We have seen several feature-packed all-in-one hi-fi systems enter the market from traditional manufacturers in recent times. Cambridge Audio, KEF, Sonus Faber, Naim and Ruark Audio, to name but a few, all offer one-box solutions which include source(s), input and speakers built-in. And now we can add Danish speaker manufacturer Dali to that list.

At High End Vienna 2026, it launched Vega, a hi-fi system with a twist, and one that the company has actually been working on for four years. Obviously, we couldn’t resist dropping by the Dali stand for a closer look to see the system in action.

Price

The Dali Vega costs £2599 / $4500 / AU$4499 and launches in October. This makes it more expensive than the Ruark Audio R410 (£1299 / $1699 / AU$2599) or Cambridge Audio Evo One (£1299 / $1499 / AU$2499.

However, it does sit below the £2999 / $3600 / €3300 asking price of the Focal Mu-so Hekla, which will be one of its key rivals.

Design and build

Dali claims Vega has been designed to be “the most versatile and user-friendly audio source in the home”. And it definitely delivers the kind of flexibility and thoughtfulness we haven’t seen in this arena before.

Besides placing Vega horizontally on a tabletop, you can also wall-mount it. Not only that, but you can flip it through ninety degrees so it hangs upright.

It’s a clever idea and offers users an extra solution when room space might be tight, and attaching it to a wall is an option.

Although it does offer HDMI connectivity, Dali is at pains to say this is a wireless sound system and not a soundbar – there’s no Dolby Atmos or upfiring drivers.

What it does have is a 400W digital amp running 8 channels of audio. Under the woven fabric speaker grilles are two 25mm soft dome tweeters and two 4.5in wood-fibre/paper mid/bass cones on the front, and you'll find the same driver configuration on the rear.

At either end of the unit is an anodised aluminium passive radiator, which matches the finish of the speaker. They’re black on the dark oak finish and silver on the light oak silver finish.

You can’t miss the large circular control on the top of Vega. Dail has spent a lot of time trying to make it tactile and nice to use, and when we try it out, it seems smooth to operate.

It uses a military-grade ball-bearing, while the housing of the wheel is metal with a glass top. Tap the glass, and it brings up Vega’s menus, which are located on a small OLED screen positioned next to it.

The writing on the screen switches to match the unit's portrait or landscape orientation, which is a neat touch. Dali explained that this functionality would have been difficult to achieve with a more traditional dot-matrix LCD display.

It does seem a little small, especially when trying to read the speaker’s settings from a distance, but once the speaker is set up, you’ll mainly be interacting with the BluOS app on your smartphone or tablet.

To the left of the control dial is a row of buttons which includes power, mute and input switching. You also get five customisable preset buttons, which you could assign to a radio station or streaming service – you can even map one to a particular input.

Features

As we’ve mentioned, Vega is powered by BluOS, which we've found to be a stable and well-featured streaming platform. Everything else for Vega has been designed in-house by Dali.

This includes a patent-pending Adaptive Stereo Enhancement (ASE) DSP processing that monitors the incoming stereo signal in real-time and adapts it to fill your room in a spacious and immersive manner.

Out of the box, Vega is set up for use on a shelf or tabletop and has three settings to choose from depending on its placement: free space, medium, and close.

Each one of these affects the sound output from the rear of the speaker, which is at its maximum when in free space mode.

You also have not one but two wall mounting options (it comes with a bracket in the box). It can be positioned horizontally or vertically and uses an internal accelerometer to work out its orientation, and it will automatically switch the output of the speakers to match.

So, when it’s mounted vertically, instead of still having left and right channels firing out of the front and rear, the whole left side of Vega becomes the left channel, and the right side becomes the right channel. Very clever.

To accommodate wall mounting, all connections are underneath the system as opposed to on the rear – Vega offers HDMI ARC, an RCA analogue input, an optical digital connection and a USB input for an external drive. There’s also a subwoofer output, should you want to up the bass at a later date.

In addition to the BluOS streaming smarts, Vega’s wireless connectivity also includes Bluetooth aptX HD, Spotify Connect, Tidal Connect, Qobuz Connect and AirPlay 2.

Sound

During our demo with Vega, we were shown the effect of having the ASE processing on and off, and although it was tricky to hear too much, thanks to the noise coming from other areas of the exhibition space, you could still hear the sound shrink and become smaller scale when it was turned off.

Turned back on, you could hear the sound open up again and become larger and fuller.

We’ll obviously need to get it into our test rooms for a full sound quality evaluation, but we heard a few seconds of Ray Charles and Natalie Cole’s version of Fever and the double bass and finger clicks seemed to be nicely defined and have decent snap to them.

Vega seems to serve up an open and dynamic sound, although it was difficult to really evaluate the detail and definition that managed to cut through the noise on the stand.

We switched up the pace with the Stereo MC’s Step It Up, and the Dali seemed to have a skip in its step with seemingly decent punch and power. We couldn’t really hear anything stick out of the frequency range, but it was competing with a lot of environmental noise.

Initial verdict

Obviously, we won’t know how the Dali Vega truly fares until we’ve had a chance to put it through its paces in our test rooms, but it’s an eye-catching offering from the brand in the category of all-in-one hi-fi systems.

Not only does it boast interesting tech developed in-house, Dali’s managed to package its wireless sound system with an attractive amount of versatility.

Some might see the wall-mounting as a bit of a gimmick, but we think the extra flexibility has legs and is a novel approach where space in many living rooms is at a premium. If Vega manages to execute it successfully, Dali could be onto something, and we can’t wait to find out.

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High End Vienna 2026: all the news and highlights from Europe's biggest hi-fi show

I heard Cambridge Audio's new Evo streaming amplifier at High End Vienna – was it evolution or revolution?

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Streaming amplifiers make a lot of sense – they are solutions for people who want convenience but don’t want to sacrifice audio quality.

Historically, Cambridge Audio’s Evo line has provided just that – and it now has a new addition in the shape of the range-topping Evo 300.

We headed into Cambridge Audio’s demonstration room at High End Vienna 2026 to see and hear it in action.

Price

The Evo 300 costs £3499/€3999/$3999 which places it slightly above our current favourite around that price, the Award-winning Arcam SA35. The Arcam costs £2999 / $3300 / AU$6495 and launched back in May 2024.

To give you some extra context, the Cambridge Audio Evo 75 and Evo 150 launched in 2021 for £1799 / $2250 / AU$3299 and £2249 / $3000 / AU$4299, respectively, while the Evo 150 SE arrived in 2025 with a price tag of £1999 / $3299 / AU$5795.

Design and build

If you’re familiar with any of the previous Evo models, you’ll know what to expect from the Evo 300. And the fact that it takes after its siblings is a good thing.

Like the rest of the Evo family that has come before, the new model is a good-looking piece of kit with styling that should look at home in a wide range of listening environments.

It has a premium-looking and feeling black aluminium cabinet which boasts Evo’s party piece – interchangeable side panels. You get two options: a real wood veneer or a black slatted option, should you want a traditional or more modern aesthetic.

On the front of the amp is a 7.8-inch display – the largest Cambridge Audio has used to date. And it seems just as crisp and punchy as the screens we have seen on older Evo products.

Album artwork looks good, and it’s also easy to read, whether you’re looking at track information, changing volume or switching inputs. This is good to see – it isn’t always a given on products of this type.

As with previous Evos, a small strip of buttons runs down the right side of the screen, and at the far right side of the fascia is the volume dial/control wheel combination.

You do get a slender remote control with the Evo 300, although you’re more likely to use Cambridge Audio’s intuitive StreamMagic app for the majority of your interactions.

Features

As the model name implies, the power output of the Evo is 300W per channel. This is provided by Hypex NCOREx power modules.

