A few years ago, I somewhat infamously declared that I would never own a turntable.

My main arguments were that turntables just aren’t really compatible with life with a toddler, and that I simply couldn’t afford to embark upon a new hobby as expensive as collecting vinyl.

Quite rightly, I was called out by a few people for not even trying out the whole experiment.

So, for Vinyl Week 2026, I decided to give it a go, and, despite everything about my current set-up being objectively wrong for vinyl, I’ve ended up loving it for reasons that have surprisingly little to do with sound quality

What’s more, if my family has anything to do with it, the turntable will be staying.

Analogue over the airwaves

Since I wrote that last piece about my issues with turntables, my family and I have moved to a bigger house that is theoretically roomy enough for more lovely home cinema and hi-fi kit.

My then dangerously inquisitive and clumsy toddler is also now a relatively sensible seven-year-old who can be fairly relied upon to take care of the various electronic bits and pieces that often find themselves living in or visiting our lounge.

On the other hand, though, I promised when we moved to this new house that I wouldn’t turn the living room into a full-bore cinema, and so my carefully hybridised hi-fi and AV system, which featured 11 speakers and a subwoofer, went into storage and was replaced with a much neater and tidier (and remarkably impressive) Sony HT-A9 system consisting of four wireless speakers and an optional subwoofer.

As brilliant for our needs as the HT-A9 has been, it presented an immediate obstacle to my vinyl experiment: it doesn’t have an analogue audio input. In fact, it doesn’t have any digital audio inputs, either – it’s a pure, simplified, HDMI-only affair.

While RCA-to-HDMI converters do exist, I don’t much like the sound of using one of those. Besides, all of my HDMI sockets are already occupied.

Thankfully, very good Bluetooth turntables now exist, and Bluetooth is something that the HT-A9 does support. So, after a quick call to Kashfia Kabir, my cracking counterpart on What Hi-Fi?’s hi-fi side, a loan of the five-star Pro-Ject T1 Evo BT had been arranged.

A vinyl introduction and spousal approval

An added benefit of going wireless was that I didn’t need to make space for the turntable on the overburdened rack at the front of the room by the TV.

Instead, I could place it on another unit towards the back of the room, next to books, family photos and some sort of fancy air freshener arrangement that I’ve chosen never to ask about.

Rather than object to this invasion of the less gadgety end of our living room, my long-suffering wife immediately approved with a “that looks great!”

I think it helped that the Pro-Ject is a very handsome turntable, particularly in the walnut finish of our review sample, but one of the great things about record players in general is that, unlike almost any other source component, they tend to aesthetically enhance a room.

My son, who is so used to me boxing and unboxing bits of kit in our living room that he hadn’t even taken any notice of proceedings until this point, then looked up from his Nintendo Switch to ask, “What’s that?”

“It’s a turntable”, I replied. “It plays music”.

“Does it play CDs?” he asked.

“No, it plays vinyl records, which are similar but also entirely different,” I said, slightly surprised he was even aware of CDs.

Having predicted this degree of inquisitiveness, I then played my trump card and handed him a flat, square Amazon package to open. Inside, he found a brilliantly bright and colourful copy of the KPop Demon Hunters soundtrack.

Excited, he asked, “Is it a CD?”

“No, son, it’s a record”, I replied, before carefully extracting the black disc (I couldn’t afford the fancy coloured version), holding it close to him, pointing to the groove and briefly trying to explain how vinyl works.

“It’s cool that you get this extra stuff with it,” he said, turning his attention away from the boring dad-splanation and towards the poster and card that came in the package.

And fair enough, I thought. Part of the joy of vinyl is undeniably the artwork, the physicality of it and the fact that little extras are often included.

Besides, his attention quickly returned to the record as I placed it on the platter, set it spinning and moved the tonearm into place.

Bluetooth surprises and limitations

Kash had warned me that Bluetooth turntables can be a bit of a pain in the bum. None of them (at least as far as I’m aware) have screens to assist in the pairing process, for starters, so making the connection can be tricky.

I was pleasantly surprised, then, that when I put the Sony HT-A9 into Bluetooth pairing mode and flicked the Bluetooth switch on the Pro-Ject, the two simply connected almost immediately. And, in fact, whenever I now turn the turntable on, the HT-A9 automatically powers up and switches to its Bluetooth input. Neat.

After a tiny bit of lovely, soft, vinyl crackle, Takedown started blaring out of the Sony speakers, and within a few seconds, both my wife and son declared that it sounded great.

I didn’t have the heart to point out that I’d spotted – and heard – a problem.

You see, because the HT-A9 is a home cinema system, it tells you what’s playing on the connected TV, and in the top-right corner of the screen, it was telling me that the Bluetooth signal being received had a data rate of just 327Kbps.

That’s MP3 quality, and while I had to agree with my family that a certain amount of vinyl charm was still present in what we were hearing, and that it sounded surprisingly dynamic given the amount of compression going on, it wasn’t doing anywhere near justice to the source – or getting close to the quality of streaming an uncompressed digital track to the system.

The problem, it turns out, is that while the Pro-Ject turntable supports aptX HD, the Sony system doesn’t support aptX at all. Instead, it predictably favours Sony’s own LDAC codec, which the Pro-Ject does not. This meant that the devices were falling back on basic, very compressed, SBC Bluetooth.

The solution? There isn’t one really. At least not with my system as it stands.

Bitten by the bug

Importantly, though, this limitation wasn’t actually ruining our enjoyment of the listening experience, and we spent a full afternoon swapping out records and properly focusing on music in a way that, as a family, we very rarely have before.

And that made me realise that there are benefits to having a turntable that go beyond audio quality. My son had literally never interacted with physical music media until this point – music to him had always been instant, invisible and infinitely skippable – and his fascination with the artwork, the spinning record and the turntable mechanism was a joy to behold.

We were suddenly listening to whole albums again, as well, and after my little boy got over his shock that he couldn’t simply skip a track he wasn’t keen on, this became a blessing, too.

So, as I mentioned, both my wife and son, to my great surprise, are very keen to keep hold of the turntable as long as possible, and my son has said that he’d like to start collecting vinyl.

I’m absolutely thrilled with that. No, I can’t afford to support an extensive record-collecting habit, but a new album every 2-3 months or so? I can probably do that. And I’m reminded that that is pretty much how I collected and consumed music when I was young, albeit on cassettes and then CDs.

Next steps

Of course, keeping the (or ‘a’) turntable does still present a problem: while my family might love the way it sounds currently, I’m much more aware of how much it’s being compromised, and I can’t live with that.

I don’t want to start from scratch, though, and, as I’ve mentioned, the Sony HT-A9 system has been brilliant for us.

The solution I’ve come up with, then, is to look into adding a pair of wireless, powered hi-fi speakers just for music.

I’ve long admired KEF’s LSX models, and while these don’t support aptX, they do have an optical input, into which I could connect an aptX HD-compatible Bluetooth receiver.

The brand’s newer Coda W speakers are bigger and less visually exotic than the LSX II LTs, but they do support aptX HD. They could be a solution, although they don’t have built-in streaming capabilities, which would be handy to have as well.

Alternatively, I could save some money and look at the Ruark MR1 Mk3 speakers, which also support aptX HD right out of the box. I’m slightly concerned that they may not be beefy enough for my relatively large living room, but I won’t know unless I try.

So, yes, it’s system upgrade time, and you could say that taking the Pro-Ject turntable home has actually created a headache for me. I don’t see it like that, though.

For starters, researching and trying out new bits of kit is the biggest thrill of this hobby of ours, and my system has been static for a while now. It’s nice to have a new project.

Most of all, though, this experiment has inspired my wife and I to change the way we consume music, at least some of the time.

My son, meanwhile, has discovered a whole new way to interact with music that reminds me of how I fell in love with artists and albums when I was young, and that’s something I’m keen to nurture and support as much as possible.

So, while a few years ago I was adamant I’d never own a turntable, I'm now figuring out how to build a system around one – and, more importantly, how to share it.

MORE:

Check out all of our Vinyl Week coverage

Here are the best Bluetooth turntables you can buy right now

Have a read of our full Pro-Ject T1 Evo BT review

If you want to save space in your listening room, chances are you’ve looked at active speaker systems. Typically, audio sources and amplification are packed in with the speakers, so they're as neat and tidy as hi-fi gets. Plus, a host of inputs makes it easy to hook up alternative music sources and start listening. The great news is that, nowadays, such convenience doesn’t have to come at the expense of sonic performance either.

KEF is one audio manufacturer that is a great testament to this category. The brand’s wireless active speaker systems have been five-star successes, with multiple What Hi-Fi? Awards to their name, including the current LSX II LT (£899 / $1000/ AU$1695) and LS50 Wireless II (£2199 / $3000 / AU$4000).

KEF’s latest proposition, the Coda W active speakers, clearly have a lot to live up to, although they have some key differences from their Award-winning cousins.

The headline news is that the built-in streaming capability has been replaced by Bluetooth, and we now get a moving magnet (MM) phono stage, as KEF looks to tap into vinyl’s ongoing resurgence.

So, does this deviation from the winning formula still work? Let’s take a look and find out.

Build & design

We fetch our LSX II LT sample out of our storeroom to compare them to the new Coda W, and physically, what’s noticeable straight away is how much more substantial the new speakers are.

Unlike the LSX II LT, they look a bit too big to sit on a desk. This isn’t surprising considering they measure 28.5 x 16.8 x 26.8cm (hwd). At 11.3kg, they’re 4.5kg heavier than their compact cousins too.

The Coda W definitely seem most at home on a pair of speaker stands, which is where we have them for the majority of our testing. We settle with the stands about 30cm away from our listening room wall, which ensures plenty of low end but not so much that it begins veering into the mud, so to speak.

When looking at the Coda W and LSX II LT side by side, the new models definitely have more of a classic speaker aesthetic, owing to their squared-off, rather than curved, edges. Nothing about them feels remotely dated, however. The Coda W are slick and streamlined, while their clean lines give them a minimalist look that exudes a quiet elegance.

The choice of finish options is more understated than loud, but with five to choose from (vintage burgundy, nickel grey, moss green, midnight blue and dark titanium), there should be something to suit everyone’s tastes.

Our review sample is in the midnight blue colour, which looks to have been applied with care as the cabinets are neatly finished. When picking up the Coda W, they also feel nice and sturdy, while the overall build quality is excellent.

Bigger doesn’t necessarily mean better, but it does mean KEF can fit a larger version of its Uni-Q driver array into the Coda W. Uni-Q is KEF’s proprietary driver technology where the tweeter sits in the throat of the mid/bass unit, with one of its claimed advantages being that sound is dispersed more evenly, meaning you can be less fussy about your listening position. We’ve had lots of experience with KEF’s Uni-Q driver array over the years and its claims in this regard ring true.

The 12th-generation Uni-Q fitted to the Coda W has a larger 13cm mid/bass compared with the 11.5cm last-gen unit used in the smaller LSX II LT, which promises improvements to scale, dynamics and bass reach. Look behind the distinctively shaped waveguide in the centre of the Coda W’s unit and you will find a larger 25mm aluminium dome tweeter, too.

Inside, each channel has two Class D amplifier modules, delivering 70 watts to the mid/bass unit and 30 watts to the speaker, respectively. That’s a total of 200W combined from the speakers.

Another similarity is that the Coda W has all the connections packed into one of the speakers that you connect to the mains power. This speaker then feeds power and signal to its pair via a supplied 3m USB-C cable. If you want a wider berth between the two, KEF also offers an 8m lead that you can buy separately.

Features & connectivity

If you’re buying an all-in-one speaker system, you definitely want a good selection of digital and analogue inputs, and the Coda W have enough to satisfy most listening requirements.

The lack of any built-in streaming (there’s no wi-fi, no Spotify Connect, no internet radio) here might be disappointing to some. KEF’s engineers say this is to appeal to customers who want minimal fuss with connectivity, and to keep costs down. To stream tunes wirelessly from your phone or tablet to the Coda W, you can do so via Bluetooth, with support for the aptX Adaptive and Lossless codecs available.

Looking at the back of the mains-powered speaker, you’ll find the aforementioned MM phono input for a turntable, and an RCA line-level for hooking up a CD player or music streamer. An HDMI ARC port means you can use the speakers to enhance your TV’s sound, while an optical input supports high-resolution audio up to 24bit/96kHz.

There is also a USB-C input that supports hi-res audio up to 24-bit/192kHz PCM, ideal for plugging in your laptop or smartphone. Another USB-C port can charge your mobile devices, too.

While we think the Coda W should have enough oomph in the low end to satisfy most listeners, bass junkies will be pleased to hear these KEFs also feature an RCA output for hooking up an external subwoofer.

There are several ways to control the Coda W: the KEF Connect app, the supplied remote control and the touch-capacitive buttons on top of the main speaker. Switching between sources and pairing with Bluetooth is painless, and overall, the speakers are easy to use.

Selecting your source on the speakers is done through a single button that cycles through the inputs in one direction, so an additional one that scrolls the other way would have been handy. With that said, the remote lets you scroll both ways and the app gives direct access to all sources.

Some members of the review team find the noise the speaker emits to indicate a change of source a little annoying, although this can be switched off via the app.

You can change the volume on the unit, but you won’t find any indication of volume level on the speakers, which could lead to an unpleasant surprise if the previous night’s listening session involved a lot of loud Motörhead.

You’ll find the volume level in the app, however, along with several EQ presets: bass boost, bass cut, treble boost and treble cut. We’re pleased to say these make a subtle but noticeable difference to the Coda W during playback, but the ability to do more in-depth tweaking to suit the speakers’ sound to your room, in the way you can with the LSX II LT, would have been nice. Those speakers’ settings include wall distance, room size, and high/low frequency filters, amongst others.

Sound

So, how do the KEF Coda W perform? Well, we’re happy to report that they sound very good indeed.

We use Tidal on our iPhone to stream Kate Bush’s Cloudbusting over Bluetooth, and her vocal sounds incredibly natural, without the tiniest hint of strain – it simply flows from the speakers to your eardrums with complete ease. There is so much texture to her voice, too, that closing your eyes leaves you feeling almost as if she’s holding those beautiful notes right in front of you. She isn’t, of course, but it’s an enjoyable illusion all the same.

The Coda W’s ability to handle the large-scale dynamics found in Beethoven’s Symphony No 7 In A Major - 2nd Movement - Allegretto is also hugely impressive: the song’s louder moments really wallop you, whilst the delicate ones are delivered with incredible subtlety. Their adeptness at presenting a spacious soundstage is also on full display, with ample opportunity to pick out the individual elements making up this beautiful Beethoven piece.

But it doesn’t stop there. We play the hard-hitting Even Flow from Pearl Jam and the Coda W’s excellent sense of rhythm and drive propel us through the song like a hurricane. We’re also left surprised because the speakers’ exceptional clarity allows us to appreciate the individual elements in such a way as to appear highly sophisticated, yet that doesn’t come at the expense of the track's rawness and grit whatsoever.

If you want to play music at a volume that definitely will disturb the neighbours, these speakers will retain their sonic character exceptionally well and remain remarkably muddle-free as you go through the gears.

The story changes slightly at very low levels, however, where there is a noticeable drop off in resolution and clarity.

To test the Coda W’s analogue line-level and digital inputs, we connect to our Cyrus CDi CD player and begin playing A Dark Knight from The Dark Knight OST. Through the analogue input, the CDi’s more capable digital-to-analogue converter (DAC) comes into play, providing better dynamic handling and more clarity than the Coda W’s digital module.

That said, the Coda W’s internal DAC remains an enjoyable listen in its own right, delivering enough in the way of tonal balance, detail and clarity regardless of whether we use the USB-C or optical connections.

We also make use of the moving magnet phono stage by hooking up the Rega Planar 3 RS Edition turntable (£999 / $1795 / AU$2199) to play Lukas Graham’s Happy Home and Did Trouble Me by Tom Jones. Both tracks showcase the phono stage for what it is: a clear and enjoyable listen, albeit lacking in terms of dynamics and clarity compared with the KEFs’ other inputs. If playing records is a priority, an outboard unit that is at least the standard of Rega’s Fono Mini A2D Mk2 (£115 / $215 / AU$259) will help you make the most of them.

Put the Coda W speakers up against the LSX II LT rivals, and you instantly notice their similar sonic character, despite the size disparity. Both have a relatively neutral tonal balance, so the presentation is nicely balanced. You needn’t worry about a hi-hat sounding too prominent, for example, that it diverts your attention away from the rest of the song.

In terms of bass, however, the bigger Coda W speakers go deeper, while providing greater scale and authority. Their dynamic range and clarity are also superior. Mind you, the LSX II LT still sound good, just more as you'd expect from their more compact size compared to KEF’s latest beast.

Verdict

KEF has taken a slightly different approach with the Coda W active speakers, but has successfully maintained its recent high standards when it comes to sound quality. While the phono stage could be better, listening via the other inputs is a joy. The sonic performance is a step above its smaller, Award-winning cousins, and costs you less money to enjoy, too.

If you’re happy to live without the wi-fi streaming features and are looking for a neat speaker system that doesn’t cost thousands, this should definitely be on your radar.

Review published: 5th February 2026

SCORES

• Sound 5
• Features 4
• Build 5

MORE:

Read our review of the KEF LSX II LT

Also consider the Triangle AIO Twin

KEF Coda W vs LSX II LT: which speaker system is the best option for you?

Best active speakers: our experts pick the top pairs with integrated amplifiers

Active vs passive speakers: what's the difference? Which is better?

No matter how sophisticated the engineering behind wireless headphones, their wire-free performance is inherently bound by the Bluetooth technologies they, and the smartphone (or other audio source) they are used with, support.

Sennheiser recognises this, and with its latest flagship wireless noise-cancelling over-ears, the HDB 630, has sought to improve things. How? By bundling in a clever little accessory that blesses your phone (or other audio source) with the same high-quality Bluetooth codec the headphones themselves support.

It’s a simple yet ingenious idea that pays dividends. Allow us to explain…

Features

You see, every Bluetooth-toting audio source, such as a smartphone or laptop, supports one (SBC) or more Bluetooth codecs. In the context of wireless headphone listening, these are software formats that compress and encode/decode music so that it can be efficiently transmitted wirelessly from, say, a phone to wireless headphones.

The most efficient, highest-quality codecs – aptX Lossless, aptX Adaptive and LDAC – retain the audio signal best (albeit not perfectly) during this process, allowing more of your music to be heard, but they aren’t universally supported by audio sources and headphones alike.

For example, iPhones, the audio source of choice for many people using Bluetooth headphones, only support SBC and AAC, the most basic, compressed, ‘lossy’ codecs. Android phones typically fare better on this front, although many don’t support the full codec suite. The flagship Samsung Galaxy S25 Ultra in our best smartphones buying guide, for example, supports LDAC and ‘only’ standard aptX – not the superior aptX HD, Adaptive or Lossless codecs.

As for laptops and computers, Apple’s MacBooks don’t natively support aptX (like iPhones, they typically prioritise AAC) and only select Windows machines do.

Bearing in mind that both the device and headphones must support the same codec to benefit from its optimal transmission, you can understand that the scenario in which one lets the other down is common.

Finally, we get to Sennheiser’s solution. The HDB 630 bundle in a BTD 700 USB-C dongle that you simply plug into your device’s USB-C to give it aptX Adaptive superpowers.

Pop it into an iPhone 15, for example (older iPhones will need to use the Lightning-to-USB-C adaptor too), and you suddenly have a true aptX Adaptive handshake between it and the HDB 630. For audio transmission integrity, that’s far superior to the AAC one you would get between these devices otherwise.

The dongle is tiny – roughly the size of the top part of your finger – and upon being plugged in connects to the Sennheiser headphones automatically, with a solid white LED light indicating a successful connection, and a purple one displayed during music playback.

On an iPhone, the BTD 700 and HDB 630 both show as ‘Connected’ in the Bluetooth menu; on an Android phone, the dongle simply appears as a ‘USB’ device in the Bluetooth menu below the connected HDB 630.

You can check the quality of the signal path in the Sennheiser Smart Control Plus app’s settings (see the screenshot above or image below). Here, you’ll want to ensure the ‘Audio mode priority’ is set to ‘Hi-Res 24bit/96kHz’.

Sound

The dongle proves a valuable accessory. When connected to an iPhone 16 and old Samsung Galaxy S21, upgrading their respective AAC and aptX connectivity with the headphones to aptX Adaptive, the presentation gains in clarity and solidity.

It’s a good advert for the Bluetooth technology, demonstrating that higher-quality codecs do make a difference with hardware that is revealing enough to highlight them.

Indeed, the HDB 630 are such examples of capable hardware. The headway they make over Sennheiser’s former wireless flagships, the Momentum Wireless 4, somewhat take us aback during our first comparison. The HDB 630 are miles ahead when it comes to detail, dynamic expression and refinement.

These are wonderfully smooth and natural sounding headphones, full of shape and dynamism across the frequency range, and we’re no more than a song into our playlist before we begin to suspect that the Award-winning Sony WH-1000XM6’s days at the top of the leaderboard could be limited.

That song is Christine And The Queen's Mountains (we met), a piano ballad about a yearning for a past relationship that’s never coming back, and the Sennheisers pull you into Héloïse Adelaïde Letissier’s vocal longing with an incredible amount of midrange texture and dynamic attention to her inflections.

The sparse piano notes drip with harmonics, while the percussive rhythmic pattern comes through with precision and purpose. Through the Sonys, the emotional impact is still there, but the presentation is that bit flatter, the percussion and vocal delivery less shapely and dynamic within a more compressed soundstage.

It’s a similar story with Bon Iver’s S P E Y S I D E: the Sonys capture the textures of the acoustic strings and rich vocal and ably track their dynamic variety, yet the Sennheisers' more emphatically pursue their rises and falls, telling you more about how the strings are plucked. The viola gliding through the middle is thrust more into the spotlight, too.

Their bigger canvas and the more precise placement of, and greater separation between, musical elements within it make the dense production of Public Service Broadcasting’s Spitfire more easily digestible, and that commitment to space and scale never comes at the expense of musical cohesion either.

Here, precision and analysis go hand in hand with drive and vigour, making for the most informative and entertaining sound we’ve heard from wireless headphones at this price, with or without the use of the dongle.

Design & comfort

If the sceptic in you has been waiting for a ‘but’, it doesn’t come here. The HDB 630 adopt the design language of recent Sennheiser Momentums, defined by chunky, ovular earcups free of any decoration. They’re probably not far off what a primary school child would draw if given the task to draw headphones.

That may not sound particularly inspiring, and those looking for blingier headwear at this premium price range will undoubtedly be more impressed by the Bowers & Wilkins Px7 S3 and Apple AirPods Max. But fans of discreet, minimalist design will more readily appreciate their subtly shiny matte finish and quality construction.

What arguably matters more about any headphones’ physicality is comfort levels, and the Sennheisers nail this criterion. Their grip is secure yet not too tight, the positive seal of their pleather earpads isolates well, and the aptly cushioned headband ensures that the relatively heavy (311g) headphones aren’t burdensome on the top of your head.

You won’t ever forget you’re wearing them, as you might with light, slimline over-ears like the Bose QC Ultra Headphones (2nd Gen), but they don’t feel oppressive either, even during longer wear.

While headphone manufacturers seem to be torn as to whether to deliver key functionality with buttons or gestures, Sennheiser has stuck with a touch-control affair here, the only button on the right earcup launching your phone’s voice assistant.

We wish it turned Transparency mode on/off instead, which is activated by tapping the right earcup twice, but at least the touch controls are responsive and work across a generous surface area.

We like that every touch action is signalled by a sound, and they can be turned off in the app to prevent accidental touch when, say, you’re lying down or wearing a scarf.

That single button and touch-capacitive area aside, the right earcup simply houses a 3.5mm jack and USB-C charging socket, both of which can be used for wired listening with the supplied 1.2m cables, though do note that the headphones require battery life for either method.

You have limited excuse to be caught short, however, with the HDB 630 offering a liberal 60 hours of audio playback with ANC on, reducing to 45 hours when the dongle is in the equation.

The app offers a generous suite of functionality beyond assuring you of the audio quality you’re getting, including activating on-head detection, smart pause and auto-answer call features for hands-off playback control; one of the most comprehensive parametric EQs we’ve seen for such a product; and noise cancellation adjustment.

Noise cancellation

Truth be told, there isn’t a ‘but’ to be found; the HDB 630 are a well-rounded package. That said, they aren’t class leading everywhere. Their active noise cancellation qualifies for ‘good’ rather than ‘great’ in a market where Bose and Sony are dogged in their pursuit of silence, though it should be said that the HDB 630’s physicality goes further than most designs to isolate you from the outside world in the first place.

Their ANC system certainly takes the sting out of disruptive surrounding noise, reducing the rumble of traffic and bus engine noise – those kinds of low-end frequencies are typically the most distracting in your everyday life.

Set ANC level to maximum and play music at a decent volume, and you’ll likely find yourself satisfyingly isolated.

But during a comparison, the Sony XM6 block noise slightly more effectively. You can more clearly detect revving engines through the Sennheisers, and we find that traffic whizzing by us catches our attention more.

The Sonys (and more so, the Bose QC Ultra 2) provide a more intense feeling of ‘dead air’ between the earcups, and it’s easier to switch off from the noise world while wearing them, particularly when listening to low/mid-volume piano pieces.

Price

More features, improved sound and the unique inclusion of an audio-enhancing Bluetooth dongle understandably translate to a pricier pair of headphones than the Momentum Wireless 4, which arrived in 2022 for £300 / $349.95 / AU$549.95.

Sennheiser has been much more ambitious in both designing and pricing its latest flagship wireless over-ears this time round, reflected in the HDB 630’s name and positioning within the lineup – they’re the first wireless pair to be included under the ‘Audiophile’ 600 Series umbrella – and their £400 / $500 / AU$1000 launch price.

That doesn’t put them beyond their closest rivals, mind you. In fact, they’re squarely in the firing line of the Sony WH-1000XM6 (£400 / $450 / AU$699), Bowers & Wilkins Px7 S3 (£399 / $449 / AU$699) and Bose QuietComfort Ultra Headphones (2nd Gen) (£450 / $429 / AU$649), all of which are only notably more attractively priced than the Sennheisers in Australia.

Verdict

Sennheiser has reestablished itself within the noise-cancelling headphones market with the HDB 630, moving on from its competitive Momentum model to create something bolder, more ambitious and altogether better.

They move the goalposts for wireless sound quality at this level, while going the extra mile to upgrade iPhones and other audio sources to make it easier for people to benefit from it. And they also score well enough in the design, features and noise-cancelling departments to be considered a highly attractive all-round package.

For sound-conscious folk looking for convenience and audio quality, the Sennheiser HDB 630 are serious best-of-both-world propositions.

Review published: 3rd December 2025

SCORES

• Sound 5
• Build 4
• Features 5

MORE:

Read our review of the Sony WH-1000XM6

Also consider the Bowers & Wilkins Px7 S3

Check out our guide to the best wireless headphones we've tested and rated

This race has already been run. When the Bluesound Node Icon arrived in the What Hi-Fi? test rooms, it went up against the established five-star Cambridge Audio CXN100 and came away from that head-to-head victorious, winning the 2025 What Hi-Fi? Award for the ‘Best music streamer £750-£1000’.

But while that spoiler somewhat gives away which has the performance edge and is our expert reviews team’s preference of the two premium streamers, it doesn’t tell the whole story of how these excellent machines compare – nor does it necessarily determine which one you should favour.

After all, one may have more suitable connectivity for your setup, one sonic character may suit your system components more than the other.

Below, our expert reviews team have put the two literally side by side to directly compare their build, features, sound, user experience and price, to help you make an informed choice over which premium streamer, if either, is right for you. Off we go…

Price

Bluesound streamers have traditionally occupied the entry-level end of the market, its original (and following generations of) Node having been the core model in the Canadian company’s range for a decade now, priced around and below the £400/$500/AU$1000 mark.

The Node Icon sees Bluesound reach higher up the market, where fellow streamer stalwart Cambridge Audio has, in contrast, years of experience. The new flagship costs £899 / $1199 / AU$1949, making its natural rival Cambridge Audio’s similarly priced CXN100 (£899 / $1049 / AU$1899).

While many five-star streamers sit on either side of this price level, as featured in our best music streamers buying guide, not much at it has genuinely impressed besides the Cambridge and Bluesound. We are also big fans of the Lindemann Limetree Bridge II (£875 / $1350 / AU$1495), but unlike the two streamers in the spotlight here, it doesn’t integrate a DAC and is therefore considered a ‘streaming transport’.

**Winner: Draw**

Features & connectivity

With DACs on board, both the Bluesound Icon Node and Cambridge Audio CXN100 are fully fledged music streamers that can connect to any stereo amplifier (digital or analogue) or active speaker via their wealth of outputs.

The Bluesound has the full output suite – coaxial, optical, RCA, XLR, sub and even two 6.3mm headphone sockets – plus an HDMI eARC for connecting the unit to a TV. If you wanted to connect a CD player, laptop or other audio device to the Node Icon, you can do so thanks to its RCA, optical, USB-A and USB-C inputs.

As far as its built-in streaming savviness goes, the Bluesound runs on the excellent BluOS platform, which is a comprehensive and easy to navigate gateway to all the streaming service and internet radio apps one would expect. It also supports AirPlay 2, aptX Adaptive Bluetooth and Tidal Connect, Qobuz Connect, Spotify Connect, with the only real notable omission being Google Cast.

The Cambridge Audio streamer, meanwhile, is almost as well furnished for physical connections. It just swaps the Bluesound’s USB-C port for a USB Type-B one, and forgoes its rival’s HDMI and RCA inputs and subwoofer and headphone outputs.

Its streaming skills are certainly a match for the Node Icon’s, though, and even extend to Google Cast. Both machines are Roon Ready.

While the high-resolution audio file support of the Bluesound’s twin ESS Sabre ES9039Q2M DAC chips caps out at 24-bit/192kHz PCM, DSD256 and MQA, the Cambridge’s ESS ES9028Q2M DAC can handle 32-bit/768kHz PCM, DSD512 and MQA. Both limits should be fine for most people, though anyone with particularly high-quality (and indeed niche) DSD and PCM files will naturally be better served by the Cambridge.

Besides connectivity and streaming, the Node Icon packs an extra feature that could be a real bonus for those whose listening rooms have serious acoustic issues: Dirac Live support. The room-correction software is designed to optimise the Bluesound’s performance to a listening space, although you will need to purchase separately the calibration kit (comprising a high-sensitivity microphone and USB adapter) and a Dirac license to make it all work.

**Winner: Bluesound Node Icon**

Build & design

Music streamers nowadays tend to go one of two ways when it comes to design; they are either compact, discreet boxes, with control and aesthetics largely the domain of the companion app, or they somewhat complement the app design by also leaning into physical tactility.

The Bluesound belongs to the latter category. The Node Icon is a taller, boxier unit than its ‘modem’-like siblings, though it’s still fairly compact, its 22cm width conforming to ‘half-width’ dimensions.

It’s modern-looking, too. The anodised-aluminium metal casing and shiny glass top feel, to quote our Node Icon review, “sturdy and substantial”, while the five-inch colour display and touch-capacitative controls are lovely, colourful and responsive.

Our reviewers particularly like how you can appoint five presets, allowing access to your favourite playlist or radio station with a single tap of an illuminated ‘dot’. We aren’t as taken with the fact that a clock interface shows when the unit is on standby or when the music is paused, but Bluesound says the decision was partly taken to reduce screen burn-in, and it’s a small niggle in the grand scheme of things.

The Cambridge Audio CXN100 is, in contrast, a more ‘hi-fi-looking’ full-width design that doesn’t invite as much physical interaction with the unit. Its sleek, metal chassis – almost identical to the company’s previous-gen CXN V2 – is elegant, and the 4.8-inch display is pleasingly crisp and colourful. There are simple playback/menu navigation buttons on either side of it, but we can’t imagine them being used on many occasions.

We believe both designs, while very different, have their place in the streamer market, and which you prefer will come down to personal preference and, most likely, the size and colour of your other system components.

Neither machine comes with a remote control, though you can buy one separately for the CXN100 or use the same remote you get with the company’s CX amplifiers or CXC transport.

Indeed, the main means of control for both units is the companion app, and both Bluesound’s BluOS and Cambridge Audio’s StreamMagic apps are good and evidence of the brands’ long-held expertise in the field.

**Winner: Draw**

Sound quality

The app doesn’t fall far from the tree where the streamers’ sound quality is concerned either. Bluesound and Cambridge both have a pedigree in the field, and their premium offerings here are testaments to that.

The most recent Bluesound products we have reviewed prior to the Node Icon have been capable and competent, but we felt that they were missing some kind of spark – the spark that Bluesound products of old had in spades.

Thankfully, this spark has returned in the flagship, making for, to quote our review, “a lively, engaging and dynamic performer that grabs our interest at the beginning and only continues to impress us the more we listen.”

There’s detail and clarity aplenty, and every part of the frequency range is delivered faithfully, without any embellishment. The similarly competent headphone amplifier performance really gives that bonus feature significant value, too.

The Node Icon’s lithe and musically engaging nature is satisfyingly consistent across the inputs (just expect the usual dip in power, punch and detail with Bluetooth playback), and ultimately is what gets one over on the Cambridge Audio rival. “We find ourselves willing the leaner Cambridge streamer to sound that bit more propulsive and more dynamically adept with the same songs during our comparison testing,” reads our Bluesound Node Icon review.

The CXN100 is no musical slouch, you understand – just not quite as propulsive or dynamically expressive as the Bluesound. It offers a bigger, more spacious soundstage than the Node Icon, and delivers in every other sonic respect, making it a proud silver medalist.

It’s wonderfully clear and articulate, sparklingly precise, and consistent regardless of the input or streaming method used. And its refinement spells good news for fans of heavier music genres and/or loud volume levels. “We don’t get to say this very often, but the CXN100 sounds great with heavy metal tracks, with a top end that strikes the right balance between smoothness and bite,” reads our Cambridge Audio CXN100 review.

Owners of its predecessor who may be looking to upgrade should know, however, that the CXN V2 is richer and warmer in character than the faster, cleaner CXN100, and perhaps slightly more natural in the way it delivers voices as a result – but it certainly isn’t as sophisticated when it comes to clarity, precision and spaciousness.

Both streamers show how far music streamer performance has come in recent years, and have the all-round talents deserving of their five-star verdicts – the arrival of the slightly more musically gifted Bluesound doesn’t change that for the Cambridge Audio.

**Winner: Bluesound Node Icon**

Verdict

It’s a closely fought battle, but ultimately one that sees Bluesound sticking its flag in the ground. The Node Icon’s more musically convincing manner edges things in the sound department, and its more generous physical connectivity should particularly appeal to those who want to integrate a streamer into a TV-inclusive setup.

Indeed, Bluesound’s ambition to extend further up the music-streamer chain than before has paid off for both it and streaming-savvy consumers.

Bluesound and Cambridge Audio are arguably the best brands in the music streamer business before you get to pricier offerings from the likes of Cyrus, Naim and Audiolab territory, and we can undoubtedly look forward to many more battles between them in future.

**Overall winner: Bluesound Node Icon**

MORE:

Our expert picks of the best music streamers you can buy in 2025

See our newly crowned What Hi-Fi? Award 2025 winners

The perfect hi-fi streamer exists only in our imagination – here’s how it looks

How to add a music streamer to your hi-fi system

Sennheiser is no stranger to wireless headphones – its Momentum 4 Wireless over-ears are strong contenders thanks to a pleasing combination of comfort, features and sound quality for the price.

But now the brand is aiming its sights higher, with the launch of the first wireless model in the long-running HD 600 audiophile wired headphones range.

The Sennheiser HDB 630 are positioned as the brand's "first high-res audiophile wireless product" and aims to combine the "unmatched audiophile precision" of the audiophile HD6 range with the portable convenience of the Momentum wireless range.

In a bid to ensure that everyone can enjoy hi-res audio on these new wireless headphones anywhere, Sennheiser includes a BTD 700 USB-C Bluetooth transmitter in the box, which grants hi-res streaming to smartphones and tablets that don't natively support the higher-quality aptX HD codecs.

