speakers to be plenty good enough for a spot of out-loud movie watching; just be sure to hook up a Bluetooth speaker for music.

Verdict

Sony’s impressive affordable Android smartphone range remains a solid choice for budget-conscious AV fans who need their smartphone to do justice to movies and music, and that pocket-sized OLED display is an ideal option for on-the-go cinephiles.

SCORES

• Picture 5
• Sound 4
• Features 4

MORE:

Read our review of the Apple iPhone 16e

Also consider the Apple iPhone 17

Best smartphones: the best phones for music and movies

The demise of the Astell & Kern A&norma SR35 has not been music to our ears. There aren’t many outstanding hi-res portable music players on the market, with the multiple Award-winning SR35 holding firm within something of a niche product category as one of the few devices that really cut the mustard.

Happily, nature abhors a vacuum, and so into the yawning chasm left by the outgoing A&norma SR35 comes the PD5, Astell & Kern’s latest portable music player designed to deliver hi-res audio in the palm of your hand.

The price of the Astell & Kern PD5 has gone up – from £799 / $799 / AU$1299 to £899 / $1049 / AU$1399 – meaning that the new kid on the block is going to have to work that much harder to prove itself worthy of consideration.

Given its stellar reputation in this category, if anyone can do it, it’s Astell & Kern.

Build & design

From the outside, the Astell & Kern PD5 is a definite departure from the player which preceded it.

The newer model is a little taller than its predecessor, with a 12cm height that edges towards a full-grown iPhone 15, but it’s still easy to carry in one hand and place in your pocket. At the top of the unit are standard 3.5mm and 4.4mm balanced headphone connections alongside a power button, while a trio of vertically arranged play/pause and track-skipping buttons adorn the left side.

A pleasingly tactile control wheel sits alone on the opposite side for adjusting your volume by satisfyingly incremental clicks.

So far, so standard for Astell & Kern, but place the PD5 next to the outgoing SR35 and the differences are clear. Gone is the old model’s slanted screen – which sat at a slight angle against the main chassis to give the player a sharp, almost Art Deco look – replaced by a display that now sits straight within the outer frame.

The new model feels different in hand, too. Whereas the SR35 felt satisfyingly substantial, the PD5, despite weighing a touch more, feels somehow less dense and not quite as premium. Still, it is nice that there are no longer any sharp edges that might snag on our clothes. It is also fair to say that the new look is cleaner and less fussy.

The new portable player’s 4.1-inch display takes up most of the unit, save for a block of empty space at the bottom end. It’s a good display, too, showing text information and album artwork with pleasing sharpness and clarity. Our only issues arose when we took our PD5 outside and, even in the gloomy British autumn, we sometimes struggled to see what was playing thanks to an excessively reflective screen.

Unlike some rivals, the Astell & Kern player features a stripped-down version of Android OS that keeps the focus on your music library and doesn’t have any unnecessary additional bloatware. The PD5 is reasonably effective in its overall operation, although it’s not quite as slick and fast as a modern smartphone, such as when typing on its keyboard, and we wish Astell & Kern would address this in future models as it’s something we noticed in the previous SR35, too.

Overall, the PD5’s interface is nicely laid out and easy to navigate across the simple menus, giving you easy access to your library of hi-res tunes, streaming apps and device settings thanks to its logical, uncluttered layout.

Features

Despite its primary function as a portable music player, the PD5’s extensive feature suite grants it impressive flexibility.

The PD5 gives you the option to choose how many of the eight Cirrus Logic CS43198 DAC chips work at any time, so you can either choose four of them to work in parallel, or the full quota. The sonic dividends are bountiful if you choose all eight – the sound is far punchier and more expressive when fully unleashed – but doing so will significantly slash the device’s battery life.

The new Astell & Kern will get to around 28 hours of playback in standard ‘Quad’ mode, but this will drop to around 15 hours with all eight DACs employed. If you get low on juice, it takes around 2.5 hours to charge your device to full capacity.

The A&K PD5’s file support is extensive, supporting hi-res tracks up to 32-bit/384kHz PCM and native DSD256, and the unit’s internal 64GB storage capacity can be expanded by up to 1.5TB using a microSD card for large libraries.

For those wanting wireless compatibility, the higher-quality aptX HD, LDAC and LHDC Bluetooth codecs are available too. We imagine that, if you’re paying this kind of money for a dedicated hi-res player, you’re likely to spend most of your time listening via wired headphones for the higher-quality sound they tend to provide, but the PD5’s stable, solid Bluetooth performance is welcome all the same for those that want the extra convenience.

Four digital filter options are available, ranging from a default ‘Low Latency Fast’ option to the punchy character of ‘Phase Compensated Fast’. They’re fun to play around with and are all distinguishable from one another, but we settle on the natural, reasonably neutral balance of ‘Low Latency Slow’ during the majority of our testing.

For further tinkering with your sound, a 10-band equaliser is provided, or you can go really fancy and use the advanced EQ settings to plot your desired frequency response across a coordinate plane graph.