Under the aluminium chassis, you’ll find a dual-mono layout, a balanced pre-amplifier stage and an ESS Sabre ES9038Q2M DAC, which supports up to 32-bit/768kHz PCM and DSD512.

Streaming comes courtesy of Cambridge Audio’s excellent StreamMagic platform, which provides support for Spotify Connect, TIDAL Connect, Amazon Music, Deezer, Qobuz Connect, Roon Ready, UPnP and Internet Radio. The amp also supports Bluetooth 5.4 (including aptX HD), AirPlay 2 and is Roon Ready.

Around the back of the unit, there are two sets of speaker terminals, RCA and balanced XLR inputs, HDMI eARC connectivity, and a built-in moving-magnet phono stage for a compatible turntable.

You also get an adjustable subwoofer output and an optional high-pass filter for the main speakers.

Sound

All the hi-fi show listening caveats apply here in terms of room design, layout and impact of external noise. In a room full of keen journalists jostling for position, it’s tricky to get the complete picture of a product.

Still, we were treated to a few tracks on the Evo 300 – partnered with a pair of £8000 Dynaudio Contour Legacy floorstanders – to give us a flavour.

We kick things off with a blast of Inertia Creeps by Massive Attack, and there seems to be plenty of power behind the drum thwacks.

The overall delivery appears focused and precise with a good amount of insight. Edges of notes seem well-defined with a good amount of texture.

Switching to Foo Fighters’ Stranger Things Have Happened, and there seems to be good separation in the stereo image with space around both the guitar and Dave Grohl’s vocal.

It’s an open, expansive image, and the guitar strums sound nicely defined with a good amount of weight behind them.

As the intensity of the guitar play and the vocal pick up during the course of the track, the amplifier seems to follow suit.

Initial verdict

In terms of build, design and features, it certainly looks as though the Cambridge Audio Evo 300 ticks a lot of boxes.

And, although we aren’t too familiar with the speakers used by Cambridge Audio in the demo, what we hear in our brief time with the streaming amplifier is more than enough to make us keen to get one into our test rooms for a closer listen.

The streaming amplifiers category is growing in size all the time, so it will be interesting to see if Cambridge Audio can set the benchmark for performance at the price.

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If you're looking for versatile desktop speakers that sound great as well as offering useful connectivity in an ultra-compact form, our advice for many years has been Ruark Audio's MR1 range of dinky, powered speakers.

The Ruark MR1 Mk3 is our current reigning champ in this field, but nipping at its heels is the Cambridge Audio L/R S, the first active speakers from the brand, offering a similarly compact form for the same price as the Ruarks.

For those who can't accommodate a full hi-fi system in their small spaces, or want to upgrade from a budget Bluetooth speaker for their home audio, these small-but-talented desktop speakers are an ideal solution. We've recently tested the new Cambridge L/R S and compared them with the Award-winning Ruarks to balance their strengths and weaknesses – let's find out which is the best pair for you.

Cambridge L/R S vs Ruark MR1 Mk3: price

In the UK, it's a dead heat with the Cambridge L/R S and Ruark MR1 Mk3 both costing £399. There's a bit more variation if you're in the US or Australia, as the Cambridge speakers will cost you $549 / AU$949, while the Ruark pair is yours for $579 / AU$899.

The Ruarks are available in two finishes: the rich walnut veneer of our review sample, or a more modern charcoal lacquer, with no difference in cost.

Cambridge Audio offers more colourful options with six finishes in total: black, white, green, orange and blue, which all cost the same amount. But if you opt for the walnut veneer finish of our review sample, you'll have to cough up a little extra as they cost £449 / $599 / AU$1049 per pair.

**Winner: Ruark Audio MR1 Mk3**

Cambridge L/R S vs Ruark MR1 Mk3: Build & design

Both speakers are pleasingly compact, making them ideal for small spaces, such as placing on your desktop and on either side of your computer.

The Ruark MR1 Mk3 are smaller than the Cambridge L/R S – they're certainly shorter, with the L/R S barely 2cm deeper. They're the same width, though, which makes both of them very appealing for fitting into spaces where traditional hi-fi or bigger speakers simply won't get a look in.

We love the build quality of both speakers, which is of a high quality for this price. Which style you prefer is a matter of taste: the beautifully curved cabinet of the Ruark or the crisp, clean edges of the Cambridge? Do you prefer the woven fabric grille (which isn't removable) on the Ruark, or the stark, no-grille, minimal aesthetic of Cambridge?

We like the walnut veneer's texture and finer details on the Ruarks, and equally like the way the logo is printed on top of the Cambridge speaker. Both are smart-looking and offer a lifestyle-friendly aesthetic compared with traditional designs.

Apart from the looks, there are practical considerations when making your choice. There are no on-unit controls for input selection or volume on the Cambridge speakers at all, in keeping with its pared back design. A colour-changing LED underneath the primary speaker indicates the input chosen and status, but that's all the feedback you'll get when facing the speakers.

Ruark, conversely, has its trademark RotoDial controller on top of the primary speaker, which lets you select the input and change volume with ease. It's a more tactile interaction with your speaker, and especially handy if the speakers are within reach on your desk.

If your speakers are placed further away or are being used as TV speakers, then you'll be glad to hear both sets come with a slim remote control. It's particularly crucial for the Cambridge, so don't lose it.

These are two-way speakers, with the Cambridge L/R S featuring a 21mm aluminium tweeter and 7.6cm mid/bass driver, with a bass reflex slot situated at the back.

The Ruark MR1 Mk3 features a 20mm silk dome tweeter with a bigger 8.5cm mid/bass driver, with a downward-firing bass reflex port.

Both use Class D amplification for greater efficiency and control, with the Cambridge claiming the more powerful 50W per channel, while Ruark goes for half that figure at 25W per channel. Numbers, of course, only tell half the story.

Both units house the main power, amplifiers and connections in one "primary" unit, which then feeds signal to the secondary unit with an interlinking cable.

The supplied 2m cable for the Cambridge speakers features bespoke 4-pin conductors at either end, with a neat locking mechanism that keeps the connection secure.

The 3m cable connecting the Ruark speakers (3.5mm connectors at either end) is a nicely braided affair that's sturdy and looks good, too. We found the supplied cables long enough for desktop use, but both brands offer optional longer leads (5m) if required, at extra cost.

**Winner: Draw**

Cambridge L/R S vs Ruark MR1 Mk3: connectivity

Titchy as they are, the Ruark MR1 MK3 is loaded with a variety of connections. The big news is the inclusion of a built-in moving magnet phono stage, which makes it easier to plug in turntables – such as the Rega Planar 1 or Pro-Ject Primary E – for a neat, affordable vinyl system. You also get a USB-C input for plugging in your laptop, and a combined optical/3.5mm aux input for other sources, with the adapter for the digital optical socket included in the box.

Ruark says that its customers have been perfectly happy with the optical input when using the MR1 speakers with a TV, and adding an HDMI input would increase the cost beyond its asking price, which the brand didn't want to do.

Cambridge's speakers similarly omit the HDMI input and feature a USB-C input and separate optical input, and opt for a pair of RCA line level analogue inputs for connecting a variety of sources to the L/R S. There's no built-in phono stage here, which we feel is a bit of a miss, but you can plug in a turntable with an integrated phono preamp, such as the Sony PS-LX3BT, via RCA.

For easy streaming from your phone or laptop, both speakers offer Bluetooth, with up to the aptX HD codec supported. Pairing is swift and easy in both cases, and streaming music from Tidal or Apple Music is fuss free.

Ruark says its internal DAC can handle up to 24-bit/192kHz hi-res audio files, although the USB-C input’s limit is capped at 96kHz. With Cambridge, the optical and USB-C both support hi-res files up to 24-bit/96kHz, but the speakers’ DSP will automatically downsample all files to 48kHz.