This tiny dongle device lets you stream music at up to 24-bit/96kHz quality using the aptX Adaptive codec, which offers higher resolution and greater data transfer than the standard Bluetooth codec found on, say, an iPhone.

Sennheiser says: "With only an estimated 16% of smartphone hardware supporting native wireless high-res sound, the included dongle brings this capability to 80% of smartphone models in an instant through their USB Type-C port."

This transmitter also adapts according to your environment – for instance, scaling the resolution down if you're in a congested area to ensure the Bluetooth connection remains stable with minimal dropouts.

The aim for the HDB 630 is not just to deliver a higher-resolution sound quality for audiophiles on the move – we are promised twice the resolution of the five-star Momentum 4 – but also to ensure that connectivity is stable in all situations, including multipoint Bluetooth connections.

The 42mm drivers feature a "refined" acoustic design that balances the headphones' compact form with ample air flow behind the transducer. The headphones have undergone "pure audiophile tuning" to deliver a smoother response in the upper midrange and lower treble areas, with a claimed frequency range of 6Hz to 40kHz.

Listeners can also enjoy the full 24-bit/96kHz resolution in lossless quality by opting for a wired connection, with USB-C and 3.5mm audio cables included in the box.

Adaptive ANC is on board and aims to "block out distractions while preserving clarity and dynamics".

Battery life is claimed to be an impressive 45 hours with full hi-res streaming and ANC turned on. This extends to 60 hours if ANC is turned off and listening with non-hi-res codecs.

Sennheiser also offers detailed parametric EQ and crossfeed functions within the Smart Control Plus app, which lets you fine-tune the HDB 630's sound quality even further to your liking.

The standard five-band equaliser allows for changes within a fixed range; the new Parametric Equalizer offers far greater adjustments that allow for those audiophiles who really enjoy tweaking the sound quality to sculpt their preferred frequency curve. It even includes A/B comparisons to compare and analyse the changes you've made – which is a useful touch. After a future update, users will also be able to share their own tailored EQ presets via QR code with fellow Sennheiser fans.

The crossfeed setting is inspired by the brand's flagship HE 1 headphones, and digitally blends the left and right channels – when dealing with classic mono recordings or "hard-panned mixes", for instance – for a more "speaker-like" presentation that might be easier on the ears.

The HDB 630 are a closed design and takes ergonomic design inspirations from the Moment 4 Wireless, with earcups that are supposedly less prone to fingerprint marks. The adjustable headband is made of a "Japanese Protein Leatherette" material that aims to be comfortable and durable over long listening periods.

Sennheiser's Senior Product Manager, Wee Hong Kuan, says: “We set out to deliver a compelling option for audiophiles who want to keep the same level of quality they’re used to with their wired headphones while enabling them to enjoy it everywhere, and out of the box, the HDB 630 brings a truly unique combination of fidelity and customization.”

The Sennheiser HDB 630 headphones will cost £399.90 / $499.95 / €499.90. Pre-orders are now open, with global shipping starting from 21st October.

That's a step up from the Momentum 4's £300 / $349.95 / AU$549.95 launch price, and the new "audiophile" wireless cans will see competition from five-star premium rivals such as the Sony WH-1000XM6 and Bowers & Wilkins Px7 S3.

MORE:

Read our Sennheiser Momentum 4 wireless review

Inside the Sennheiser factory: assembling audiophile headphones and listening to £60k electrostatics

Best Sennheiser headphones 2025: 7 brilliant options tested by our team

“The best headphone Bowers & Wilkins has ever made” – that’s certainly one way to sell your new flagship wireless headphones, which is exactly the claim Bowers is making for the Px8 S2.

The outgoing Px8 set the platform, offering a potent combination of luxury, performance and wireless convenience that elevated the brand’s wireless headphone offering to a new level.

So, how do you improve on the original? Bowers & Wilkins hasn’t gone back to the drawing board completely for its latest flagship, but has made changes in a couple of key areas that, on paper, will have a significant effect on sound quality.

Are these positive changes for the Px8 S2, or has B&W broken something that didn’t really need fixing? Let’s find out, shall we?

Price

The original Px8 went on sale in 2022 and cost £599 / $699 / AU$1150. Bowers & Wilkins’ second-generation model brings with it a slight increase to £629 / $799 / AU$1299.

This places the Px8 S2 in the same price ballpark as the five-star Focal Bathys (£699 / $799 / AU$1199) and above the likes of the Apple AirPods Max (£499 / $549 / AU$899), Dali IO-8 (£499 / $900 / AU$999), the Bose QuietComfort Ultra Headphones (Gen 2) (£449 / $449 / AU$700), class-leading Sony WH-1000XM6 (£400 / $450 / AU$699), and the Px8’s five-star siblings, the B&W Px7 S3 (£399 / AU$699 / $449).

Design

If it’s classy looks and luxurious feel you’re after, then the Px8 S2 will not disappoint. They carry over the premium materials and design flourishes of the original, which means they look every ounce a premium headphone, and we can confirm they feel it in hand too.

Place Sony or Bose’s flagship pairs up against the Bowers and you can see and feel where the extra money has gone. Both pairs feel significantly cheaper, especially the Bose.

The nappa leather that adorns the headband, earcups and earpads is wonderfully soft and plush. Our ears didn’t feel uncomfortable or start to heat up following long listening sessions and the padding is comfortable enough.

The ear cushions and headband have been slightly redesigned so they can now be replaced by trained service engineers, should they need to be.

The colour co-ordinated cast aluminium arm structures are exquisitely finished, and the movement feels precisely engineered in terms of how they rotate on axis.

A nice little design touch we should mention here is the exposed cabling along the aluminium arms, which is a little nod to the design of the Bowers & Wilkins P5, the company’s first headphones, which launched back in 2010. The cabling was hidden in the previous generation Px8.

At launch, finishes are limited to the Onyx Black of our review sample and Warm Stone, but don’t be surprised to see other finishes join the line-up over time.

Weight-wise, the Px8 S2 are 310g, which is actually 10g lighter than their predecessors and well in keeping with rivals around similar money. By contrast, the Focal Bathys weigh 350g and both look and feel bulkier than the B&Ws.

The Px8 S2 feel comfortable enough in situ – the earpads sit over your ears and on your head with greater precision than, say, the Sony WH-1000XM6, which give the impression they are spread around your ear more. Both quite different, but both still effective.

There’s decent force behind the clamping weight without the headphones feeling too tight when they are sat in position.

A pair of headphones' drive units obviously dictate the underlying flavour of sound, and the headline news for Px8 S2 is that it keeps the same size of dynamic carbon cone driver used in the original but uses a brand new, stiffer chassis and motor system (including a new voice coil) that Bowers & Wilkins first used in its cheaper, but still brilliant, Px7 S3 model.

The new driver unit has fixing on its edges that allow it to be pinned down more tightly in the enclosure, and they can also be removed should one need replacing at any point.

In terms of electronics, the Px8 S2 use the same amplifier and DSP engine as Px7 S3, although the tuning has been tweaked slightly to take into account how the revamped carbon driver behaves.

Besides the new chassis and motor system, one of the other big changes for Px8 S2 relates to the microphones. The latest model uses eight mics in total, compared to six on the original. Six mics monitor external noise, with two doing so internally, monitoring the output of the drivers.

All eight mics get involved when you are taking and making calls, while six take part in noise-cancelling. The headphones also use a new algorithm to improve call quality, which we’ll discuss later.

Features

Eagle eyes will notice there have been a few tweaks to the button layout and design compared with the Px8. But we aren’t sure they are positive moves. The control buttons have shrunk on the back of the right earcup, especially the play/pause button, while the power and Bluetooth pairing rocker switch has moved from the right earcup to the left.

We found the main controls a little on the small side, especially when you consider their location, right on the slim inner edge of the right earpiece, which is adorned with the Bowers & Wilkins logo. This can make them slightly fiddly to locate and press.

The button you use to toggle ANC on/off and enable pass-through (transparency) mode remains on the back inner edge of the left earcup, albeit slightly higher up, above the power switch. Again, we found them slightly awkward to locate when on the move.

The Bowers headphones support Bluetooth 5.3, are compatible with standard SBC and AAC codecs, plus you can take advantage of aptX Lossless and aptX Adaptive 24-bit/96kHz from compatible sources.

Battery life remains unchanged at 30 hours, which is pretty standard for wireless headphones at this level. A fifteen-minute charge should inject another seven hours of playtime.

There’s no spatial audio or Bluetooth LE audio on the menu here, but we wouldn’t deem either of these a deal breaker – although Bowers & Wilkins has promised them via a future firmware update.

The padded carry case is slightly trimmed down compared to previously, and it contains a USB-C charging cable and a USB-C to 3.5mm cable, both of which can be used for wired listening.

As with the previous generation, you can use the Bowers & Wilkins Music app to make adjustments – the Px8 S2 allows for greater adjustment and customisation than the older model, thanks to a five-band EQ (compared to just bass/treble adjustment on the previous model), but you can bypass this completely by using the True Sound mode.

Pairing, done through the Bowers & Wilkins Music app, is okay, although it feels as though there is an extra step there that simply isn’t required, especially for a piece of tech that you should just be able to pair to and play music through. Adding a second device using Bluetooth Multipoint is painless enough, though.

With our original review sample, one member of the team did suffer a handful of connectivity quirks when out and about, with the app not recognising a switch of sound mode. On one occasion, the app also said they weren’t connected despite the Bluetooth connection being on in the phone menu.

We called in a second sample, and although they were more stable, we aren’t one hundred per cent confident in the relationship between app and the headphones.

Noise-cancelling & call quality

When it comes to active noise-cancelling, the Px8 S2 are a step up from their Px7 S3 siblings, which you would hope to be the case. However, they still aren’t a match for the very best, which is a little disappointing for a pair of wireless headphones at this level.

During testing, we notice more train rumble, and more voice penetration compared to the Sony WH-1000XM6 when commuting into the office. The Sony noise-cancelling sounds natural but also manages to make external noises whisper quiet, especially those in the higher frequency realms.

When faced with the background whirrs, rumbles and scrapes of a petrol-powered lawn mower, again, we hear greater high-frequency leakage compared to the Sonys, and also find wind noise to be more penetrating. The Px8 S2 are good, but not in the same class as the best noise-cancelling headphones.

Regarding call quality, the Bowers are on par with most premium wireless headphones. They deliver your voice with good clarity and expression. There’s detail to phone calls and they don’t make your voice sound unnatural and slightly processed, which some headphones can do.

They do, however, let a little more background noise through than the Sonys, which still have the edge when it comes to dampening any external kerfuffle during calls.

Sound

We start our testing with Move Me by Charlie XCX, and we’re immediately impressed with the way in which the Px8 S2 dispatch low frequencies. There’s a real sense of power and authority to each note as it slams into your ears.

There’s ample bass weight but, more importantly, it’s tightly controlled, with clearly defined edges to the big notes but also the bass ripples that are injected into the track.

Bass comes at you hard and fast, and the notes don’t hang around – the Px8 S2 stop and start with impressive precision and accuracy, which allows the momentum of the track to continue without any awkward speed bumps getting in the way.

We switch to the awesomely melodic Everybody’s Changing by Keane, and the Bowers’ strengths shine brightly here. The track is delivered with punch, dynamism and exceptional clarity.

They extract plenty of detail from the percussion, lead vocal, even the little synthy flutters that jump between your ears.

The rise and fall in dynamics is handled superbly. The instruments deliver enthusiasm and life but the Bowers also communicate the tinge of sadness that comes from the lyrics.

They’re engaging to listen to, and you come out of a listening session feeling emotion, which is all you can ask for from a pair of premium headphones like the Px8 S2.

The old Px8 favoured a slightly more analytical approach, but the new version sounds more natural. There’s a greater sense of scale and openness too.

Raidiohead’s 15 Step is an old favourite of ours, not least because its slightly haphazard nature can give poor-sounding headphones nightmares when it comes to timing and being able to follow multiple different strands operating at different speeds.

It’s easy to trip over, but the Bowers manage to hang on to each of those strands and follow the track through to the very end without putting a foot wrong.

Compared to the Px8, punchier, more dynamic tracks are delivered with even greater conviction. With the Radiohead track, there’s more of a sense of space around the different elements, which gives the music room to breathe. This makes for a more interesting, entertaining listen that’s bristling with energy.

Playing Nothing But Thieves’ orchestral version of Impossible recorded at Abbey Road studios, there’s breathtaking clarity and intimacy as the Px8 S2 treat us to a rousing rendition.

The background is beautifully quiet as the track starts with a delicate vocal, solo electric guitar and drums setting an early, smooth tempo. Strings slowly creep in before soaring into view with the rest of the orchestra as the entire ensemble elevates the track to a new level. Strings rise and Conor Mason’s vocal leaps up in tandem, the headphones showing impressive dynamic reach.

Verdict

Bowers & Wilkins delivered a hit with the original Px8, but you can’t argue with the improvements that the Px8 S2 bring to sound quality.

They not only look and feel the part, but the headphones deliver refinement and detail in spades. They provide a potent, punchy listen that’s hugely entertaining. This is clearly five-star sound.

However, although the ANC performance is good, we couldn’t put it in the class-leading bracket. We also experienced connectivity issues, and having spent a good couple of weeks testing them, we think the ergonomics could be better, too.

If you want luxury design and sound, though, the Px8 S2 should definitely be on your list to audition.

Review published: 26th September 2025

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Apple AirPods Max

Also consider the Dali IO-8

Bowers & Wilkins Px8 S2 vs Sony WH-1000XM6: which flagship wireless headphones are better?

Bowers & Wilkins Px8 S2 vs Px8: which premium headphones are better?

Best wireless headphones reviewed and rated by our in-house experts

UPDATE 05/01/2026: At CES 2026, Earfun has introduced some big changes to its Wave Pro X wireless headphones, which was originally announced at IFA 2025. The over ear headphones' design has been tweaked for a more comfortable fit, and they now feature an 8-mic (up from 5-mic) AI Adaptive hybrid noise-cancelling system for better call and ANC quality. Originally slated to launch in January, the Wave Pro X are now expected to launch in June 2026, costing £120 / $130.

Additionally, the £90/$100 Air Pro 4+ earbuds (launched last year) are now imbued with AI-powered language translation, which existing customers can use with a firmware update via the app, at no extra cost. All other features and information for both Earfun models – including aptX Lossless and LDAC codecs, Auracast support and long battery lives – remain consistent with our original story below.

ORIGINAL STORY 04/09/2025: Earfun has unveiled two pairs of budget headphones at IFA 2025: the new flagship Air Pro 4+ buds and the next-gen Wave Pro X over-ear headphones.

The Air Pro 4+ are a pair of noise-cancelling wireless earbuds which, true to Earfun form, go big on features and small on price, while the Wave Pro X are wireless over-ears with a similar aim in mind.

We'll kick off with the Air Pro 4+ buds, which employ 10mm dynamic drivers and a balanced armature arrangement to deliver, claims Earfun, "cavernous bass, crisp highs and sweet mids".

The IP55-rated earbuds introduce Earfun's own 'Non Side-Fitted Acoustic Architecture', designed to optimise the driver suspension for better sonic resonance and a cleaner, more detailed sonic character.

The new flagship buds support the hi-res aptX Lossless and LDAC codecs, allowing you to transmit 24-bit streams from compatible source devices. A six-microphone array uses AI-powered environmental monitoring to bring voices to the fore and diminish any background noises from intruding into voice calls.

Battery life clocks in at an impressive total of 54 hours (36 with ANC on), while a 10-minute fast-charge grants three hours of playback in a pinch. Further features include Google Fast Pair for Android devices and in-ear detection, as well as a low-latency gaming mode.

Moving over to Earfun's second pair of over-ears, the new Wave Pro X are fitted with dual diaphragm drivers (40mm and 10mm), which seek to offer an "emotive experience" thanks to their immersive signature and "dynamic sound".

There is support for aptX Lossless and LDAC codecs as in the earbuds, and if you want wired listening, higher-quality audio is available via a wired 3.5mm connection.

The IP55-rated Wave Pro X headphones use a five-mic array and AI algorithms to enhance your voice when taking calls, whereas total battery life is claimed to be a rather massive 100 hours. We don't see many headphones get to those figures, although the more costly Cambridge Audio Melomania P100 also manage to get to around 100 hours with ANC off.

As with the earbuds, the new over-ears offer Bluetooth Multipoint for connecting to multiple devices simultaneously, as well as Google Fast Pair for Android devices and a low-latency gaming mode if you're pursuing your latest high score.

There's also support for Auracast, the increasingly popular sharing protocol which lets headphones connect to any number of compatible devices, sources or broadcast streams.

Both new models are customisable via the companion Earfun app, from which you can toggle gaming mode, access the customisable equaliser and check the battery status of your headphones or earbuds.

The Earfun Air Pro 4+ earbuds will be available in mid-October, priced at $100 / £90. The Earfun Wave Pro X over-ear headphones will launch in January 2026, also priced at $100 / £90.

MORE:

New issue of What Hi-Fi? out now: top turntables to supercharge your vinyl listening

These are the best headphones we've tested in 2025

IFA 2025 is fast approaching – here's what we're hoping to see

The headline news for the Focal Bathys Mg is quite straightforward.

Focal has taken the only wireless headphones in its stable, revised some design elements, and made one major change: it’s switched from a 40mm aluminium/magnesium driver to one made from pure magnesium, hence the ‘MG’ suffix.

This isn’t the first time we’ve experienced a pair of headphones with that ‘Mg’ tag – the company’s Clear Mg wired headphones passed through our test rooms back in 2022 and walked away with a five-star rating. Is this story going to have a similar ending?

If you’ve already seen the star rating, you’ll know the answer, but humour us and work your way down to the end of this review and soak up everything these sensational wireless headphones have to offer…

Price

We tested the original Focal Bathys back in 2022 when they launched for £699 / $799 / AU$1199. Unsurprisingly, the new Bathys Mg retail for a little more – £999 / $1299 / AU$2300 to be precise.

There aren’t huge numbers of wireless headphones on sale at this end of the market. Two models we’ve tested in recent years are the five-star T+A Solitaire T (£1200 / $1600 / AU$2160) and Mark Levinson No. 5909 (£999 / $999 / AU$1599), although looking around online, the Levinson pair appears to have reached the end of its shelf life.

The next price point down from the Bathys Mg is where a lot of the action is, and this includes models like the Bowers & Wilkins Px8 (£599 / $699 / AU$1150) and Dali IO-8 (£599 / $900 / AU$999). The Focals will need to outperform both of these pairs to stand a chance of achieving five-star status.

Design & build

If you’re familiar with Focal’s styling and design language when it comes to headphones, the Bathys Mg won’t look too out of the ordinary.

However, anyone used to the more sedate, dare we say slightly duller, styling of wireless headphones from the likes of Bose and Sony might take a bit more persuading that the Focals are for them.

The Bathys Mg look and feel like a pair of premium headphones, wireless or not. The leather used to cover the top of the headband and the memory foam earpads seem high quality and nice to the touch. The aluminium and magnesium yoke design feels built to last, too.

Focal claims that the Bathys Mg use more premium materials than the originals, including new foam for the headband and earpads, and they do feel slightly more supple when given a gentle squeeze. That leather also feels slightly higher quality.

The intricate detailing on the outer surface of each earcup goes above and beyond anything we’ve seen at cheaper price points, and while it might be a little showy for some tastes, you can’t argue that they don’t make a serious impression, especially when you add the backlit Focal logo in the centre of each earcup (don’t worry, it can be turned off).

The Bathys Mg have a chunky and dare we say rather bulky design – they weigh in at 350g, which is almost 100g more than the Sony WH-1000XM6, and you can tell the difference in-hand.

But the Focals don’t feel particularly uncomfortable to wear, and they carry out daily commutes pretty effortlessly, although one member of the review team found their ears did get quite warm while in use.

As seems to be the trend now for wireless ANC headphones, they only fold flat (instead of into a ball) and they come with a substantial carry case, which you’re probably going to want to carry around with you to protect your premium purchase.

The headphones are only available in one finish, which Focal describes as chestnut, although the carry case doesn’t seem to match and appears much more brown in colour, to our eyes at least.

Features

The Bathys Mg include support for AAC and SBC codecs and can handle higher quality aptX and aptX Adaptive streams from compatible sources.

They use the Focal & Naim companion app, which gives you some control over the headphones, but it isn’t quite as in-depth as some apps from rival brands. This is mainly because the Focals forego some of the features you find further down the pricing scale in favour of concentrating on performance and getting the basics right.

For example, there are no touch controls, so there’s no assigning to be done in the app – it’s all physical buttons, which some might feel is no bad thing. Also, there’s no wear detection, so if you want to pause your music, you need to hit the playback button before (or after) you remove them from your head.

In the app, there’s a five-band EQ for adjusting the sound and a choice of three preset EQ modes: Home, Loudness and Dynamic.

You also have three different Noise Cancellation modes: Transparent, Soft and Silent and the ability to alter the LED lighting around the Focal logos on the outside of each earcup – although to us, a light show like this feels a little unnecessary on a pair of expensive wireless headphones.

The most interesting thing in the app, we find, is the Sound Personalisation mode, where the headphones feed you test signals designed to help create a sound profile more befitting your current hearing ability. It’s a thorough process that we found well worth experimenting with during testing.

The headphones come with a 1.2m headphone cable with a 3.5mm jack and a USB-C cable of the same length for wired listening.

For home listening, you can go from wired to wireless, either using the 3.5mm jack or by using Focal’s own built-in DAC, which supports sample rates all the way up to 24-bit/192kHz. All you need to do is switch the headphones into DAC mode using the small slider under the edge of the right earcup and connect them using the USB-C cable.

The right earcup hosts all sockets, and buttons for volume up/down, play/pause, Bluetooth pairing and waking a virtual assistant.

Battery life is claimed at 30 hours with Bluetooth and ANC engaged, 35 hours when using noise-cancelling and either the 3.5mm or USB-C jack and 42 hours in USB-DAC mode.

Fast charging should give you five hours of playback time in 15 minutes.

Noise-cancelling & call quality

Focal has added new digital mics to the Bathys MG (the headphones use eight in total, four per earcup) in an attempt to improve noise-cancelling, and during testing, we found them to be highly competitive and up there with some of the best pairs we’ve tested.

Upper bass and lower midrange rumbles are handled well and traffic noise is subdued nicely too. The Focals are more accomplished here than the Mark Levinson No. 5909 and the Bowers & Wilkins Px8.

You have three modes to play with. 'Silent' is noise-cancelling at its most intense but it doesn’t feel as intrusive as the noise-cancelling employed by the likes of Bose in its flagship QuietComfort Ultra Headphones. 'Soft' lowers the intensity a little, while transparent allows outside noise to peek through.

Call quality is good, although not quite as noise-free as it is when speaking through the Sony WH-1000XM6, which are the current class leaders in this regard. The way the Sonys subdue wind noise is particularly impressive. Background wind and high-pitched noise permeate through the Focals a little more easily, but our voice remains clear and natural, and less processed, when holding a conversation.

Sound

With the original Bathys on hand for comparison, the Focal Bathys Mg immediately sound like a cut above. They offer more across the board: a greater sense of refinement, expression and more precise deployment of notes throughout the frequency range.

The Bathys Mg have greater control over lows and highs, which makes the original sound a tad unwieldy.

Like an excellent pair of stereo speakers, you just aren’t aware of the Focals adding or taking anything away from the music. They give you a natural, balanced account of any genre of music you care to play through them.

We start with a spot of indie rock courtesy of Geronimo by Stereophonics. And the Focals dispatch it with relative ease.

Each stompy drum thwacks hits with weight, precision and texture, and there’s dynamic differentiation between the quick one-two hits that add thrust to the track. It’s not the most complicated ensemble, but the swagger of the track is communicated without any confusion.

The percussion at the start of the song cuts through the meaty drums like a raspberry sorbet cuts through a rich triple chocolate brownie.

There’s a cutting crispness and a sharpness, but the actual level of the treble is sky-high, and could quite easily sound wince-inducing on poorer-performing headphones.

One thing the Focals do really well is sound beautifully balanced and neutral. Some wireless ANC headphones can sound a little artificially boosted at the top or bottom end, but the Bathys Mg don’t play these games and deliver music with a completely straight bat.

We switch over to Adele’s Skyfall and are captivated by the Focals’ delivery. As the keys of the piano strike at the start of the track, the Bathys Mg handle them delicately, but don’t shortchange you with the dynamics or weight of each key press.

When the rest of the orchestra kicks in, the Focals reveal layer upon layer of texture and detail. It’s a spectacular level of insight and a clear cut above what is served up by any of the cheaper, yet flagship, rivals from the likes of Bowers & Wilkins, Dali and Sony.

There’s plenty of sparkle and texture to the percussion, while strings sway sweetly and with sharply defined edges.

The expression in Adele's vocal as she shifts through the gears at the track’s climax shows the Focals have plenty of stretch in their dynamic range.

Finally, we switch to playing Duel Of The Fates from the Star Wars: The Phantom Menace soundtrack as a 24-bit/192kHz stream from Amazon Music using the Focals in USB DAC mode – and we are treated to a sophisticated, refined and pristine performance.

The headphones allow the choir and each section of the orchestra room to breathe, despite the track’s frantic and fevered delivery. It’s a real rollercoaster of a track and the Focals just savour every one of the four minutes it plays for.

They deliver a masterclass in balance, poise and refinement, which draws you in and entertains as though you were watching the action unfold on the big screen.

Not only do the headphones have to keep up with the speed of the track, but they also have low and high-level dynamic shifts to contend with as they jostle for position in a congested sound field.

Verdict

We completely understand that not everyone can go out and spend this kind of money on a pair of wireless headphones.

Indeed, some might be asking why you would need to, given the five-star headphones available for half the money from some of the biggest, most experienced players in the market.

But, we would implore you to take the time to listen to the Focal Bathys Mg. The original Bathys showed Focal could make the jump from wired to wireless successfully, and the changes made for this version push the envelope even further. They’re exceptional performers.

Review published: 7th August 2025

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Read our review of the T+A Solitaire T

Also consider the Dali IO-8

Best wireless headphones reviewed and rated by our in-house expert

If you're looking for a pair of wireless earbuds, you're spoiled for choice. Both the Sony WF-1000XM5 and Bose QuietComfort Ultra Earbuds (2nd Gen) are among the best wireless earbuds around; but which would be right for you?

At two years old, the Sony XM5s are the grandaddy of the wireless earbud world, while Bose's new flagships went on sale only recently. Both scored a top five out of five in our reviews, thanks to excellent sound quality and noise cancellation.

Here's how they compare.

Bose QC Ultra Earbuds (2nd Gen) vs Sony WF-1000XM5: price

Both of these pairs are the brands' respective flagship wireless earbuds, so neither comes cheap. But there is quite a difference between them in terms of price.

The Sonys launched at £259 / $299 / AU$419, but that was in 2023. They are now around £200 / $200 / AU$350, but have fallen as low as £149 during flash sales.

The Bose are brand new, so are clinging to their launch price of £299 / $299 / AU$450. They might be discounted, but not by much any time soon.

**Winner: Sony WF-1000XM5**

Bose QC Ultra Earbuds (2nd Gen) vs Sony WF-1000XM5: design

Design-wise, they are apples and oranges. The XM5 are slimmer and lighter than their XM4 predecessors, and are made of a glossy, smooth plastic with a matte control panel.

It's a rounder design than the QC Ultra (2nd Gen), which feature an outer stem fitted to a central body that feeds into a slender nozzle.

Both are rated IPX4 water resistant, both offer touch controls, and both are designed to minimise the effects of wind noise. The Sonys fit in our ears well, but the Bose are just that bit more secure thanks to their slender wings that keep them in place. The Sonys rely on their polyurethane tips that you squeeze down and let expand once inside your ear cavity.

You do get more sizes of ear tips with the Sony though (four to the Bose's three). But the Bose come with three sizes of stability bands too, which really help with the fit.

The QC Ultra Earbuds (2nd Gen) feel fittingly premium and for their greater sense of security and comfort, we'll have to give them the win here.

**Winner: Bose QuietComfort Ultra Earbuds (2nd Gen)**

Bose QC Ultra Earbuds (2nd Gen) vs Sony WF-1000XM5: features

Sony's XM5 are some of the most feature-rich wireless earbuds money can buy.

Their 8.4mm Dynamic Driver X is a full 2mm larger than the XM4's. Because it doesn't have to move as much as the XM4's, it reduces mechanical noise.

Sony's DSEE Extreme processing is once again on board to upscale lower-quality music files, and the buds support hi-res audio and 360 Reality Audio files (with dynamic head tracking, for the first time). Sony's hi-res LDAC codec is also supported.

Bluetooth Multipoint lets you connect to two wireless devices at the same time and switch between them seamlessly, while Sony staples Adaptive Sound Control and Speak-to-Chat also return.

Adaptive Sound Control adjusts the amount of ambient noise allowed in depending on where you are and what you're doing. Speak-to-Chat detects when you are speaking and then pauses playback while allowing in ambient sound so you can hear the other half of the conversation.

And battery life? Eight hours from the buds, plus another 16 from the case, making 24 hours total.

That outdoes the Bose QC Ultra Earbuds (2nd Gen), which manage only six hours from the buds. But then the Bose case adds another 18 hours, making for the same 24-hour total.

These figures are both with Bluetooth and active noise cancellation (ANC) activated. But if you use Bose's Immersive Audio feature, the buds' battery life drops from six hours to four.

Opinion is split on Immersive Audio. While it's meant to make tracks sound as though they are being played on a pair of stereo speakers instead of headphones, the effect really depends on the track. Some tracks benefit from the wider, more spacious feel, but others can seem disorganised as a result.

The QC Ultra Earbuds (2nd Gen) support aptX Adaptive instead of Sony's LDAC, but again this brings 24-bit hi-res lossless streaming into play. And you get Bluetooth Multipoint and wireless charging, just like on the Sonys.

But for the extra modes, and the better on-bud battery life, the Sonys take this round.

**Winner: Sony WF-1000XM5**

• Bluetooth Multipoint: what is it? How do you get it?
• What is Sony's LDAC?
• Hi-res audio: everything you need to know

Bose QC Ultra Earbuds (2nd Gen) vs Sony WF-1000XM5: ANC and call quality

Bose has long dominated in terms of noise cancellation, and the QC Ultra Earbuds (2nd Gen) are another impressive showing.

Like their first-gen predecessors, they provide a cocooning effect that shuts you off from the outside world. The vast majority of low and midrange frequencies are silenced, and while some high frequencies do come through, they are nicely rounded to dampen their effect.

Theirs is a great spread of world-silencing, from general chatter to train rumbles and traffic noise.

By contrast, the Sonys put in a decent performance by in-ear standards, but they are noticeably less effective at blocking such a wide range of ambient sounds.

However, some will find Bose's 'vacuum' effect too much, and so might prefer Sony's more natural noise-cancelling feel. It's more subtle and less intrusive, while undeniably less effective.

As for call quality, the Sonys do a great job of minimising wind noise thanks to a streamlined design. Voices are prioritised well, and sound clear and crisp. The Bose also minimise background sounds effectively, while making voices weighty and prominent. They can sound a tad synthetic at times, but it's a minor bugbear.

**Winner: Bose QuietComfort Ultra Earbuds (2nd Gen)**

Bose QC Ultra Earbuds (2nd Gen) vs Sony WF-1000XM5: sound

Now the all important round. Which wireless earbuds sound better?

The Sonys have long been our pick for best overall in our list of best wireless earbuds, and that's largely down to their sound quality.

It's a little more analytical than previous Sony earbuds, but that's no bad thing. On the contrary, their organisational skills make sense of even the most complex tracks, while they have a compelling sense of rhythmic drive. Bass is deep but wonderfully controlled, and there's a great sense of spaciousness and openness that most buds lack.

The Bose buds have the same driver as their predecessors, but they have been tuned to improve the bass response and smooth out the high-end frequencies.

It's a job well done. The new buds are capable of “sinking to impressive new depths while retaining the requisite tautness and agility of their lower-end reproduction,” we wrote in our review.

The new buds have more body and texture than their predecessors, with added richness and authenticity.

Overall, the Sonys have it. They are more open, agile and articulate than the Bose, with a more extended treble. They communicate rhythms with more precision and drive, while the bass has more texture and subtlety.

Dynamically, the Sonys are more expressive, while they reveal more detail than the Bose.

But the Bose do win out in some areas. They have greater smoothness and refinement, sound more full bodied and have the more powerful bass. It's just not enough compared with the more musically interesting and entertaining Sonys.

**Winner: Sony WF-1000XM5**

Bose QC Ultra Earbuds (2nd Gen) vs Sony WF-1000XM5: verdict

It's a close one. Bose's new flagship buds are undoubtedly an excellent offering, with great sound, greater comfort and fit, and class-leading noise cancellation.

But sonically, the older Sony WH-1000XM5 still pull ahead, while offering the broader spread of features and costing less to boot. For pure sonic delight, our money would go on the Sonys.

MORE:

Read our Bose QC Ultra Earbuds (2nd Gen) review

And our Sony WF-1000XM5 review

Bose QuietComfort Ultra Earbuds (2nd Gen) vs QC Ultra Earbuds (1st Gen): should you upgrade?

It's not easy deciding on the right premium wireless earbuds for you, especially when the contenders come from companies with the weighty reputations carried by Bose and Bowers & Wilkins. With so many factors at play, how do you decide which are the right buds for you?

Do you go with Bose's QuietComfort Ultra Earbuds (2nd Gen), the latest pair from the resident noise-cancelling kings, or should you take a punt on the audio pedigree of the Bowers & Wilkins Pi8 wireless earbuds?

To that end, we've tested both earbuds against each other and assessed the strengths and weaknesses of these two excellent five-star pairs to help guide you towards the right decision.

Bose QuietComfort Ultra Earbuds (2nd Gen) vs Bowers & Wilkins Pi8: price

The Bose QuietComfort Ultra Earbuds (2nd Gen) landed with an official price of £299 / $299 / AU$450, undercutting the pricier Bowers & Wilkins Pi8 – which launched at £349 / $399 / AU$599 – by a reasonable distance.

We have seen the Pi8 occasionally drop in price since their release late last year – you can pick them up for £299 in the UK at the time of writing, for instance. We wouldn't expect the Bose to offer discounts any time soon, however.

*Winner: Bose QuietComfort Ultra Earbuds (2nd Gen)*

Bose QuietComfort Ultra Earbuds (2nd Gen) vs Bowers & Wilkins Pi8: design and comfort

What we have is two very nice pairs of wireless earbuds. We'll get into how they perform and sound below, but suffice to say that neither going to let you down in terms of comfort and build.

Let's start with the more costly B&W Pi8. The IP54-rated buds have been completely redesigned from the inside out, with a new shape, internals and drivers compared with their older-gen progenitors. In any of their boujee colourways, they look and feel like the premium buds they are.

You get four different sizes of silicone ear tips provided in the box –extra small, small, medium and large – and while we'd have liked an extra large tip and an accompanying ear fit test on the app, they're generally a pleasant and secure fit, even if we find it can take a bit too much manoeuvring to get the seal just right.

That's not a problem we've experienced with the Bose QuietComfort Ultra Earbuds (2nd Gen). Thanks to the return of their supporting stability ear bands, wherein a ridge of material fits within your inner ear, they're a stable and comfortable fit no matter what you do or where you go. Running, jogging, power-walking for a train; they remain rock-steady regardless of the task at hand.

We regarded the Bose QuietComfort Ultra Earbuds as some of the best running headphones for that very reason, and it's the same story with the second-gen follow-up.

It's a little frustrating that only three ear tip sizes are included with the Bose, but we're reasonably confident that those stability bands will prevent you from having too many issues. Still, an extra small option at the very least would have been nice.

The QC Ultra Earbuds (2nd Gen) are a well-made pair of wireless earbuds, too. From the shiny exterior of the outer stems to the quality plastics used in constructing the main body, you'll hear no complaints from us on the quality front.