Dual-band wi-fi (2.4/5GHz) grants solid network stability, and you can download popular streaming service apps such as Tidal, Qobuz, Amazon Music, Deezer and Apple Music from the Google Play Store.

The PD5 can even be used as a dedicated desktop DAC for your laptop. Simply connect the player to your laptop via a USB-C cable, select DAC mode from the drop-down menu, and the PD5 will process audio via its internal Octa-DAC architecture.

Away from the confines of your desk, a new switchable feature called EnviroTune analyses your surroundings and optimises the sound for the level of ambient noise detected, with the aim of keeping your music clear and consistent no matter your environment.

The technology works as it should, with playback retaining its core character without our being able to sense any synthetic processing working away in the background.

Sound

£899 / $1049 / AU$1399 is a considerable sum to pay for a portable music player.

As such, we use a variety of headphones during our testing period. We dig out the budget-friendly Røde NTH-100 (£149 / $149 / AU$249) as our starter pair of wired headphones, as well as the more premium and revealing Beyerdynamic T1 (3rd Gen) (£899 / $999 / AU$1599) and, for testing the unit’s balanced connection, the audiophile-centric Sony MDR-Z1R (£1700 / $2100).

For open-backed listening, we also use the Grado SR325x (£247 / $295 / AU$425) and the Award-winning Beyerdynamic DT 990 Pro X (£189 / $199 / AU$399).

No combination leaves us feeling disappointed. Overcoming the marker laid down by the superb A&norma SR35 was never going to be easy, but the new PD5 is a clear step up from the model it now replaces. Yes, that price increase is tough to take, but our testing soon reveals that the newer model justifies its extra outlay by making significant strides in out-and-out sonic ability.

It’s unquestionably clearer and more detailed than its predecessor, serving up an expansive, uncluttered soundscape in which instrumental textures are sharply drawn. Listening to a 16-bit/44kHz FLAC recording of Agnes Obel’s Fuel To Fire reveals the strides Astell & Kern has made in revealing greater textural detail as the new player starkly reveals the full lifespan of each piano stroke as it lands, resonates and then decays back into inky silence.

The PD5 showcases further talents with regard to its class-leading organisational abilities. Regardless of genre, our music has an expressive, three-dimensional cohesiveness that makes tracks such as Radiohead’s Reckoner sound enthralling and wonderfully immersive, and the A&K picks apart the dense cacophony of Slipknot’s Left Behind to provide each varied instrument its own space to shine.

Astell & Kern’s hi-res player has a wonderfully natural way with dynamics, favouring a controlled yet expressive approach that shines on tunes such as Massive Attack’s Atlas Air or a DSD64 recording of Michael Jackson’s Billie Jean. Nothing here sounds forced or mechanical – instead, changes in volume move as naturally as sands shifting on a windswept dune.

The PD5 is happy revealing the capabilities of any of the headphones we choose to pair it with, but you can also choose to integrate it into a fully fledged stereo system, something we try out by connecting the player via the 4.4mm balanced output to our reference system of Burmester 088/911 Mk III pre/power amplifier and ATC SCM50 speakers.

Acting as the system’s dedicated DAC and music streaming source, the Astell & Kern player does surprisingly well slotting into such a high-end set-up, with Fuel To Fire retaining much of the delicacy and agility we enjoyed when listening via wired headphones. This flexibility further justifies the portable player’s high price, and its performance is good enough that you could potentially use it in a more modest, price-appropriate hi-fi system without needing to invest in separate DACs or streamers.

Even if you’re not planning on using your premium portable player as part of a hi-fi set-up, you can give your laptop a boost by connecting it via USB-C and engaging the PD5’s desktop DAC mode. Once more, the player’s talents shine through, confidently outstripping the respective built-in DACs of our Lenovo ThinkPad and MacBook Pro 2026 laptops for instrumental detail, expressiveness and overall clarity.

We even give the PD5 a chance to flex its Bluetooth powers by streaming a 24-bit/96kHz FLAC rendition of Fleetwood Mac’s The Chain to a pair of Bowers & Wilkins Px7 S3 wireless over-ears, and it happily obliges. While Bluetooth isn’t the most transparent means of transmission, it’s hard not to marvel at just how much of that expressive, natural character is retained within the snap of the drums or the layered wails of Nicks, Buckingham and McVie.

Whatever the context, the PD5 proves its worth. No matter the headphones with which we pair it or the system into which it integrates, its obvious talents continue to shine through.

Verdict

Despite the hefty price tag, the PD5 remains a great buy. If you’re looking for an exceptionally detailed, refined and dynamic sound that brings your hi-res music library to life – along with plenty of extra functionality – this Astell & Kern portable music player is the one to pick.

Review published: 7th October 2026

SCORES

• Sound 5
• Features 5
• Build 4

MORE:

Also consider the FiiO M11S

I used an affordable portable music player for two weeks: here are 3 things I liked and 3 that I didn't

Best portable MP3 players: our expert picks of the top hi-res music players

Wharfedale’s Diamond 12 range of speakers has been a long-standing hit in our hi-fi and home cinema testing rooms. The stereo speakers have been showered with five-star reviews and have been bestowed countless Awards since they launched back in 2020.