At this level, we find that such differences in file resolution aren't particularly obvious, with CD quality sounding more than good enough for these speakers. Considering the intended audience for these affordable, desktop speakers – and with no networked streaming on board – we imagine not being able to play full-fat hi-res downloaded tracks won't be a high priority for most listeners.

And finally, you get a single subwoofer output with both speakers, should you require more bass oomph.

**Winner: Ruark Audio MR1 MK3**

Cambridge L/R S vs Ruark MR1 Mk3: features

Ruark keeps things simple with the MR1 Mk3's plug-and-play, accessible nature, and around the back of the main speaker you'll find the ability to change the gain level for each input (and reset them). That's it.

Cambridge offers a fair bit more customisation, with the engineers taking into consideration any adverse sonic effects that might happen depending on your listening position and where you'll be placing the L/R S speakers.

You have three toggle switches at the back of the main unit: one to tell the speakers if they're placed on a desktop or not; one to tell the speakers if they are placed close to a back wall or in free space; and one to indicate whether the primary speaker (with the power cable) is the left or right channel.

These modes help to mitigate any booming you might get in the mid/bass when the speakers are backed up against a wall, reduce any unwanted reflections from the desk they are placed on, and to help with time alignment when your listening positioning is higher than the drivers' output when they're placed on a desk.

Cambridge also offers optional desk stands (£49 per pair) to help angle the speakers towards your listening position – we would recommend this for the clearest, most solid sound.

We would try all the different toggle modes to find out the best-balanced sound for your tastes and listening position, as some combinations might work better than you might initially think.

Did you remember to hold on to that remote control? Cambridge also offers three EQ modes – Normal, Voice and Movie – that you can choose using the remote. These are subtle effects worth experimenting with, although we preferred the balanced Normal mode overall with all kinds of media we played.

**Winner: Cambridge Audio L/R S**

Cambridge L/R S vs Ruark MR1 Mk3: sound

The Cambridge L/R S speakers offer a pleasing performance with their even-handed tone and refined way with detail.

Their smooth balance makes them easy to listen to for long hours, with no peakiness or hardness in the treble, nor any untoward flabbiness in the bass. Yes, we'd like to hear the lower frequencies plunge deeper and have more muscle, but they are otherwise taut and nimble.

There is a sense of orderliness to the way the L/R S delivers music, and we found during our review that there is "a good amount of detail on offer, thanks also in part to a clean, low-distortion background". Voices are nicely focused too.

That evenly balanced presentation is impressive, although it does mean some songs end up sounding quite cultured and reserved when they should be more gritty and brazen.

"On some tracks – such as on Eminem’s The Way I Am and Forget About Dre – we find ourselves willing the speakers on, to tackle the propulsive rhythm with more punch and panache," we said in our review.

These Cambridge speakers do spark into life with the volume turned up, and they can certainly go louder than you'd expect from their small stature. Just be aware that, as with most speakers, that lovely balance suffers at much higher volumes.

The Ruark MR1 Mk3 offer a more boisterous and more exciting presentation, with a more powerful, muscular bass that we wish was just a little more tuneful, but does dig impressively deep for such dinky speakers.

Even more impressive is how much bigger and more open they sound; they project sound into the room with greater power than the L/R S, and there is more space surrounding the instruments and voices.

Dynamic shifts are handled with greater authority and punch, and it's a more involving listen overall. "The speakers’ rhythmic drive remains excellent for such compact speakers," we said in the review. "They are full of propulsive momentum, grabbing us by the lapels with Eminem’s fierce delivery in Forget About Dre and delivering tracks from Dua Lipa, Billie Eilish and Macklemore with oodles of energy."

The Ruarks are still subtle and insightful enough when it comes to more delicate pieces of music, and voices are full of texture, nuance and personality. The MR1 Mk3 have traded a touch of their previous midrange sweetness for greater power in this third-generation model, but the mids are also clearer, more detailed and more expressive than the Cambridge L/R S.

Compared with the Ruarks, the Cambridge speakers sound a little muted when it comes to expressive voices, rhythmic punctuality and dynamic subtlety. There is what sounds like a "cloudy veil" over the midrange, whereas the Ruarks sound much freer, more confident and allow songs to luxuriate in a more layered soundstage.

The Ruarks' built-in phono stage is of a high quality too, and both sets of speakers have a consistent sonic character no matter which input you use.

**Winner: Ruark Audio MR1 Mk3**

Cambridge L/R S vs Ruark MR1 Mk3: verdict

There is plenty to like about the compact Cambridge L/R S speakers, from their crisp, clean aesthetic to the various modes that make them customisable to where you place them in the room. Their sound quality is easy to get along with, with a smooth, even tone across the frequencies.

But the Ruark speakers beat them for outright clarity, subtler insight and better dynamics. They offer a bigger scale of sound and simply sound more fun, even if the deeper low frequencies could be reined in a little. That built-in phono stage is a boon for first-time vinyl users, and using the MR1 Mk3 is just a little bit more convenient thanks to the handy, tactile on-unit controls.

For the same price, the petite Ruark speakers are the more entertaining and versatile pair. Our Award-winners keep their crown for another round.

**Overall winner: Ruark Audio MR1 Mk3**

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The humble stereo amplifier has been at the core of any proper hi-fi system for decades, but for most of those it was useless until you added a source or two. These days that’s no longer the case.

Streaming amplifiers need nothing more than a pair of speakers to start singing, with amplification, DAC, connections and all the necessary network technology to play tunes from Spotify, Tidal et al already built in.

Cambridge Audio’s Evo 150 SE and the NAD C 3050 (with MDC2 BluOS-D module) are two of the best examples of this idea in action, but which premium streaming amplifier is better? Let’s take a look.

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): price

When the original Cambridge Audio Evo 150 launched in 2021 it would have set you back £2249 / $3000 / AU$4299, but this revamped SE model comes in at £1999 / $3299 / AU$5795, which is nice if you live in the UK but less so if you don’t.

The standard NAD C 3050 is a stereo amplifier that costs £1349 / $1699 / AU$2699, but with the MDC2 BluOS-D module added to turn it into the Award-winning streaming amplifier, it raises the price tag to £1699 / $2199 / AU$3599. The price can fluctuate – we have seen it drop to £1499 during Black Friday, and at the time of writing, it’s available to order for £1749 in the UK.

Even without a discount that’s still a good £250 / $1100 / AU$2196 less than the Cambridge Audio Evo 150 SE, which makes the NAD an easy winner as far as your bank balance is concerned.

**Winner: NAD C 3050 (with MDC2 BluOS-D module)**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): features and connectivity

One of the Cambridge Audio Evo 150 SE’s strong points is just how welcoming it is. If you’ve got something you want to plug into it, chances are you’ll find the necessary port or socket somewhere on the back.

RCA, optical, coaxial, USB (type B), balanced XLR, HDMI ARC and 3.5mm are all present and correct, plus you get two sets of speaker terminals too. There’s also a moving-magnet phono stage inside in case you want to hook up your turntable. It's an exhaustive list of connections that should keep everyone happy.

Its wireless capabilities come courtesy of Cambridge’s fourth-generation StreamMagic platform, so you get Bluetooth, AirPlay 2, and Google Cast, with Spotify, Qobuz, Tidal (and their Connect versions) all supported along with Amazon Music and Deezer. If you have a networked drive stuffed with digital music it’s also good news, as the Cambridge is UPnP compatible and can play hi-res files up to 32-bit/384kHz PCM and DSD256.