Tough to pick a winner here, but for their more secure, comfortable and sport-ready fit, it's the Bose buds for us.

*Winner: Bose QuietComfort Ultra Earbuds (2nd Gen)*

Bose QuietComfort Ultra Earbuds (2nd Gen) vs Bowers & Wilkins Pi8: features

The new Bose buds offer six hours of battery life on a single charge, with three additional charges from the charging case resulting in a healthy 24-hour total battery life. Those are decent figures which roughly match up with the 6.5 hours (buds) and 20 hours respectively offered by the Pi8, with ANC switched on.

In terms of Bluetooth codecs, AAC and SBC codecs are supported by the Bose, as well as aptX Adaptive for streaming in 24-bit hi-res lossless and low latency via compatible sources.

B&W goes even further, with the Pi8 offering support for aptX Adaptive up to 24-bit/96kHz alongside aptX Lossless for greater hi-res support.

The Bose earbuds' party piece is Immersive Audio, the brand's take on spatial audio, which aims to deliver a more three-dimensional effect on any music you play. This is available in Still (fixed) and Motion (dynamic head-tracking) versions. It's a bit of a Marmite feature among our test team, as some find the effect 'pulls apart' music, and you have to find the right kind of track that plays to this 'immersive' effect's strengths.

However, it is available if you are a fan of spatial audio, and it's something that the B&W buds don't support in any shape or form

That doesn't mean the Pi8 don't have a party piece of their own. The buds' charging case doubles up as a wireless audio re-transmitter, meaning you can connect it via USB-C to 3.5mm or USB-C to a source that doesn’t support Bluetooth streaming, such as an in-flight entertainment system or older analogue devices, and it will play audio through the wireless buds. Handy.

What else? Both sets of wireless earbuds support Bluetooth Multipoint, as well as responsive and well-implemented touch controls. Both offer app support via their respective platforms, with Bose and B&W each offering comprehensive, easily navigable and pleasingly intuitive services.

Pretty much neck and neck, here, with Immersive Audio cancelled out by the Pi8's clever wireless transmitter charging case.

*Winner: Draw*

Bose QuietComfort Ultra Earbuds (2nd Gen) vs Bowers & Wilkins Pi8: noise cancelling and call quality

At this level, the QuietComfort Ultra Earbuds (2nd Gen) are still the ones to beat. Thanks to subtle tweaks to the buds' noise-cancelling algorithm and the continued use of Bose's CustomTune sound calibration tech, which adapts your noise-cancelling experience depending on your surroundings, the new buds are once again exceptional at keeping the outside world at bay.

Bose's claim that this new system would be more adept at filtering out sudden spikes of noise is something we found worked well during our tests. Across all noise modes and with most environmental noises, the Bose buds are in a class of one – they are more highly effective at cancelling noise compared with their rivals. Of course, the strength of their ANC does mean it comes with a 'vacuum' effect – which not everyone gets along with, but it's perfectly fine to live with if strong ANC is a priority.

B&W's noise-cancelling effort is a long way from being poor, and even when put up against the might of their class-leading rivals, the Pi8 do an admirable job. They're not quite as good at suppressing higher frequencies as the QC Ultra Earbuds, but they still do a fine job with the low-frequency rumbles generated by roadworks, trains or passing traffic.

In terms of voice calls, it's a much smaller gap. The Pi8 make voices come through naturally, clearly and expressively, whereas the Bose, while occasionally just a smidge artificial-sounding, are clear and articulate with voices. They're better at blocking out the outside world from coming through on calls, too, as you'd expect from the noise-cancelling kings.

For their outstanding ANC talents, the Bose buds take the crown here.

*Winner: Bose QuietComfort Ultra Earbuds (2nd Gen)*

Bose QuietComfort Ultra Earbuds (2nd Gen) vs Bowers & Wilkins Pi8: sound quality

Let's find out how the Bose and B&W earbuds stack up sonically.

To be frank, the Pi8 are some of the best-sounding wireless buds we've heard at their premium level. They scooped up a What Hi-Fi? Award win last year, and for good reason. The Pi8 delve into your music with forensic thoroughness, unearthing heaps of textural detail to put you fully in the picture.

There's a tangible feeling of maturity and refinement to how they sound. The Pi8 reach levels of sonic sophistication which lesser buds can only dream of, leading to a consummate performance that excels across the frequencies.

To quote from our review: "They shine a light on any music streamed their way with a beautifully balanced approach – you can savour every frequency from the lowest of lows to the highest highs".

There's weight to be found to keep us engaged with more energetic and demanding tunes as the flagship earbuds offer hearty helpings of authority behind instruments, be they pounding drums or speedy electronic beats. If we are being picky, there are rivals (such as the Sony WF-1000XM5) that deliver a tad more rhythmic drive and a greater sense of fun, but we can't imagine anyone not enjoying these refined Pi8 buds.

Bose's QuietComfort Ultra Earbuds (2nd Gen), meanwhile, don't completely overhaul the work of their five-star predecessors, favouring small tweaks to their sound tuning.

Thankfully, these apparently small changes have made a big difference. Bose's tweaked audio tuning in the second-gen buds teasessubtle improvements aimed at better bass response and smoother high-end frequencies, qualities we can happily report have evidently been improved with this newer iteration.

As our review states: "The newer buds sink to impressive new depths while retaining the requisite tautness and agility of their lower-end reproduction. Strings plunge deeper than before, but no matter the frequencies, there’s satisfying body and texture to notes that goes beyond anything the original QC Ultra Earbuds could muster".

They're brilliantly judged buds, striking a lovely balance between authoritative punch and compositional smarts. Rough edges are smoothed over with impressive control, while the buds' fluidity and control make them easy yet rewarding, entertaining listen.

The Pi8 are more detailed and refined, setting a benchmark for the amount of information they're able to dig out at this level, while the subtle nuances of performances are brought through so insightfully that very few rivals are able to match them.

Still, Bose's second-gen earbuds aren't a million miles behind, with key improvements making them a clearer, punchier and more entertaining prospect than their predecessors.

Both sets are five-star models, but for their greater refinement and sonic sophistication, the Pi8 are the winners for outright sound quality.

*Winner: Bowers & Wilkins Pi8*

Bose QuietComfort Ultra Earbuds (2nd Gen) vs Bowers & Wilkins Pi8: verdict

In some ways, this is a pretty easy call. Both are five-star wireless earbuds that are well-made, offer a similar set of advanced features and perform admirably for the premium billing.

But they do play to their strengths. If you want class-leading noise-cancelling, opt for the Bose QC Ultra Earbuds (2nd Gen). If sound quality is your priority, the B&W Pi8 are the ones to pick.

Pretty simple, right?

There are plenty of other elements to consider, however. There is still a price difference between the two (if discounts don't equalise them), and some may prefer B&W's more premium design and colour options, while others might prefer Bose's stable fit. Equally, the B&W's re-transmitter charging case will be appealing for frequent flyers, while the lack of any spatial audio features will see many reaching for Bose's 'immersive' version.

Whichever model you choose, however, you can be assured that you'll be getting an excellent performer when it comes to comfort, features and sound quality.

MORE:

Bowers & Wilkins Pi8 vs Pi6: which B&W wireless earbuds should you choose?

Bose QuietComfort Ultra Earbuds (2nd Gen) vs QC Ultra Earbuds (1st Gen): which noise-cancelling buds are better?

Our guide to the best wireless earbuds we've tested and recommend

Google has teased its latest generation of smartphones, including a full reveal of the Pixel 10's design. The latest iterations of the Android-powered handset are set to launch next month, with a launch event scheduled for 20th August.

The Pixel 10, which is designed in-house at Google and will be powered by the company's Tensor processor, appears to be practically identical to the outgoing Pixel 9 series in the early teaser images.

That being said, we're expecting to see numerous under-the-hood upgrades. Namely, a new version of the Tensor processor and likely a handful of new AI features; Google has been pushing its Gemini AI service on several of its products, including the Google TV Streamer.

Little else is known about what the Pixel 10 series will bring to the table, and we are yet to hear any rumblings about its AV potential.

However, if it's anything like the Pixel 9 series, which featured OLED panels with HDR10+ support and Qualcomm's aptX HD Bluetooth codec for high-quality wireless audio, then we could be in for a treat.

We'll have to wait until 20th August to find out more, with a full livestreamed unveiling expected. No timings have been confirmed as of yet, but we will provide full coverage of the event, so stay tuned.

MORE:

Check out our picks for the best smartphones

As well as our Google Pixel 8 review

And our Samsung Galaxy S25 Ultra review

Noble Audio’s new wireless earbuds – the FoKus Amadeus – will be hard to miss when they land on 18th June.

Their lustrous red finish immediately stands out from the usual black and white offerings, and there’s a story behind them – the company drew inspiration from the legendary composer Mozart’s signature tailcoat. How many earbuds can say that?

The new Amadeus earbuds have a launch price of £299, placing them firmly in premium territory, and outpricing the likes of the excellent five-star Sony WF-1000XM5.

Sony’s buds – which are our current overall best pick in our list of the best wireless earbuds – are priced at £199 these days, while the also-superb and more premium Bowers & Wilkins Pi8 can be snapped up for £299.

But enough about the competition. At the heart of the Amadeus lies a newly developed 8.3mm custom dynamic driver featuring a triple-layer diaphragm design.

Noble has tuned the driver to deliver what the company describes as full-bodied bass response, open midrange presentation, and extended treble that reportedly maintains detail without clinical harshness.

Following the implementation in the higher-end Rex5 model, the Amadeus also features Audiodo Personal Sound technology. This calibration system analyses individual hearing characteristics in each ear to create a personalised sound profile that's stored directly on the earbuds themselves.

The end result? Noble is promising a more enjoyable listening experience overall, though we can’t comment on that until we try them ourselves.

The earbuds are also powered by Qualcomm's QCC3091 chipset, and feature Bluetooth 5.4. High-resolution audio codecs include LDAC, aptX Adaptive alongside standard AAC and SBC. Multipoint pairing and TrueWireless Mirroring are also thrown into the mix.

Battery performance delivers up to 12 hours of playback per charge with active noise cancellation disabled, reducing to eight hours with ANC turned on. The charging case also provides an additional 2.5 full charges, extending total usage time to 42 hours.

Both USB-C wired and Qi wireless charging are supported, with a 10-minute quick charge providing approximately two hours of playback time.

For voice calls, the Amadeus employs dual microphones with clear voice capture noise cancelling technology to enhance call clarity in challenging acoustic environments.

If all of that’s enough to entice you, the Noble FoKus Amadeus can be pre-ordered today ahead of their 18th June release date for £299 / $320 / €349 (Australian pricing and release date to be confirmed).

MORE:

Best wireless earbuds 2025: top pairs tested by our reviewers

Read our Bowers & Wilkins Pi8 review

Sony WF-1000XM5: our full review

So much has changed in the world since the last Beosound A1 (2nd Gen) hit the shelves in 2020. The stylish portable Bluetooth speaker was a big hit with the What Hi-Fi? team, scooping up a five-star review and earning admiring 'oohs' and 'ahhs' from our testers for its entertaining sound and beautiful build.

We didn’t expect that it would take five whole years for the third-generation model to arrive. We’ve had a global pandemic, seismic political instability and, most shockingly of all, Tottenham Hotspur FC managed to win a major trophy – that’s how long it’s been.

Much as we admired the Beosound A1 (2nd Gen), the world has moved on. JBL has put its foot on the proverbial gas during those interim years, upping its game with one brilliant portable Bluetooth speaker after another, while Bose has staked its claim in the portable realm with the likes of the excellent Soundlink Max.

That leaves us with a simple question: is this a triumphant return for the Bang & Olufsen Beosound A1 (3rd Gen), or has it failed to keep up in an ever-changing, ever-competitive audio world?

Price

Small it may be, but cheap it is not. The Bang & Olufsen Beosound A1 (3rd Gen) is priced at £299 / $249 / AU$639, which puts it in a decidedly premium bracket as far as Bluetooth speakers are concerned. B&O devices of any shape or size rarely come cheap, let’s be honest.

Competition is fierce. The five-star JBL Flip 7 is a slightly smaller alternative which costs just £130 / $150 / AU$170, while the superb JBL Charge 6 currently sits at around £170 / $199 / AU$200. The premium Dali Katch G2 is still around, and as it’s getting on a bit, you can usually pick one up for £299 in the UK, AU$600 in Australia, and at an unusually high US figure of roughly $600.

If you want something that’s truly price comparable to the B&O, you’re going to have to go all the way up to the JBL Xtreme 4 which costs around £250 / $300 / AU$400 at the time of writing. However, the JBL is much larger, much less portable operator – you can’t fit the Xtreme 4 in your rucksack, after all.

Build & design

When we reviewed it in 2020, we described the Beosound A1 (2nd Gen) as having dimensions similar to “a large floury bap or an English muffin”. In the spirit of intercontinental co-operation and to aid our non-UK-based readers, imagine a large burger bun or an oversized, extra-thick pancake.

If food analogies aren’t your thing, the third-gen iteration is a round, relatively thick portable speaker that’s smaller than a Frisbee and bigger than a coaster.

Whatever your point of comparison, it’s a beautifully made product. There’s something about a B&O speaker that just exudes class, and it’s no different with the third-generation iteration of the Beosound A1 portable speaker.

Costly as it is, we understand that some buyers will simply enjoy the thrill of owning something that feels premium and exclusive, qualities that Bang & Olufsen products tend to exude in spades.

The Beosound A1 (3rd Gen) retains its compact, circular form, designed to fire out a fully 360-degree sound from its pearl-blasted aluminium body.

A leather strap completes the ensemble, while an impressive IP67 rating will keep your speaker safe from splashes, dust ingress and even submersion in water for around 30 minutes. We tested how the Beosound A1 handled a swim, happily discovering no lasting damage after a quick dip in the office sink.

It’s probably not quite as robust as its rough-and-ready rivals, though. The speakers on JBL’s extensive portable roster, with their rubberised ends and shockproofed designs, feel as though they could survive a nuclear war.

We feel less confident chucking the Beosound A1 around with such abandon – it just doesn’t seem as comfortable enduring such punishment. It won’t break if you toss it into your rucksack, but it may be susceptible to marks if you’re not careful with how you treat your boujee companion.

Bang & Olufsen has gone for an elegant design with as few obstructions as possible, meaning that the speaker’s small touch controls are smoothly integrated onto the side of the unit in a bid to preserve that perfectly round shape.

On the one side, you’ll find the play/pause button alongside volume up and down, while on the other you’ll discover Bluetooth pairing, power and microphone switches. All buttons are responsive in use.

A tiny LED indicates your speaker’s current power or pairing status, though for the sake of clarity, B&O could have made it larger and more obvious to the eye. A small quibble.

The speaker’s circularity extends beyond its literal physical form. B&O claims the Beosound A1 (3rd Gen) design is the first Bluetooth speaker in the world to be ‘Cradle to Cradle Certified’, so it should be serviceable and repairable well into the future.

The A1 has an extended 10-year lifetime in its first lifecycle and a replaceable battery, so maybe putting time and money into such future-proofed elements go towards justifying its substantial outlay.

Features

It’s good news if you thought that the second generation Beosound A1’s 18 hours of battery life was a little miserly, with the newer model increasing that figure to a very respectable 24 hours if you’re willing to play at slightly more conservative levels.

That matches the 24 hours of the JBL Charge 6 (although this will manage 28 with its Playtime Boost feature) and easily trumps the 12 hours offered by the smaller JBL Flip 7. It falls short of the 30 hours boasted by the Dali Katch G2.

Codec support is solid, with the Beosound A1 (3rd Gen) offering the standard SBC and AAC protocols alongside the higher-quality aptX Adaptive. Like the outgoing model, the third-gen speaker sticks with Bluetooth 5.1 – when contemporary alternatives are loaded with more current Bluetooth 5.3 and 5.4 standards, that feels just a tad retrograde. It’s hardly a dealbreaker for a portable speaker, though, and there are no issues with pairing or connection.

One update on this new model is that the A1 3rd Gen's USB-C connection works for playing music from a wired source device as well as for charging, with a fabric-covered USB-C to USB-C cable included in the box.

The Beosound A1 has a three-microphone array assisted by B&O’s ‘FarField’ technology for clearer, more transparent voice calls, meaning you can use your portable pal as a speakerphone if you’re at home or in the office. Calls are well-handled, reproducing human speech with solid levels of clarity and isolation, even if voices can sound a little hard-edged and processed to our ears.

The stylish circular speaker does have its blind spots. There’s no sign of Auracast, the increasingly popular audio sharing protocol which allows you to tether multiple Auracast-compatible units in tandem.

You can, however, create a stereo pair with another Beosound A1 (3rd Gen) unit or even an older A1 (2nd Gen) speaker – handy if you’ve still got your old model and don’t want it to go to waste.

Perhaps more notably, Bang & Olufsen has decided to drop Alexa support from this latest generation. We’re sad to see it go, but perhaps not many users found the need for a smart assistant from a portable speaker that, a lot of the time, wouldn’t be connected to the internet anyway.

Sound

According to B&O, the third-generation Beosound A1 "features the largest woofer in its class, delivering deeper bass" for a "rich, room-filling sound from a compact form". The new unit boasts two 30-watt Class D amplifiers powering the 82.5mm woofer and a 15mm tweeter, with Bang & Olufsen promising sonic gains that see 2025’s edition outshine the smooth and authoritative presentation of the older model.

Ludwig Goransson’s Can You Hear The Music from Christopher Nolan’s epic biopic Oppenheimer kicks off our testing, and wouldn’t you know it, we’ve played right into the new Beosound A1’s hands. The speaker has a noticeable talent for midrange reproduction, bringing authenticity and sweetness to the rising, soaring strings of Goransson’s powerful, ever-undulating arrangement.

Naturally, this midrange adeptness extends to vocal reproduction. Nick Cave & The Bad Seeds’ heartrending Into My Arms is up next, and the B&O speaker excels at making Cave sound like his grave, sincere self.

Even when placed up against the excellent JBL Charge 6, Cave’s crooning grabs us more starkly through the Beosound A1. He’s simply more emotive, authentic and natural sounding – a great result for B&O.

The new Beosound A1’s talents extend beyond the midrange. No, it’s not the bassiest operator you’ll find, but what lower-end reproduction there is comes across as taut and nicely controlled, so there’s rarely a sense that your tunes will be bogged down in a sea, or indeed a swamp, of blobby bass.

The B&O's presentation is, in fact, remarkably cohesive, but it doesn't spread music out with quite as much scale and depth in the way that a rival JBL rival will. We like the cohesion and tightness the Beosound A1 (3rd Gen) delivers, though.

While we’re never short on detail as we listen, things get even better when a USB-C tether is involved. A wired connection to an iPhone 15 offers noticeable sonic improvements, with the speaker hardening up just a touch but finding new levels of clarity, punch and spriteliness when listening to the same songs on Tidal via wired compared with Bluetooth.

In terms of pure wireless performance, is this the best-sounding Bluetooth speaker you can buy for the price? Naturally, the much larger (and cheaper) JBL Xtreme 4 will outperform it comfortably, while a head-to-head comparison with the (also cheaper) JBL Charge 6 makes for a more interesting test.

The Beosound A1 (3rd Gen) has that cohesion, authenticity and mid-range sweetness, but the engaging dynamism and musicality of the Charge 6 means that it’s hardly a whitewash in the B&O’s favour. Bear in mind that the Beosound A1 costs £130 / $50 / AU$400 more than the Charge 6 – in terms of sound-per-pound performance, the JBL does seem to offer better value for money.

Verdict

Initially, it can be tough to look past the price of the Beosound A1 (3rd Gen). At this level, you could get a JBL Charge 6 or Xtreme 4 for cheaper – both speakers with greater power and size than the Beosound can manage. When you can have rivals of such calibre and potency, it can be hard to see where the A1 has its place.

The thing is, it’s still an admirable performer given its compact size – not everyone wants a whopping speaker after all – bringing with it sufficient sonic talents which, when combined with its stylish, classy build and premium cachet, make for a charming product.

It’s not quite the best in class sound-wise, but given its unique appeal, the B&O Beosound A1 (3rd Gen) is the kind of thing that you can’t help but covet.

Review published: 3rd June 2025

SCORES

• Sound 4
• Build 5
• Features 4

MORE:

Read our review of the JBL Charge 5

Also consider the JBL Flip 7

Read our Dali Katch G2 review

Best Bluetooth speakers tried and tested for every budget

Former England keeper Paul Robinson described the 2025 Europa League final between Tottenham Hotspur and Manchester United as like watching "a load of kids at lunchtime at school running around after a tennis ball".

It was not a classic for the ages, with the leadup to the game seeing both sides struggling in the domestic league but somehow attaining the chance for European glory.

This head-to-head, however, is something altogether different. No one can argue that the Sony WH-1000XM6 and the Bowers & Wilkins Px7 S3 aren't outstanding candidates, and few would contend that they don't deserve to be held in the highest regard as some of the best wireless headphones currently available.

This is the clash many have been waiting for. The Px7 S3 stormed onto our list of the best wireless cans when they arrived earlier in the year, whereas the Sony WH-1000XM6 were quite possibly the most anticipated over-ears of the past few years.

Europa League tie? Nope, this is the Champions League final, and it simply doesn't get bigger than this.

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: price

Costing £399 / €429 / $449 / AU$699, the Bowers & Wilkins Px7 S3 are certainly what we would describe as a premium pair of headphones, heading off competition from the likes of Bose, Apple and, of course, Sony's latest over-ears.

The flagship Sony WH-1000XM6 cost almost exactly the same across the regions, clocking in at £400 / €450 / $449 / AU$699.

While those figures pretty much match B&W step for step, it is an increase over the brand's previous flagship cans, the WH-1000XM5, which we originally tested at £380 / €420 / $399 / AU$550.

**Winner: Draw*

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: comfort and build

For Bowers & Wilkins, the design of its Px7 S3 over-ears feels like some sort of continuation from the likes of its Px7 S2e and the more premium Px8.

For the Sony WH-1000XM6, it's much more of a case of evolution, perhaps even revolution, as the Japanese audio behemoth looks to learn from the drawbacks of the Sony WH-1000XM5 (and there weren't exactly many), to satisfy as many customers as possible by taking its sixth-generation headphones to a whole new level.

One of the major flaws of the XM5 was that they didn't fold up; it's a limitation which has been rectified this time around to make the XM6 easier to carry and store. Some users also complained of fragility at the XM5's hinges, but Sony has used stainless steel at the end of each sliding arm on the newer model so that the new cans can be folded into a ball without snapping into pieces.

They get the job done as far as fit goes as well. The WH-1000XM6 sit more snugly than their predecessors, mainly because of an increased clamping force designed for greater isolation and to help the ANC work better.

Touch controls remain accessible on the surface of the right earcup, from which you'll be sliding, holding and tapping the exterior to get the desired effect. It's a well-implemented, responsive and smartly curated system.

The Px7 S3 are something a bit different. Put them side by side with the XM6, and most people would probably point to the B&W cans as being the more premium pair. In terms of perceived value, they are right up there as some of the most attractive cans around thanks to their textured woven headband fabric and subtle metallic embellishments adorning each earcup.

The Px7 S3 are lighter than their predecessors, though at 300g, they still weigh more than the 254g Sony XM6 cans. Still, they are comfortable and easy to accommodate, with only some of our test team experiencing on-ear heat issues caused by the earpads during longer wearing stints.

Where Sony employs touch controls, B&W has gone down a more traditional route, courtesy of a small array of physical buttons.

The backside of the right earcup offers a play/pause button flanked by longer volume controls; the left cup features a sliding Bluetooth/power toggle alongside a configurable ‘Quick Action’ button that we used to cycle through our test pair’s noise-cancelling modes during testing.

They work perfectly fine, although the small buttons can sometimes be tricky to use if you have clumsy fingers.

Foldability a dealbreaker? That's a big win for Sony – the Px7 S3 don't fold away at all. We envisage that the more portable WH-1000XM6 will be a touch easier to live with on a daily basis, even if they aren't quite as glamorous as their stylish counterparts.

**Winner: Sony WH-1000XM6**

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: features

You are entitled to expect a very healthy stable of features for headphones operating in such premium waters, and thankfully, neither set here will let you down.

Battery life for the Px7 S3 clocks in at an eminently respectable 30 hours with ANC on – exactly the same numbers offered by the new WH-1000XM6. It's worth mentioning that these figures mean the XM6 haven't improved upon their predecessor's battery life.

Those remain healthy numbers, though, so it's not a disaster of Titanic-like proportions.

Bluetooth codec support is ample for both, with the Px7 S3 offering the standard AAC and SBC codecs alongside higher-quality flavours. aptX Adaptive and aptX Lossless are on the menu, and if you want to go all out on audio fidelity, USB-C and 3.5mm cable connections are provided in the box for wired listening up to 24-bit/96kHz quality.

For Sony, meanwhile, it's no surprise to see SBC, AAC and Sony's own LDAC for the XM6, but there's no sign of aptX or any of its variants on the menu. Not that we were really expecting it, mind. The Sonys don't offer wired listening, either, which offers a small win to the Px7 S3.

Both pairs of cans have moved with the times, with each set offering Auracast support, meaning that they can receive audio transmissions from compatible broadcast sources. Sony also has Bluetooth LE Audio support straight out of the box, but for the Bowers & Wilkins rivals, this and Auracast will be available as a future update.

Bluetooth Multipoint, which allows for easy listening and switching between multiple connected source devices on the fly, is available straight away for both.

The Bowers & Wilkins Music app is the place to be for customising your user experience with the Px7 S3, taking care of equaliser adjustments, checking your headphones’ key vitals or curating your streaming services.

For Sony, it's the Sony Headphones app, a reliable platform we have always found to offer clear and deep levels of customisation for the various sound and ANC features on board.

If you're willing to be patient, another over-the-air update for the Px7 S3 later this year will also see spatial audio incorporated into a pair of Bowers & Wilkins headphones for the first time. Sony fans don't have to wait, as 360 Reality Audio is on the menu straight out of the box. And it works as well as ever if you're into the immersive audio effect.

Both pairs offer wear detection, meaning they pause or play when they are removed from or restored to your head. The Sony also incorporate Speak to Chat, which recognises human speech and pauses playback accordingly; it's something the B&W cans don't offer.

Very strong showings for both pairs, but for offering all of its features upon release, the win goes to the WH-1000XM6.

**Winner: Sony WH-1000XM6**

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: noise cancelling and call quality

In a straight fight, the Sony WH-1000XM6 will easily beat the Bowers & Wilkins PX7 S3's noise-cancelling capabilities.

The PX7 S3 don't offer bad ANC, but we have found them to be behind the pack when it comes to competing with the likes of the established WH-1000XM5, the Bose QuietComfort Ultra Headphones or the Apple AirPods Max.

They get the basics done, but we feel they lag behind the competition in really isolating you from the outside world. Road and general low-frequency rumbles are reduced with decent skill, but they aren't so adept at muting traffic noise or the chatter of voices. At this level, we just don't expect to hear so many noises creeping in.

The WH-1000XM6, on the other hand, are far more capable at delivering noise cancelling abilities you might expect for this kind of money. As we say in our review: "The Sonys isolate you extremely well.

They present you with a nice clean, rumble-free background through which you can listen to music." It's a natural, sophisticated effect that gives you a clear background on which you can listen to your music.

There are more flavours available with Sony, too. You can select Ambient Sound for staying connected to your surroundings, as well as Auto Ambient Sound, which adjusts dynamically for loud sounds automatically. Then there's the standard noise-cancelling mode for blocking out the world with all of the might the Sony headphones can muster.

For Bowers & Wilkins, you get two modes: standard noise-cancelling and Transparency. While we don't consider the noise-cancelling mode to be class-leading, Transparency does exactly what it says on the tin by letting sounds in and keeping you aware of key information such as train announcements or people talking to you.

What about call quality? Here, the XM6 are similarly exceptional, using Sony's precise voice pickup technology and an array of microphones to cut down on background noise while focusing on human speech. Voices are clear and focused, making communicating through the XM6 a breeze no matter your environment.

While not quite in the same league, calls through the PX7 S3 are hardly a chore. Repositioned microphones and B&W’s ‘ADI Pure Voice’ voice processing technology tease “outstanding voice clarity”; while we wouldn't go that far, we find that human speech sounds natural through the B&W without seeming muffled or mechanical, whereas background noises rarely disrupt our conversations.

For their outstanding ANC capabilities, the XM6 are the clear winners here.

**Winner: Sony WH-1000XM6**

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: sound quality

As you might have already guessed from the five star ratings, we like how both of these contenders sound. In fact, we like them both very, very much.

This may be a question of preference and how you like your cans flavoured, so let's start with the impressive credentials that could tempt you into making the Px7 S3 the number one contender on your shortlist.

To borrow from our review, the Px7 S3 are "exceptionally refined and detailed headphones, stunning us with their ability to outstrip their predecessors and even outperform the more expensive Dali IO-8 for textural insight."

The B&W over-ears delve deep into your music with their keenly analytical approach. Not content with giving you a broad approximation of your music, they are superb at pulling out instrumental timbres with "the relentless curiosity and enthusiasm of a bloodhound on the scent of a new lead".

There's real punch and power to the presentation, and while you'll hear headphones at this level that will step back from the music, the Px7 S3 are superb at dropping you into the heart of your collection. They are refined and detail-rich, yes, but there's an intimacy and closeness to their presentation which, to the right ears, is hugely rewarding.

How do the WH-1000XM6 stack up? They are, as you might have expected, absolutely fantastic, living up to the lofty expectation we had following the five-star legacy of the outgoing WH-1000XM4 and WH-1000XM5 models.

In fact, we state in our review that the XM6 "deliver the most detailed, dynamic, precise and open sound we’ve heard from a wireless Sony flagship," and that is really saying something. Whatever you play and whichever genres you prefer, they are just so happy diving into any track or genre and getting to the heart of the tune.

In terms of detail and analysis, they are just about on the Px7 S3's level, if possibly a shade behind – but they have a more potent sense of musicality, fluidness and friendliness that makes them such an easy, rewarding listen.

They are immense fun when needed, picking up on the emotions of tracks from Billie Eilish's No Time To Die to Eminem's Till I Collapse and just making them sound so dramatic and musically involving.

That is helped by the XM6's excellent handling of dynamic contrasts – a facet of musical performance where, we feel, they are ahead of their excellent B&W rivals – as well as an acute talent for teasing rhythmic patterns.

This isn't a cop out, but we do feel that your sonic preference here will dictate which pair of headphones you'll gel with and which will leave you feeling a touch colder.

In broad terms, if you crave detail, clarity and a deep sense of analysis, all with a healthy helping of punch and power, go with the Px7 S3.

If you love your music to be replete with emotion and feeling, with a tangible sense of dynamics, musicality and rhythmic propulsion, we'd steer you towards the effortlessly engaging and likeable Sony WH-1000XM6.

**Winner: Draw**

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: verdict

We have to reiterate just how good both of these pairs of wireless headphones are. Across sound, build quality, features and general appeal, they are unquestionably leading the charge for wire-free performance at what is still a reasonably accessible price bracket.

There are cases to be made for both pairs audio-wise, but so much of that will be down to personal preference that we urge you to think carefully about how you want your new headphones to sound. The Sony are more user-friendly, but we can completely see the appeal of the B&W's sense of style – if it's your sort of thing, of course.

In the end, it may be Sony's superior noise-cancelling that separates the two, as that's the one area in which we feel there's the greatest gulf in objective quality.

Either way, we have been bowled over by how good both pairs are across the board. It's always pleasing when we finish a versus and can conclude by stating that, whichever pair you pick, you won't be disappointed. These are both five-star candidates, after all.

MORE:

Sony WH-1000XM6 vs Bose QuietComfort Ultra Headphones: which are better?

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: which premium headphones are top of the pops?

Our pick of the best noise-cancelling headphones around

Sony has officially announced the latest flagship in its long-running Xperia smartphone line, with the Xperia 1 VII touting a wide range of AV upgrades over its predecessor.

It's set to provide a picture and sound-first approach – something we've approved of for many generations – with a new partnership that should "take sound quality to the next level".

Sony's smartphone team has enlisted the help of the Walkman division to boost audio quality on this new handset. The Sony Xperia 1 VII remains one of the very few flagship phones to include a 3.5mm headphone jack, but Sony has taken it a step further in its dedication to audio performance on its smartphones.

Sony claims that it tested a range of high-quality internal components from its Walkman portable music players, leading to a new headphone jack that is manufactured with high-quality solder containing gold to "enhance the reproduction of subtle sounds" and "improve the soundstage and directional accuracy".

For those who prefer to listen to their music over a pair of the best wireless headphones, you'll be pleased to hear that the LDAC and aptX Adaptive Bluetooth codecs are supported for high-quality wireless audio. It also supports Dolby Atmos over the speakers and via headphones.

As if those audio upgrades weren't enough, Sony has also improved the full-stage stereo speakers on this handset; it's touting an "even more realistic" sound, which isn't a quantifiable upgrade per se, but we'll take an upgrade regardless.

Sony is also continuing its partnership with its Bravia TV division, something that was established in greater detail last year after the launch of the updated Bravia TV range (which includes the Award-winning Bravia 8 OLED TV).

The new smartphone's 6.5-inch Full HD+ OLED display has been tuned by Bravia, and it features a 120Hz dynamic refresh rate too. While we do miss the overkill 4K 21:9 display from the Xperia 1 V and IV, we understand the benefits to usability and battery life. Plus, if the performance is anything like that of the five-star Xperia 1 VI, then we should have nothing to worry about.

In fact, Sony says it has implemented an AI system to help reproduce some of the best aspects of its Bravia TVs, including colour, contrast, texture and three dimensionality.

The display is also getting a 20 per cent brightness upgrade, as Sony claims it's the brightest screen in an Xperia device to date. It's paired with a new rear light sensor that should adapt the display settings to suit a range of ambient light conditions.

Elsewhere, the Xperia VII features the latest Qualcomm Snapdragon Elite processor with 12GB of RAM, and it runs Android 15; the latest version of the operating system. Sony has jumped on the AI bandwagon with its new Xperia Intelligence suite, which plays a hand in the picture, sound and photography aspects of this device.

On the subject of photography, the Xperia 1 VII sports three rear sensors in total: a 48MP main shooter, 12MP telephoto lens, and a 48MP ultrawide camera. These should pair well with Sony's professional camera app and dedicated camera shutter button for an in-depth smartphone photography experience.

The Sony Xperia 1 VII is available to order now for £1399 (a £100 increase from the Xperia 1 VI's price), and you can pick between three finishes: Slate Black, Moss Green and Orchid Purple. Sony is also running a promotion in which you can get a free pair of the excellent, Award-winning WH-1000XM5 wireless headphones if you pre-order the Xperia 1 VII.

Much like the previous generation devices in this series, it appears as though Sony will not launch the Xperia 1 VII in the US.

MORE:

Read our full Sony Xperia 1 VI review

And our Samsung Galaxy S25 Ultra review

Check out our picks for the best smartphones

The arrival of any new Bowers & Wilkins product is always notable at What Hi-Fi?. The British brand is responsible for some of the finest hi-fi products ever made, so when its Px7 S3 wireless noise-cancelling headphones arrived recently, it only made sense to pit them against the highly rated rival pair from Apple.

Both the B&W Px7 S3 and AirPods Max are what we would class as premium headphones with price tags to match. Both were awarded five stars when we reviewed them individually and represent some of the best wireless headphones you can currently buy at this lofty level.

But that doesn’t help you to decide which ones you might want to own, does it? That’s why we’ve sat down with both pairs and directly compared them on everything from design and build to sound quality and noise-cancelling.

So, which pair of premium headphones most deserves to be on your head?

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: price

To paraphrase the great Tom Jones, it’s not unusual for Apple to charge a premium for its products, and the AirPods Max are no different.

In the UK, they currently sell for £499 (they’ve had £50 knocked off their original £549 asking price), but in the US and Australia you’ll have to shell out $549 / AU$899 for a pair.