Six years on, Wharfedale has revised the range with the new Diamond 12i series. While the 12.3i floorstanders have set the bar high with a five-star review, we’ve been anxiously awaiting the arrival of the new range in our AV testing space.

Thankfully, the wait is over, as we now have the Wharfedale Diamond 12.1i HCP system hooked up to our reference AV amplifier, primed for testing.

This package combines two pairs of Diamond 12.1i standmount speakers with the 12.1Ci centre channel, and the same SW10 subwoofer found on the existing Diamond 12 home cinema packages.

Wharfedale has highlighted some minor tweaks to the tuning of the speakers and a few new finishes, so it’s not a radical departure from the existing Award-winning systems, but that might not be a bad thing.

Price

At £999 in the UK, the Diamond 12.1i HCP is conveniently sold as a complete package at various hi-fi and AV retailers. Buying this set as a full package also nets you a decent discount, as the total cost of these speakers bought separately is £1126.

The package doesn’t appear to be sold as a pre-assembled bundle in Australia, but buying the separate components comes to a total of AU$3300. Breaking that down, that’s AU$700 per pair of Diamond 12.1i (you’ll need two pairs), AU$700 for the 12.1Ci, and AU$1200 for the SW 10 subwoofer.

Unfortunately, it’s currently bad news for our American friends, as the centre channel doesn’t currently seem to be available across the pond. While the 12.1i speakers and SW 10 subwoofer are on the market, the crucial 12.1Ci is the missing piece to this 5.1 puzzle.

Impressively, Wharfedale has managed to dodge a price rise here in the UK, as the 12.1i HCP has launched at the same price as its 12.1 HCP predecessor. That said, the previous system launched at AU$2423, so that’s a substantial price increase Down Under.

It’s important to note that you’ll need to factor in the price of stands for this package, as the front and surround speakers are standmounts. For those who prefer floorstanders, you can swap the fronts for the 12.3i speakers, but we have a separate review of that system coming soon.

Build

The 12.1i HCP looks practically identical to the outgoing 12.1 HCP, with the main components – SW 10 notwithstanding, as it is literally the same subwoofer – all bearing strong resemblances to their 2020 counterparts.

In fact, this system has the same dimensions as its predecessor. The 12.1i measures 31 x 18 x 28cm (hwd), the 12.1Ci measures 18 x 48 x 28cm (hwd), and the SW 10 is 42 x 34 x 38cm (hwd).

The biggest difference is that Wharfedale has swapped the two-tone design, which paired a glossy baffle with a wood-grain vinyl finish on the sides, for a smoother finish on two of the available colours; those being All-black and Stone Grey. For fans of the original look, the Walnut finish pairs a wooden surround with a contrasting matte black baffle.

Our review unit sports the Stone Grey finish, which has divided opinion among the team. While some praise the minimalist, clean look that helps it blend into more living rooms, others feel the flat grey looks a bit unfinished and plain. Looks are, at the end of the day, subjective, and we appreciate that there are multiple colours to choose from.

The 12.1i front and surround speakers feature a two-way bass reflex design, whereas the centre channel sports a two-way closed box enclosure. The cabinets are constructed from wood fibre board of varying thickness, and they are assembled in a way that minimises sound interference from the cabinet itself in the pursuit of greater sonic purity.

These components also feature Wharfedale’s Intelligent Spot Bracing. This sees a wooden brace connect opposing walls in such a way that minimises resonance.

Features

Wharfedale has paid special attention to how these revised speakers present low frequencies.

This comes in the form of a new bass port, which has been redesigned with upgraded internal damping and tuned to support “improved bass clarity and control”. In theory, the 12.1i and 12.1Ci should deliver more consistent, spacious bass with smoother transitions between midrange and low-end frequencies regardless of placement.

The drive units across the system are essentially unchanged from the previous generation, although Wharfedale highlights tighter production tolerances which should result in more consistent performance.

The 12.1i retain the 13cm mid/bass driver, which is constructed from Wharfedale’s Klarity material. This is a blend of polypropylene and mica, which the company says “provides excellent stiffness and low distortion”. Each mid/bass driver also features a precise magnet system with an aluminium compensation ring, which should facilitate a cleaner sound with less distortion.

High frequencies are handled by a 25mm woven polyester dome with a high-loss damping coating, which is paired with a subtle waveguide for enhanced dispersion. Wharfedale claims that this tweeter arrangement can produce “clear, natural high frequencies with excellent off-axis performance”.

Wharfedale keeps things simple with the 12.1Ci, as it retains the same drivers as the 12.1i, albeit in a slightly different configuration. It sandwiches the same tweeter between two 13cm mid/bass drivers; using the same drivers across the package should, in theory, result in greater sonic cohesion between the components.