The C 3050 isn’t quite as well equipped on the physical connections front, but NAD has still found space for coaxial, optical, USB (type A), and HDMI eARC inputs, plus a 6.3mm headphone socket on the front. Like the Evo 150 SE, there’s also a moving-magnet phono stage built in. The essentials are covered, then.

Thanks to the MDC2 BluOS-D streaming module, which runs on the exhaustive BluOS streaming platform, the feature set is bountiful, although Google Cast is the only major omission. Spotify, Qobuz and Tidal Connect are available, as is Apple’s AirPlay 2 and Bluetooth, and it also has UPnP support for streaming hi-res files from your local network.

However, it doesn’t support DSD files (which might disappoint some) and PCM playback is limited to a maximum of 24-bit/192kHz. Considering most download sites don't offer tracks higher than that rate, we don't think it's an issue.

The NAD does also come with Dirac Live room-equalisation software, which is useful if your listening room is particularly troublesome from an acoustics point of view.

In terms of power, both use Class D amplification, but the Evo 150 SE also outmuscles the NAD. Cambridge boasts 150W per channel, while the NAD has a still-considerable 100W per channel (both into 8 ohms). It’s a knockout blow that means the Cambridge, combined with its greater features set and broader file compatibility, takes this round without breaking a sweat.

**Winner: Cambridge Audio Evo 150 SE**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): build and design

From an aesthetic point of view, these two streaming amplifiers could hardly be more different.

Cambridge Audio has gone for a modern look with the Evo 150 SE, although you can give it a slightly more retro feel by using the wooden side panels that come in the box rather than the plain black ones. The 6.8-inch colour screen on the front will always give it away as a contemporary bit of kit, though, and we do like how clearly it displays information.

The knurled control dial, which is used to select your sources, feels better to use than the looser-feeling volume one, and you also get a sleek remote control included. Much of your interaction with the Evo 150 SE is likely to be through the StreamMagic app, which is straightforward and intuitive to use.

The NAD C 3050, on the other hand, is very much a throwback, thanks in no small part to those lovely mechanical meters on the front. In fact, you’d be forgiven for mistaking it for something from the past century – and we mean that entirely as a compliment.

The walnut vinyl-covered casework is solid, the controls feel suitably sturdy and the whole thing has a premium feel to it, which is exactly what you want when spending this sort of cash.

What gives the C 3050 away as something more modern than its appearance might suggest is its compatibility with the BluOS app, which makes getting it to stream music simple and hassle-free.

Of course, which of these two styles you prefer will be entirely personal and may just come down to which one matches the rest of your system, which means this one has to go down as a draw.

**Winner: Draw**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): sound

The NAD C 3050 (with MDC2 BluOS-D module) is a current What Hi-Fi? Award winner so it sets the benchmark as far as sound quality from a streaming amplifier is concerned at this price.

It offers a clear, spacious and expressive presentation from both the streaming module and the wired inputs, uncovering detail in a wonderfully organic way that makes vocals really shine.

We say in our review: “It has the midrange clarity and fluidity to shine with a vocal-based group such as The Unthanks. Detail levels are good, but it’s the organic way in which the C 3050 arranges all that detail that draws us into the music. It captures the texture and tone of the sisters’ voices superbly and so communicates the heartfelt passion in the title track, Mount The Air, better than most alternatives we’ve heard.”

There’s plenty of punch and power on offer too, with the necessary dynamism to deliver it properly, along with rich, full-bodied lows that manage to avoid ever sounding sludgy. In our review, we note that Rachmaninov’s Symphonic Dances Op.45 “sounds muscular, delivering lows with a richness and punch that’s enjoyable.”

Even when the music becomes demanding, the soundstaging remains reasonably expansive and nicely focused.

The phono stage is fairly quiet but we never felt the need to bypass it for a separate one when connected to our Rega Planar 2/Nd3. It sounds agile, informative and dynamically interesting – NAD has done a great job of its built-in phono preamp here.

In comparison, the Cambridge Audio Evo 150 SE is even more powerful, but it can struggle to match the NAD C 3050 when it comes to rhythmic cohesion and dynamic subtlety.

Our review notes that it’s capable of “a fluid and spacious sound that is wonderfully clear and detailed”, but you do need to be careful to pair it with the right set of speakers or it can sound rather emotionally detached. Paired with the KEF LS50 Meta or PMC Prodigy 5 speakers, there is a greater degree of warmth, dynamism and pep through the Cambridge.

Be wary of a less harmonious pairing, as it might lead the Cambridge to sound less dynamically exciting with a curious lack of grip and rhythmic propulsion.

When you do get the pairing right, though, the Cambridge Audio Evo 150 SE is capable of delivering songs with great clarity, plenty of detail and the kind of low-frequencies that really thump you in the chest. Unfortunately, the last of those does sometimes go against it when playing delicate compositions such as songs from Joni Mitchell, Norah Jones or Nick Cave. During our testing, we found “that slightly relentless, muscle-bound lower end works with frenetic songs that require that high energy, but it does these gentler, emotive songs a disservice.”

We do find the Evo 150 SE prefers being played at louder volumes, relishing the chance to flex its muscles and show off its scale and power. The start and finish of notes are clearly defined, distortion levels are impressively low, and there is ample punch. In comparison, the NAD sounds smaller-scaled and less powerful, although it is less fussy with speaker matching.

Playing Midnight City by M83 and we find that the “Evo 150 SE’s soundstage is impressively large and wide, with ample space given over to the various instrumentals.”

No matter which input you use, the Evo 150 SE’s open, refined character comes across, although the one thing we would avoid using is the integrated phono stage. It sounds lightweight and muddy, with a lack of detail and dynamism – so if you’re serious about vinyl replay, you would definitely be better off using an external phono preamp.

There’s really only one winner here. While the Cambridge impresses with its scale, power and refinement, it’s the NAD’s greater expressiveness and fluid handling of rhythm that keeps our attention rapt and our foot tapping.

**Winner: NAD C 3050 (with MDC2 BluOS-D module)**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): verdict

It’s probably not a huge surprise that the streaming amplifer with a What Hi-Fi? Award already sitting in its trophy cabinet is the winner here. But it's not quite so straightforward, as the Cambridge’s presentation has its strengths, while its greater set of connectivity and extensive file resolution specs will no double appeal to many.

The NAD C 3050 (with MDC2 BluOS-D module) has all the essential features, however, and more crucially, it is cheaper and sounds better than the Cambridge Audio Evo 150 SE. So unless you really have something against its retro styling or your music collection consists entirely of DSD files that it can’t play, there’s one clear winner here.

**Overall winner: NAD C 3050 (with MDC2 BluOS-D module)**

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It’s the pulsating heart of your hi-fi system and, as anyone who’s read this publication knows, to ignore its sonic relevance in your setup would be foolish in the extreme.

Several long-established and highly revered audio firms started out when one or two individuals shared a common goal: to release a decent stereo amplifier – something better than whatever was currently powering their system.

We have seen and tested many (though not all) of these amplifiers and their successors over the 50-year history of What Hi-Fi?, and here we’ve picked out nine of the very best, in our humble collective opinion.

These little powerhouses have left indelible marks on hi-fi history, paving the way not just for the brands that blossomed in their wake, but for the agile, transparent and joyous music systems we enjoy today.

Naim NAP 200 (1973)

Julian Vereker’s shift from building cars to designing amplifiers and loudspeakers (for London’s Capital Radio, no less) led to the founding of Naim Audio in 1973.

With both Julian and his co-founder Shirley Clarke as directors, their shop in the centre of Salisbury, England, was the birthplace in that same year of the company's first consumer product: the NAP 200 power amplifier.

Vereker originally designed the NAP 200 in 1971 and, although its descendants differ greatly – the line continues to evolve with products like the excellent NAP 100 to this day – Naim still shoots for the same performance goals of pace, rhythm and timing.