While the Px7 S3 certainly aren’t what you’d call cheap, they launched at £399 / AU$699 (the US price is yet to be confirmed) and are a good deal more affordable than the AirPods Max.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: build and design

You might think that the price difference would be noticeable in the build quality and materials used, and that is true to an extent, but both pairs of headphones are very nicely made indeed.

The AirPods Max do feel slightly more premium, with their larger earcups and metallic finishes. The Digital Crown dial for controlling volume and playback remains beautifully engineered and responsive, while the headband pressure and hinges are both sturdy and well judged.

That the AirPods Max are slightly heavier (385g vs 300g) is more noticeable in the hand than on the head, but B&W's more lightweight and less-bulky design is likely to find favour as a more portable pair.

The AirPods Max's oversized earcups make quite the overt design statement compared to B&W's subtler profile. Both earcups are roomy enough for our reviewers, but the difference in cushion material makes a difference. The more breathable mesh fabric material on the AirPods Max stay cooler for longer listening periods, while the soft leather pads on the B&W can make our ears get sweaty rather quickly.

Neither pair folds up, but the pouch supplied with the Px7 S3 is much more serviceable than the so-called ‘Smart Case’ that you’re supposed to transport a pair of AirPods Max in, which doesn’t even cover them entirely.

It’s a bit like comparing an Audi and a Mercedes: both are well built and feel worth the money, and for many people it will just come down to personal preference, but we think the B&W Px7 S3 are just that little bit more portable and practical.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: features

A lot of Apple products work best when used with other Apple products, and that’s particularly true of the AirPods Max, which are seamless in use with multiple connected iOS products. Some of their features, such as personalised audio, head-tracking with spatial audio, and the use of Apple’s ‘Find My’ network, should your headphones go AWOL, are only available if you connect them to an Apple device.

They may be limited to a certain extent for Android users, then, which the Px7 S3's feature list is not.

Still, there are various features of the Px7 S3, including spatial audio and Auracast support, that are due to be added via a software update, although B&W hasn’t announced a specific date for this beyond a rather vague “later in 2025”.

As things stand, they still have far more comprehensive Bluetooth codec support than the AirPods Max, which only offer baseline AAC and SBC. The Px7 S3’s list includes those two, plus the higher quality aptX HD, aptX Adaptive and aptX Lossless codecs, with next-gen Bluetooth features LC3 and LE Audio set to be part of the aforementioned update.

Both pairs of headphones support wired listening, which makes them sound even better. In the AirPods Max case, the cable required depends on which model you have. If you have the original Lightning connector edition, you'll need to buy a separate Lightning to 3.5mm audio cable; with the current USB-C edition, the included USB-C to USB-C charging cable will let you listen to lossless wired audio from other USB-C-compatible sources. However, a USB-C to 3.5mm audio cable does need to be bought separately, for £39 / $39 / AU$65. B&W includes the USB-C-to-3.5mm audio cable in the box.

When it comes to battery life, the Px7 S3 are the clear winners. You’ll get 30 hours out of them before they conk out, and you only need to plug them in for 15 minutes to add seven hours of play time. If you get caught out by a dead battery on these, you’ve only got yourself to blame.

The AirPods Max have a little less staying power. Apple claims they’ll last up to 20 hours between charges, although our testing actually found that estimate to be a touch conservative. That’s still a lot less than you’ll get from the Px7 S3, but in reality you’re unlikely to find it problematic.

A five-minute charge adds 90 minutes of listening time – handy if you’re about to leave for work and find that they’re running low.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: noise-cancelling and call quality

Noise-cancelling performance has become a key battleground for premium wireless headphones, and there is only one runaway winner here.

Neither of these pairs bothers the class-leading Bose QuietComfort Ultra Headphones on the ANC front, but both have different effects.

Both have a pretty natural approach to noise-cancelling, instead of that intense, vacuum-like suction effect you get with some models. Both do a solid job of blocking out low-level rumbles around you, but the AirPods Max are far better at cancelling out general noise like voices, traffic and damping down the sharp edge of higher-frequency noises. With the B&W, you still hear quite a lot of those mid-frequency noises come through that bleeds into the music you're listening to, whereas the AirPods Max are better are putting you in a cocoon of subdued noise so you can concentrate on the music.

Both have effective transparency modes, which can be handy when you need to remain aware of what’s going on around you. Overall, we prefer the AirPods Max approach to noise-cancelling.

Those noise-cancelling mics also come in handy for making calls, and speech sounds natural through the Px7 S3, with background noise sufficiently suppressed. Voices come through with greater clarity and fullness through the B&W. Our voices sound more upfront through the AirPods Max, but there is a slight synthetic quality around the edges of our voices, and more environmental noise comes through than with the Px7 S3. Both are perfectly fine for voice calls, with B&W sounding just that bit more natural and clear.

For their more effective noise-cancelling talents, the AirPods Max are the clear favourite here.

**Winner: Apple AirPods Max**

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: sound quality

These are both five-star headphones, so it shouldn’t come as a surprise that they are both very sonically capable.

When the AirPods Max launched back in 2020 with such a premium price tag, we certainly didn’t expect them to be quite as good as they are. Our review highlighted their authenticity, detail, crispness and spaciousness – all qualities befitting such a nicely built pair of cans.

The AirPods Max are exceptionally well-organised and are great with vocals, but they have a particular talent when it comes to digging into the details of a track. They really shine in the mid-to-upper ranges. Put on Radiohead’s exquisite Pyramid Song and the cymbal hits really ring through nicely. These are headphones that really make your music sparkle.

Despite knocking on for five years old (the 2024-released AirPods Max model with USB-C introduced in 2024 has the same sound), their sound quality remains surprisingly competitive despite the fresh competition that has arrived since.

Switch to the B&W Px7 S3, and almost all of the above remains applicable – just even more so. The B&W are clearer and more detailed. They have more punch and muscularity than the AirPods Max, with better bass reproduction and just a bit more solidity all round, but especially at the lower end of the frequency range. There’s more grip to textures, too.

The AirPods have a richness to their sound that is immediately likeable and are a touch more open, but the B&W are subtler, more precise and more dynamic. As we said in our Px7 S3 review: "The effect of being immersed in the centre of your tunes is thrilling, amplified by those remarkable levels of detail the Bowers & Wilkins over-ears unveil. The earthy strings on Nick Cave & Warren Ellis’s Song For Bob have real bite and grip as the track’s forlorn heart is revealed, while the varying components of John Williams’ Duel Of The Fates – rumbling drums, punchy horn stabs, operatic vocals – blend authenticity with a thrilling sense of drama."

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: verdict

This isn’t a case of one pair beating the other into submission; you could buy either of these products and be very happy with your purchase. But we’re not here to sit on the fence. After a while, it starts to get very uncomfortable.

After lengthy deliberation, it becomes clear that the new Bowers & Wilkins Px7 S3 are slightly ahead in more areas: they’re better endowed in the features department (and will become even more so when that firmware update arrives) and get one over it comfortably for battery life, too. We prefer the way they sound, and while their ANC isn't quite as good, they are crucially a meaningful amount cheaper.

You will have your own opinions on which ones look better, but this is a good example of more premium materials not necessarily translating to a more premium experience. We do love the Digital Crown dial on the AirPods Max and the fresh range of colours that the 2024 (soft) update brought, but the Px7 S3 is a better overall portable package with that bit more subtlety and class.

It goes down as a win for B&W, then, with its sonic strengths and less premium price making them the better value buy overall. However, if you do you opt for the pricier AirPods Max – especially if you're a dedicated iOS user – you won't be disappointed.

MORE:

Read our Bowers & Wilkins Px7 S3 review

And our Apple AirPods Max review

Sony WH-1000XM5 vs Bowers & Wilkins Px7 S3: which five-star wireless headphones are better?

Check out our pick of the best wireless headphones

Is there any category in the world of audio more competitive than wireless headphones? Everyone wants a slice of the wire-free pie, with brands as diverse as Sony, Technics, JBL, Bose, Dali, Apple, Mark Levinson and many, many more duking it out across the full gamut of prices and specifications. From budget-friendly options to big-money heavyweights, you aren't spoiled for choice when it comes to finding the best wireless headphones around.

Making it onto our list of the best in the business, then, is no mean feat. There's heaps of competition to contend with, so it usually takes something rather special for us to pull back the velvet rope and admit entrance to our exclusive club.

The thing is, the Bowers & Wilkins Px7 S3 are just too good to ignore. There are no trainers or drunken antics to be found here; the Px7 S3 are coming right into the VIP section, wowing us by excelling across the board and putting most headphones around their premium price point in the shade. It's over to the likes of Sony, Bose and the rest to take them on, because right now, they are easily some of the best wireless headphones we've tested in 2025.

The best B&W wireless headphones ever?

The Bowers & Wilkins Px7 S3 hasn't had an easy route to the top. Standing in their way for the 'best headphones for audiophiles' slot were the Dali IO-8, a reasonably new pair of over-ears that we thought would sit in that space for a long while. Dynamic, detailed and an all-around delight, they are hardly a soft touch. Considering their higher price tag (£499 / AU$999), we were quietly expecting the IO-8 to take the win against the cheaper Px7 S3 (£399 / AU$699).

Yet for us, the B&W are our new top pick. Their lower price does actually work in their favour, as they are a more appealing sound-per-pound set, but even with all other things being equal, we think that the Px7 S3 are objectively a more detailed and informative performer than the Dali. We don't say that lightly, but we certainly believe it to be true, especially through the mid-range.

Elsewhere, their sound is exceptional and easily some of the best we've heard from any B&W Bluetooth headphones. To quote from our review: "The Px7 S3 drop you deep into a performance, breaking the boundary between you and your music and insisting that you become a part of the experience. The B&W have an intimate character that puts you in the eye of the musical storm no matter what you choose to feed them."

They are great across the board, from their nicely judged low-end reproduction to the way they tease our tricky rhythmic patterns with skill and nuance. Clarity and detail are high on the agenda, yet the robustness and solidity the Px7 S3 bring to the party make tracks sound thrillingly muscular and robust.

It doesn't hurt that this is an exceptionally well-made pair of headphones, or that the features on offer, from extensive aptX Adaptive hi-res codec support to a very healthy 30-hour battery life, won't leave you feeling short-changed. If you want the best experience possible, you can also listen via USB-C and 3.5mm cable connections for handling rates up to 24-bit/96kHz.

However you choose to listen to them, we think that the Bowers & Wilkins Px7 S3 are an outstanding pair of wireless headphones that will delight audiophiles everywhere. Now it's up to the likes of Sony (with the potentially incoming WH-1000XM6 over-ears) to challenge their might.

MORE:

Also consider the Sony WH-1000XM5

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: should you upgrade?

Sony WH-1000XM5 vs Bowers & Wilkins Px7 S3: which five-star wireless headphones are better?

Bowers & Wilkins Px7 S3 vs Bose QuietComfort Ultra Headphones: which noise-cancelling pair is better?

Bang & Olufsen's elegant, smooth-sounding Beosound A1 has been a mainstay of our best Bluetooth speakers guide ever since we reviewed the second-generation model back in 2020. It's been a long time coming, but the Danish brand has finally unveiled the third-generation Beosound A1.

The Beosound A1 3rd Gen remains a compact, portable speaker in a circular design, with 360-degree sound emitting from its classy-looking, pearl-blasted aluminium body. A waterproof leather strap completes the design, which comes in three finishes: natural aluminium, honey tone and eucalyptus green.

The Beosound A1 3rd Gen keeps things simple for a Bluetooth speaker: it sticks with Bluetooth 5.1 as before and supports the higher aptX Adaptive codec. Battery life has been increased to 24 hours, while B&O says its mechanical engineers and acousticians have managed to maximise output and eke out an additional 2dB of deeper bass compared with its predecessor, while still retaining the same compact dimensions.

According to B&O, the A1 3rd Gen "features the largest woofer in its class, delivering deeper bass with a Bass SPL of 64dB" for a "rich, room-filling sound from a compact, go-anywhere form." Inside the speaker are two 30-watt Class D amplifiers powering the woofer and tweeter.

We were big fans of the A1 Gen 2's smooth, authoritative and expansive presentation, so we're looking forward to hearing how the sound quality has improved and can compete with today's best in the market.

The A1 should survive most weather conditions and outdoor adventures thanks to an IP67 dust and waterproof rating, and it has a three-microphone array with FarField technology for clear voice calls – useful when using the A1 as a speakerphone at home and in the office.

We have also had it confirmed that the A1 3rd Gen's USB-C connection works for playing music from a source device such as a laptop, as well as charging the device. The speaker comes with a fabric USB-C to USB-C cable included in the box, too.

Compared with the A1 2nd Gen, the third-generation A1 has shed its Amazon Alexa smart-control integration. There's also no sign of any future-proof Auracast support as we have seen adopted by many new Bluetooth portables, such as the new five-star JBL Charge 6.

On the other hand, the A1 does support multipoint connection up to two devices, and it supports stereo pairing between two Beosound A1 3rd Gen speakers, and even between a 3rd Gen speaker and an older 2nd Gen A1 speaker. It's great to see B&O recognise that many people will want to hold on to their older speaker, rather than discard it for something new.

This longevity is another key element of the Beosound A1 3rd Gen's design. B&O says this is the first Bluetooth speaker in the world to be Cradle to Cradle Certified (Bronze Level), which means it is designed with the aim to be serviceable, upgradeable, and repairable. The A1 3rd Gen has an extended 10-year lifetime in its first lifecycle, its battery is replaceable at any time via the official Bang & Olufsen store, and B&O offers a five-year warranty for the speaker.

This 'circular' approach (which aims to minimise waste and keep resources in circulation for as long as possible) is threaded throughout the A1 speaker. We spoke to Mads Kogsgaard Hansen, Head of Product Circularity & Portfolio Planning at Bang & Olufsen, who told us that while the A1 hasn't had many significant changes in the third iteration ("why should we fix something that is not broken?") as far as visual design, usability and listening habits is concerned, the team has taken a deeper look at reducing waste materials overall.

"It's often a younger customer who is buying this product," says Hansen. And this target audience has a "more keen interest in circularity and more conscious consumption, and trying to understand the consequences of their purchases." And so "we are starting to implement recirculated elements" in the A1, he says.

"You will see now that the aluminium dome and also the small aluminium lock on the leather strap is partly based on recirculated materials: a combination of post-consumer recirculated and post-industrial recirculated materials. The same is true for the inner plastic parts; the more structural parts of the cabinet is based on 70 per cent post-consumer recycled plastic."

It's clear that finding ways to be more sustainable is just as important as delivering a product that looks and sounds good, especially for a luxury brand such as B&O. It's not easy, however, as Hansen states, albeit positively.

"The best we can do in our industry, when we talk about being more sustainable, is to make sure that we get more value out of the materials and resources we do extract and use, and postpone the point in time where they end up as waste that needs to be recycled, right? So there's definitely a dilemma we have in the industry."

The Bang & Olufsen Beosound A1 3rd Gen is available now for £299 / €349. The previous model was tested at £199 / $250; it's no surprise the price has gone up in the intervening years, but we're excited to hear how the new B&O speaker squares up against excellent rivals from JBL, Dali, Bose and more, once we get a review sample in. Stay tuned for our review in due course.

MORE:

Read our original B&O Beosound A1 (2nd Gen) review

Check out the best Bluetooth speakers you can buy today

13 best Massive Attack tracks to test your hi-fi system

The original Audiolab M-DAC launched back in 2011, and soon picked up a slew of What Hi-Fi? Awards and remains fondly remembered by the review team. It was followed by the M-DAC+ in 2016, which also earned five stars. And now Audiolab has launched two new DACs that are direct descendants of the OG M-DAC: meet the D7 and D9.

Hailed as the next generation of Audiolab standalone DACs, they are said to build upon the same blueprint as the M-DAC, but honed over several generations of technical development.

Excited? We certainly are.

D7: a compact DAC with plenty to like

The Audiolab D7 is the cheaper of the two. It's a fair bit smaller than the D9, but combines DAC, preamplifier and headphone amp functionality.

It is built around the ES9038Q2M – the same 32-bit Sabre DAC chip also found in Audiolab’s 7000A and 6000A MkII integrated amplifiers. Audiolab has been using ESS Technology's chips since the original M-DAC, and claims to have more experience of implementing these tricky-to-incorporate components than any other manufacturer.

Audiolab claims its proprietary circuitry makes the most of ESS Technology’s HyperStream II architecture and Time Domain Jitter Eliminator, resulting in ultra-low noise and a high dynamic range. Audiolab also uses its own clock and power supply circuitry, alongside a Class A post-DAC active filter.

In terms of hi-res audio, the D7 can handle PCM files up to 32-bit/768kHz and up to DSD512 over USB. It's compatible with MQA and is certified as Roon Tested.

You can connect PCs, Macs and other devices using the USB Type B ports, and USB drives using the USB Type A. You also get four digital inputs – two optical and two coaxial – and Bluetooth with support for the aptX HD codec.

You can upsample digital audio data to 352.8kHz or 384kHz, and there are five DAC reconstruction filter settings so you can adjust the sound to suit the source material. Given the downright iffy quality of some digital files, that could be a very useful feature.

Outputs include analogue (balanced XLR and single-ended RCA) and digital (optical and coaxial). And there's a 6.35mm socket for plugging in wired headphones.

The D7 should fit seamlessly into your setup thanks to the option of fixed or variable modes with the analogue outputs. The fixed mode connects to integrated amplifiers and preamps with those partner devices controlling the volume, while the variable mode uses the D7's volume control through a power amp or powered speakers.

Of course, Audiolab is keen to stress the D7's sound quality, which we can't vouch for until we have tested it. But the physical layout of the device's circuitry should protect the audio signal from interference, accompanied by low-noise power supplies for all critical stages fed by an offboard PSU.

It certainly sounds like a lot of DAC for £449 / AU$999 (around $600).

D9: bigger, bolder, better

The Audiolab D9 has a lot in common with Audiolab's flagship 9000 Series hi-fi components, with a more premium build quality, features and sound performance than the D7.

It's very similar to the Award-winning Audiolab 9000N music streamer, but with Bluetooth in place of the network streaming functionality.

It is powered by ESS Technology's high-end ES9038PRO chip, which incorporates eight channels (up from the D7's two). Audiolab claims this further eliminates noise and distortion, and combined with its proprietary circuitry, master clock and Class A post-DAC filter, delivers "remarkable sonic clarity and breathtaking dynamics".

It has the same hi-res chops as the D7, playing all manner of formats, including FLAC, ALAC, AIFF, APE and WAV, as well as compressed legacy formats. It also shares other features of the D7, including MQA decoding, upsampling and Roon Tested certification.

Its circuitry is "significantly elevated", according to Audiolab, with its post-DAC analogue section including top-grade components and differential balanced architecture for a purer signal. There is also an ultra-low-noise toroidal transformer for consistent, clean power.

Audiolab has used its extensive experience working with ESS's chips to employ multiple discrete ultra-low-noise regulators to provide power separately to the left and right channels for each stage of the digital-to-analogue conversion process.

And it has the same connections as the D7, as well as an additional AES3/EBU digital input. Its Bluetooth also supports Sony's LDAC codec.

Inside is the same headphone-amplifier circuitry as in the D7, which Audiolab claims delivers a "spacious, detailed and dynamic performance" with even more challenging headphones, including both dynamic and planar.

The Audiolab D9 costs £1099 / AU$2299 (around $1460).

Both new DACs will be on show at High End Munich 2025 in a couple of weeks. Stay tuned for our reviews in due course.

MORE:

Read our Audiolab M-DAC review

And our Audiolab M-DAC+ review

Check out the best DACs around

When the Bowers & Wilkins Px7 S2e arrived a few years back, we thought they were an excellent pair of wireless headphones. Boasting a premium quality of build alongside excellent sound and lots of features, it was hard to pick too many holes in their credentials.

Good as the Px7 S2e are, B&W wanted to go one better with the sequel. Promoting them as their most "advanced and capable headphones ever", the Bowers & Wilkins Px7 S3 have arrived burdened by seriously high expectations.

Thankfully, they're another excellent pair of over-ear wireless headphones, but how do they stack up against the older model and, more importantly, should you stick with the Px7 S2e or upgrade to the newer cans?

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: price

As you'll know if you're a frequent hi-fi or headphones buyer, the older a product gets, the lower its price tends to drop. Considering they arrived around two years ago, the PX7 S2e have fallen to roughly £249 / $350 / AU$460 as the five-star over-ears begin the slow process of being phased out.

The newer Px7 S3 won't see prices slashed anytime soon, so their debut figure of £399 / AU$699 is the one you're going to have to pay if you want a pair. Note also that the Px7 S3 aren't yet available in the United States and don't even have a US price tag thanks to ongoing political and economic uncertainties. We'll update you as soon as we have those prices, of course.

A convincing win for the excellent-value Px7 S2e, then.

**Winner: Bowers & Wilkins Px7 S2e**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: build and design

Oh, these really are lovely headphones.

We haven't changed our minds about just how nice the older B&W headphones are. The earcups' two-tone finish with a metallic oval and a textured surround just works so nicely, while gold accents and the cylindrical ‘Bowers & Wilkins’ logo text combine to make a very visually desirable product. Whatever finish you pick – and there are a few more with the Px7 S2e than the Px7 S3 at the time of writing – you won't be disappointed by how they look.

It's the same story with the third-generation cans, which follow roughly the same configuration as their predecessors. There are differences, however, including a decreased weight from 307g to 300g and a flatter, slimmer profile whereby the earcups don't protrude as far from the body of the overall design. That makes the Px7 S3, and their smaller case, more portable and easier to wear for long periods.

We've found both pairs to justify their premium price tags. The Px7 S2e felt like a well-made pair of headphones, a legacy that continues to the Px7 S3. From the fabric used on the headband to the quality of the metal arms, both sets feel like they've been built to last.

Both sets of headphones use old-fashioned button controls, and that's something with which we have no issue. The layout of the buttons makes sense and, once you get used to where everything is, you won't have too much trouble locating your desired functionalities.

The small fly in the ointment? Neither folds away, with the earcups instead swivelling from inwards to outwards, but not collapsing up and into the headband like, say, the Bose QuietComfort Ultra Headphones. It's not a huge deal, but worth noting all the same.

Two lovely sets of headphones, but their slimmer, lighter and more comfortable design gives the win to the Px7 S3.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: features

Scan down each respective spec sheet and you won't find too many gaps. Battery life is a commendable 30 hours for both both pairs, though we're a bit miffed that the Px7 S3 couldn't build on that and add a few more hours to the total. Still, their ability to offer seven hours of playback from a mere 15-minute charge is mightily impressive and super convenient.

Codec compatibility is solid for both. There's support for the higher-quality Bluetooth codecs, with both offering aptX Adaptive as well as both USB-C and 3.5mm cable connections provided in both boxes. The S3 take things a little further, offering all flavours of aptX so you're covered if you have a compatible device; aptx Adaptive, HD, Classic and Lossless are all available, plus 24-bit/96kHz quality when listening via USB-C.

The accompanying Bowers & Wilkins Music App is where you'll control your headphones, with the newer cans working from the updated version of the platform. It's a place we like to be, allowing owners to adjust their phone settings, change the sensitivity of the wearer detection feature for automatic pausing, select noise-cancelling modes or access the customisable five-band equaliser. You even get many streaming service libraries, including the likes of Deezer, Qobuz, Tidal and TuneIn, all in one place.

The Px7 S3, naturally, will have some features not available with the older cans. Auracast will be available soon, meaning the Px7 S3 can receive audio transmissions from compatible broadcast sources when the time comes. This will be available alongside LE Audio support and the LC3 higher-quality codec as a future over-the-air update, says B&W.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: noise cancelling and call quality

The Px7 S2e’s noise-cancelling capabilities are solid, and it's a similar story for the third generation of the brand’s premium over-ears. Thanks to their repositioned eight-mic array, the Px7 S3 have a natural-sounding ability to block out unwanted sounds and intrusions in much the same way as their predecessors.

Neither set matches the cocoon-like feeling of impermeability you get with the Bose QuietComfort Ultra Headphones, nor are they quite as comprehensive at reducing mid and upper frequency noises compared with Sony WH-1000XM5 and AirPods Max rivals, but the subtler ANC is decent enough from both sets when it comes to reducing the rumble of engines. The Px7 S3 are a little better than the previous model, as we would have hoped, and we certainly discern more of a difference when switching between full-fat ANC or the more permeable pass-through mode.

Voice calls are competently handled by each contender. Repositioned microphones and B&W’s ‘ADI Pure Voice’ voice processing technology tease “outstanding voice clarity” for the Px7 S3, and while the Px7 S2e weren't bad with voice calls, we feel that the newer model is better at muffling background noises such as passing cars or the whooshes of wind and air.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: sound quality

Make no mistake, the Bowers & Wilkins Px7 S2e are an exceptional pair of headphones at this price. Their sound is excellent, and it only took the brilliance of the Award-winning Sony WH-1000XM5 to prevent us from considering them to be the absolute leaders in their given field. Some of our test team actually prefer the older B&W cans to the Sony, so it's a very close run thing.

Why are the Px7 S2e so good? They remain tremendously detailed for wireless headphones at this level, able to bring out finer details and communicate dynamic shifts to an extent that few rivals can match. The B&W cans have the transparency to dig out the emotional depth to vocals, making sung performances sound authentic and sincere rather than rote and non-committal.

They're great at the lower-end, too, all while retaining a lovely feeling of space and scale. To quote from our review: "How the headphones render lower frequencies remains a highlight, with bass depth and punch in head-bopping supply. Bowers has not only aired out the soundstage slightly for added openness and coherency but also smoothed the presentation somewhat. It’s sweeter and easier to listen, and none of their predecessors’ clarity and tonal balance has been relinquished either."

So, there's no need to get the newer Px7 S3 then, right?

Wrong. The Px7 S3 are the step above, elevating an excellent pair of headphones to exceptional new levels. Compare them with any price-comparable rival and the Px7 S3 will hold their own and, more often than not, trump the competition. They offer class-leading levels of insight, instrumental detail and sonic punch. Even against the more expensive Dali IO-8, we found them to be more capable of pulling out textures with greater talent and a more perceptible feeling of weight and body.

To borrow from our recent review: "These are wireless headphones that dig deep into your music, eschewing a broad or general sonic overview and instead pulling out instrumental timbres with the relentless curiosity and enthusiasm of a bloodhound on the scent of a new lead." High praise.

We loved the bass reproduction of the outgoing B&W, but here the bar has been raised. The newer model offers a lower-end reproduction that drops to new depths, yet the B&W are cultured enough to keep things from sounding blobby or unwieldy. Powerful bass reproduction blended with true finesse isn't easy, but it's a trick the Px7 S3 pull off like it's no big thing.

Across the board, if sound quality is your key priority, the Px7 S3 have to be somewhere at the top of your shortlist. In a straight shootout against the Px7 S2e, they're the clear winners to our ears.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: verdict

Regardless of which pair they're put up against, the Bowers & Wilkins Px7 S3 are some of the best wireless over-ear headphones you can buy at their premium price point. If sound and style matter to you (and you're rather keen on a healthy feature set, too), we'd have no problem recommending them, even at full price.

What's the case for the Px7 S2e, then? In short, it's a question of price and value. The older cans arrived at £379 / $399 / AU$599, yet now that they're often more than £100 / $100 / AU$150 off, the sound-per-pound value they represent is seriously attractive.

Like so many things in life, this one might simply come down to a question of money.

MORE:

Check out our Sony WH-1000XM5 vs Bowers & Wilkins Px7 S3 head-to-head

These are the best noise-cancelling headphones we've tested

19 of the best Bowers and Wilkins products of all time

Astell & Kern has launched a clever twist on its tried-and-tested hi-res music player formula. The new A&K PD10 is a portable music player that you can listen to on the go, but it also comes with a docking cradle that transforms it into a music streamer for your home audio system.

The South Korean brand is no stranger to innovative products (check out the ACRO CA1000T desktop player), and the PD10's dual-purpose use is ideal for those who want high-performance audio but don't want to go down the traditional separates route.

The PD10 looks like most other Astell & Kern digital audio players (DAP), such as the Award-winning A&norma SR35 and high-end A&ultima SP3000, which are among the best portable music players we've tested.

The stainless steel and glass design features a Full HD 6-inch touchscreen display, with 256GB of internal storage that can be expanded with microSD cards up to 2TB. The customary tactile volume wheel of most A&K players has been replaced by buttons in this model, while a colour-changing LED ring around the power button signals the bitrate of the track playing.

A&K has taken plenty of care with the internal circuit of the PD10 to deliver "an astonishing level of sound". To do this, it uses the same HEXA audio circuit design first seen in the five-star flagship SP3000 player. The PD10 uses two AKM AK4191EQ chips for the digital signals and four brand-new AKM AK4498EX DAC chips for the analogue stages, thus keeping the digital and analogue signal processing stages completely separate.

Performance is optimised even further thanks to two separate audio circuits for the balanced and unbalanced outputs respectively. The PD10 also features two amplifiers with different sound tunings (Normal Gain AMP and High Gain AMP) so users can select the sonic character that suits their tastes and headphones best.

And finally, the PD10 has a smart gain mode that automatically selects the best amplifier mode match to your headphones' impedance. This is especially useful if you have multiple wired headphones of various types and impedances that you use regularly, so the PD10's ability to automatically distinguish between low and high impedances takes out a lot of manual tweaking.

The docking cradle, meanwhile, has a pair of balanced XLR outputs so you can directly connect it to a pair of active speakers or your home system's two-channel amplifier. Slot the PD10 into the cradle's USB-C connection and you'll be able to stream your digital library to your home speakers.

You can use the PD10's volume button to control output levels or set a fixed level by using the line out option. There's no display, but the cradle has a colour-coded LED that informs you of the current track's bitrate.

The PD10 can be used in conjunction with a variety of other hi-fi products and storages: it has wi-fi, supports AirPlay, is DLNA compatible and has Roon Ready certification. As a portable player, it has 15 hours of battery life.

Its USB-C port can be used for charging, file transfer and as a DAC, while Bluetooth 5.3 is on board for wireless compatibility. The PD10 supports native playback of high-resolution files up to 32-bit/784kHz PCM and DSD512, while aptX HD, LHDC and LDAC codecs are supported over Bluetooth.

Of course, you can achieve much of this set-up's features with an A&K SR35 player (£599) and a WiiM Pro Plus (£219) or Cambridge Audio MXN10 (£349) streamer, but the PD10 has a fair few more technological advances and it would be missing the point of this sleek two-in-one solution.

The Astell & Kern PD10 hi-res portable player/streamer is available from May with a rather hefty price tag of £2499 / $2499.

MORE:

Read our Astell & Kern SR35 review

Best music streamers: top network audio players tested, from budget to high-end

Want an iconic shot of David Bowie gracing your next speaker? Bang & Olufsen has you covered

We’ve thought about it a lot, and maybe the idea of David Beckham advertising Bowers & Wilkins wireless headphones does make sense. After all, Becks was always known as the man who brought serious glamour to the modern game, blending effortless good looks and pinpoint style with genuine footballing substance. You don’t get over 100 caps for England just for having nice hair and good cheekbones.

The best Bowers & Wilkins headphones are the same. The current flagship Px8 remain a treat to hear and to admire, while the five-star Px7 S2e boast that same devastating combination of style and performance. The S2e’s sequel – the new Bowers & Wilkins Px7 S3 – unquestionably share the same handsome genes as their progenitors, but good looks are nothing if you can’t kick a ball or hum a decent tune.

If they can also nail that potent combination of style and substance, B&W’s latest offering could turn out to be another Beckham-level winner for the established brand.

Price

Costing £399 / €429 / $449 / AU$699, the Bowers & Wilkins Px7 S3 are a premium pair of wireless headphones with serious competition to contend with, as all of the following rival headphones feature in our guide to the best wireless headphones.

The five-star Dali IO-8 over-ears generally sit at around £499 / $499 / €599 these days, while the Apple AirPods Max cost roughly £450 in the UK, €500 on the continent and between $500-$550 in the US.

For something a little cheaper, the ever-excellent Sony WH-1000XM5 currently sit at around £250 / $330 / €300 / AU$550. The best-for-ANC Bose QuietComfort Ultra Headphones, meanwhile, can be yours for £349 / $399 / AU$549 these days.

Build & design

Maybe it’s just us, but the Px7 S3 are such a lovely pair of headphones that we’re almost reluctant to extract them from their case and actually wear them. B&W has always known how to make a pair of cans look chic and classy, continuing that keen-eyed legacy with these ever-so-stylish third-generation headphones.

We considered the Px7 S2e to have nailed that air of high perceived value, but if anything, their successors see the headphones line looking and feeling better than ever.

To handle, they’re a delight. Every part of the construction feels as though genuine care and attention have been made in its design, be it the hinges adjoining the earcups, the textured woven fabric of the headband or the subtle metallic embellishments gleaming when exposed to the light. It’s all subjective, but we’re struggling to think of a nicer-looking pair at this price.

Following feedback that some users found the Px7 S2e to be just a little weighty and oversized, B&W has put its newest cans on a crash diet, resulting in a lighter weight of just 300 grams and a shallower profile when laid flat. That makes the newer model easier to wear and transport, and while the S3 don’t fold away, the accompanying carry case also boasts a flatter, smaller footprint for sliding into a backpack or slipping into a suitcase.

That new lightness, combined with an established configuration that never exactly starved us for comfort, leads to a pleasant fit. The clamping force is well-judged, while the earpads’ blend of firmness and forgiving suppleness (they feel slightly softer than their predecessors) doesn’t have our ears begging for relief after mere minutes, even if we did experience some on-ear heat during testing. With one eye on sustainability, the S3’s various components – ear cushions, headband, even the internal drive units – are replaceable should they begin to falter.

If you’re not mad about on-cup touch controls and relying on a series of swipes and taps to get your cans to co-operate, Bowers & Wilkins has kept things relatively traditional courtesy of the Px7 S3’s small array of physical buttons. The backside of the right earcup offers a play/pause button flanked by longer volume controls, whereas the left cup features a sliding Bluetooth/power toggle alongside a configurable ‘Quick Action’ button we currently have reserved for cycling through our test pair’s noise-cancelling modes.

Features

What you have here is a spec sheet with the essential boxes ticked, and ticked well. Battery life clocks in at an eminently respectable 30 hours with ANC on (the same as the Px7 S2e), with a stunning seven hours of life provided by a mere 15-minute charging boost. Even if we’d have liked to have seen the overall battery life increased a bit, those quick-juicing talents are little short of remarkable. The Sony WH-1000XM5 will also offer around 30 hours of playback, so that overall playing time is hardly an Achilles heel.

Bluetooth codec support is ample, with the standard AAC and SBC codecs living alongside higher-quality flavours. aptX Adaptive and aptX Lossless are on the menu, and if you want to go all out on audio fidelity, USB-C and 3.5mm cable connections are provided straight out of the box for listening at rates up to 24-bit/96kHz.

These are headphones that have moved with the times. There is Auracast support, meaning that the Px7 S3 can receive audio transmissions from compatible broadcast sources. However, this will be available alongside LE Audio support and the LC3 higher-quality codec as a future update, says B&W.

Another over-the-air update later this year will also see spatial audio incorporated into a pair of Bowers & Wilkins headphones for the first time.

In happier news, the ever-useful Bluetooth Multipoint is available straight away, which makes listening and switching between multiple connected source devices easy.

The Bowers & Wilkins Music app is the place to be for customising your user experience, adjusting the equaliser or checking your headphones’ key vitals. It’s a professional and involved platform that also offers direct access to music streaming service libraries you’re signed up to, including the likes of Tidal, Deezer and Qobuz, though as we noted when we tested the Px7 S2e, we don’t imagine many users will use the Tidal integrated interface over their preferred platform’s in-app experience.

ANC & call quality

The Px7 S2e’s noise-cancelling capabilities were pretty good, and it’s a similar story for this third generation of the British brand’s premium over-ears. Thanks to their cannily-positioned eight-mic array, the Px7 S3 deliver a reasonably solid barrier between you and the outside world, and while you don’t get that impermeable bubble effect crafted by the Bose QuietComfort Ultra Headphones, the B&Ws’ organic-feeling performance is decent enough. It isn't class-leading, though.

While road and general low-frequency rumbles are reduced impressively, these headphones are less able to match their rivals when it comes to muting traffic noise or the chatter of voices. At times, we are surprised at just how clearly the screech of a car's brakes, a nearby conversation or the high-frequency whine of an aircon unit intrude on our listening.

On these occasions, we intuitively find ourselves checking to see if we have activated the 'Transparency' mode by accident rather than full-fat noise cancelling. Unfortunately, that's never been the case. Still, deliberately switch 'Transparency' on and find it even easier to hear train announcements or the voices of people talking to you.

Voice calls are competently handled. Repositioned microphones and B&W’s ‘ADI Pure Voice’ voice processing technology tease “outstanding voice clarity”, and while we wouldn’t quite stretch to such lofty adjectives, calls are hardly a chore. Human speech sounds natural without seeming muffled or mechanical, whereas background noises – aside from the occasional minor intrusion – rarely disrupt our conversations during tests.

Sound

Bowers & Wilkins has made big claims about its latest cans’ sonic capabilities, dubbing them its most “advanced and capable” wireless headphones ever. When you consider the pedigree of the five-star Px7 S2e over-ears and the more premium Px8, that’s a serious statement to make.

To reach such vaunted heights, the Px7 S3 are equipped with redesigned 40mm paper drivers furnished with a new chassis, voice coil, magnet and suspension, all of which combine for what B&W claims to be "improved resolution and superior dynamics".

While it’s always prudent to be wary of hyperbole, our time cross-examining the Px7 S3’s sonic talents leaves us finding few gaps in their armour. The Px7 S3 really are exceptionally refined and detailed headphones, stunning us with their ability to outstrip their predecessors and even outperform the more expensive Dali IO-8 for textural insight.

These are wireless headphones that dig deep into your music, eschewing a broad or general sonic overview and instead pulling out instrumental timbres with the relentless curiosity and enthusiasm of a bloodhound on the scent of a new lead.

The Px7 S3 drop you deep into a performance, breaking the boundary between you and your music and insisting that you become a part of the experience, a little like a mate at a gig who ushers you ever-closer towards the stage. The Sony WH-1000XM5 will grant a more open presentation, but the B&W have an intimate character that puts you in the eye of the musical storm no matter what you choose to feed them.

That’s a long way from being a criticism. The effect of being immersed in the centre of your tunes is thrilling, amplified by those remarkable levels of detail the Bowers & Wilkins over-ears unveil. The earthy strings on Nick Cave & Warren Ellis’s Song For Bob have real bite and grip as the track’s forlorn heart is revealed, while the varying components of John Williams’ Duel Of The Fates – rumbling drums, punchy horn stabs, operatic vocals – blend authenticity with a thrilling sense of drama.

The Px7 S2e and Px8 are hardly light on the details, but the richness and insight of these latest over-ears are simply on another level.

If the details on display are to be admired, the Px7 S3’s muscular nature grants them a further dimension – these are potently powerful headphones, a fact that becomes clear when we select Slipknot’s Left Behind as our hardcore testing mainstay. As the pulse-pounding anthem transitions from zig-zagging verses to its fist-pumping chorus, the Px7 S3 make a big play of those walloping industrial drums, adding enough weight and muscle to make for an appropriately headbanging affair.

There’s more than enough wallop at the lower end to keep basshunters satisfied, too. The bursts of fuzzy electro-instrumentation on Massive Attack’s Risingson drop to meaty depths, yet the B&W are cultured and controlled enough to keep things from sounding blobby or misaligned. Powerful bass reproduction is one thing, but a potent lower end with agility and refinement? That’s a far tougher task.

Whereas the Sony WH-1000XM5 have a lighter, freer sense of movement as they keep a Tidal rendition of Radiohead’s Burn The Witch skipping along, their B&W rivals dig deep into the track’s tricky rhythmic pattern with greater skill. Yes, the Dali IO-8 are the benchmark at this level for teasing out the song’s dynamic shifts, but the Px7 S3’s blend of rhythmic insight and dynamic nuance still makes for a potent mix.

Bowers & Wilkins has included a physical tether with its new headphones, and we would advise that if you’re hunting for the best sound possible, the wired connection is the way to go – you’ll still have to have them switched on, mind you. Hooking up to our source player via USB-C makes the headphones sound clearer, more insightful and more detailed, yet never to the detriment of their muscular and entertaining sonic signature.

Verdict

B&W’s follow-up to the five-star Px7 S2e has been a success. Matching their predecessors’ overall appeal was never going to be easy, but the Px7 S3’s powerfully entertaining sonic performance and refined design make them an good contender in a crowded marketplace, though we do have a few doubts about their absolute noise-cancelling abilities.

Sonically, the Px7 S3 outmatch their predecessors in almost every department – as a blend of style and substance, they’re very much the real deal.

Review published: 24th April 2025

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Read our review of the Dali IO-8

Also consider the Sony WH-1000XM5

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: should you upgrade?

Sony WH-1000XM5 vs Bowers & Wilkins Px7 S3: which five-star wireless headphones are better?

Sony WH-1000XM6 vs Bowers & Wilkins Px7 S3: which premium headphones are better?

Bowers & Wilkins Px7 S3 vs Bose QuietComfort Ultra Headphones: which noise-cancelling pair is better?

Bowers & Wilkins Px7 S3 vs Apple AirPods Max: which premium headphones are top of the pops?

iFi is back with another DAC and headphone amplifier. The iDSD Valkyrie acts as the brand's flagship portable DAC/amp, teasing a performance that's tailor-made for listeners who "crave musicality and emotional depth" in a versatile, portable product.

The Valkyrie is built around four Burr-Brown DACs in a hybrid multi-bit configuration, an arrangement which iFi claims offers low-level linearity for "breathtaking" detail levels. Aiming to get the most out of the Valkyrie's DAC array is 'K2HD' technology, a proprietary mastering system designed to bring out the "warmth and emotion" of music by restoring music closer to its original master. The DAC also uses DSD Remastering to improve the resolution of DSD files while reducing distortion and increasing detail levels.

How about supported formats? The iDSD Valkyrie offers hi-res support up to 32-bit/768kHz and DSD512 files, while aptX Lossless Bluetooth streaming means it should be capable of streaming CD quality losslessly (16-bit/44.1kHz). Further Bluetooth codec support includes aptX Adaptive, LDAC, AAC and SBC.

iFi's flagship DAC offers a choice of six digital filters for more flexibility in how you choose to experience your music. The Valkyrie employs switchable analogue circuitry for its EQ modes, rather than the oft-used Digital Signal Processing (DSP), arguing that such a setup "preserves audio quality and allows for more natural frequency adjustment". Those modes consist of XSpace, which creates an expanded soundscape; XBassIIl for a fuller low-end headphones experience; and XPresence, which brings midrange frequencies forward for enhanced vocal clarity and "a more engaging, intimate sound".

In terms of physical connections, the Valykrie provides balanced analogue 4.4mm and 3.5mm inputs alongside USB-C and a combined optical/coaxial S/PDIF input. There's also a balanced 4.4mm, twin 3.5mm and a single RCA line output, not to mention 4.4mm and 3.5mm headphone outputs for hooking up to your headphones. Thanks to its high peak output, the Valkyrie should be able to handle the most power-hungry headphones without fuss.

If you're planning on using the new DAC as a portable companion for your cans, the Valkyrie offers 18 hours of playback on a single charge.

The iDSD Valkyrie is available now, priced at £1699 / $1699 / €1699.

MORE:

These are the best DACs we recommend

What is a DAC and why do you need one anyway?

Read our recent iFi Zen DAC 3 review

The wireless headphones arena can sometimes feel like WWE’s annual Royal Rumble event. If you’re not familiar with the concept, the signature pay-per-view consists of 30 wrestlers sequentially entering the ring at regular intervals in a last-person-standing contest, whereby an elimination is scored by unceremoniously slinging your opponent over the top rope. Some are thrown from the ring early, some manage to stay through to the end, but all are desperate for the esteem that career-defining Rumble victory brings.

It’s a similar story in the world of wireless headphones. No matter the weight class (i.e. price) or brand, there’s always a steady flow of contenders seeking to become champion. Beyerdynamic has staked its claim within the proverbial premium wireless ring with the Aventho 300 over-ears, and while competition is fierce, the German audio brand will expect its considerable pedigree to give it the edge against the class-leading heavyweights. Let’s get ready to rumble!

Price

Costing £359 / $400 / approx. AU$640, the Beyerdynamic Aventho 300 sit comfortably within the premium realm. Competition in this more exclusive arena comes from the five-star Bose QuietComfort Ultra Headphones (currently around £350 / $429), as well as the outstanding Dali IO-8 over-ears (now £499 / $499) and the ever-popular Apple AirPods Max which, at the time of writing, are £450 in the UK and between $500-$550 in the US.

Build

The Beyerdynamic Aventho 300 aren't the sort of wireless headphones that will attract the same levels of attention, unwanted or otherwise, as the distinctive Apple AirPods Max or the classy Dali IO-8. That’s no great issue, as while the Aventho 300 don’t necessarily wear all of their considerable price tag on their sleeve, time has evidently been spent on bringing their quality and usability up to a good standard.

In fact, the Aventho 300 keep things simple to their benefit. The premium cans consist of a light metallic frame connecting to a soft foam headband and two plastic earcups, folding away neatly and smoothly in much the same way as the similarly-priced Bose QuietComfort Ultra Headphones. They’re not quite as comfortable bending and flexing as the master yogi Bose cans, but any foldability is a welcome asset, especially if you plan to take your Aventho 300 cans on the road or have them accompany your daily commute.

When the time comes to unfold the headphones and clamp them onto your head, the Aventho 300 again prove to be a comfortable and nicely thought-out set of over-ears. Some users may find their fit to be slightly too tight (though this will likely ease off with use), while others voiced concerns that their earpads’ tapered bottom ends led to slight on-head rocking. But those niggles aside, the lightweight earcups and well-padded headband will grant most users a pleasant experience.

The Beyerdynamic cans offer a healthy array of on-cup touch controls, as well as a host of physical buttons located at the base of the right earcup. Those buttons control active noise cancellation (ANC) modes, Bluetooth pairing and power, and while they don’t feel particularly special, they’re fine for getting the job done.

Aside from physical toggles, the Aventho 300 offer a raft of functionalities via the cans’ touch-sensitive right earcup. Beyerdynamic lists this impressive array of tricks on its simple-to-navigate app, but most of them will be relatively intuitive to anyone who has used a pair of wireless headphones before – swipe up for increased volume and down to lower it, double tap to skip a track, and so on. It’s a competently implemented system, and though there’s occasionally a slight delay as the headphones take a small beat to figure out each command, it’s not quite enough to have you tearing your hair out in frustration as you wait for the Aventho to figure out that you’ve now asked them five times to accept an incoming call.

Features

Features-wise, the Aventho 300 don’t lag too far behind the competition at this level. To get the most out of the premium wireless cans, you’ll need Beyerdynamic’s bespoke app, a well-laid-out platform that presents information in a bold, clear manner. Customisation levels are strong: the app offers a five-band custom equaliser and an array of preset profiles, not to mention access to the cans’ noise-cancelling modes and a Dolby Atmos toggle switch.

The app displays your battery life as both a percentage and in hours, and thanks to the cans’ strikingly long-lasting performance, those figures are rarely in danger of running dry. The Aventho 300 offer an extremely competitive 50 hours of life on a single charge, and if you do end up getting low, you’ll be treated to five whole hours of playtime from a mere 10-minute fast charge via USB-C. For context, the Dali IO-8 manage around 30 hours of life with the ANC switched on, while the Bose QuietComfort Ultra Headphones can only muster about 24 hours at a push.

Digging further into the Aventho 300’s spec sheet reveals Dolby Atmos-powered spatial audio with head-tracking support. The Beyerdynamics showcase their spatial capabilities when listening to a specially mixed Tidal rendition of Gorillaz’s Cracker Island, which rejigs things so that the tune’s percussive woodblock, synthy stabs and snappy drums enjoy their own respective spaces within the sound field, making for an enjoyable, well-curated rendition. Head tracking, which can be toggled on and off via the app, also works as it should, effectively anchoring sound to a fixed point as you turn your head from side to side.

The Aventho 300 pack in the latest Bluetooth 5.4 specification and has Multipoint Bluetooth connectivity for hooking up to two devices simultaneously. If you want to go traditional and listen with wires, you can do so thanks to the provided USB-C / USB-A terminated cable, although the bulk of our listening was performed wirelessly via Bluetooth.

ANC & call quality

The Aventho 300 handle calls well. Voices are communicated in a way that sounds natural and articulate, as the Beyerdynamic sidestep the pitfalls of muffled speech or hard, mechanical-sounding dialogue. They do let in a little more background noise, say if you're on a busy road or bustling office, than the rival Dali IO-8, but the Aventho 300 make up for it with how authentic and articulate they render human speech. All told, taking calls with them is a pleasure.

Active noise cancelling is the keystone feature of practically any set of wireless headphones at this price, and Beyerdynamic has duly obliged, packing in its own take on the tech by offering a standard noise cancelling setting alongside transparency mode for a more aware listening experience.

Powered by dual Sony chipsets on each side of the headphones, the standard performance on display is solid enough, reducing the swooshes of traffic or the hum of electrical equipment before allowing subtleties of human speech to flow more freely through when transparency mode is selected. It’s solid ANC for the price paid, but many will prefer the comprehensive cocoon of the Bose QuietComfort Ultra Headphones’ unparalleled talents in this arena.

Sound

The Aventho 300's on-paper credentials are impressive, and while we were only treated to a small taster of their capabilities during launch at last year’s IFA 2024 showcase, it was enough to have us craving more. The premium cans' engineering is based around Beyerdynamic’s Stellar.45 drivers, the same units found in the company’s five-star DT 700 Pro X and DT 900 Pro X wired studio headphones, while aptX Adaptive and aptX Lossless capabilities grant the possibility of higher-quality hi-res streaming from compatible source devices over Bluetooth.

First up on the menu is Fontaines D.C.'s Starburster, a thrusting, raucous blast of rock that the Aventho 300 keenly gobble up. The cans’ clean and punchy character shines through as the bop thunders through its rowdy verses and fist-pumping chorus, allowing proceedings enough power and pace to keep us nodding cheerfully along. The Aventho deliver Starburster with decent bottom-end punch while they’re at it, conjuring a rendition that feels sparky and alive without overegging the proverbial pudding.

This is what the Beyerdynamic over-ears do so well – they’re a pair of neutral, nicely judged headphones that demonstrate competence across the sonic spectrum but seem happiest delivering a decent dose of midrange bite. The Aventho 300 are clean and even-handed, preventing excessive sonic overspill and sounds in their respective lanes as they play things with a noticeably straight bat.

Detail levels are strong, too. We change pace with Alice In Chains’ downtrodden ballad Down In A Hole, and all of that punch remains, with that impressive Beyerdynamic studio heritage on display as the Aventho 300 get to work displaying their textural savvy. The track’s opening guitar is distinctive and resonant, while the dual vocal harmonies sound sincere and authentic yet appreciably distinct in their tone and delivery.

Keen to discover if the Aventho 300 have the chops to match the market’s best, we pit them against the five-star Dali IO-8, and it’s here that we shine a light on both their strengths and limitations. The Aventho 300 are composed yet punchy in their delivery, but their more limited grasp of dynamic contrast renders undulating tracks as slightly restrained. That rigid approach is especially true when we listen to how the competing cans handle dynamics; listen to Starburster again and the shifts in volume, tone and texture are rendered with greater distinction through the Dali, with punchy bass notes arriving with a real feeling of power and occasion through the more colourful IO-8.

That’s not to disregard what the Beyerdynamic hopefuls do well. What the Aventho 300 provide is a remarkably composed, controlled character that will win fans among wearers who want their headphones simply to get out of the way of the music. There’s an admirable competence, clarity and feeling of maturity that they provide over the Dali IO-8, and while many will prefer the latter’s more expressive character, the Aventho’s virtues will, rightly, have their fans. Meanwhile, the Bose QuietComfort Ultra Headphones favour a slightly fuller sound with a more rounded bass reproduction, whereas the Aventho 300 have a clearer, lighter touch and a tauter lower end.

We also find that the Aventho 300’s performance is improved when listening via wired USB-C. It’s not a complete about-face transformation, but we discern more space, detail and clarity when a physical tether is introduced, as well as a more perceptive sense of dynamic differentiation. The sound of the guitars on Ghost’s Kaisarion comes over as more layered and detailed, whereas Lana Del Rey’s voice sounds more Del Rey-esque than when enjoying signature tune Off To The Races wirelessly.

Verdict

The Beyerdynamic Aventho 300 won’t be for everyone. They’re not an overly characterful pair of headphones, and listeners craving class-leading handling of dynamics should seek out the rival Dali IO-8, or else discover the Bose QuietComfort Ultra Headphones if portability and class-leading ANC rank high on the agenda.

That said, these are really solid performers for the money, that resist the urge to impose their will on your music and instead step back and allow your tunes room to shine. Add to that a solid build quality and a decent array of well-performing features and it all adds up to an impressive wire-free effort from Beyerdynamic.

First reviewed: March 2025

SCORES

• Sound 4
• Build 4
• Features 4

MORE:

Read our review of the Dali IO-8

Also consider the Bose QuietComfort Ultra Headphones

Best wireless headphones reviewed and rated by our in-house experts

It's never too late to embark on new beginnings. Rotel has launched the DX-3 – the first standalone headphone amplifier in the brand's 60-plus year history. The Rotel DX-3 isn't just a headphone amplifier, though. It is also a DAC, it has built-in Bluetooth, digital and analogue inputs, and it can be used as a preamplifier.

Rotel pitches the DX-3 as the "ultimate desktop audio companion", and we can imagine its compact footprint will appeal to many of us who want high-quality hi-fi kit but are short on space. It measures 7.6cm x 21.5cm x 24.7cm – which is only a little bit bigger than the WiiM Ultra streamer's size.

You can plug a wide range of wired headphones into the DX-3, with Rotel stating it is compatible with high, medium and low-impedance cans, while users can also select the amplifier gain to suit their headphones. There are 6.3mm and 4.4mm balanced headphone connectors on the front panel.

The unit features an ESS Sabre ES9028PRO eight-channel DAC and is capable of handling hi-res audio files up to 32-bit/384kHz and DSD256. You'll get that maximum full native resolution using the USB type B input, while there are digital coaxial and optical inputs that can play 24-bit/192kHz files natively. It also has a Bluetooth receiver included, which supports AAC and higher-quality aptX HD codecs.

The DX-3 also features balanced XLR and stereo RCA analogue outputs, so you can use it as a preamplifier in an existing hi-fi set-up with a power amplifier, or use it to drive active speakers in a neat, compact system. There is also a pair of RCA line-level analogue inputs, which is unusual for a product of this type.

The "highest-grade components" are used in the DX-3 to deliver audiophile-grade performance from this headphone amplifier/DAC/preamp, which also has Rotel's renowned audio expertise behind it.

The low-noise toroidal transformer is custom-made and manufactured in-house, while high quality capacitors are used. The analogue and digital power supplies are isolated to reduce interference, while custom-engineered low pass filters and a fully balanced signal path further help to minimise unwanted noise and distortion from affecting the music.

All in all, Rotel aims to deliver music with "the ultimate resolution, rhythm and timing and on an immersive soundstage".

The unit itself looks rather smart, with the front panel boasting a full-colour display that shows off the volume level and source chosen, and a large, knurled volume control that delivers precise steps in 0.5dB increments.

The Rotel DX-3 will be available in silver and black finishes for £1399 / $1499 / €1499. It will be available in the UK and Europe from the end of March, with the rest of the world to follow soon after.

MORE:

Check out the best DACs we've tested and rated

And the best headphone amplifiers we recommend

7 test tracks that have been playing on repeat in the What Hi-Fi? test rooms

Dali is taking aim at the premium end of the wireless headphones market with its latest pair of over-ear cans, the IO-8. Priced at £599 / €599 / $900 / AU$999, the new over-ear headphones are set to find themselves swimming with some of the biggest sharks in the water, including the five-star Apple AirPods Max, the Focal Bathys and the Bowers & Wilkins Px8. What, then, are the IO-8 offering to set themselves apart from the pack?

The IO-8 have been designed by the same team that came up with Dali's high-end Kore range of loudspeakers, and promise to deliver high-quality sound via both a wired and a wireless connection. The new headphones feature 50mm full-range drivers with paper-fibre cone diaphragms to deliver, in Dali's words, "true hi-fi speakers for your head" which offer a "natural, relaxed sound brimming with detail".

Dali also claims that the IO-8 have been made using the same design and sound principles that made into the brand's recent Rubikore series of loudspeakers – that's a good sign, as we highly praise the Dali Rubikore 2 standmounts in our review from a month or so ago.

As with the higher-end Dali IO-12 headphones, the cans' sonic profile can be adjusted thanks to two sound modes. There is a 'hi-fi' sound profile for a purer, more authentic listen, claims Dali, while a 'bass' mode offers more lower-end heft for a punchier performance. As you would expect at this level, the Dali over-ears offer standard active noise-cancellation alongside a Transparency mode for letting surrounding noise in.

The new premium headphones offer up to 35 hours of wireless playback with ANC switched off; this falls to around 30 hours when noise cancelling is deployed. Those are solid numbers, beating the 20 standard hours offered by the AirPods Max and the 30 hours granted by the Focal Bathys. The Bluetooth codec support is impressive, too: the IO-8 offer standard AAC alongside aptX, aptX HD for supporting audio up to 24-bit/48kHz and aptX Adaptive which handles 24-bit/96kHz and lower latency rates from your device.

The headphones use real leather earpads, and radial brushed and anodised ear-cup surfaces. Those ear cups offer control over functions such as volume, playback, taking calls and adjusting noise-cancelling and sound modes. You can also listen to the headphones wired, with a USB-C cable and 3.5mm stereo mini jack offered in the box.

The DALI IO-8 are available now in two finishes – iron black or caramel white – and are priced at £599 / €599 / $900 / AU$999.

MORE:

Read our recent Dali Rubikore 2 review

These are the best audiophile headphones for serious listeners

Austrian Audio's five-star wireless headphones have finally filled a gaping hole in the over-ear market

Bose has announced a sequel to its original SoundLink Flex Bluetooth speaker. The second-gen SoundLink Flex portable speaker builds on the foundations laid by the 2022 model, adding a raft of additional features that Bose hopes will see the new contender challenge the likes of JBL, Beats and Ultimate Ears.

Launching at the same price as its predecessor – £150 / $149 / AU$250 – and sporting a similar overall design, the SoundLink Flex (2nd Generation) does differentiate itself via a handy Shortcut button – similar to the switch found on the more recent, five-star SoundLink Max – which lets you quickly access a range of functions, including summoning your voice assistant or starting Spotify, at the touch of a button. 

Most of the updates to the SoundLink Flex Gen 2 come in the form of new features and capabilities. That 12-hour battery life and IP67 waterproof rating both remain unchanged, but what you do get is better Bluetooth codec support. The Flex 2 now offers AAC and aptX compatibility, with the latter making the Bose capable of wirelessly transmitting 24-bit hi-res audio via a compatible source device.  

PositionIQ returns, a clever feature that, a little like Sonos's Trueplay calibration tech, uses built-in sensors to detect the speaker's orientation and then optimises the sound accordingly. It's a smart trick that we found worked well with the original SoundLink Flex, so here's hoping this sophomore effort nails it just as effectively.

If you're still not happy with how your speaker sounds, you can adjust its sonic character via the Bose app using the equaliser. You can also use the app to create a 'SimpleSync' with another compatible Bose product, such as a soundbar or another Bluetooth speaker, or create a stereo pair with two Flex speakers or use Party Mode for using two speakers to play the same audio in sync with each other.   

We liked the first-gen SoundLink Flex, praising its clear, detailed midrange, powerful overall sound, sleek design and ease of use. Rivals like the five-star JBL Charge 5 and Flip 6 did offer greater precision and sonic balance over the Flex for similar money, so here's hoping that Bose has found space to tweak the sound quality as well.

Available in black, blue, sandstone or an all-new 'alpine sage' colourway, the Bose SoundLink Flex (2nd Gen) is on sale now for £150 / $149 / AU$250.

MORE:

Read our original Bose SoundLink Flex review  

And our recent, five-star Bose SoundLink Max review

These are the best Bluetooth speakers you can buy

UPDATE 09/01/2025: We've had news of Pro-Ject launching a new T1 Evo range of turntables last year, but we can now confirm that this new range is now available to buy in the UK and Ireland.

Pro-Ject's new T1 Evo range is an update to the T1 line originally launched in 2019 and consists of three models: a standard T1 Evo, a T1 Evo Phono that includes a switchable MM phono stage, and an aptX HD Bluetooth-equipped T1 Evo BT for wireless streaming.

UK prices are now confirmed: the T1 Evo costs £359, the T1 Evo Phono costs £399 and the T1 Evo BT costs £479. At these prices, the T1 Evo joins a raft of new and old turntables that offer a combination of features and strong sound quality for sensible prices to fit various vinyl set ups, and we're excited to hear how they fare.

The full details of each record player, along with US and Euro prices, can be found in the original story below.

ORIGINAL STORY 25/09/2024: Pro-Ject has unveiled a new range of affordable turntables. The T1 Evo series comprises three distinct models – the standard T1 Evo, the T1 Evo Phono and the T1 Evo BT, all aiming to "deliver true high-fidelity sonics to vinyl enthusiasts on a limited budget". That's just what the Austrian brand did with the super-cheap Pro-Ject Primary E, and while the T1 Evo is a touch more expensive, sitting between the Primary and the Debut range, this is certainly a trick Pro-Ject knows how to pull off.

As you might have guessed already, the BT version of the T1 Evo allows wireless streaming to compatible speakers via Bluetooth 5.0, with aptX HD codec support. The Phono edition (and the BT model) includes a built-in switchable MM phono preamp, making it easier to plug into your amplifier or active speakers.

Aside from the variations to include Bluetooth or phono stage capabilities, the technologies and design aspects of the new series remain consistent across the T1 Evo range. The new decks all employ a belt-driven design that strives for reliability and accuracy thanks to its bespoke drive system which ensures a stable, non-resonant platter speed. All three units support 33 1/3 and 45 RPM speeds for playing your records, selectable via an electronic speed change function.

Pro-Ject promises that the range's stable drive system will have the tonearm and cartridge performing at their very best. That tonearm is an 8.6-inch one-piece aluminium design with an integrated headshell, sporting high-quality bearings for a smooth, frictionless tracking motion. The cartridge, meanwhile, is a supplied Ortofon OM 10 moving magnet model with an elliptical stylus tip and built-in anti-skating tech.

The T1 Evo series' heavy glass platter has been crafted to reduce resonance as much as possible. Further, the turntables' feet have been designed to isolate the new deck from external vibrations that might affect vinyl playback. All three new record players come with a dustcover, felt mat and power supply all included, as well as Pro-Ject's purpose-designed phono RCA cable.

Pro-Ject's new turntable range is available now in either a gloss black, satin white or satin walnut laminate finish. The standard T1 Evo is priced at €399 / $449, the Evo Phono will cost €449 / $499 and the Evo BT will set you back €499 / $599. The new range will be available in the US from late October.

MORE:

Our pick of the best turntables across all budgets

Victrola drops Bluetooth turntables with streaming smarts and an all-in-one vinyl system at CES 2025

CES 2025: all the latest news from the world's biggest tech show

There's no shortage of choice when it comes to the best wireless earbuds, but now a new competitor has entered this crowded field. The Bowers & Wilkins Pi8 are the firm's best effort yet, combining solid noise cancellation and excellent sound quality with the brand's usual stellar build quality. But how do they fare against the more established Bose QuietComfort Ultra Earbuds?

Both pairs earned five stars, so both are fantastic options. Wondering which is best for you? Let's find out.

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: price

The B&W Pi8 are among the most expensive earbuds we have tested, with a retail price of £349 / $399 / AU$599. That's a fair bit more than the Bose, which launched at £300 / $299 / AU$450.

What compounds matters is that the B&W launched only recently, so are unlikely to see a discount any time soon. Whereas the Bose launched in September 2023, and have dropped to £219 previously – a discount of £81. Expect more deals come Black Friday.

** Winner: Bose QuietComfort Ultra Earbuds **

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: design

For the Pi8, B&W went back to the drawing board and redesigned everything – they bear almost no relation to its previous model, the Pi7 S2. The overall shape, internals and drivers have all been overhauled, and they certainly feel as though they justify their price tag. They come in Anthracite Black, Dove White, Jade Green or Midnight Blue.

The mics and sensors have moved position from the Pi7 S2 so they don't get obscured as easily, and the new 12mm drivers are made from the same carbon as those in B&W's Px8 wireless headphones and 700 Series loudspeaker tweeter.

They come with four sizes of eartips, but no eartip fit test within the app. They're not quite as secure as the Bose QuietComfort Ultra Earbuds, but don't feel as if they are about to drop out. They have the same IP54 rating as their predecessors, so are safe from limited dust and water spray.

Bose's pair don't feel quite as premium as the B&W – we're not quite sold on the metallic treatment on the outer stems – but they are more secure thanks to the stability bands. They are very comfortable for long listens, even more so than the Sony WF-1000XM5. But the IPX4 rating is good only for splashing water, not dust, so be careful out there on the beach. They come in two finishes: Black or White Smoke.

** Winner: Bowers & Wilkins Pi8 **

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: features

The B&W Pi8 support higher-quality audio codecs than the Bose – there's support for aptX Adaptive at up to 24-bit/96kHz and also aptX Lossless. The Bose play nice with only the more basic SBC and AAC codecs. But the Bose win out in terms of battery life: while the B&W manage half an hour more from the buds (6.5 hours compared with 6 hours), the QuietComfort Ultra Earbuds offer an extra 18 hours from the case, to the Pi8's 13.5. That gives them a total battery life of 24 hours, to the B&W's 20.

The Pi8's charging case also doubles up as a wireless audio re-transmitter. Connect it via a cable to a non-Bluetooth source (such as an in-flight entertainment system) and it will play audio through the wireless buds. Neat. The case even supports aptX Adaptive transmission at up to 24-bit/96kHz quality – here's how we got on with it. 

The B&W app lets you configure the touch controls (to an extent) and tweak the equaliser. The range between earbuds has been expanded to 10m, but we still had the occasional connection drop out during testing. Multipoint Bluetooth is also on board if you prefer to have more than one source connected at the same time – this wasn't part of the Bose QC Ultra Earbuds at launch, but was recently added via a software update.

The QC Ultra Earbuds have Bose Immersive Audio, which is basically the company’s spatial audio tech. It's meant to sound as if you are listening to speakers rather than headphones, but it's not that convincing, and it drains battery life quicker. So a mixed bag.

Their mics can now be prioritised depending on which is experiencing the least background noise while also filtering out extra sounds to make calls clearer. Wireless charging isn’t included although you can buy an optional wireless charging cover for the case for an extra  £50 ($49 / AU$80).

** Winner: Bowers & Wilkins Pi8 **

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: noise cancellation

B&W has used noise-cancellation tech from its excellent Px8 over-ear headphones in the Pi8, and it shows. The ANC is impressive, especially with low-frequency rumbles, but it's not as good as Bose's, particularly at silencing higher frequencies. And, while the Pi8 do have a Transparency mode, you can't adjust the levels of ANC to cater for different situations.

The QuietComfort Ultra Earbuds remain the class-leaders in terms of ANC. Their ability to cut out huge swathes of noise from across the frequency range remains unmatched. It's very customisable too, letting you preset different levels of noise-cancelling for different situations. And ‘Aware’ mode impresses as it balances out your music with surrounding noise so you can hear just enough of both worlds and not be completely sealed off in your own sonic bubble.

** Winner: Bose QuietComfort Ultra Earbuds **

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: sound

Both of these pairs earned five stars, so you would expect them to sound fantastic. Which they do; but there are some subtle differences between them.

The Bose QC Ultra Earbuds retain the same tonal characteristics as the QuietComfort Earbuds II they replaced – with a familiar richness and fullness – but have a bit more pep to them, sounding a tad punchier and clearer. The presentation is pleasingly open and spacious, with clear definition and a real sense of dynamism. It's in equal parts entertaining and musical.

The Pi8 were worked on by B&W's top audio engineers, which is evident from the sound. There's a maturity and sophistication to their performance, which is beautifully balanced and even-handed. Details are abundant, with superb definition, and a solidity and tightness that is reserved for buds at this level. Even more impressive is that they retain their composure even with ANC turned on, the extra processing proving no challenge whatsoever to the buds' musical skills.

** Winner: Draw **

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: verdict

So there you have it – two pairs of superb noise-cancelling earbuds. The B&W are pricier and don't have as good noise cancellation, but then we prefer their design slightly, and they have the more extensive feature set. They also sound more refined compared with the Bose's more get-up-and-go presentation.

The Bose do a better job of silencing noisy environments, and they have the better fit, but they are not dust-resistant, so aren't as well suited to harsh environments. In the all-important round of sound quality, they have quite different sound profiles, but sound equally impressive, so it's a matter of individual preference. 

Which is right for you depends on your priorities, and your budget. The smart money will wait and see if either pair gets a big discount come Black Friday.

MORE:

Also consider the Denon PerL Pro

I flew across the world and this wireless earbuds feature was an unexpected saviour

Best in-ear headphones: top earbuds tried and tested

Beyerdynamic is going big with headphone launches at IFA 2024, which is rather fitting considering both the German brand and German show celebrate 100 years this year. The headphone specialist is announcing not only premium wireless earbuds with a hefty 38-hour battery life but also flagship noise-cancelling over-ears that offer Dolby Atmos-powered spatial audio.

Let’s start with the latter, the $400 Aventho 300, which tick all the boxes necessary in order to pose a threat to the premium-priced class leaders such as the AirPods Max and Bose QuietComfort Ultra. Their headline feature is Atmos support with head-tracking technology, which, like their aforementioned rivals, offers a more immersive, three-dimensional listening experience than traditional stereo that can adapt as the listener’s head moves. 

More ‘standard’ albeit arguably more desirable is the Aventho 300’s inclusion of active noise cancellation (ANC), which is powered by dual Sony chipsets on either side of the headphones and features a Transparency Mode so that users can temporarily be aware of their surroundings when they need to without having to take off the over-ears.

• Read our hands-on review of the Beyerdynamic Aventho 300

A very respectable – and indeed above-par – battery life of 50 hours bolsters the spec sheet further and is complemented by a 10-minute fast charge that provides up to five hours of playtime. 

While we won’t know how the Aventho 300 perform against their competitors until they become available in the coming weeks, they look as promising on paper as they probably could. Firstly, their engineering is based around Beyerdynamic’s Stellar.45 drivers, which are found in its five-star DT 700 Pro X and DT 900 Pro X, the latter of which made our pick of the best Beyerdynamic headphones in its 100-year history. Secondly, the Aventho 300 support aptX Lossless, which is theoretically among the highest-quality Bluetooth transmission codecs available.

Speaking of Bluetooth, the latest 5.4 specification is supported here, ensuring Multipoint Bluetooth is on the menu for connecting two devices to the headphones simultaneously. Wired listening is naturally offered via a 3.5mm jack and cable, although a blot on their otherwise immaculate spec sheet does appear to be that their USB-C port is for charging only – not listening.

Beyerdynamic is shouting about its new app, which offers a five-band equalizer and genre-specific presets and is an accessory for both these new wireless headphones and the company’s latest wireless earbuds.

Speaking of which, the Amiron 300 also aim for the market’s big-hitters with a price tag of $280. Their stellar battery life is 38 hours in total (10 hours are held in the earbuds; 28 can be stored in the Qi-compatible charging case). A 10-minute quick-charge handily provides two hours of playback.