Cyrus One (1984) 

The Mission Cyrus One – back when Cyrus was a part of Mission – was a piece of kit very much aimed at audiophiles, despite its budget-friendly price tag.

It had no tone or balance controls and carried plenty of inputs for sources. Early examples had a plastic case to eliminate the distortion effects of eddy current, but later versions switched to a cast metal case – sophisticated for a budget amp.

In the What Hi-Fi? review, we concluded that the inaugural One communicated a precise soundstage, but it was also capable of handling low-level details that other amplifiers "repressed or simply rendered messy".

Combine that sound with the superb build quality, and you had an amp whose performance could rival pricier options.

• Old amplifier vs new amplifier: which is better?

Cambridge Audio P40 (1968) 

Cambridge Audio's first ever product, the P40 integrated amplifier, was also the first ever amp to use a toroidal transformer – a significant innovation at the time.

These days, it's a standard component inside high-end amps; a sure sign that what the firm tried back in 1968 worked out really rather well.

The follow up to the P40 arrived just a few years later in 1970 with the P50, a much more powerful amplifier with a unique active volume control.

However, one glance at the lines and craftsmanship on the P40 is to know that this is a stunning debut amp.

A&R A60 (1976)

Amplification & Recording Cambridge was founded back in 1976. Now known by a far snappier moniker, Arcam (see what they did there?), the company’s success was built on its first amplifier, the A60.

Pictured above is our review from August 1981, though the product was launched five years earlier.

Back in the early 1980s, this slimline integrated amp would set you back £190 and was considered the go-to middle-market amplifier, comparable to the Crimson 510/520 pre/power combination (remember that?). It proved the ideal upgrade from budget champions such as NAD’s original 3020 (which we will get to shortly).

It was a functional unit with a decent array of line-level inputs plus a capable moving-magnet phono stage – hardly a surprise considering vinyl was still the dominant media of the day.

The tone controls were subtle in their action and as such could, on occasion, prove useful when any recording or partnering kit wasn’t quite balanced.

The A60 also had a filter switch which progressively rolled off frequencies above 7.5kHz in a bid to reduce hiss from a tuner or the impact of a pop from vinyl.

NAD 3020 (1978)

A power output of 20W per channel was hardly earth-shattering but, at £85, the 3020 could drive speakers better than pretty much any of its rivals. The 3020 amplifier put NAD on the map, such was its impact.

The story goes that when NAD’s managing director, Marty Borish, hired a quiet audio engineer called Bjorn Erik Edvardsen, the pair noted a space in the market. Edvardsen got the bit between his teeth.

Initially headquartered in London, NAD’s growing team, led by Edvardsen, obsessively experimented and refined the electronic designs, seeking a eureka moment. When it finally came, NAD delivered perhaps the best-selling hi-fi amplifier in history.

The original NAD 3020 had a balance that was smooth and full-bodied, delivering a good, coherent sound which worked well with the some of the less–refined budget kit of the time.

The cult-like following generated by the 3020 was so great that NAD would have been foolish to shelve it. In 2013, some 35 years after its initial release, we gave the latest NAD D 3020 iteration a coveted five-star review and a What Hi-Fi? Award.

Burmester 777 (1977) 

As a musician, Dieter Burmester (founder of Burmester Audiosysteme) always wanted to make his sound system reproduce music as naturally and purely as possible, and it was the malfunction of his preamp that led to him fashioning the first Burmester product.

Preamps on the market couldn’t satisfy Dieter Burmester’s high demands, so he built his own from parts of medical machines – the Burmester 777.

According to the firm, the 777 – so named because it was released in the seventh month in the year 1977 – remains a core element of Burmester's products today.

In 2007, Burmester even released a 30th anniversary update in its honour, a preamp called the Burmester 077. Did we like it? You could say that. In our review, we concluded, "If you can afford it, buy it right now."

McIntosh 50W-1 (1949) 

Before you write in, the amp pictured is the 50W2 (two pieces, which form one 50W-per-channel mono amp), McIntosh's fourth amplifier, circa 1951 – think Elvis and Frank Sinatra territory.

Why are we not showing you the original 50W-1? Well, photographs of hi-fi separates from 71 years ago are quite hard to come by, it turns out.

In 1946 Frank McIntosh, a design consultant for broadcast and TV stations, hired Gordon Gow to help him design a high power, low distortion amplifier for his clients. This amplifier would be the 50W-1.

It included McIntosh’s first patented circuit, the Unity Coupled Circuit – still used in the company's current products.

Musical Fidelity Dr. Thomas Power Amplifier (1982)

Musical Fidelity chose to keep the naming of its inaugural product simple with The Preamp. It was released in 1982 and quickly racked up rave reviews.

Evidently, the designer of its shoebox-style power partner, Dr. Martin Vincent Thomas, didn't like the idea of designing 'The Power Amp', and chose to take matters into his own hands when it came to establishing a moniker for Musical Fidelity's first power amplifier. Thus, the Dr. Thomas was born.

With its black acrylic casework and name (what a name!) illuminated in red on the fascia, the 100W+ Dr. Thomas power amplifier cut a fine figure – a great visual match for the similarly-styled Preamp.

It was also surprisingly powerful. Sadly, this casework design was dropped quite quickly – but what a lovely-looking setup it must have been.

Audiolab 8000A (1983)

Audiolab's 8000A caused quite a stir in the early 1980s thanks to its "superb finish and styling" – just take a look at our review (below).

Admittedly, today it looks a lot like a grey-tinged box with lots of dials, but it offered excellent sound and features, including bass and treble controls, a stereo balance control and a separate record selector, so you could "listen to one source while taping another". And the sound was smooth with "plenty of presence and detail".

Audiolab was formed in 1983 by Philip Swift and Derek Scotland, quickly earning worldwide acclaim in that same year with the 8000A – an integrated stereo amp that was both a natural ‘step-up’ from budget models of the time and, latterly, a classic hi-fi component.

Thanks to its fine build and features, the 8000A was great value for money too.

MORE:

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“What took you so long?”

It’s a fair question we might aim at Cambridge Audio, which, over its near-60-year history, has dabbled in almost every audio category: amplifiers, CD players, music streamers, turntables, subwoofers, wireless speakers… even a Blu-ray player.

The fact that it has taken the British audio brand 58 years to launch its first-ever active speakers is perhaps surprising, but we’ll allow them to be fashionably late. The brand’s new L/R range of active speakers comes in three sizes, and we’ve got the baby of the bunch on test here, the Cambridge Audio L/R S. Is this petite desktop speaker the beginning of a hit series? It certainly looks promising.

Price

The L/R S is the smallest and cheapest model of Cambridge’s L/R speakers, and costs £399 / $549 / AU$949 per pair. This puts it squarely in the crosshairs of the Award-winning Ruark MR1 Mk3 (£399 / $579 / AU$899) powered desktop speakers, while Onkyo’s five-star GX-30ARC can be yours for a little less at £299 / $349 / AU$649.

The L/R S are available in six finishes that include the standard black and white, as well as more colourful green, blue and orange finishes. If you opt for the walnut veneer finish of our review sample, you’ll have to pay a little more at £449 / $599 / AU$1049 per pair.

If you’ll be placing the L/R S speakers on your desk, it’s worth checking out the optional angled desk stands (£49) that tilt the speakers up so the sound is more directed towards you.

Build & design

If you’re working with limited space – small rooms, student digs, not a lot of surface real estate – then these active speakers will work a treat. Each cabinet is just under 23cm tall and about 13cm wide – no wider than your average paperback book – which means they’ll fit onto most desktops and even shelves, ideally perched on either side of a laptop or your TV.