As you’d expect for their price, the new Beyer buds pack ANC, which is customisable and automatically adapts to your surroundings. They too have a Transparency Mode and support Multipoint Bluetooth, while a generous provision of five sets of eartips and a flat-back earbud housing should help with fit and comfort.

MORE:

All the news and highlights from the IFA 2024 show

Iconic New Order and Oasis albums get the Dolby Atmos spatial audio treatment on Apple Music

Bang & Olufsen’s high-end Beoplay H100 are “the best pair of headphones” the brand has ever created

Noble Audio is known for its high-end earbuds, many of which wouldn’t look out of place in a gemstone collection, but after more than a decade in the IEM business it is today spreading its wing further into the headphones market with its first pair of over-ears. The FoKus Apollo are premium wireless models with active noise cancellation, with a £599 / $649 / AU$tbc price tag putting them in the firing line of the five-star Apple AirPods Max, Bose QuietComfort Ultra Headphones and Focal Bathys.

They look to justify that eminent position on paper with a generous 80-hour battery life; Bluetooth 5.3 with aptX HD and LDAC codec support and Bluetooth Multipoint; a design featuring aluminium (frame), Alcantara (headband) and pleather (earpads); and, most importantly, a unique driver arrangement. Indeed, they look to stand out from the crowd by being the first to use a hybrid dynamic and planar magnetic driver.

Noble has patented its 40mm dynamic and 14.5mm planar magnetic hybrid, which it says produces “a stunningly blissful audio experience like no other” – one that delivers the former driver type’s bass quality alongside the latter’s clarity for best-of-both-worlds performance.

The use of three microphones on each cup supposedly helps the hybrid ANC system reduce up to 35 decibels of noise. The increasingly universal transparency mode, which temporarily amplifies external sounds to allow users to hear, say, train announcements or traffic, is present too. And the FocKus Apollo are good for 60 hours of battery life with ANC activated (or an extra 20 hours when it isn’t) – a level of endurance up there with the very best.

Realising that built-in mics can only do so much when it comes to voice call clarity, Noble is also supplying a removable boom mic in the box – particularly handy for those who use wireless headphones for gaming or work calls, then. Also in the box is a 3.5mm auxiliary cable for wired listening (with a flight adaptor), a USB-C cable for charging, and a carry case.

The Noble FoKus Apollo go on sale today.

MORE:

Best wireless headphones 2024: tried and tested by our in-house experts

My favourite headphones are the worst-sounding pair I own – but they have something special

Undecided on style? Here's how to choose the right pair of headphones

FiiO has unveiled a new portable DAC, to take on the five-star iFi Go Link and AudioQuest DragonFly Cobalt models.

The FiiO BTR13 is a tiny portable USB DAC and headphone amplifier similarly sized to its rivals and set to retail for a very reasonable £64 / $64 / €64 when it goes on sale in September. We don’t have Australian pricing at the moment, but we will update this page when we get it.

At first glance it looks very similar to its iFi Go Link and AudioQuest DragonFly Cobalt rivals, having a similar, pocket-sized USB form. Connectivity-wise it features USB type-C input and 3.5mm (unbalanced) and 4.4mm (balanced) headphone outputs. 

FiiO is pitching flexibility as the BTR13's main selling point, with the DAC offering three different modes.

it functions as a DAC and headphone amp when connected to smartphones and laptops, but switching it to PC mode will allow it to draw power from the laptop/computer instead of its internal battery. For gamers looking to upgrade their Switch, PS5 or Steam Deck’s audio there’s also UAC 1.0 mode – something rival DACs don’t usually feature.

Running the show in these modes are dual Cirrus Logic CS43131 fully-balanced DACs that can output up to 220mW, which is enough to drive most of the affordable headphones we recommend in our best wired headphones guide.

In its Bluetooth setting, it switches things up and also works as a Bluetooth decoder. This mode is powered by a Qualcomm QCC5125 Bluetooth chip and supports all the usual codecs and standards you would expect, including aptX HD and LDAC. This means you can stream hi-res audio up to 24-bit/96kHz – which is fine for most streaming services, including Tidal and Apple Music.

One small caveat for iPhone owners is that it doesn’t come with a Lightning cable adapter included. So if you want to use it with an iOS device you’ll need to invest in, or already own, a third-party OTG-compliant lightning adapter.

For tinkerers, the unit works with FiiO’s mobile and web app, which grants access to a 10-band parametric equaliser (PEQ). As a final differentiator, the unit even comes with a nifty 0.96-inch colour screen, which should make navigating its menus and settings easier.

The big question however, is how it works in the real world, which we haven’t had a chance to check yet. Though the portable DAC market doesn’t have as many options as it used to, there are many excellent units still available, so it will have stiff competition.

The dinky iFi Go Link costs a similar amount and not only earned five stars in our review, it also impressed our staff writer, Harry McKerrell, so much so that he penned a feature detailing how much he enjoyed using it. The five-star AudioQuest DragonFly Cobalt, despite being more expensive, has a similar form factor and remains a class leader for its audio performance, despite having come out many years ago and remaining a current What Hi-Fi? Award winner.

MORE:

These are the best DACs we have reviewed

We rate the best headphones money can buy

Our pick of the best portable music players

It’s not often a manufacturer goes back to the drawing board for a new product, but this is pretty much what Bowers & Wilkins has done for its flagship Pi8 wireless earbuds.

You see, Bowers & Wilkins’ previous flagship, the Pi7 struggled to impress and even a 2nd Gen version failed to make an impact on our test team. “Premium earbuds with not-so premium performance,” were the actual words we used in our review. 

For the Pi8, though, B&W has fired up its equivalent of the Bat-signal and called on the expertise of the in-house engineering team responsible for its Px7 S2 and Px8 over-ear, wireless headphones. Both pairs we’ve reviewed and rated at five stars, so we have huge hopes for the new earbuds.

Price

With a punchy price tag of £349 / $399 / AU$599, the Bowers & Wilkins Pi8 are up there with some of the most expensive wireless earbuds we’ve tested. This places them above rivals such as the Bose QuietComfort Ultra Earbuds, which we reviewed at £300 / $299 / AU$450 and the Denon PerL Pro at £299 / $349 / AU$549.

They’re also comfortably more expensive than one of our favourite all-rounders, the Sony WF-1000XM5 (£259 / $299 / AU$419). The Sonys skew things slightly because they have been on sale longer than the other pairs mentioned and can often be found with a solid discount if you shop around online.

Design

Pretty much everything about the Pi8 is brand new. The shape, the internals, the drivers; Bowers & Wilkins seems to have left no stone unturned in its pursuit of performance befitting that hefty price tag.

Out of the Apple-esque packaging, we really like what we see and touch. The Pi8 feel like a quality pair of earbuds. They use premium plastics throughout and it’s surprising just how nice they feel in-hand. It’s not the glossy plastic that you’ll find on rivals like the Sony WF-1000XM5 or the Bose QuietComfort Ultra Earbuds, it’s more of a smooth, matte-plastic surface which is easy to get to grips with. The buds are available in Anthracite Black (our review sample), Dove White, Jade Green (pictured further down) and Midnight Blue.

Even the wireless charging case feels nice. It looks quite stylish too, with a colour-contrasting band wrapping around the middle, adorned with the Bowers & Wilkins logo.

Bowers & Wilkins admits that some elements of its previous models, including the Pi7 S2 weren’t quite up to scratch. For example, the microphone and sensors on the old model weren’t in an ideal position and could get blocked. This has been changed for Pi8.

Look around each bud and you’ll see a slot that runs around the outside of each earpiece. Under its surface are mics and sensors which have deliberately been positioned so they’re free from any potential obstructions.

Speaking of potential obstructions, the Pi8 are IP54 rated which means they are protected from limited dust and water spray, so in theory you should be good to use them in the gym and during other forms of exercise.

Inside each earbud is a brand new 12mm carbon cone driver, which is the same material used in the driver of Bowers & Wilkins’ Px8 wireless headphones and its 700 Series loudspeaker tweeter. It’s claimed the lightness and stiffness of this material help produce a fast transient response.

You get four different sizes of silicone eartip provided in the box: extra small, small, medium and large – it’s nice that smaller ear openings are now catered for, but we’d still like the option of an extra large tip for those of us with more cavernous lugholes to fill. The app also doesn’t have an eartip fit test, which we think might come in handy and does feature on rival pairs.

Some members of the review team felt the buds weren’t quite as stable in the ear as, say, the Bose QuietComfort Ultra Earbuds, even with a slight ridge on the back edge of each earpiece to help hold them in place. But, we didn’t feel like the Pi8 were loose or in danger of dropping out and we did find them comfortable over long listening sessions.

Features

The Pi8 use Qualcomm’s latest-generation wireless chipset and, at the time of writing, they are one of the few pairs of wireless earbuds we’ve reviewed that support Bluetooth 5.4.

However, Bowers & Wilkins actually uses a separate high-performance dedicated DAC/DSP amp to do a lot of the heavy lifting. This bypasses the Qualcomm chip and allows B&W to have more of a direct impact on the performance of the earbuds.

One of the headline features for the Pi8 is aimed at those using an aptX-compatible source. They include AptX Adaptive support at up to 24-bit/96kHz and also aptX Lossless. Although, as you’ll read about further down this page, AptX isn’t vital to get great sound out of these wireless earbuds.

The Pi8 are more power-efficient than previous models and battery life comes in at six and a half hours from a single charge, with the wireless charging case providing a further thirteen and a half hours, making 20 hours in total. A 15-minute fast charge should inject them with a couple of hours of playback if you find yourself caught short.

The party trick for the charging case isn’t the fact it’s wireless, but it doubles up as a wireless audio re-transmitter. This means you can connect the case (using the supplied USB-C to 3.5mm or USB-C cable) to a source that doesn’t support Bluetooth streaming, such as an in-flight entertainment system, and it will play audio through the wireless buds. The case even supports aptX Adaptive transmission at up to 24-bit/96kHz quality. We tested it out and it works pretty well.

The outer surface of each earbud is touch-sensitive. Through the Bowers & Wilkins Music app, you can assign them as either volume controls or mode switching (between noise-cancelling and transparency mode) and voice assistant summoning. It’s a slight shame you can’t configure them to control volume and switch listening modes at the same time.

The app also offers a five-band equaliser should you want to play around with the sound of the buds – it offers some nice fine-tuning options across the frequency range and there’s a toggle switch for a TrueSound mode which disables the EQ completely if you want the purest sound possible.

Transmission between the earbuds has supposedly been worked on to be more reliable and stable, this includes an increase in range to 10m through a new antenna. During testing we found the range to be good, but we did experience the signal between the earbuds drop out a couple of times when streaming music. We are willing to give the buds the benefit of the doubt, as we tried two additional pairs that were stable. Multipoint Bluetooth is also on board if you prefer to have more than one source connected at the same time.

Active noise-cancelling for the Pi8 gets quite the boost – Bowers & Wilkins claims that tech from its Px8 over-ears has trickled down to these earbuds. There’s a Transparency mode and you can switch ANC off entirely, but there’s no capacity to tweak the levels of ANC to cater for different situations.

Noise cancelling

At this level we haven’t tested many pairs of wireless earbuds that underperform as far as noise cancelling is concerned. We’ve found the baseline tends to be good if not very good, although there are some subtle differences right at the very top. And the Bowers & Wilkins aren’t a million miles off. The class-leaders in this area are still the Bose QuietComfort Ultra Earbuds – their ability to cut huge swathes of background noise out continues to impress.

In particular, we think they do a better job of suppressing higher frequencies which we find managed to cut through the Pi8’s forcefield more easily. The B&W pair still does a very good job with the low frequency rumbles generated by roadworks and traffic. There are no real issues here.

Call quality

The Pi8 buds use 3 mics per earbud and Bowers & Wilkins claim call quality has been upgraded using some of the tech used in the Px8 over-ears.

During testing, we happened to try the Pi8 on a particularly blustery day and, walking through what felt like a wind tunnel, the earbuds struggled a little with the conditions and sounded quite muffled. We also had the Bose QC Ultra Earbuds and the Sony WF-1000XM5 to hand and the Sonys coped with the conditions a little better, reducing wind noise a bit more and presenting our voice with greater clarity. The B&W were in a similar ballpark to the Bose. The Pi8 did improve once the conditions became calmer and our voice didn’t sound bright or edgy.

Sound

Given the experience of the engineers working on the Pi8, we were keen to hear what they could bring to the earbuds party. And we weren’t disappointed. We only expect excellence at this level – and the Bowers & Wilkins deliver.

Immediately you’re made aware that this is no pair of budget earbuds. There’s a maturity and refinement to the sound which you just don’t get from entry-level and mid-price wireless earbuds. This level of sophistication really allows the Pi8 to stand out. They shine a light on any music streamed their way with a beautifully balanced approach – you can savour every frequency from the lowest of lows to the highest highs.

We start with Royal Blood’s Who Needs Friends, a relatively uncomplicated piece of rock arithmetic plastered with rhythmic drum thwacks and punchy fills, the weight and speed of which are expertly judged by the Pi8. There’s a richness to the notes but also a solidity and tightness that sees the buds deliver each hit with precision and intent. As the action moves between toms and hi-hat, the earbuds shine a light on all the dynamics and different textures, communicating them effortlessly. It’s a really sophisticated, polished performance that’s overflowing with detail.

Switching over to the acoustic version of Sam Smith’s Latch and the earbuds paint a beautifully intimate picture. There’s superb definition to the edge of every key struck on the piano, and it’s a similar case where the strings are concerned as they rise and fall in the background. The Pi8 don’t just sketch out the textures and details but they colour them in so you get a proper feeling of intimacy from the performance. Strings and piano sound playful but also sweet-sounding. When Smith starts singing, you can hear just how close the voice is to the mic. Add all the different elements together and you’re treated to a complete performance.

During testing, we also note the character and sonic balance remain consistent with ANC on and off. Sometimes engaging the extra processing can throw the timing and dynamics off ever so slightly, but the Pi8 keep their cool and balanced character.

We end the test by shifting up a gear or three with some drum’n’bass courtesy of This Moment by Chase & Status. The Pi8 let fly with a speedy, punchy rendition of the track. Each bass note is dispatched with detail, power and authority – the earbuds put a serious amount of weight behind every strike, delivering a swift yet seismic blow to your solar plexus. If we are being particularly picky, the Bowers could add even greater rhythmic drive to the track and inject a little more musicality, but we don’t feel shortchanged.

Verdict

Approaching its flagship wireless earbuds with a fresh perspective has reaped the rewards for Bowers & Wilkins. The Pi8 are clearly the best wireless earbuds we’ve heard from the brand and real contenders for class-leading status at this ultra-competitive end of the market.

Their wonderfully sophisticated, balanced and transparent sound delivers a level of insight that’s rare in wireless earbuds. You do have to pay for that quality but, ultimately, we think it’s a price worth paying.

First reviewed: August 2024. Updated review: November 2024.

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Bowers & Wilkins Pi8 vs Pi6: which B&W wireless earbuds should you choose?

Read our review of the Bose QuietComfort Ultra Earbuds

Bowers & Wilkins Pi8 vs Bose QuietComfort Ultra Earbuds: which ANC buds are better?

I flew across the world and this wireless earbuds feature was an unexpected saviour

Best in-ear headphones: top earbuds tried and tested

Bowers & Wilkins has unleashed two new premium wireless earbuds: the Pi8 and Pi6, both of which feature ground-up designs to deliver better fit and comfort, improved sound quality and active noise-cancellation (ANC) and come packed with the latest features.

• Read our full Bowers & Wilkins Pi8 review

The new earbuds boast impressive pedigree. Bowers & Wilkins has used the same design team responsible for the superb, five-star Px8 and Px7 S2e over-ear wireless headphones to hone the new earbuds to a higher premium standard. B&W's over-ear models have wowed us with their luxurious design and incredible sound quality far more than their in-ear wireless earbuds, so let's hope this is good news all around for the fresh models.

The Pi8 houses 12mm drive units made with Carbon Cone technology, as used in the flagship high-end Px8 headphones and derived from B&W's speaker cone technology in its 700 Series hi-fi speakers. The flagship earbuds feature dedicated DAC, amplification and DSP technology to deliver the "maximum possible resolution and accuracy" from your music. The buds support higher-quality aptX Adaptive and aptX Lossless codecs, allowing for 24-bit/96kHz music files to be transmitted from compatible sources. The step-down Pi6 uses 12mm bio-cellulose drivers similar to the ones used in the Px7 S2e and features the aptX Adaptive codec for 24-bit streaming.

Both models feature the latest Qualcomm chips and promise updated noise-cancelling and call quality, along with the usual transparency mode to let surrounding environmental noise through. Once again, B&W states the same advanced ANC technology used in the over-ear premium models has been adopted in these new wireless earbuds, aiming to "cancel as much unwanted noise as possible without impacting the musicality of the performance".

Both earbuds run on Bluetooth 5.4, support multipoint Bluetooth for seamless switching between two connected devices, and have a new 10m antennae range. We've experienced dropouts and connection issues with previous B&W earbuds (such as the Pi7 and Pi7 S2), but these issues have been addressed with the new designs. B&W says the Pi8 and Pi6 have more reliable and stable connections, that the transmission between the two buds has been improved, while the microphones and antennae have even been repositioned so wireless and audio signals don't get blocked.

The new earbuds have a sleeker and more ergonomic shape, with high-quality materials used and four choices of ear tips aiming to offer a better fit and long-lasting comfort. From our hands-on time with the buds, they certainly look and feel premium. 

Battery life has been improved but is still modest compared with the competition. The Pi8 offers 6.5 hours on a single charge with ANC on and 20 hours in total with the charging case, while the Pi6 offers eight hours on a single charge and 24 hours in total. B&W states that the flagship model demands more power to function, hence the lower battery life figures. 

The clever re-transmitter Bluetooth feature of the charging case returns, meaning you can connect the case with a wired USB-C or 3.5mm cable to, say, an in-flight entertaining system, a TV or an iPhone 15, and have the sound beamed in high quality to your wireless earbuds. This feature has been refined and is able to transmit in 24-bit/96kHz quality too.

The accompanying B&W Music app has also been updated, with bass and treble tone controls available for the Pi6. A further five-band EQ is available for Pi8 users, so they can fine-tune the buds' performance to personal tastes.

The Bowers & Wilkins Pi8 will be available to buy from 28th August, for the princely sum of £349 / $399 / €399 per pair. Meanwhile, the B&W Pi6 model will be available a little later from 15th September, costing £219 / $249 / €249.

There are four bespoke finishes for each model: the Pi8 comes in Anthracite Black, Dove White, Jade Green and Midnight Blue, while the Pi6 comes in Storm Grey, Cloud Grey, Forest Green and Glacier Blue colours.

We've had the flagship model in for testing, and you can read our B&W Pi8 review here.

MORE:

Check out the best wireless earbuds we recommend across all budgets

Peruse all the best headphones deals

12 best songs of 2024 (so far) to test-drive your hi-fi system

Q Acoustics refers to the M40 as a “powered micro-tower wireless audio system”. That’s quite the mouthful, but translated, what we are looking at is a pair of petite floorstanding speakers with Bluetooth, amplification and extra connectivity built in.

Now we know floorstanders, or “towers” as they’re more affectionately known, can be quite tall and dominate smaller spaces, but trust us when we say the M40 speakers are less Burj Khalifa (which is 830m tall) and more Blackpool Tower (158m). Standing just 71cm tall they are anything but imposing. It’s almost like they’ve shrunk in the wash, yet Q Acoustics has packed plenty inside for ultimate convenience.

Now, we’ve tested surround sound speaker packages with bigger centre channels but there’s something about a small compact floorstander which is hugely appealing. The question is, for all its flexibility and features, can these speakers deliver sonically?

Design

The Q Acoustics M40 builds on the company’s M20 desktop system, which we reviewed back in 2022 and to which we gave five stars.

The speakers are available in black, white and the walnut finish of our review sample. Even with two people present, we find the packaging a little fussy and it takes a bit of wrestling to set the speakers free.

Once they are out of the box you’ll need to attach a support base to the rear of each speaker and then screw in the supplied spikes. Each base takes the form of two wings that bolt into the speaker's underside. They add stability, but we could see them flexing slightly when moving the speakers around and experimenting with positioning.

You can’t take the grilles off the M40 but there’s a reason behind it. Q Acoustics claims that it brings added strength to the front baffle and reduces the amount of grille material around the drivers. This in turn minimises any effects on sound dispersion and reduces reflections.

If you could remove the grilles, you’d see a two-way speaker design, with twin 12.5cm mid-bass drivers positioned beneath a 22mm tweeter. The mid-bass drivers use Q Acoustics’ C-cubed Continuous Curved Cone design, which first appeared in the Q Acoustics 5000 Series (we have already given five stars to the 5040 and 5050 floorstanders from the range).

To help with imaging, Q Acoustics has positioned the tweeter right near the top of the baffle and the unit has been designed to promote wide dispersion. The DSP used in the speakers has also been adjusted to make the speakers more flexible in terms of positioning, so even if your seating arrangement has your ears sat above the top of the speakers, the stereo image performance isn’t negatively impacted.

Inside each rear ported cabinet is the company’s Point to Point (P2P) internal bracing which aims to keep the speaker as rigid as possible and minimise unwanted cabinet resonances.

Features

One of the speakers works as the master and can be designated the left or right speaker depending on where your nearest power socket is situated.

And it’s the master that hosts the amplification (2 x 100W), all the inputs and the switchable EQ which is designed to help with positioning. The master connects to the partnering speaker with a conventional speaker cable.

In the box you also get a small wand of a remote about the length of a ballpoint pen and the width of about three. You can use it to mute, pause/play, change volume, skip track and switch inputs. During testing we found all buttons quick to respond, bar the volume buttons which seem hesitant at times.

The power button on the top of the master speaker has an LED surround which lights up a different colour depending on the source you’re using, although we can’t help but feel that LED might be better positioned on the front of the speaker as it’s hard to see when sat down. The same power button is also flanked by matching volume control buttons.

There’s no wi-fi connectivity for the Q Acoustics M40 so your wireless streaming is purely via Bluetooth 5.0, but there is aptX HD and aptX Low Latency support (up to 24-bit/48kHz resolution).

Physical connections are there too: you can use the analogue input to connect a CD player, or, assuming it’s running through a phono stage, a record player. Not that you’re likely to need extra bass, but there’s a subwoofer output included too.

Laptops can be connected to the USB Type-B socket which supports 24-bit/192kHz hi-res audio. The USB socket sits next to an optical digital input should you want to connect a TV, although we’re surprised and a little disappointed that there’s no HDMI socket, especially as optical connections are appearing less and less on modern TVs.

To help you with positioning, there’s a toggle switch on the rear of the master speaker with three different settings to pick from depending on where in your room you’ll be placing the speakers. There’s a setting for in the corner of a room, one for close to a rear wall and another for when the speakers are used in free space.

In our test rooms we experiment with all three, manoeuvring the speakers around to hear how they sound in different places with the switch in different positions.

We settled with the speakers about 55cm from the rear wall, slightly toed in and in their against-a-wall EQ setting. We find the free space setting injects a little too much bass into the sound.

We also experiment with the gap between the speakers, which does impact the soundstage. Too wide apart and we find it breaks down and loses focus, so we settle on having them 1.8m apart and toed-in slightly. This gives the stereo image greater focus and solidity in our room.

Sound

We start by rocking out to a stream of Slither by Velvet Revolver from a MacBook Pro straight into the Q Acoustics’ USB socket. The M40 delivers a composed and controlled sound and there’s just enough energy and vibrancy to the electric guitar and drums to get your toes tapping away.

Stereo imaging is great – each element has its own space to sit in but there’s a great sense of cohesion too. And, even if your seating position sees your ears above the tops of the speakers, you still get a solid and neatly spaced image.

Over prolonged listening, it’s apparent the M40 isn’t hugely demanding of the quality of your source, which is a good thing. Heavily compressed or poorly produced tracks aren’t punished, which leaves you free to enjoy the sound that comes from those dinky cabinets.

The same track played over Bluetooth confirms our suspicions that it’s a slight step down from using the wired connection both in terms of clarity and resolution, but the Q Acoustics’ unfussy character still makes the most of what they are being served.

There’s a good level of overall detail, but the speakers don’t give you the impression that analysis and insight are right at the top of their list of priorities. They peel back just enough layers of the music to make it sound interesting but fall short of cutting-edge insight.

We don’t find ourselves rushing to hear what the next song in our playlist sounds like, although we’re more than happy to have the speakers bopping away in the background. This is because during testing we don’t find any aspect of the sound quality grating.

Highs don’t sound harsh or abrasive and bass is weighty enough for you to feel its impact, but it's also well-controlled. We slip on Kid Cudi’s Pursuit Of Happiness, and the speakers immediately switch into swagger mode. They do a good job of capturing the tune’s powerful yet lazy bassline, balancing the weight and depth of the bass notes with the splashes of percussion. There’s a good sense of expression around the lead vocal and the backing vocal that overarches the track.

We finish with a spot of classical music in the shape of End Credits from Pirates Of The Caribbean: On Stranger Tides. The Q Acoustics roll along with a good sense of speed, and again it’s all very well controlled and hugely listenable. We’d like the dynamics on display to reflect more of the swashbuckling and dramatic nature of the track, but it’s still extremely listenable. There’s rise and fall, but we’d like a bit more range between the two.

Verdict

If you want a speaker system that’s flexible, undemanding and easy to get along with, then the Q Acoustics M40 won’t disappoint. They’re a safe recommendation, from their sound to their small, unobtrusive form and they can fit into places where larger floorstanders might fear to tread.

But we do think they’re a bit safe-sounding in terms of dynamics and not quite as revealing or captivating as we would hope. A good speaker system that most people could easily live with, but not a great one.

SCORES

• Sound 4
• Build 5
• Features 4

MORE:

Read our review of the Q Acoustics M20

Also consider the Elac Debut ConneX DCB41

Besthi-fi speakers tested by our expert reviewers

Best active speakers: our experts pick the top pairs with built-in amplifiers

You can’t fault the appeal of JBL’s Xtreme line of Bluetooth speakers. The chunky, rugged design hasn’t changed much in recent years, but it still screams fun and, historically, offers the entertaining sound quality to match. We’re currently on the JBL Xtreme 4 model, which has picked up where the JBL Xtreme 3 left off, with plenty of praise and a five-star review at the hands of our expert reviewers.

But is the new model that much better than the older version? If you can get the Xtreme 3 with a tasty discount, should you go down this route while stock is still available? If you already have an Xtreme 3 sitting on a shelf, should you be thinking of upgrading to Xtreme 4? We’ll aim to answer all of those questions and more below…

JBL Xtreme 4 vs Xtreme 3: price

There isn’t a huge amount separating their original ‘tested at’ prices, although JBL has introduced a slight premium for the Xtreme 4 over the third-generation model. The new speaker costs £330 / $380 / AU$430 while the old one launched at £300 / $350 / AU$400.

It should be noted, though, that the Xtreme 3 is fast approaching its fourth birthday. It arrived at the back end of 2020, meaning there are deals to be had if you shop around. We’ve seen figures in the ballpark of £199 / $245 / AU$275 – a great price for a five-star Bluetooth speaker of this size and skill set. The only question is how long it will remain on sale following the launch of its successor...

** Winner: JBL Xtreme 3 **

JBL Xtreme 4 vs Xtreme 3: design

Put both Xtremes side-by-side and, unsurprisingly, they look very similar. JBL has largely stuck to the cylindrical shape which runs through the design of many of its Bluetooth speakers but with a few subtle tweaks thrown in.

The biggest changes are on the top and bottom of the speaker. On top, the button placement has been moved: on the Xtreme 3, they are arranged in a single strip but on the Xtreme 4 they have been brought together in a single block which sits more centrally. A dedicated backlit Auracast button has also been added to the fourth-generation model, replacing JBL’s PartyBoost button on the old model. (More on those features later...)

Flip the speaker over and you’ll see a brand-new base design. The thin rubberised strips under the Xtreme 3 have been replaced with two chunkier strips of silicone bubble feet to give the speaker a bit more grip and greater stability, to reduce the chances of it rolling over.

Look side on and you’ll see the belly of the speaker sticks out more on the new model, presumably to partly accommodate the new base and a new replaceable battery, which can be found behind a removable panel which is also on the underside of the speaker.

The eagle-eyed among you might have also spotted the new silicone bubble material is used on the rims at either end of the speaker to protect it from bumps and bruises, while the points to which the supplied shoulder strap attaches have a bit more clearance from the body of the speaker. This makes it easier to clip and unclip the strap.

Behind the grille, things are virtually identical, with both speakers using two 70mm woofers and two 20mm tweeters to provide their audio output.

** Winner: JBL Xtreme 4 **

JBL Xtreme 4 vs Xtreme 3: features

The JBL Xtreme 3 already offers 15 hours of battery life, but if you need more partying power, you’ll be pleased to know the Xtreme 4 bumps this up to 24 hours.

JBL’s new Playtime Boost feature can squeeze out an extra six hours on top of this, but during testing we found this feature unbalances the sound to the extent that it spoils sound quality.

Both speakers charge via USB-C and can charge other devices through the same socket when you haven’t got it plugged into the mains.

In addition to USB-C, the Xtreme 3 also has a USB-Type A socket on the rear and a 3.5mm auxiliary input, all of which are hidden behind a removable silicone panel. On the Xtreme 4 all you have is an exposed USB-C socket. Realistically this probably won’t be a deal-clincher, but it’s worth knowing.

The power output of the Xtreme 4 and Xtreme 3 varies depending on whether you’re powering them from the mains or via their own rechargeable batteries. They both output 100W through the mains, while 80W comes via the battery of the Xtreme 4 and just over 60W through the older speaker. During testing, we can hear an increase in scale and authority when switching from the built-in battery to the mains, although the general tone and character of the sound remain consistent.

The Xtreme 4’s AI Sound Boost feature is brand new so you won’t find this on the previous model. It claims to help the speaker maintain sound quality at loud volumes and prevent distortion and we had no issues pushing the speaker hard during testing.

Another feature the Xtreme 3 doesn't have is Auracast. As mentioned higher up this page, this is a new addition for the Xtreme 4 and replaces PartyBoost. The good news is that it allows for identical functionality (pairing compatible speakers in stereo or daisy-chaining different models) and also future-proofs the speaker should any extra Auracast-specific features roll out during its lifetime.

** Winner: JBL Xtreme 4 **

JBL Xtreme 4 vs Xtreme 3: sound quality

JBL’s sonic consistency has been spot on in recent iterations of Xtreme and the traits we’ve come to know and love are all present and correct in both the Xtreme 3 and Xtreme 4.

We’re constantly surprised by just how well the JBL manages to get the balance of excitement and refinement so right. Both speakers have no problem firing out your favourite party tunes with a sense of gusto and are also capable of capturing low-level dynamics and subtle details.

Bass is weighty and fulsome yet tightly controlled across both models, whether you're listening to EDM or hip-hop, while high frequencies are crisp, clear and insightful.

This is in part thanks to the excellent sense of space both speakers place between the different layers and around different elements of the music

We’ve tested both speakers side-by-side, and even though there isn’t a huge amount in it, we do think the Xtreme 4 manages to raise the sonic benchmark a little higher.

It does this by opening up the soundfield even more and increasing the amount of space around those elements. This allows the listener to delve into nooks and crannies, and extract a bit more detail out of the music that is being beamed to it. 

The difference isn't huge by any stretch, nor does it make the Xtreme 3 sound bad in any way. The Xtreme 4 just sounds that little bit better.

** Winner: JBL Xtreme 4 **

JBL Xtreme 4 vs Xtreme 3: verdict

The differences are undoubtedly there, but would we recommend rushing to upgrade from the Xtreme 3 to the Xtreme 4? Would they make us think twice before automatically buying the previous generation model just because it could be cheaper?  

When you consider all the subtle improvements to the design and add them to the improved sound quality you get from the Xtreme 4, the case for buying it is strong, but the Xtreme 3 is still a great speaker in its own right.

And if you can pick one up with around £50 / $50 or £100 / $100 off the asking price then we think it's worth going for the older model and pocketing the saving. Either way, you'll be getting a great Bluetooth speaker capable of delivering hours of listening fun.

MORE:

Bose SoundLink Max vs Xtreme 4: which Bluetooth speaker is better?

Which JBL speaker should you buy? Flip 6, Charge 5, Xtreme 4 and more compared

Our pick of the best Bluetooth speakers we've reviewed and rated

Audio-Technica has announced a new affordable turntable to add in to its line-up, offering some sonic improvements on its ever-popular (but three-star) AT-LP60xBT.

Sitting just above that deck in Audio-Technica’s extensive range, the AT-LP70xBT is a fully automatic wireless belt-drive turntable, aimed at delivering a user-friendly experience to vinyl newbies. 

The AT-LP70xBT plays both 33 1/3 and 45rpm records at the touch of a button and has a switchable phono preamp so you don’t need an external amplifier to get started. You can even stream straight to wireless speakers thanks to the Bluetooth functionality, with support for Qualcomm's aptX Adaptive codec for better quality wire-free playback.

There’s a J-shaped tonearm to reduce tracking errors and the brand’s own AT-VM95C cartridge, which features a 0.6mm conical stylus promising to deliver excellent channel separation and low distortion to tip-top tonal quality.

Even better, it’s easily upgradeable to another stylus from the popular VM95 range, giving this turntable room to grow with you too.

Finally, the stylish three-piece anti-resonance chassis provides a solid foundation to dampen unwanted noise, and it’s the improvements here that see the biggest uplift in sound quality compared with the LP60xBT, according to Audio-Technica.

The Audio-Technica AT-LP70xBT will be available in mid-to-late August in a choice of Black Silver, White Silver and Black Bronze and costs £219 / €249 / $249 / A$499. We also know that a non-Bluetooth version – the AT-LP70x – is planned for the US too, costing $199, and Australia at A$599, but as yet we’ve had no confirmation of that for other territories. We'll keep you updated as we hear more.

MORE:

Read our full review of the Audio-Technica AT-LPx60BT

Vinyl fans on TikTok are crazy about this three-star turntable – but that's no bad thing

Check out our pick of the best turntables you can buy right now

For JBL, the newly-released Xtreme 4 was simply a confirmation of a company at the top of its game. The Xtreme 3 was a five-star model which provided a foundation for growth, with the fourth-gen sequel simply building on that stable base and taking things to new, improved heights. JBL didn't have much to prove, but it delivered the goods regardless.

For Bose, the SoundLink Max has felt like a small coming-of-age. The last Bose Bluetooth speaker we reviewed was the SoundLink Flex, a four-star contender that just didn't quite have the sonic sophistication to make it a class leader. The recent SoundLink Max, though, has seen Bose up its game, gaining the full five-star haul and showing that this is a brand that can do more than only produce great wireless earbuds.   

We need to find out which is better, though, and that means pitting the two burly Bluetooth buddies against each other to find out which is worthy of a place on your shortlist. In the immortal words of Alan Partridge: "Let battle commence!".

Bose SoundLink Max vs JBL Xtreme 4: price

The JBL Xtreme 4 costs £330 / $380 / AU$430, a small advance on its predecessor which we originally tested at £300 / $350 / AU$400. The Bose SoundLink Max is still more costly, though, retailing at a pretty sizeable £399 / $399 / AU$599, figures which go beyond the substantial sum(s) you'll pay for the Award-winning Dali Katch G2 (£349 / $499 / AU$799).

Don't think that those numbers will be cut anytime soon. As they're both new to the market, the Xtreme 4 and the SoundLink Max aren't set to enjoy major discounts just yet, so the prices you see are the prices you're going to get. For now, at least.  

** Winner: JBL Xtreme 4**

Bose SoundLink Max vs JBL Xtreme 4: design 

Design-wise, the SoundLink Max and the Xtreme 4 have gone down decidedly different routes. The Xtreme 4 continues JBL's proclivity for that distinctive cylindrical outline, with ruggedised elements such as the wrap-around grille sitting alongside the JBL-sporting passive radiators which pulsate rather pleasingly at either end. If you've ever seen a JBL Bluetooth speaker before (the smaller Go and Clip models notwithstanding), not much will come as a surprise to you. 