The speakers themselves look neat and stylish, and we can imagine the minimal cabinet design fitting into most interiors, whether you want them to blend into a spartan layout or add a splash of colour with the punchier hues.

Build quality is of a high standard, with clean, crisp edges and a smooth finish. We particularly like how the Cambridge logo is etched into the finish at the top of the cabinet. It looks classy.

Each speaker is furnished with a 21mm aluminium tweeter and a long-throw 76mm mid/bass driver, with a bass reflex slot positioned at the rear of each cabinet. All drivers are powered by Class D amplification, and altogether, the L/R S claim to offer a mighty 100W of total output, split evenly between the two channels.

The tweeter has a large waveguide that, along with the mid/bass driver, occupies the majority of the ultra-minimal fascia, with the metallic orange colour of the dome peeking through to offer some visual interest. The speakers don’t come with a grille, but the tweeter’s phase cap doubles up as a guard to protect it from poking fingers.

This is a fully active design with all the amplification and electronics housed in the primary speaker. The supplied 2m connecting cable has a bespoke 4-pin conductor that carries the signal to the secondary speaker. This cable has a pleasingly secure locking mechanism at either end, too. If you need a longer lead between the speakers, a 5m cable is also available to buy separately.

Keeping things simple seems to be the main aim with these petite active speakers. There are no controls or dials on the speaker for choosing inputs or changing volume – which might irk some users who like having such controls within easy reach – but there is a colour-coded LED under the primary speaker which clearly indicates the input chosen.

A remote control is supplied, which takes care of input choosing, volume and power. It’s a slim unit made of light plastic, but it works well, and we would take pains not to mislay this remote.

You can place these small speakers pretty much anywhere, and, knowing this, Cambridge has taken steps to ensure the L/R S are able to sound their best wherever you place them. At the back, you’ll find a pair of toggle switches: one to indicate whether the speakers are placed on a desk or not, and another to indicate if they are positioned close to a wall (“near wall”) or out in “free space”. The “near wall” mode is straightforward. It reduces the mid-bass around 100Hz to account for any boominess that might occur when placing the speakers very close to a back wall.

The “desk top on” mode, meanwhile, deals with two issues at once – time alignment and desk reflection – and shows how much thought Cambridge’s engineers have put into this design. When the small speakers are placed on a desk, the drivers will naturally be physically lower than your listening height. This desk mode compensates for this effect, delaying the tweeter output and readjusting the top and mid frequencies so that music sounds “right” from your listening position.

Additionally, this mode also notches down the mid frequencies (around 700Hz, says Cambridge) to balance out the unwanted energy coming from the speakers’ sound being reflected from the desk.

We would try out the various combinations to see what works best for your speaker placement. We quite liked the combination of "free space" and keeping ‘desk top’ mode off for a richer and more solid sound overall, but the effect will vary depending on your room and the surface the speakers are placed on.

And finally, there is a third and very useful toggle switch that lets you assign the primary speaker as the left or right channel, giving you greater flexibility for placement.

Features

Whereas the bigger siblings – the L/R X and L/R M – boast full network streaming smarts, the baby of the family is once again keeping things pared down and uncomplicated by offering Bluetooth for streaming. Physical inputs on the L/R S include a pair of RCA line level, optical and USB-C, and there is a subwoofer output.

It’s worth noting that while the optical and USB-C both support hi-res audio files up to 96kHz, the speakers’ DSP will automatically resample/downsample all files to 24-bit/48kHz.

Perhaps surprisingly in this enduring age of vinyl popularity, there’s no built-in phono stage here, as you’ll find in the Ruark and Onkyo rivals. There’s no HDMI ARC input here either, which you will find on the cheaper Onkyo speakers.

Regardless, you can still connect a variety of products to these speakers, including a CD player, a TV, a smartphone/laptop, and even a phono stage-equipped turntable, such as the Sony PS-LX3BT. Bluetooth has the higher-quality aptX and aptX HD codecs on board, and pairing with our smartphone takes seconds.

Using these speakers is a cinch. Once connected, they’re easy to control using the supplied remote or with your paired phone when streaming from Tidal or Spotify.

Along with the toggles for adjusting the speakers’ sound depending on their position, there are also three sound modes to choose from: Normal (the default one), Voice (accentuates mids/voice) and Movie (increases in bass and treble frequency for more impact, and mids for clearer dialogue).

We appreciate that the EQ modes are rather subtle in action. Voices are a tad clearer and more prominent when deploying the Voice mode during podcasts, and the Movie mode doesn’t overdo the peaks in frequencies, but we prefer the more balanced, solid sound of the Normal mode for all kinds of audio.

Sound

We set up the L/R S speakers on the desk in one of our listening rooms, flanking our laptop, connected to Bluetooth, and leave them running in while we do some work. This allows us not only to run the speakers in, but also to gauge how they behave when used exactly the way we imagine most people will. Will the speakers sound too boomy on the desk? Will they sound too powerful and distracting, or will they fade into the background? Is there any peakiness in the treble to annoy us?

As we listen to Rosalia, Eminem, Waxahatchee, Geese, Rachmaninoff and more, we find ourselves living rather harmoniously with these compact Cambridge speakers. What’s impressive is just how nice and even they are throughout the frequencies – it allows for a very easy-going listen, and one you could listen to for hours without getting fatigued.

There is no discernible peakiness in the treble, which sounds rather civilised and cultured even when hitting the brash, brazen highs of Fontaines D.C.’s Starburster. The bass is rather taut and nimble but not overpowering, which is welcome if you’ll be listening to the speakers up close and on resonant surfaces. There is less bass weight on the L/R S compared with the more exuberant Ruark MR1 Mk3 rival, and it doesn’t sound as muscular when faced with the brooding bassline in Massive Attack’s Angel. But it nips along at a good pace.

There is a good amount of detail on offer, thanks also in part to a clean, low-distortion background. Whether we listen to these speakers using Tidal via Bluetooth or USB, or CDs on a connected Cyrus CDi disc spinner, the presentation is consistent. From Waxahatchee’s honeyed vocals to Geese’s more discordant and laconic tones, we find the speakers create a rather lovely solid sweet-spot for voices, too.

Listening at low volume doesn’t quite give us a full picture of the speakers’ abilities; turn up the volume, and you’ll find them spark into life. If you reach your smartphone device’s maximum Bluetooth volume limit and wonder if that’s all they can do, reach for the remote control and turn it up some more. These speakers can go pretty loud. Just be wary of going too high, as things do start to get unwieldy and shouty.

Even as we admire their evenness and orderliness, we find the L/R S speakers can be a touch reserved at times. On some tracks – such as on Eminem’s The Way I Am and Forget About Dre – we find ourselves willing the speakers on, to tackle the propulsive rhythm with more punch and panache. The piano notes in Game Of Thrones’ Light Of The Seven glide along smoothly, but they could do with a greater degree of precision and urgency to better impart the ratcheting-up of tension in the piece.

In comparison, the rival Ruark MR1 Mk3 speakers have the upper hand when it comes to rhythmic impetus and dynamic expression. They are able to deliver a bigger and more open sound too, with a greater amount of space in between the instruments and voices.

We find that the Ruark speakers sound clearer throughout the midrange, too, which reveals a greater degree of subtlety and insight. In comparison, the Cambridge sounds as though there is a cloudy veil over the mids, which we would love to hear scrubbed clean so that textures and subtleties can be unleashed. Bon Iver's voice on Exile is layered with rich textures and full of personality and emotion through the Ruarks – this effect is a little muted through the L/R S.

We would recommend investing in the optional desk stands for the L/R S, as physically tilting the speakers towards your listening position results in a clearer, more solid sound. Listening significantly off-axis changes the balance somewhat, so we would take some care when positioning the speakers and experiment with the various toggle modes to find the ideal sound for you.