The SoundLink Max, on the other hand, opts for what we described in our review as a "ruggedised, rubberised rectangle" design which, while understated and classy, "is more practical than it is pushing the envelope where design is concerned", even if but there is "something to be said for its simple, understated appearance". Like the Xtreme 4, the Bose is more interested in functionality than it is about being an aesthetic showpiece like the Dali Katch G2, but that's no real issue. These are speakers that you can take out and about, so practically should reign supreme. 

Oh, and it does. Both units feel substantial, well-built and made to last, with touches such as a silicone wrap at the bottom of the Bose or that signature JBL rubberised underside on the Xtreme 4 adding stability to each respective unit. They're both IP67 rated, meaning even relatively heavy downpours won't trouble your tunes, and the SoundLink Max even has an internal moisture detector whereby its battery light will blink amber and white to warn you that your speaker is harbouring unwanted liquid. 

Both units clock in at roughly the same weight of around 2.1kg, though how you carry that weight around will vary somewhat from speaker to speaker. The longer (or wider, depending on your perspective) Xtreme 4 has a detachable strap for your shoulder, whereas the Max opts for a built-in handle which is designed to be carried by hand.

In terms of the nitty-gritty, we struggle to find fault with either model. The top section of the Bose houses all of your go-to buttons, including playback, pairing and volume controls, with a pleasing silicone surface that has enough give to make your finger prods feel oddly satisfying when you give those buttons a press. For the JBL, the button layout has changed from a strip on the Xtreme 3 to a central block of six, with the expected standard controls (playback, pairing, volume etc.) alongside a new button handling the speaker’s Auracast functionality. We'll get to that below. 

All in all, this one might come down to aesthetic taste, as both speakers are exceedingly well-made and easy to use. The Xtreme 4 is a classic JBL, going for an industrial look that wouldn't look out of place in a skatepark or powering a small warehouse rave, while the Bose is a smidge more adult, with a classy, conservative design that doesn't go in for any unnecessary frills or adornments.

** Winner: Tie**

Bose SoundLink Max vs JBL Xtreme 4: features 

JBL's latest boombox isn't shy when it comes to features. The fourth-gen arrival benefits from some major upgrades over the previous model, taking the Xtreme 3's original battery life of 15 hours and bringing it up to a more healthy 24, with a new replaceable battery that can be swapped out without you needing to chuck the whole speaker away. A new Playtime Boost feature will grant you 6 extra hours of playtime if you're concerned about running dry, but you will be losing significant weight and solidity in the bass if you do so. 

The Xtreme 4 also offers AI Sound Boost to help the speaker maintain its audio quality at lower volumes while avoiding distortion. Auracast support is new, too, swapping in for the PartyBoost feature of the third-gen model and letting you connect multiple compatible JBL units, including potential future speakers from the brand, at once. Good for stereo sound and multi-roomed parties, that.

Like other portable Bluetooth speakers at this level, the Xtreme 4 can also charge connected devices via the same USB-C socket using its built-in battery. Access to the JBL Portable app, meanwhile, lets you customise your speaker's sound via provided Q presets or a more involved five-band equaliser. There's no aptX Bluetooth codec support, though, something which the Bose SoundLink does offer. 

Speaking of the Bose, it's a similarly pleasing story here too, with a couple of small differences. The costlier rival also charges via USB-C, and can juice up your phone or mobile device. Battery life clocks in at 20 hours, four fewer than the figure boasted by the JBL, although that number will fluctuate depending on how you use your Bluetooth buddy. 

The Bose has Bluetooth Multipoint so you can have two devices simultaneously connected and switch between them with greater ease. Like the Xtreme 4 above, you can connect the SoundLink Max to compatible Bose products via SimpleSync, but Stereo or Party mode grouping with other portable speakers isn't supported. That, to us, feels like a bit of a shame. 

There's also an app for the Bose, but it doesn't blow us away with its customisation options. The EQ is only three-band for bass, mid and treble, with an assortment of boosting and/or reducing preset sound modes to choose from. 

All in all, the Xtreme 4's implementation of Auracast, longer battery life, better app and clever AI Soundboost tech see it take the cake here. Bose's effort is solid, but it's not enough to keep up with the impressive stable of features offered by JBL. 

** Winner: JBL Xtreme 4**

Bose SoundLink Max vs JBL Xtreme 4: sound quality

Let's start with the Bose. Firing up the SoundLink Max fresh out of the box does tend to leave you feeling overwhelmed by its gargantuan levels of bassy boominess, so we'd advise you to tone down the lower end via the EQ by five or six notches before you get started. Once done, you can dive into listening to one of the most likeable portable models we've heard in a good while.    

Everything about the Bose screams power, punch and potency, belting out songs with the sort of enthusiasm and effervescence usually reserved for a would-be bride enjoying some hen night karaoke. Unlike the bride-to-be, though, the SoundLink Max has the raw talent to back up its enthusiasm, displaying instrumental elements with a pleasing blend of power and proper textural authenticity. If you like rock, hip-hop or dance (and most Bluetooth speaker owners will), the Bose feels custom-made for your enjoyment. 

It's also an immensely fast, nimble-footed performer. Once you've dialled down that lower end, the Bose gets tracks clipping along with a mean sense of propulsion and drive. We whacked on a dance sampler in the shape of Lane 8's Visions and noted with delight how the "electro beats hit with substance and tight edges, giving the song enough definition to stop and start in all the right places". With the bass turned down, the Bose's speedy, agile delivery allows things to flow and bounce without feeling sludgy or dragged down. 

The JBL, conversely, is a more detailed, open and clear-sounding performer, giving its tracks greater room to breathe when listened side-by-side with the pulsating energy of the SoundLink Max. As our review attested, the Xtreme 4 "produces a fantastically refined sound" that comes across as "wonderfully clear and consistent across tracks. Low frequencies are poised and punchy but don’t lack weight, while highs are crisp enough so they don’t feel rolled off".

Like so many of JBL's finest performers, the Xtreme 4 has a knack for giving you a jack-of-all-trades presentation which rarely sacrifices one element for another. Yes, you get superb levels of detail and refinement, but you're also treated to all that fun and excitement that actually makes your music a blast to listen to. No matter what you throw at the fourth-gen Xtreme, it simply takes it in its stride; never fussy and always keen for the next song, it's as professional as a gentleman's club concierge but as fun as your favourite cousin when he's three pints deep. 

Yes, we love how the Bose sounds – who could resist the charms of that endlessly energetic, full-throttled delivery? If you're looking to get the party rocking or want your pre-match warmup tracks to really get the adrenaline flowing, the Bose is tough to beat. 

Still, for its greater dimensionality, insight and balance, the Xtreme 4 would be our pick. Yes, it's "just" a Bluetooth speaker, but the Xtreme feels like a product that strives for that sort of refined, insightful yet endlessly entertaining sound that you'd find from a costlier piece of "proper" hi-fi. The Bose is a great entertainer, but the Xtreme 4? That's a speaker that genuinely impresses us, and that's easier said than done.  

** Winner: JBL Xtreme 4 **

Bose SoundLink Max vs JBL Xtreme 4: verdict

The Bose SoundLink Max is a very fine speaker indeed, and one that sees the established American brand staking its claim to one of the most competitive markets in consumer audio. Bluetooth speakers are a tough nut to crack, but thanks to the Max's solid build, solid feature set and energetic, propulsive sound, Bose is onto a winner. If you went out and bought one today, you definitely wouldn't be let down. 

To us, though, the Xtreme 4 just has the edge over the Max. Things are much of a muchness in terms of build quality and ruggedness, with the JBL edging the Bose in the features department thanks to a better app, Auracast capabilities and longer battery life. It's sonically, though, where we're sold on the JBL – from its impressive sense of dynamics to its adept feel for rhythms, not to mention how detailed and refined it can sound, it's simply a more rounded and consummate performer than the forthright, likeable approach taken by the Bose.

If we had to take one home today, it would be the Xtreme 4.

MORE:

Craving more JBL? What we want from the upcoming JBL Flip 7

Our pick of the best Bluetooth speakers for every budget

Want an established Award-winner? Read our JBL Charge 5 review

These are the best wireless speakers you can buy

Dyson's new OnTrac headphones are out now and are far more consumer-friendly than its air-filtering Zone headphones that came before them.

After a few years of waiting, Bose updated its wireless noise-cancelling over-ear headphone range with the flagship QuietComfort Ultra Headphones in September 2023.

Bose's pair earned the full five stars from us, but the Dyson OnTrac, while promising, couldn't quite reach the same level. Let's compare the two and see how they stack up.

Dyson OnTrac vs Bose QuietComfort Ultra Headphones: price

The Dyson OnTrac headphones went on sale on 1st August for £450 / $500 / AU$799. As they are a brand new model, it is unlikely we will see any big discounts immediately, but being priced on the premium side sees them compete with strong contenders.

The Bose QuietComfort Ultra Headphones launched at £450 / $429 / AU$649, although we've seen the price drop to around £375 / $350 / AU$480 and may see more discounts yet.

The Dyson cost more than the five-star Sony’s WH-1000XM5 headphones, which launched at £380 / $399 / AU$550, but are priced lower than the premium Apple AirPods Max, which cost £549 / $549 / AU$899 when they arrived. Of course, the Sony and Apple headphones have been available for some time now, and significant price drops frequently occur.

** Winner: Bose QuietComfort Ultra Headphones **

Dyson OnTrac vs Bose QuietComfort Ultra Headphones: design

Dyson's new headphones feel quite chunky compared with the Bose. They feature two battery packs on either side of the headband to distribute the weight evenly, but they still feel heavy on your head. You're always conscious that you're wearing quite a large pair of cans

The build quality feels robust and they come with a nice collapsible case. Both the hinges and headband seem like they will withstand a good amount of flex and there's room for ample adjustment in the headband. The ear cushions are bigger than with many other pairs of headphones but still feel comfortable and envelop the ear well. A little too well – they made our ears hot while walking around on a hot day, but also while sitting at a desk in an air-conditioned office. And while the earcups fold down flat, they don't fold inwards, unlike the Bose, making them less portable.

If customisation is your thing, the fun news is that you can easily swap out the ear cushions and outer ear cups of the OnTrac headphones for a wide selection of colourful alternatives. The cushions just snap off and the outer cups have a twist-lock system making the process pretty quick. It's a level of interaction you'd never normally have with headphones, and the choice of colours available is enticing – from bright tones to subtler dark ones. However, this comes at a cost – the extra caps and cushions are £50 per pair. Ouch.

The Ultra Headphones are fully foldable, which is somewhat rare in this price bracket, and makes them easier to carry and accommodate in your bag or luggage when on the move. They also come with a protective carrying case and are available in Black and White Smoke colours – no customisable aesthetics here, unfortunately. 

The QuietComfort Ultra Headphones have ample cushioning along the length of the headband and the grip pressure is well-judged. We found the clamping force to be slightly stronger than the Sony WH-1000XM5 during our testing, which may be to the liking of some. The cushioning is comfortable even over longer listening periods and they offer a good level of isolation.

For all the OnTrac's customisation smarts and design originality, the Bose are a better-balanced and more practical design.

** Winner: Bose QuietComfort Headphones **

Dyson OnTrac vs Bose QuietComfort Ultra Headphones: features

Dyson's new headphones feature physical control buttons for playback and calling on the voice assistant. Alongside these, there are touch controls for swapping between active noise-cancelling and Transparency modes.

The MyDyson app is well laid out and lets you change the ANC and EQ modes. It also includes a graph showing real-time hearing data and will warn you if you are listening at a harmful volume level.

But the real highlight is the battery life. It's a marathon 55 hours with ANC turned on, which blows most other rivals including Bose out of the water. They easily outlasted our week's testing. 

However, there's no multi-point Bluetooth, as they only use Bluetooth 5.0. The Bose, which use Bluetooth 5.3, do have multipoint for seamlessly switching between wireless devices.

The OnTrac also have a head detect feature which automatically pauses / resumes music when you take the headphones off / put them back on. It works brilliantly. There are three EQ presets (Neutral, Enhanced, Bass Boost), but no support for spatial audio. They support the standard AAC and SBC Bluetooth codecs, as well as the lesser-known 24-bit LHDC codec. The Bose QuietComfort Ultra Headphones don't support LHDC, but do play nice with aptX Adaptive.

The Ultra Headphones feature a capacitive touch strip for controlling volume and accessing shortcuts. There's also a general multi-functional button for controlling listening modes, answering calls and pausing audio.

They include Qualcomm’s Snapdragon Sound Technology suite, which gives them latency and stability boosts via aptX Adaptive codec support. The battery can't match the OnTrac, offering 24 hours of life during standard ANC use and 18 hours when ‘Immersive Audio’ is engaged.

There's compatibility with the Bose Music App and an ‘Immersive Audio’ mode, which is Bose’s take on spatial audio and presents sound in a 3D environment. It comes with two further modes, ‘Motion’ and ‘Still’. In the ‘Still’ setting, audio is meant to sound as if it is “coming from two stereo speakers in front of you that stay where they are when you move your head”. “Motion” mode aims to make audio sound like “it's coming from two stereo speakers in front of you that follow the movements of your head”. We found the Immersive Audio modes unconvincing during our review, and especially aren't fond of it draining so much crucial battery life.

The Dyson OnTrac don't have any spatial audio capabilities, though given Bose's implementation, that's no great shame.

** Winner: Bose QuietComfort Ultra Headphones **

Dyson OnTrac vs Bose QuietComfort Ultra Headphones: noise cancelling 

The new Dyson OnTrac headphones offer ANC and Transparency modes. The cans feature eight mics that constantly monitor external noise – Dyson claims 384,000 times per second – to optimise the ANC quality. Unfortunately, you can't manually adjust ANC levels like you can on the Bose, but Dyson has made it clear that it is aiming high and wants its headphones to be crowned as the best for ANC. They're not far off.

They do a good job of dimming general environmental noise using the full “isolation” ANC mode, with engine rumbles and passing traffic barely registering. Even sudden, sharper noises are dispatched effectively. In fact, they're almost as good as the Bose QuietComfort Ultra Headphones – the Bose just edge it in smoothing out the lower frequencies. Still, it's an impressive debut for Dyson.

Their transparency mode works well, too, keeping artificial noise to a minimum while allowing in outside sounds. They also don't have that unpleasant ‘vacuum-like’ feeling when ANC is turned on.

The QuietComfort Ultra Headphones are currently our top ANC choice for the best wireless headphones, and feature class-leading noise-cancelling tech that you would expect from Bose. The company states that its new headphones achieve noise cancellation via passive sealing of the earcups combined with proprietary active electronics. This active circuitry uses microphones on the inside and outside of both earcups to cancel out external noise. 

In our full review of the Bose QuietComfort Ultra Headphones, we were impressed with the noise-cancelling capabilities. Background rumbles are drastically reduced and the sound of the London Underground during our daily commutes is far less abrasive and intrusive. 

There are a few options within the ANC settings, namely Quiet and Aware modes. Quiet mode offers full noise cancellation, while the Aware setting allows full transparency so you can hear your surroundings while still enjoying audio in stereo sound. There's also an additional ActiveSense feature which only activates noise cancellation when a loud or sudden noise occurs nearby.

The OnTrac's call quality is decent too. Voices are clear, detailed and are projected well, from both sides of a phone call. They do pick up a bit of swirling wind noise, but it doesn't impede conversations. The Bose QC Ultra Headphones make voices sound a bit more solid and rounded, but the Dysons are clearer and crisper.

** Winner: Bose QuietComfort Ultra Headphones **

Dyson OnTrac vs Bose QuietComfort Ultra Headphones: sound

Despite the Dyson OnTrac's bold looks, they're a surprisingly clear and clean listen. The presentation is neatly organised and evenly balanced, with a decent amount of detail. They handle voices particularly well.

But they could do with more solidity throughout. Their sensible balance is a bit too restrained for our liking, and lacks personality. The ‘Enhanced’ EQ mode injects a bit of zest to the music, but we find that the OnTrac are lacking in dynamic punch and subtlety overall. The Bose QuietComfort Ultra Headphones have more authority. The Dysons are just a bit safe.

The Ultra Headphones, however, are precise and punchy, and convey every genre of music with enthusiasm. They deliver rich highs and deep lows with refinement, while drums hit hard and fast. We said in our review that "every note is tightly defined and they have no problem painting texture and giving them shape". Timing is terrific, and the overall natural balance is combined with a level of refinement and excitement that really impresses.

** Winner: Bose QuietComfort Ultra Headphones **

Dyson OnTrac vs Bose QuietComfort Ultra Headphones: verdict

It's always tough for a new entrant to take on the best over-ear headphones at this price. Just ask Sonos. But Dyson has made a promising debut. Sound is neutral, though a little too safe for our liking, and the design certainly stands out. The ANC is a real highlight, almost equalling market leader Bose, and the battery life one of the best around.

But ultimately the Bose are the better buy. Their full-bodied, dynamic sound and unbeatable noise-cancelling abilities are what earned them a five-star review, even if their Immersive Audio modes left us unconvinced.

Still, a new challenger always keeps things interesting, and just goes to show even the best can't rest at this level.

MORE: 

Read the full Bose QuietComfort Ultra Headphones review

Dyson OnTrac vs Apple AirPods Max: how do these premium wireless headphones compare?

Check out the best wireless headphones we recommend

Following the release of its popular Walkman-inspired CP13 portable cassette player, FiiO is continuing the fun with a Discman-esque portable CD player – the new DM13.

It's well documented that vinyl sales are seeing a big resurgence in recent years but the same is also true for CDs. The release of a portable CD player in 2024 definitely shows how the shiny discs are making a comeback, as more and more people start to discover (or rediscover) their love of physical music formats. 

The DM13 CD player features both a 3.5mm single-ended and a 4.4mm balanced headphone output, which means it should suit a wide range of different headphones. There are dedicated analogue line output, SPDIF digital output, and USB output options allowing the unit to be integrated into your existing set-up, used with active speakers, or hooked up to a portable speaker's auxiliary input.

It also includes aptX HD Bluetooth connectivity meaning the player can connect to wireless headphones or speakers. The DM13 plays CDs, of course, and supports FLAC, WAV, WMA, AAC, and MP3 file formats.

The DM13's built-in battery is said to last up to eight hours of playback on a single charge. If you prefer to use the player in situ, you can take advantage of its dedicated desktop mode to bypass the internal battery and use mains power instead.

The DM13 will be available from September for £179 / $179. It will be available in a silver finish and additional colours such as red, blue, titanium, and black will arrive later this year.

Want to try it out before then? The DM13 will be shown off at this year's CanJam London event between 20th and 21st July, so get yourself down there if you fancy taking a look and a listen.

MORE: 

Our picks for the best CD players available: budget to premium options tested by experts

FiiO's Walkman-inspired cassette player is a blast from the past

Quick! You can still get 5 months of Amazon Music Unlimited for free – but the offer ends today

Forget Prime Day, you won’t find these 10 spectacular hi-fi deals on Amazon

The Edifier Stax Spirit S5 are wireless headphones aimed at audiophiles. The new wireless cans won't come cheap, but Edifier promises a "superior audio experience" designed specifically for music lovers who want the best sound possible with the convenience of a wire-free Bluetooth connection. Those are big words, but will the Stax do enough to rival the might of the five-star Apple AirPods Max (£499/$549)?

In a bid to try, the new premium Spirit S5 incorporate planar magnetic drivers, components often associated with hi-fi-oriented headphones. Unlike dynamic drivers which produce sound using a diaphragm driven by a voice coil within a magnetic field, planar magnetic drivers deploy a flatter, thinner diaphragm with embedded wires suspended in the magnetic gap, allowing, says Edifier, for a more comprehensive sonic reproduction across the frequency spectrum. 

The new over-ear headphones also incorporate Edifier's "EqualMass" tech, which connects various wires in parallel to create a uniform driving force and keep the diaphragm's weight more evenly distributed, reducing sonic distortion as the drive unit moves back and forth with greater regularity and stability.

The Spirit S5 offer strong Bluetooth codec support, including AAC, LDAC and LHDC alongside aptX HD, aptX Apative and aptX Lossless, which are capable of transmitting hi-res audio up to 24-bit/96kHz at higher data rates than standard. The Bluetooth 5.4 cans are also set up for low latency audio thanks to aptX Adaptive, with Edifier promising latency as low as 89ms for super-responsive gaming or an immersive cinematic experience. Bluetooth multipoint is also on board for connecting to two devices simultaneously, while app support allows you to customise your EQ settings to suit your personal preferences.

The S5 provide a whopping 80 hours of battery life, with a full charge of the cans taking around an hour and a half. Just 15 minutes of charging time will grant you 13 hours of standard playback, though, so even a relatively hurried juicing session should have you sorted for that dreaded long-haul flight. The S5 also use aptX™ Voice technology to enhance call quality, with dual microphones working to reduce background noise and further improve the quality of your calls.

The Spirit S5 feature genuine lambskin earpads and are finished with top-grain cowhide earcups, aiming for "elegance and refinement in both form and function", even if they're not particularly well-suited for prospective vegetarian and vegan buyers. There is no active noise cancellation here, however, unlike most wireless headphones at this price. But Edifier promises that the over-ears' ergonomic design is built to deliver a snug and secure fit, offering passive isolation and hours of uninterrupted wearing without any discomfort.

The Edifier Stax Spirit S5 are available now for £500 / $499.

MORE: 

These are the best audiophile headphones for serious listeners 

These are the best wireless headphones around  

Best early Prime Day Bluetooth speaker deals 2024 – save on Sony, JBL, B&O and more

Amazon Prime Day 2024: the best early deals already live

Not content to sit still, iFi Audio has followed up its recent Zen DAC 3 and Zen Phono 3 launches with another duo of announcements: the iFi Zen Blue 3 wireless DAC and the iFi Zen Can 3 headphone amplifier. 

Let's start with the Zen Blue 3 DAC, which iFi claims is the "world’s first wireless DAC that can both transmit and receive lossless CD quality with no data loss." It does this by supporting Qualcomm's latest aptX Lossless codec, which allows for lossless 16-bit/44.1kHz (CD-spec) transmission over standard Bluetooth with a bitrate transmission between 1100kbps and 1200kbps.

That's the highest transmission data rate yet for a Bluetooth codec, with the LDAC codec able to transmit audio up to 990kbps. The Zen Blue 3 DAC also supports LDAC, as well as aptX Adaptive, aptX, AAC and SBC, so it can stream music from just about any Bluetooth device – although those wanting to stream in higher quality CD or hi-res need a source device that also supports the lossless codec. 

The DAC supports Bluetooth 5.4, and inside it features an ESS Sabre chip alongside a balanced line output that offers reduced signal noise and crosstalk between the channels for cleaner sound.

The DAC comes with three selectable modes: RX (which receives a Bluetooth stream from a source device), TX (which sends a Bluetooth stream to another device) and Wired DAC mode (which lets you connect the DAC to devices using a wired connection). If using the DAC in a gaming or video set-up, a low latency button on the front panel should help reduce any audio-video sync delays.

Wired connections include a pair of RCA stereo inputs, a USB-C input, S/PDIF optical and coaxial inputs/outputs (for 24-bit/192kHz native playback) and a pair of RCA stereo and 4.4 balanced outputs. 

The iFi ZEN Blue 3 wireless DAC is available to buy from 9th July for £299 / $299 / AU$299.

Meanwhile, the new Zen Can 3 headphone amplifier is an analogue-only affair with 6.35mm and balanced 4.4mm headphone jacks on the front panel, alongside stereo RCA, 3.5mm and 4.4mm inputs at the back. The headline feature here is that it features support for in-ear headphones that use the next-gen xMEMS driver technology – which uses solid-state drivers instead of traditional voice coil and magnet designs and claims to be 150 times quicker to respond than mechanical drivers. So if you're one of the lucky few to have an IEM with xMEMS driver tech, the Zen CAN 3 will work with it.

The headphone amp is now more powerful, with iFi claiming up to 2000mW of continuous power (into balanced 64 ohms) to work with even the most difficult-to-drive headphones. There are also two new EQ modes – Movie and Gaming – for clearer dialogue and low-level/background sound effects, respectively, plus the usual two XBass+ and XSpace EQ filters.

The iFi ZEN CAN 3 headphone amp is available now for £229 / $229 / AU$229.

MORE:

Read our original iFi Zen Blue review

Check out the best DACs you can buy across all budgets

Read about the best headphone amplifiers we've tested and recommend

Beyerdynamic has announced the release of its Verio 200 wireless earbuds and, if you've been following industry trends during the past year or so, you might be starting to notice a pattern emerging. Following in the recent footsteps of the Huawei FreeClip, the Bose Ultra Open Earbuds and the Sony LinkBuds, the Beyerdynamic Verio 200 feature an open-ear design to facilitate a greater awareness of your surroundings without compromising too much in the sound department. 

The new open earbuds are equipped with 16.22mm graphene-neodymium drivers which, says Beyerdynamic, deliver "precise sound and excellent bass", all while aiming to reduce sound leakage for a more immersive, yet aware, listening experience.

The Verio 200 use two "high-quality" microphones enhanced by aptX Voice technology, aiming for clearer voice calls no matter your surroundings. The new earbuds feature Multipoint Bluetooth 5.3 for seamless switching between devices and are compatible with the high-res-supporting aptX Adaptive codec.

The Verio 200 offer a solid battery life of up to eight hours from the buds as well as an additional 27 hours with the charging case, making for a total of 35 hours. A 10-minute charge will give you a whole hour of playback.

You can also customise the sound of the buds using the new app's five-band equaliser and set EQ acoustic profiles, as well as adjust the buds' on-ear controls.

While they're not billed as exclusively running headphones, the Verio 200 certainly have solid sporting credentials. Beyerdynamic claims that the open-ear hook design ensures a natural, comfortable wearing experience, while the buds' ergonomic configuration means they'll stay secure and stable no matter the intensity of your workout or commute. They'll survive the elements, too, with an IP54 rating ensuring water and sweat resistance and protection from limited dust ingress.

Beyerdynamic's CEO Andreas Rapp says: "Today’s active, on-the-go lifestyle requires earphones that allow people to remain aware of their surroundings. That’s why we created Verio 200... that seamlessly blend into the activities of everyday life without sacrificing exceptional comfort, security and sound quality."

The Verio 200 open earbuds are available now in a choice of three colourways – black, cream, or a black and orange "Sport" option – for $220 (about £173, further prices pending).

MORE:       

What are open earbuds? How do the headphones work and are they worth it?

Read our Bose Ultra Open Earbuds review 

These are the best sports headphones around 

I lived with the Bose Ultra Open Earbuds – here's what I thought of them 

McIntosh has launched a Bluetooth hi-fi device positioned as the choice for audiophiles.

The McIntosh MB25 "Bluetooth Transceiver" costs £850 / $600 / AU$TBC, so it certainly has an audiophile-grade price tag. It promises to add Bluetooth to "virtually any high-end audio system from any era", thanks to its versatile range of physical connections. These include balanced and unbalanced stereo inputs and outputs, and digital coaxial and optical inputs and outputs.

That means you can stream your vinyl and CDs to your classic speakers positioned throughout the home, and play music wirelessly from a phone or tablet over Bluetooth. 

It follows the MB20 from 2021, and adds an illuminated front glass panel, the ability to select the desired input in transmit mode, and power controls so it can turn on or off with the rest of a McIntosh audio system.

The Bluetooth 5.0 onboard isn't the latest version of the technology, but it does support high-fidelity codecs like AAC and aptX HD. And it's equipped with a high-performance 32-bit DAC for receiver mode and a premium Analog-to-Digital Converter (ADC) for transmitter mode.

There's no getting around that price. Just last week, FiiO launched a similar device (with added full wireless streaming) for under £100 / $100. Though if you have a classic system, and McIntosh's sound quality is as good as it promises, you might find the MB25 Bluetooth transmitter/receiver worth the extra outlay.

MORE:

The best music streamers

Use it with the best music streaming services

And the best hi-res music streaming services

Find out how to add a streamer to your hi-fi system

The Sonos Ace wireless headphones must be one of the most rumoured and anticipated pairs in the history of personal audio. After years of rumour and spectulation, they finally arrived in mid-2024, ready to take on the best of the competition.

Now, as anyone taking even a cursory look at our best noise-cancelling headphones list will know, the talent in this space is huge, and the Sonos Ace need to deliver in every area to compete with the best.

Among that talent are the Apple AirPods Max. From their similarly slick design to the premium price point, they seem to very much be in the Ace’s sights. So should you go Apple or Sonos for your next pair of headphones? Now that our expert in-house reviews team has put both through their paces for full reviews and compared them side by side, we are ready to answer that question. Below we compare their battery life, features, design and comfort, noise-cancelling effectiveness and, most importantly, sound quality.

Sonos Ace vs AirPods Max: price

• Both pairs are pricier than the majority of wireless headphones
• Sonos have a lower RRP and are already receiving discounts

The Sonos Ace cost a reassuringly expensive £449 / $449 / AU$699 – undoubtedly a premium price for a pair of wireless headphones, particularly when Sonos kit rarely budges from RRP. That said, we have already seen them drop by 25 per cent.

The Apple AirPods Max launched a while back, in December 2020, and at the time were the most expensive wireless headphones we had tested at £549 / $549 / AU$899. Their design is getting on a bit now, though. Sure, they were refreshed in September with a USB-C socket (goodbye, Lightning) and a new lineup of colours, but it was hardly the AirPods Max 2 update we expected. You might still be able to find the final pairs of original, Lightning connector-toting AirPods Max available at a discount, but the newer USB-C model is holding firm at around £499 / $499 / AU$899.

So the AirPods Max are the pricier pair and likely will be for some time, not least if the Ace continue to attract discounts at popular retailers like Amazon. The Ace are pricier than most wireless headphones, but Sonos has still carefully undercut one of its biggest competitors despite being considerably newer.

The best price for each pair today is displayed just below.

** Winner: Sonos Ace **

Sonos Ace vs AirPods Max: design

• Similarly seamless, luxurious designs
• Ace have vegan leather earpads; AirPods opt for fabric
• AirPods Max are better suited to larger ears
• AirPods Max come in several colours

Take one look at the Sonos Ace and you can’t help but be reminded of the Apple AirPods Max. The seamless and minimalist over-ear cup design of the Ace is a touch smaller and more rounded than those on the Max, and a little less shiny too, but it’s not worlds apart.

However, unlike the Max, which our in-house reviews team has used comfortably without issue for a few years now, some members did find the smaller earcups of the Ace a touch too small. This, they said, led to the feeling of them heating up quite quickly during wear – though this was not something that those with smaller ears felt was a problem.

This suggests that those with larger ears may well be better served by the bigger earcups on the Max.

There is a slight difference here, though – the AirPods Max go for fabric on their earpads, while Sonos has opted for vegan leather on the Ace. We overall prefer the cushioning on the Max, which is just a little thicker, but there's not really much in it.

The Sonos Ace are noticeably lighter than the AirPods Max, at 312g vs 385g, but both sit really nicely on our heads with a low clamping force that we don’t find at all fatiguing.

Just like the AirPods Max, the earcups on the Ace swivel to sit flat to make them easier for travelling, while keeping hinges very much hidden – an appealing design choice for anyone who has ever caught their hair in a pesky exposed hinge before.

As with most other Sonos devices, the Ace come in a choice of Black or Soft White matte finishes, while AirPods Max have a few more – and shinier – options: Silver, Space Grey, Sky Blue, Pink or Green.

With the Sonos Ace you get a matching travel case with a smaller travel pouch that can hold all necessary cables. There's a USB-C charging cable and USB-C to 3.5mm audio cable included in the box.

The Apple AirPods Max, on the other hand, come with a pretty flimsy protective cover for the earpads only and there are no audio cables included, which feels a bit stingy at the price.

** Winner: Apple AirPods Max **

Sonos Ace vs AirPods Max: features

• Both pairs sport intuitive physical (not touch) controls
• Both offer spatial audio with dynamic head-tracking
• Ace have significantly longer battery life (30 vs 20 hours)
• AirPods Max are more suitable for iPhone owners
• Ace have two Sonos ecosystem-specific features

Sonos has decided to take a similar route as the AirPods Max when it comes to controlling playback and noise cancellation and has swerved touch controls on the Ace.

While the Max really do keep things minimal with just a button and a dial for controlling volume, the Sonos Ace use a couple more – there is a button for power and Bluetooth pairing on the left cup, and a button to cycle through the noise cancelling and aware modes on the right, plus a multi-functional slider (or “elongated content key”, according to Sonos) for volume and playback that works brilliantly.

Just like the Max, the Sonos Ace are purely Bluetooth headphones and don’t feature wi-fi as once predicted – that may come in a later version, according to Sonos, but not just yet.

Instead, they use the latest Bluetooth 5.4 and are capable of playing lossless audio from compatible sources thanks to Snapdragon Sound’s aptX Lossless and Apple’s ALAC codecs support. There's currently no support for next-gen Bluetooth technologies like Auracast or LE Audio, but we don't think they will be missed at this point.

The AirPods Max, on the other hand, don’t support lossless playback at all – only supporting Apple's AAC format – and feature Bluetooth 5.0, since they are that little bit older. Unfortunately, this wasn't updated for the 2024 variant.

Both do, however, offer spatial audio with dynamic head tracking across Dolby Atmos or 360 Reality Audio music and movies, though this is limited to iOS only on the AirPods Max.

They also both feature a wear sensor for pausing and restarting your music automatically when you remove and replace an earcup, and include Bluetooth Multipoint for moving between two devices with ease.

The Sonos Ace do have a big advantage over the AirPods Max in that they manage 30 hours of playback from a full charge, and can get a three-hour boost from three minutes of charge. Apple's headphones can manage only 20 hours from a single charge, with one-and-a-half hours of extra playback from five minutes plugged in –and only if you fork out an extra £19 ($19 / AU$29) for Apple's 20W charger.

Apple's headphones are fairly low on other bells and whistles (and any it does have are limited to iOS users), but if you have a Sonos Arc, Beam Gen 2, Beam Gen 1 or Ray soundbar and either an iOS or Android device, the Ace headphones do have one more trick up their sleeve for you: TV Audio Swap. That means you can play the sound from your compatible soundbar through your headphones with a single button press.

Annoyingly, in practice, we found that this potentially useful feature (for, admittedly, a fairly niche group of people) had some pretty frustrating teething troubles, resulting in crackles, distortion and lip-syncing issues. Disconnecting and reconnecting usually fixed them, but it does mean this key USP isn't quite the homerun it could be... until a firmware update fixes them, anyway.

There's also a rather promising TrueCinema calibration feature, which will analyse your room and adjust the audio in the headphones to sound like you're listening through a home cinema system instead, but this won't roll out until later in the year.

** Winner: Sonos Ace **

Sonos Ace vs AirPods Max: noise cancellation and call quality

• AirPods Max have the edge in eliminating background noise
• Ace's Transparency mode is preferable
• AirPods Max have considerably clearer call quality

Both the Sonos Ace and the AirPods Max use eight microphones to help with noise cancellation, and while neither can bother the likes of the Bose QuietComfort Ultra for absolute silence from their surroundings, we found that both did a decent enough job at knocking the wind out of a lot of the major background noise.

However, if pushed, we do notice a little less consistency in the cancelling out of mid and higher frequencies on the Ace, and find the Max do a better job at cutting out office chit-chat. If you need to let that sort of stuff in though, we do prefer Transparency mode on the Ace, and found the Max have a bit of a synthetic quality to them by comparison.

When it comes to calls though, the Max are back on top. They sound a lot clearer than the Ace do, which we found could make our voice sound quite muffled – particularly with wind noise outside. There was also quite a lot of variation in how much background noise our callers could hear, depending on whether we were static or walking around.

However, it is worth noting that we heard a reduction in sound quality when noise cancelling is switched on with the AirPods Max – something we didn't notice with the Sonos Ace. This means you will have to decide which is most important every time you listen, which is just something to consider.

** Winner: Draw **

Sonos Ace vs AirPods Max: sound quality

• Ace sound safe and uninspiring; disappointing
• AirPods Max far more musical and insightful
• Spatial audio performances are more on par

Sadly, while the AirPods Max and the Sonos Ace may have exchanged blows pretty closely throughout this head-to-head so far, when it comes to sound, the Sonos Ace fall flat on their face.

While their sound is far from offensive, it simply doesn't inspire. Sure there's weight and solidity, yes they're rich and relatively detailed, but it's all been played a bit too safe – a bit too simple. Their sound lacks excitement and is a bit congested too, so you don't get a good idea of space in a mix, nor distinction between instruments. It's all just a bit blurry, confused and undistinguished.

The AirPods Max, on the other hand, pack in clarity, spaciousness and energy by the bucketload. They're as precise as they are exciting, and they don't gloss over a single detail for their level. Even with their lack of lossless playback, they trump the Sonos for sound quality in pretty much every way, with music at least. In every area that the Sonos struggle, the AirPods Max show them how it's done, and then some.

It's a bit more of an even keel with movies, with both offering a satisfyingly wide and open soundstage and a great experience from spatial audio. It'll be interesting how this is (we hope) improved further on the Ace once TrueCinema is available.

** Winner: Apple AirPods Max **

Sonos Ace vs AirPods Max: verdict

While the Sonos Ace look nice enough, have plenty of features (though some are yet to arrive) and put up a decent fight in the noise-cancelling department, sonically they just can't compete with the Apple AirPods Max. And while the rest of the stuff is important in a well-rounded pair of headphones, sound quality is naturally the most crucial aspect.

For that reason, we would recommend the AirPods Max over the Sonos Ace every time – especially if you are an iOS user who is going to benefit from spatial audio, fast pairing and stuff like Audio Sharing. If you've reasonably discounted the Ace and realised Apple's headphones aren't for you either, we suggest checking out our best AirPods Max alternatives buying guide.

** Winner: Apple AirPods Max **

MORE:

Read our Sonos Ace review

Check out our comparison of the Sonos Ace vs Sony WH-1000XM5

Or perhaps the Sonos Ace vs Bose QuietComfort Ultra

Apple AirPods Max tips: how to pair, reset, charge and more

With the first pair of Sonos headphones finally here (and sadly not quite the Ace we hoped for), headphones fans are now looking forward to the launch of Sony’s next flagships with the same eagerness that a nipper awaits the arrival of Santa Claus. And with good reason.

The Sony WH-1000XM6 are expected to succeed the current WH-1000XM5 in a few months if they are to follow the model’s bi-annual release pattern, and if the past seven or so years of form is anything to go by, they should build on the current pair’s class-leading position with sound quality improvements and perhaps the odd new feature. The cogs in that particular rumour mill haven’t started churning yet – unlike that of the AirPod Max 2‘s – but we have huddled together to curate a wishlist for the anticipated XM6, from aptX Bluetooth codec support to longer battery life.

But what I want from Sony – more than a new-and-improved WH-1000XM model, even – is something else entirely. Or perhaps more appropriately, another model entirely.

Lifting the ceiling of ambition

Sony’s headphone catalogue spans as many types and budgets as any other, from cheap and cheerful wireless earbuds (WF-C500) to extraordinary-performing wired over-ear headphones (MDR-1ZR). But it has a glaring gap: a high-end wireless pair to take on the likes of the Apple AirPods Max, Bose QuietComfort Ultra and Sonos Ace.

In the four years since Apple valiantly pushed the wireless headphones parameters past the likes of Sony’s, Sennheiser’s and Bose’s (then) flagships to a new price point, more than a handful of headphones and hi-fi manufacturers have risen to similar ambition and produced worthy competitors. Surprisingly, Sony isn’t yet among them.

Our hopes were high that a higher-end Bluetooth model to sit above its flagship XM5 would surface earlier this year when we heard whispers of ‘new Sony Bluetooth headphones’, but that turned out to be the brand’s new ULT Wear range of mid-priced, bass-boosted models. There’s nothing wrong with that – Sony is going after an important mass-market sector of the headphone space, and with mostly great success. But – and I’m aware this may sound like spoilt behaviour – the continual success of its premium wireless model has me hankering for a more aspirational effort from Sony’s engineering team. I know they are capable, and surely there’s a market for one?

I’d be the first to oppose such aspiration taking shape as a WH-1000XM6, as that model’s price point is, while reasonably attainable, higher than many can reach as it is. What I'm after is a model above them; a higher tier of flagship.

A music and movie maestro?

So what would this (hopefully additional) all-singing-all-dancing model look like in my eyes? It goes without saying that sound quality at least as sophisticated as that delivered by the premium-premium crop’s current class leaders (the five-star AirPods Max, Focal Bathys and Bowers & Wilkins Px8) would be a must.

Sony somewhat downgrading the premium-ness of the WH-1000XM5’s build and aesthetic compared to its predecessor (the XM4) leaves more luxury to be desired in the design department, too. Not least when you have blingy lookers like the aforementioned Focals and B&Ws in the ring. Touch control is as 21st century as TikTok, of course, but does anyone actually like it on headphones? Proper, nicely integrated buttons please, Sony.

And as my colleague who recently penned fervently about his wish for more home cinema headphones would no doubt agree, wouldn’t it be nice for Sony to also make these a great pair of immersive, cinema-like, spatial audio-supporting headphones for more immersive personal listening while movie watching? Sony has done a stellar job with its Dolby Atmos soundbars, after all, and it hasn't really given much gravitas to its spatial 360 Reality Audio technology so far, so Atmos-friendly operation, perhaps complete with in-room calibration (similar to that offered by the Sonos Ace), doesn’t stretch the imagination too much.

Despite its serious sound performance accolades, we can’t imagine Sony would be the first to offer next-gen wi-fi connectivity in headphones (what a statement that would make, eh!), though perhaps we would, more realistically, finally get aptX Bluetooth codec support of the aptX Lossless (I'm being greedy now) flavour. Wired listening over USB-C (in addition to over 3.5mm) would be high on the wishlist too, as would greater levels of noise cancellation adjustability to complement what would likely be, as per the XM5’s skillset, class-leading sound-blocking effectiveness.

It’s nice to dream, and in this instance I don’t think I’m dreaming too big. Sony is in a fantastic position to combine all the best bits of the current pairs – the AirPods Max's luxurious design, the Bose's class-leading ANC and Sonos's home cinema USP – and top that all off with superior sound quality to lead the pack, as it does at the level below with its WH-1000XM5.

Hopefully Sony is already at work, simply putting some finishing touches on its next wireless wonders. Maybe their entry would even slightly lower the WH-1000XM model’s price? OK, now I’m getting ahead of myself…

MORE:

The best wireless headphones you can buy, tried and tested by yours truly

Sony WH-1000XM6: release date speculation, price predictions, 6 things we want to see

Sonos Ace wireless headphones finally launch with spatial audio for movies and music. Here is our surprising Sonos Ace review

When you’re a company like Sonos, which has pretty much nailed the soundbar, wireless speaker and multi-room markets, what do you do next?

You set your sights on a whole new category and launch a brand new product, of course – in this case the Sonos Ace wireless headphones. Rumours and rumblings about a pair of cans to complement the rest of the Sonos family have been doing the rounds for a few years now, and when you think about it, it’s not a huge leap. If Sonos can introduce a couple of unique selling points for its customers while mastering the sound quality side of things, then it could be quite the success story.

But Sonos is entering an area of the market that isn’t for the faint-hearted. Some of the brands in the space are huge hitters and have been making headphones before Sonos was even born. The likes of Apple, Bose, Bowers & Wilkins, Sennheiser and Sony all have sensational Bluetooth, over-ear noise-cancelling headphones that we have tested and rate at five stars – and they won’t make life easy for the Sonos Ace. Let’s see how they stand up to scrutiny.

Price

• Ambitious pricing for Sonos's debut pair
• Sit between Sony and Bose flagships and the Apple AirPods Max

The Sonos Ace wireless headphones cost £449 / $449 / AU$699. We expected Sonos to be gunning for the expensive Apple AirPods Max (£549 / $549 / AU$899) but this is smack bang in the middle of Sony and Bose territory too.

The Award-winning Sony WH-1000XM5 retail for £380 / $399 / AU$550, while the Bose QuietComfort Ultra Headphones are yours for very similar money at £450 / $429 / AU$649. Both the Sony and Apple headphones have come down in price since launch and we are starting to see slight discounts on the Bose, so it’s a very crowded market with options at, above and below the money Sonos is asking.

Design & Comfort

• Physical (not touch) earcup controls work well
• Plush, stylish and nicely made design
• Larger heads may find them warm to wear

Sonos has a reputation for designing minimalist products that blend into the home anonymously without drawing attention to themselves (something that either suits you perfectly or you might find a tad bland), but we think the Ace are nicely made with a hint of style too.

We find them to be a bit of a cross between the WH-1000XM5 and AirPods Max with earcups that are more streamlined than Sony’s with a slightly squarer appearance, like the AirPods Max – albeit not as flashy. At 312g they are lighter than the AirPods Max (384.8g) but a touch heavier than the Sony WH-1000XM5 (250g), and you can feel the difference in hand.

The earcups feel smooth to the touch and are coated in an anti-fingerprint finish that we couldn’t get to tarnish when handling. The Sonos logo emblazoned across one earcup is meant to be subtle and shimmers only when it catches the light, but it is rather large when it does.

The earpads use memory foam coated in a layer of vegan leather (polyurethane) that feels quite plush, although you get a bit more cushioning from the Sony and Apple models. The adjustable headband uses a firmer structure of the same materials, and we find them comfortable enough.

A couple of members of the team felt like there wasn’t much room for their ears to breathe in the cups, and found they heated up quite quickly, although those with smaller heads and ears found this wasn’t really an issue.

Those with smaller heads should find they fit especially well, and the clamping pressure is nicely judged. To adjust, simply slide them along the stainless steel yokes.

We particularly like how the hinges and joints are concealed in the body of the headphones; it offers a more elevated look and ensures those with long hair won’t get it caught while moving them into position. As is the trend now, the earcups swivel flat but don’t fold up, while the replaceable earpads are attached to the frame by strong magnets.

For the Ace, Sonos has resisted the temptation to add touch controls, and in our opinion, they are all the better for it.

On the left earcup is a button for power and Bluetooth pairing, and the right earcup has a single button to cycle through the noise cancelling modes. It also has a multi-functional slider/button (Sonos calls it the “content key”) that is the real star of the show. You can slide it up and down to change the volume and press it a couple of different ways to control playback (pause, play, skip, answer calls etc). Press and hold to ‘swap’ music from a connected Sonos Arc soundbar to your Ace headphones and vice versa (more on this below). It’s quick to respond to pressing and sliding, even if it feels a tad cheap and plasticky.

The Ace headphones come in two matte finishes – black or soft white – with the metal accents’ intensity differing slightly depending on the finish. Another nice touch is that the mesh in each earcup is a different shade to more clearly distinguish between left and right.

You get a matching travel case with a smaller, magnetic travel pouch inside that holds the USB-C charging cable and USB-C to 3.5mm cable that both come in the box. (You can connect them to a laptop via USB-C and the headphones support sample rates of 16-bit/48kHz.) The positioning of the pouch also helps guide the headphones into position when you store them away.

Our review pair is soft white and boasts a matching white carry case with a pale-green interior that mirrors the fabric colour in the right earcup. The case seems quite susceptible to being marked, though, and it starts to show scars after just a week or so of carrying it around in our bag.

Features

• Two exclusive Sonos ecosystem features (one is 'coming soon')
• Spatial audio with dynamic head tracking
• Competitive 30-hour battery life and Bluetooth codec support

The Sonos Ace are equipped with Bluetooth 5.4 and can play lossless audio from compatible sources thanks to Snapdragon Sound’s aptX Lossless support. The Ace don’t support next-gen codecs such as Auracast and LE Audio yet, however; Sonos says it is tracking how these codecs are developing and will adapt accordingly once they are used more widely. At this stage of their development, we don’t think this is the end of the world.

Battery life is always a big deal, and you get 30 hours of playtime on the Sonos Ace, with Bluetooth and ANC turned on. In comparison, the Sony XM5 are also good for 30 hours, but the AirPods Max lag behind with just 20 hours while the Bose QuietComfort Ultra Headphones offer 24 hours. A fast charge function on the Sonos gives you three hours of juice from just a three-minute charge.

Other essential headphones features include wear detection, which automatically pauses music when you remove the headphones and resumes playing when you put them on. Weirdly, this feature didn’t work straight out of the box with the Ace starting to play ball only midway through our time with the headphones.

Bluetooth Multipoint is also available, so you can connect to two sources simultaneously. During testing we found it worked well, with the headphones quick to pair when turned on and relatively quick and consistent when jumping from one connected device to another, e.g from a MacBook Pro to iPhone.

The headphones also support spatial audio with dynamic head tracking across music and movies with apps that support Dolby Atmos. Dolby Atmos and 360 Reality Audio tracks in Apple Music, Amazon Music, Tidal and Deezer are all supported, so you can get your spatial audio kicks no matter what popular streaming service you use.

The Sonos app plays a big part in Ace ownership too. Here you can turn spatial audio on and off, and there are settings for Bass, Treble, Balance and a Loudness setting designed to boost bass and treble at low volumes, although we generally recommend turning this off.

Unlike some rivals, such as the Bose, there’s no way to alter the intensity of the active noise cancelling; so it’s either on or off – or you can engage Aware mode if you want to hear your surroundings.

Some Sonos fans might be disappointed to learn that the Ace are not wi-fi headphones as some had hoped – they connect to mobile devices via Bluetooth only. That means you can’t connect them to the wider Sonos ecosystem or to your Era 100 speaker as many have long hoped. Sonos says the team has thought hard about full wi-fi headphones, but for this “entry” headphone product, it focused on the user experience and the way in which Bluetooth is more widely supported on mobile devices and offers seamless integration. There actually is a wi-fi chip in the Ace, but it is only used for the TV Audio Swap and TrueCinema features. Which brings us to…

Sonos integration

• TV Audio Swap works with Sonos soundbars
• TrueCinema calibration coming later this year

This being Sonos, it hasn’t entirely ignored its extended family. The Sonos Ace headphones can integrate into your Sonos-based home cinema system, with a handy ‘TV Audio Swap’ function and new TrueCinema calibration for a bespoke, immersive Dolby Atmos experience.

The TV Swap feature was available at launch but only worked with the Sonos Arc soundbar and iOS devices. However, it is now compatible with Android devices and Sonos's other current soundbars – Beam Gen 2, Beam Gen 1 and Ray. Older models such as the Playbar won’t be supported. Sonos tells us that using Ace with more of its wireless speakers was possible “but not a functionality they are looking at now”.

The feature lets you beam the sound from your Sonos soundbar to the Sonos Ace headphones with one button press, and vice versa. This means you can listen to movies and TV shows privately at night without disturbing the rest of your household, or if you want to watch Succession in peace without subjecting young ones to all the swearing.

During testing we have the Arc running with a Samsung S95D TV and Panasonic DP-UB820EB 4K Blu-ray player. Top Gun: Maverick is our test disc of choice. Swapping from the soundbar to the Sonos Ace using the content key is generally instant and seamless. However, our experience isn’t completely smooth sailing.

There are a couple of occasions when switching to the headphones that the sound distorts and crackles. It’s as if the two devices haven’t quite locked on to one another. On one occasion, we wait around seven or eight seconds for the signal to become stable, on another it is just a couple.

We also experience a couple of lip-syncing issues. Sometimes they were quite obvious while at other times pictures and sounds were only a fraction out, but enough to register with your brain. Disconnecting the headphones completely and reconnecting seems to clear things up, but it’s not ideal. Hopefully, this is just a teething issue that can be ironed out via a firmware update.

Another new home cinema feature is the TrueCinema calibration, which uses new software to tailor your headphones’ acoustics to your room, bringing a more spatial and immersive experience when watching Dolby Atmos soundtracks via a Sonos soundbar and TV system.

The idea is to not feel like you’re wearing closed-back headphones, with the sound tailored to your room the way your Arc is calibrated to your room’s acoustics. The only downside is that TrueCinema isn't available at launch but should arrive later this year. Normal spatial audio is available.

Sonos confirmed that the Ace’s 30-hour battery will drain faster when connected to the Arc, but assures us it should last two nights in a row of movie-watching. Switching back to using the headphones with your smartphone or portable device will revert back to the standard Bluetooth connection.

Noise-cancelling & call quality

• Okay noise cancellation – but rivals offer better
• Disappointing call quality

The Sonos Ace use eight mics in total – four in each cup – that are used for ANC and to deliver clear voice quality for calls. During testing, which happened in a range of environments from the train to the London Underground to a busy pub environment, we found noise cancelling to be okay, but not up to the standards set by the Sony WH-1000XM5 and the Bose QuietComfort Ultra Headphones.

The Ace throw a blanket over loud background noise, but frequencies still creep in that are kept out by the very best. Rival pairs boast more sophisticated ANC, resulting in a quieter and cleaner-sounding background for you to enjoy whatever’s playing. With the Ace, it feels as though more details are bleeding in.

We also find the Ace struggle to impress when it comes to call quality. On a relatively blustery day, our voice sounds quite muffled, and there’s quite a lot of variation in background noise depending on whether we are static or walking around.

The Sony WH-1000XM5, by contrast, have much more of a handle on interference from the outside world. Our voice sounds more consistent when moving around and they do a better job of suppressing general noise and controlling the impact of wind noise.

Sound quality

• Pretty effective spatial audio immersion
• Listenable, fairly detailed sound
• Miles behind the class leaders for dynamics, clarity and expression

We start proceedings with the playful, poppy tones of Taylor Swift and Shake It Off. In isolation, the Ace get off to a solid start. They produce a perfectly listenable and inoffensive sound.

The drum kick lays down the track’s beat with decent weight and solidity. It doesn’t overpower her vocal or stick out from the rest of the track. You can still hear other elements such as the trumpet and the claps which sound rich and devoid of any hard edges.

But it’s quite a simplistic and safe sound – not one we would call exciting or enthralling. It’s also very congested and there’s a real lack of spaciousness. Rivals draw a clearer distinction between the saxophone line, the claps, the drums and Swift's vocal. Through the Sonos Ace, everything sounds a little blurry and confused. Rivals such as the AirPods Max, Sony XM5 and Bose QC Ultra Headphones, in the words of Swift herself, never miss a beat.

The Sonys are looking at the track through a much clearer lens. Where the track stops and starts, the Sonys make a definitive pause and the song has more of a distinct flow. They track rhythms much more closely and accurately. Dynamically they’re more communicative and immediately you’re in excited foot-tapping mode, whereas the Sonos have real trouble keeping up and struggle with the natural flow of the song.

Detail levels are okay, but once again, all key rivals take things up a notch. The Bose headphones sound bolder and more powerful, especially in the bass. The Apple and Sony rivals once again just give you more across the board. Vocals gain a newfound sense of expression both in terms of detail and dynamics. Both of these pairs do a much better job of drawing you in and holding your attention. In comparison, it feels like the Sonos Ace lose quite a lot in translation. Turning ANC off reduces the compressed, congested delivery somewhat and shows just how much heavy processing the Ace are actually doing.

We switch to Time from the Inception soundtrack. It’s a great slow-burner with a beautiful build-up thanks to the drawn-out, elegant strings, subtle heartbeat-esque bass and delicate piano play. It’s an emotive piece of music, but listening through the Sonos Ace, your emotions aren’t stirred. The crescendo is handled well, though, and it doesn’t feel like the bass is lacking as the headphones deliver those swells of low frequencies in the track.

But through rival pairs, you really get to savour the slow build and those low-level dynamics just as much as the big ending. The Sonos skip over the finer details and, as we said, simply don’t stir the emotions like the very best pairs do.

We finish our testing listening to Top Gun: Maverick through the Sonos Arc via the TV Swap feature. Without spatial audio, the movie soundtrack sounds weighty and solid through the Ace headphones, and in keeping with the general character of the headphones. Dialogue is easy enough to follow, and as the fighter jets joust and duel over the desert, the sense of power on display as they fire up the afterburners is reasonably well conveyed.

Switch spatial audio on and you do feel the soundfield open up. SPOILER ALERT – as the jets fly over Iceman’s funeral there’s a subtle shift in height as one jet flies overhead and slightly in front of the rest of the pack. As they split formation, the trail of lingering noise from the engines feels like it does hang overhead more.

When the pilots are training for their main mission, the sense of atmosphere created in spatial audio does feel a bit more immersive and layered. The dramatic orchestral score provides the foundations with the dialogue in the middle of the mix and the manoeuvres of the fighter jets layered on top and positioned more around the top of your head.

When the jets fly across the front of your face, the audio shifts to follow the direction of the travel and the noise varies in loudness and intensity as the planes roll in and out of view. Does it sound better than listening in the standard mode? It certainly feels different and more spacious, and we can see it appealing to those who want to watch movies late at night. This makes us wonder how the experience will be affected by Sonos’s TrueCinema setting, but we’ll have to wait until that feature rolls out later in the year. We know just how good Sonos’ soundbars are at creating an immersive viewing experience using Atmos, so we have high hopes.

Verdict

Ultimately, the Ace's safe sound is put to the sword by several rival headphones that are more exciting, more detailed, dynamic and expressive across the board. Both their ANC and call quality can be bettered too.

But it’s not all bad news. They’re stylish, relatively comfortable, easy to use and the extra functionality for Sonos customers is a nice touch, even if it doesn’t go as far as some Sonos fans will want. The TV Swap feature shows promise, and TrueCinema sounds like it has the potential to add an extra immersive element. But for TV Swap to work only with the Arc at launch and for TrueCinema not to be ready are two big misses when the Ace needed to stand out from the crowd from day one.

There are the makings of a decent pair of headphones here, but if Sonos is to be competitive in the market, future models will need to up their game.

First reviewed: June 2024. Updated review: November 2024.

Tester's notes

Our rigorous testing process for the Sonos Ace involved comparing their sound and noise-cancelling abilities directly against the premium competition from the class leaders below (Sony WH-1000XM5 and Bose QC Ultra Headphones) and above (Apple AirPods Max) their price point, to see where they sit in the pecking order. You can read more about how we test and review headphones at What Hi-Fi? here.

Also consider

MORE:

Read our review of the class-leading Sony WH-1000XM5

6 sound settings you shouldn’t ignore on the Sonos Ace wireless headphones

Our pick of the best noise-cancelling headphones

Just like your fingerprints, your ears are completely unique to you. Everyone processes sound slightly differently, meaning while two notes might sound alike, there will be slight nuances in how each of us hears them. Now Denon has created a pair of true wireless earbuds that adjust the audio depending on your personal sound profile, matching the sound exactly to your specific hearing. Beats will have more impact, vocals will be clearer. You might even discover new elements to a much-loved song that you never noticed before, breathing new life into some of your favourite tracks.

Think of them as the sonic equivalent of a made-to-measure suit. Ready to see what they can do?

Designed for you

The Denon PerL and PerL Pro use Masimo Adaptive Acoustic Technology (AAT) to measure your hearing and optimise every frequency just for you. Here’s how it works.

First, put the earbuds into your ears, and follow the ear tip fit test instructions in the mobile app to make sure you’ve got a good seal. The AAT test involves a series of beeps that alter in pitch and speed to detect which frequencies you are most sensitive to – the AAT adjusts the sound to these sensitivities so that the headphones are uniquely tuned to you. This creates your own unique sound profile. The Denon PerL then adjust their sound output to match it, enhancing the frequencies you’re less sensitive to so that you don’t miss any of a     track’s subtleties.

You can save up to three personalised profiles, so friends and family can use the Denon PerL without missing out on the full experience. And if you wish, you can switch back to default mode at any time to hear the difference. 

But there’s more customisation at hand. Within the app, you can tweak the adjustable EQ sliders in default mode, so the standard sound is tuned to your preferences. And immersion mode lets you adjust the amount of bass – add more to make it more audible in noisy environments like a busy street scene, or just to get your head nodding. Earbuds don’t come any more bespoke.

Built for life 

Personalisation aside, the Denon PerL are a truly premium pair of wireless earbuds. Active noise cancellation (ANC) helps block out background sound, so you can concentrate on the music, podcast or radio station of your choice. Or you can use it to create some peace and quiet – handy if you need to focus for work or study.

The sound quality is second to none, thanks to two top-tier technologies that are part of the Denon PerL Pro: Qualcomm’s aptX Adaptive, and spatial audio from Dirac Virtuo. aptX allows for higher-quality wireless sound than standard Bluetooth codecs, while spatial audio creates an immersive ‘bubble’ of sound with added height channels – it’s more like listening in a concert hall than through headphones.

The Denon PerL Pro offer eight hours of battery life from the earbuds (24 including the portable charging case), while the standard PerL will last six hours on a single charge (18 hours including the case). For most people, that’s enough for a whole week’s listening without having to plug into a mains socket.

There’s also Bluetooth multipoint, which lets you switch between wireless devices seamlessly, so you can go from listening to music on your phone to a Zoom call on your laptop without having to re-pair your headphones. And both the Denon PerL and PerL Pro come in black and white to suit your individual style.

It all makes for a genuinely next-level pair of headphones, ones that bring you the most customisable audio experience around. Music is truly personal. Now how you listen is too.

Buy the Denon PerL and PerL Pro

This year we have a new kid in the wireless headphones town, and you may well have heard of them. Over the last two decades, Sonos has remained the undisputed king of multi-room speakers, and now it has branched out into the world of headphones with the Sonos Ace. But it can't expect to just waltz in and take charge – the established players will see to that.

Bose is one such established rival. The US company invented noise-cancelling headphones and currently leads the pack with its flagship QuietComfort Ultra Headphones.

If Sonos wants to make an impression, it has its work cut out. Let's see how the Ace fare against Bose's similarly priced competitor.

Sonos Ace vs Bose QuietComfort Ultra Headphones: price

• Very similar launch prices
• Boses are older and more regularly available for less

The Sonos Ace went on sale on 5th June 2024 for £449 / $449 / AU$699. That's not cheap by any means, especially from a brand with no track record in the highly competitive headphones space. It's certainly an ambitious statement and puts the Ace in the firing line of Bose and Apple's AirPods Max. The Ace haven't been out a year yet and already we have seen generous price drops up to 30 per cent during the Black Friday sales period.

Meanwhile, Bose's QuietComfort Ultra Headphones launched at the end of 2023 for a very similar price tag – £450 / $429 / AU$649. They too have received similarly heavy discounts during sales periods since, and, not surprising considering their age, are frequently reduced to below the Ace's asking price.

You can see today's best prices for both pairs below.

** Winner: Bose QuietComfort Ultra Headphones **

Sonos Ace vs Bose QuietComfort Ultra Headphones: design

• Both pairs sport smart aesthetics and premium build quality
• Boses fold up more
• Larger ears may find the Sonos earpads too small

Overall, we like the design of the Sonos Ace. Like other Sonos speakers and soundbars, they're minimalist – black and white, with no visible hinges – but with some nice touches that prevent them from looking bland. The Sonos logo is nice and subtle but shimmers when it catches the light. Memory foam (wrapped in vegan leather) cushions the earpads and headband, while they're lightweight with nicely judged ear clamping pressure. The stainless steel yokes that make the headphones slide along the headband during adjustment really add to the premium feel.

Not all of our team members were enamoured with their fit, however. Some found the earcups too small; without enough room for their ears to breathe, they soon heated up. But those with ears on the smaller side had no complaints.

The earcups swivel flat like most pairs today, but they don't fold up like the Bose QuietComfort Ultra Headphones so will take up comparatively more space in a pocket or bag. Sonos has opted for physical button controls, whereas the Bose sport two buttons alongside a capacitive touch strip. Which you prefer will depend on personal preference, but we do enjoy the reliability of a button press.

The Bose QuietComfort Ultra Headphones are also a premium offering, featuring metal yokes and pleather headband and earcups that also satisfy on the aesthetic and build quality fronts. Like the Ace, they come in a black or white finish, though since their launch that has been bolstered by two additional colourways – dark blue (Lunar Blue) and a creamy white (Diamond 60th Edition).

Again, the grip pressure is just right, and the capacitive strip is intuitive and responsive for adjusting the volume.

** Winner: Draw **

Sonos Ace vs Bose QuietComfort Ultra Headphones: features

• Both have spatial audio
• Both have Bluetooth Multipoint and high-quality aptX support
• Ace have a better battery life and USB-C wired listening
• Ace sport two Sonos-centric features

The Ace are bursting with features. Bluetooth 5.4 and are onboard, as is support for the theoretically highest-quality Bluetooth codecs, Snapdragon Sound’s aptX Lossless, as well as Apple’s ALAC. You also get Multipoint Bluetooth for connecting the Ace wirelessly to two sources simultaneously and then seamlessly switching between them.

The Ace don't support next-gen Bluetooth technologies like Auracast and LE Audio, but not many pairs do yet and Sonos hasn't ruled them out in future headphones. The same goes for wi-fi – one of the most rumoured features is conspicuous by its absence, but Sonos is keeping an open mind. Sadly that means they can't integrate into your Sonos multi-room system, though there are some neat home cinema features involving a Sonos soundbar that we'll get to.

The 30-hour battery life (with Bluetooth and ANC activated) is six hours more than the Bose QuietComfort Ultra Headphones' 24. What's worse is that the Bose's battery life drops to 18 hours with the Bose Immersive Audio (spatial audio) feature enabled. So it's a win for Sonos there.

Wear detection pauses/resumes playback when you take the Ace headphones off/put them back on respectively, while spatial audio with dynamic head tracking plays nice with the Dolby Atmos format, with Atmos and 360 Reality Audio tracks available from Apple Music, Amazon Music, Tidal and Deezer. The Sonos app lets you toggle playback settings like spatial audio (and dynamic head tracking separately), and tweak the equaliser.

Now for the Ace's home cinema features. TV Audio Swap plays the sound from your Sonos soundbar through the headphones at one touch for private viewing – in our demo, this was seamless and instant, though we did have some issues with lip-syncing and crackling. Hopefully this will be fixed soon via a firmware update.

Then there's TrueCinema calibration, which analyses your room and adjusts the headphones' audio to be more spatial and immersive so that it sounds like you're listening through a home cinema system instead of headphones. It certainly sounds neat, but this feature hasn't been rolled out yet.

The Ace's battery will drain faster when connected to a Sonos soundbar, but they should still last two nights of movie watching in a row.

Bose's Immersive Audio technology launched with the Ultra Headphones – it's essentially Bose's take on spatial audio. There are two modes – Still and Motion, depending on whether you're stationary or moving.

Like the Ace, the Ultra include Qualcomm’s Snapdragon Sound Technology suite, giving them aptX Adaptive support (one codec 'down' from the Ace's aptX Lossless) and the latency and stability benefits the codec brings. Bluetooth Multipoint is also onboard.

Unlike the Sonos, however, there's no wired listening over USB-C.

On paper, the Ace play a good features game, which could only get better when TrueCinema lands. With slightly better Bluetooth codec support and a loinger battery life, this round goes to Sonos.

** Winner: Sonos Ace **

Sonos Ace vs Bose QuietComfort Ultra Headphones: sound

• Ace are uncompetitive and safe sounding
• Boses have much more energy and insight
• Spatial audio effect is hit and miss with both pairs

We'll get straight to the point: sonically, the Sonos Ace just aren't up to it. The premium over-ear headphones market is fiercely competitive and the Ace leave a lot to be desired in terms of sound quality.

It's pleasant enough to listen to, but ultimately far too conservative for our liking. Sonos has played it safe, and that's not to its credit. It's all a bit congested too, with a lack of spaciousness and distinction between each element that too often merges into a blurry, confused mess.

Detail levels aren't bad, but they are still trounced by the Bose. The QC Ultras are a lot bolder and more powerful, especially in the low end, and while the Ace does dig up some pretty deep low frequencies, it's at the expense of the other parts of the frequency range. As a result, it misses out on some finer details.

They're a little better with TV and movie content, and spatial audio does widen the soundscape. Fingers crossed that this gets even better when the TrueCinema feature finally rolls out.

The Bose QuietComfort UltraHeadphones might sound a bit uptight at first, but once they've had time to bed in they loosen up considerably, providing a wonderfully entertaining sound. Their enthusiasm for their source material spans genres, with a precise, punchy delivery that will get your toes tapping.

Highs and lows alike sound rich and refined, while there's a real sense of dynamism. We're not wholly sold on Bose's Immersive Audio, especially as it drains the battery quicker – the general feeling in our testing was it works well for some tracks but can also sound off with others.

** Winner: Bose QuietComfort Ultra Headphones **

Sonos Ace vs Bose QuietComfort Ultra Headphones: noise cancellation

• Ace's noise cancellation is good, not great
• Boses set the benchmark, offer more customisation

You simply toggle between the Ace's noise-cancelling and Aware (transparency) modes by pressing the button on the right earcup. There are no other levels of ANC. And while the noise-cancelling effect certainly does dampen down general background noise, we did find that some frequencies get through. Good but not great, then.

It's nowhere near as advanced as Bose's ANC technology. CustomTune calibration automatically optimises the ANC depending on your surroundings, while Bose Aware Mode with ActiveSense automatically adjusts the amount of ANC you’re hearing, so your music isn’t drowned out by particularly loud noises. You can also set your own ANC presets and adjust the amount of ambient noise that comes through.

It's probably the best ANC performance available on the headphones market, reducing train rumbles and other loud sounds to a mere murmur. And with all these customisation options at hand, it's up to you how much noise you want to block out.

** Winner: Bose QuietComfort Ultra Headphones **

Sonos Ace vs Bose QuietComfort Ultra Headphones: verdict

We had high hopes for the Sonos Ace, but quite frankly they don't live up to the hype, predominantly due to their sound quality and ANC not being competitive enough. Neither is bad exactly, they just can't match the Bose QuietComfort Ultra Headphones' talents.

We like the Boses enormously. Their sound has a lot more energy and personality than the Sonos, they're well-designed and fold down to fit in a pocket or bag, and the noise cancellation is still the best around. Overall, it's not much of a contest.

** Winner: Bose QuietComfort Ultra Headphones **

MORE:

Read our Sonos Ace review

Check out Sony's flagship pair: Sonos Ace vs Sony WH-1000XM5

iOS user? Read our Sonos Ace vs Apple AirPods Max comparison

High-end Japanese brand TEAC has announced the arrival of the UD-507, a DAC-cum-preamplifier-cum-headphone amp which aims for a crystal clear sound reproduction in a versatile, compact desktop unit that TEAC describes as being roughly the size of a piece of A4 paper. 

Central to the new model is TEAC's reference DAC, designed with "musicality as the top priority" and based on the same design applied to the brand's high-end 701 Series. The new model offers a total power output of 2400mW, but users can switch the given gain between three positions (low, mid and high) to match the sensitivity and impedance of their headphones.

The UD-507 offers support for 384kHz/32bit PCM playback alongside 22.5MHz DSD and full MQA decoding. The unit's Bluetooth receiver is capable of supporting LDAC and aptX HD Bluetooth protocols, with four rear physical digital inputs (USB Type-B, USB Type C, coaxial and optical) working alongside two analogue inputs (RCA and XLR). Naturally, the UD-507 also provides twin headphone connections for using the unit as a headphone amplifier.

The UD-507 uses a dual monaural configuration wherein there are two circuits for each channel, preventing interference between left and right signals and, says TEAC, "reproducing music with a spacious and three-dimensional soundstage." TEAC's products aren't regulars in our test rooms, but the brand's recent VRDS-701 premium CD player wowed us with its authority, detail and sonic poise. If the UD-507 can do something similar on a smaller scale, it might end up being something special. 

According to TEAC's brand manager Jo Yoshida, "The design goal of (the UD-507's) DAC is to provide a more immersive musical experience for all listeners. Thanks to the clear soundstage and precise imaging, you will discover the breadth and articulation of your favourite artists that you never noticed before.”

The UD-507 will be available for purchase in June 2024 at a suggested retail price of $2099 (further prices pending).

MORE: 

These are the best DACs you can buy in 2024

7 mistakes to avoid with a DAC

Read our recent TEAC VRDS-701 review