Verdict

As Cambridge Audio’s first-ever active stereo speakers, the L/R S are off to a great start. It’s a confident design with thoughtful consideration for how people will use them in the real world. And they look stylish, too.

That even-toned, refined and easy-to-listen-to sound is impressive for a product of this type and price, and we think a sprinkle of energy, precision and insight could well catapult these compact Cambridge speakers to stardom. The Ruarks and Onkyos of this world might rest easy for now, but they’ll certainly be keeping an eye on this new contender.

Review published: 15th May 2026

SCORES

• Sound 4
• Build 5
• Features 4

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Also consider the Onkyo GX-30ARC

Our guide to the best desktop speakers for hi-fi fans, tested by our experts

It's April and finally spring time, which in the UK means wildly inconsistent weather where you'll be met with rain and even snow for one half of the day, switching to blinding sunshine and warm temperatures without any warning. It certainly keeps us on our toes.

What remains consistent through it all is a steady of stream of hi-fi and home cinema products entering our test rooms, and we have a few highly-anticipated products to get started on this month.

This includes the first of Cambridge's new range of active wireless speaker systems; brand-new Onkyo hi-fi in many, many years; a sequel to Samsung's Award-winning Dolby Atmos system; and LG's flagship 4K OLED. We are also curious to find out how a high-end Optoma projector fares, and whether Acoustic Energy can repeat its sublime sonic success with a floorstanding model.

As ever, please do get in touch in the comments below or ping us an email at whathifi@futurenet.com if you have any questions about the products we're testing, and we'll do our best to get back to you with an answer. Enjoy the sunshine when it arrives!

Cambridge Audio L/R S

Cambridge Audio made a splash with the launch of its first-ever active wireless speaker systems earlier this year, and we have the smallest and cheapest of the trio – the L/R S (in the middle, above) – in for testing.

The active speakers feature Bluetooth aptX HD streaming, a USB-C input for easy desktop use, and 50 watts per channel of built-in amplification. Costing £399 / $549, these compact speakers are available in six finishes (including some colourful green and orange ones) and are in direct competition with the Award-winning Ruark MR1 Mk3. Exciting.

LG G6

Hot on the heels of the five-star C6, LG’s flagship 4K OLED is in our test room to establish whether it’s worth the extra outlay.

We’re expecting a more polished and refined version of the Primary RGB Tandem OLED performance of last year’s G5 – but will it deliver that? And will that be enough for the G6 to topple the Sony Bravia 8 II from the flagship OLED top spot? We can't wait to find out.

Onkyo Icon A-50

It has been many years since we had any Onkyo hi-fi in our test rooms, and the Icon A-50 streaming amplifier has plenty going on to make up for the wait. Combining 140 watts of Class A/B amplification with excellent network streaming features, the A-50 is a thoroughly modern hi-fi component that includes HDMI ARC connectivity, a moving magnet and moving coil phono stage, and is encased in a sleek, minimal design.

Will Onkyo's comeback to the world of hi-fi be a success? Let's find out.

Acoustic Energy AE309 Mk2

Acoustic Energy's AE300 Mk2 standmounters wowed us with their understated but incredibly accomplished performance for the price, nabbing a Product of the Year Award and earning a spot at the top of our best stereo speakers list.

Can this sonic goodness be replicated in a floorstanding model? We have the AE309 Mk2 towers in our test rooms, which feature the same cabinet construction and new drivers as their illustrious standmount sibling. At £1199, the AE floorstanders will be going up against the hugely enjoyable Fyne Audio F501E (another Award winner), and we're excited to hear how they fare.

Samsung HW-Q990H

The sequel to Samsung’s Award-winning Q990F Dolby Atmos soundbar system, the Q990H looks very similar to its predecessor, but it features enhanced processing for an apparently more immersive performance. As before, the new system includes a 'bar, a pair of wireless surround speakers and a subwoofer in the package.

We’ll be testing the new model directly against the old one to find out if the upgrades are worthwhile.

Optoma UHZ78LV

Priced at £6000, Optoma’s new flagship home cinema projector has rivals such as the Sony VPL-XW5000ES, Epson EH-QB1000 and BenQ W5850 in its sights. Its secret weapons? A massive claimed peak brightness of 5000 lumens and support for Dolby Vision and HDR10+ (as well as standard HDR10).

That could make the UHZ78LV an excellent choice for mixed-use rooms as well as dedicated home cinemas – if the performance is up to scratch. We'll find out this month!

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Cambridge Audio has announced some new speakers... kind of. Because while the MSX range might look new, it's essentially a refresh of the brand's previous Minx speakers.

You get the same specs, the same mini footprints and the same modular design that lets you stack speakers together. But the units have new names and new finishes.

All units in the range are now finished in matte black or matte white.

Otherwise, they're the same as the Minx that preceded them.

The range comprises the MSX10 and MSX20 satellite speakers, and MSX Sub 200 and 300 subwoofers. It provides a versatile, modular system that can scale up for bigger or rooms or soundtrack the smallest of spaces. They also provide stereo output or full surround for home cinema set-ups.

Inside is Cambridge's fourth-gen Balanced Mode Radiator (BMR) technology, which promises to create an "open, cohesive sound with exceptionally wide dispersion". It does this by combining dynamic drive unit performance with bending-wave dispersion, which supposedly does away with the sweet spot – instead, it sounds balanced and engaging wherever you are in the room.

The latest driver boasts better efficiency, an extended treble response and smoother integration across the frequency range.

The MSX20 has the same driver as the MSX10, but adds an integrated subwoofer for more weight and scale.

Of course there are dedicated subwoofers too, to add extra oomph. The MSX Sub 200 and MSX Sub 300 promise to deliver "depth and authority without overwhelming the room". Their forward-firing drivers, high-efficiency Auxiliary Bass Radiators (ABRs) and precision Digital Signal Processing (DSP) should keep the music sounding accurate even when the volume is pumped up.

The difference between the two is size. The Sub 200 has a 200W amplifier and 6.5-inch woofer, while the Sub 300 outdoes it with a 300W amplifier and 8-inch woofer. Its cabinet is slightly larger, too.

You can connect your MSX units up to any amplifier or AV receiver thanks to their speaker terminals, including support for 4mm banana plugs. The satellites can be wall mounted, with pivoting wall mounts and table stands available. They can also stack on top of each other, though the sound dispersion will be much greater if they're spread further apart from each other.

All Cambridge MSX units will be available this month. The MSX10 costs £79 / $99 / AU$139 each, MSX20 is £99 / $129 / AU$179 each, while the MSX Sub 200 is £299 / $399 / AU$699 and the MSX Sub 300 is £399 / $499 / AU$879.

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Best active speakers: the best budget to high-end active speakers tested by our experts

12 of the best Cambridge Audio products of all time – which is your favourite?

Cambridge Audio claims to have just made a five-star product even better. The CXN100 SE music streamer builds on the standard CXN100 we loved by adding an HDMI eARC port. That means you can connect it to your TV so anything you watch or stream – be it movies, sports, TV shows or games – plays through your hi-fi system.

Otherwise, it's the same product as the CXN100, with Cambridge Audio claiming the "same sound, streaming performance and design". Not that we're complaining. Just read our Cambridge Audio CXN100 review to see why.

Like the CXN100, the SE version is built around Cambridge Audio's fourth generation of its StreamMagic platform. That gives it a stacked skillset, including the Connect forms of Spotify, Tidal and Qobuz, along with support for Amazon Music, Roon Ready, Deezer and internet radio, plus Apple AirPlay 2, Google Cast and Bluetooth.

It also boasts the same ESS ES9028Q2M SABRE32 Reference DAC, which was chosen for its "low distortion, wide dynamic range and natural presentation." And it supports 32-bit/192kHz hi-res audio over wi-fi or Ethernet.

Its other physical connections are USB, coaxial and optical digital inputs, while balanced XLR and unbalanced RCA analogue outputs give the CXN100 SE extra flexibility.

The CXN100 SE is out in April in a limited edition black finish, and in June in lunar grey. Its launch price is the same as the standard CXN100 (in the UK, that is): £899 / $1099 / AU$1899.

It's not the only Cambridge Audio product getting the black finish treatment. The brand also announced a limited black run of its CXA81 Mk II integrated amplifier (above) and CXC CD transport. These are all part of the firm's CX Black range.

These devices are otherwise identical to their non-black versions, and sell for the same prices: £999 / $1199 / AU$1999 for the CXA81 Mk II, and £499 / $599 / AU$1099 for the CXC. Both models are out in April.

MORE:

Read our Cambridge Audio CXN100 review

And our Cambridge Audio CXA81 Mk II review

Our pick of the best stereo amplifiers money can buy

For many, your music system will consist of your laptop and a pair of wired headphones.

A laptop gives you access to a host of music online, from music streaming services offering millions of songs from all genres, to download sites where you can buy and store your favourite albums in the highest file quality, to internet radio, and more.

Paired with a good pair of wired headphones, the laptop is a compact and convenient source – and it’s a system with so much hi-fi potential.

Whether you stream music from Apple Music, Spotify, Tidal or Qobuz, or have gigabytes of 24-bit FLAC downloads, you'll want to hear your tunes at their very best, at their full resolution, to get maximum enjoyment.

So in enters a DAC.

What is a DAC?

A DAC converts the digital music files (the binary 0s and 1s) into an analogue wave form that you can hear through your headphones and speakers. While your laptop (and smartphone) might be one of the main ways you listen to music, the DAC circuits built into these multi-tasking products are simply not efficient enough to accurately process the crucial digital-to-analogue conversion; and this has a knock-on effect on the resulting sound quality.

Separate, external DACs only have one job to do, and they do the essential job of carrying out this conversion process more faithfully and with the least amount of errors that can degrade the audio signal. Thus, this one addition is the simplest way to get the most out of your digital music, while still sticking with your trusted laptop-and-headphones set up.

A dedicated DAC is also more likely to support and relay all the hi-res audio formats and sample rates in full – up to and beyond 24-bit/192kHz, for instance, and even the more esoteric ones, like DSD files.

To drive your best wired headphones, you’ll also need a headphone amplifier. Luckily for you, most external DACs these days also have a headphone amplifier built-in, along with a socket or two to plug in your favourite wired cans. These DAC/headphone amp products can transform your laptop and headphones listening into a true high-fidelity music system – and the trio we are focusing on here are some of the best examples of this type of product.

The three DACs we've chosen to test here, from Audiolab, Cambridge Audio and Chord Electronics, occupy the mid-priced £350-£450 range where you’re stepping out of budget convenience and into serious hi-fi territory. All three DACs are neat, desktop sized products that make natural companions for your laptop – one is even portable – and, best of all, all are five-star performers already.

These desktop DACs share many features, and each has its own quirks, foibles and strengths – with different sonic signatures to boot. But which model is best for you?

For the test, all three DACs were hooked up to a MacBook Pro playing Tidal, with a variety of wired headphones used, including the Award-winning Grado SR325x, the Beyerdynamic DT 990 Pro X and a pair of old favourites, the Shure SRH1540.

Versatile connections and user-friendly

If you’re after the most versatile connectivity and features, the Cambridge DacMagic 200M and Audiolab D7 are neck and neck. Both feature a full complement of analogue and digital inputs, along with aptX Bluetooth streaming. They even give you scope to grow when branching out into a full hi-fi system down the line.

Both feature USB type B inputs (ideal for connections to a laptop), optical and coaxial inputs, as well as both RCA and balanced XLR outputs. The D7 further adds digital outputs, while both sport a full-size 6.3mm headphone jack on the front.

We have next-to-none complaints when it comes to the usability of both these desktop models, with clearly laid out buttons and easy to use controls. The Cambridge’s labelled LED system makes it easy to discern source and incoming sample rate at a glance, while the newer Audiolab D7 has a display screen for relevant information and even comes with a remote control.

Both are well made and user friendly, and both Cambridge and Audiolab get top marks, with the Cambridge feeling just that bit classier and sturdier in build quality than the plainer and smaller Audiolab.

• Read our full Cambridge Audio DacMagic 200M review

Quirky portability

The Chord Mojo 2 is another beast altogether. It actually offers many of the same functions as its rivals, but with fewer (and via different) connections. In contrast to the other two, the Mojo 2 keeps things simple with USB type B and USB-C ports for connecting to your laptop.

You get two sets of 3.5mm headphone outputs here. Do note that the updated 2026 version of the Mojo 2 will swap out one of those 3.5mm for a 4.4mm Pentaconn headphone jack to meet the increasing popularity of this type of wired headphones connection.

Those same headphone outputs can be used as audio outputs if you want to plug the Mojo 2 into a hi-fi system, but you'll to invest in some adapter cables (e.g. 3.5mm to RCA line level) to do so.

Let’s not forget this is a portable model, with eight hours of battery life, charged via USB. This means you can take the Mojo with you on your daily commute, on a flight, on holiday – something that’s simply not possible with either the Cambridge or Audiolab mains-powered models. This is certainly a boon, and the Mojo is small enough that you can carry it in a backpack easily.

There’s no Bluetooth here, and usability requires a little bit more work thanks to the multi-coloured, multi-button interface that will usually require the manual at hand. Our tip: just remember the colours for how high or low the volume goes, and you’re golden.

Benchmark sound

But put up with the Chord’s quirks we will, as the Mojo 2’s sound quality is simply phenomenal; it remains the standard to beat at this price. The Mojo’s handling of rhythmic precision and punchy dynamic subtlety, and its superbly insightful and clean, cohesive sound, is fantastic.

No matter what music you play through it, it just sounds right. The tactility of instruments, the interplay between the musical arrangement and the vocals, the sense of space – it’s all conveyed with such insight and ease.

We said in our review that when listening through the Mojo 2, "music has the vividity of a stained glass window here – bright, intricate and demanding of your attention."

The Mojo communicates the message and feel of the song with great talent, while also revealing oodles of texture, along with a toe-tapping, ferociously agile presentation that’s just heaps of fun to listen to.

• Read our full Chord Mojo 2 review

Two excellent alternatives

The Cambridge Audio has a smooth, full-bodied presentation that’s appealing on the ears, with fat basslines and a fluid handling of dynamics. It’s pretty easy to get grooving to the funky tunes of Act Like You Know by Fat Larry’s Band, or get contemplative with a Nick Cave track.

We said in our review: "That smoothness clings to the violins leading Ólafur Arnalds’ Spiral (Sunrise Session) (24-bit/96kHz) in a way that makes it enjoyable without clouding the textural finesse or dynamic undulation of the strings that communicate the piece’s beautiful fragility. The Cambridge rides the dynamic ebbs and flows nicely, showing its grace in the quieter moments and its authority in the louder ones."

A former Award-winner, the Cambridge DAC has served us perfectly fine over the past few years. The DacMagic 200M’s age starts to show only when listening to its rivals in comparison, as the newer Audiolab D7 and Mojo 2 both offer a clearer, more detailed and more precise sound overall.

The D7’s soundstage is more spacious and layered, basslines hit deeper and sound tauter, and overall it is able to dig up greater detail than the Cambridge. High frequencies in particular have more clarity, shine and sparkle, and it’s that bit more agile and evenly balanced throughout. It simply paints a clearer picture than the Cambridge.

We said of the D7 in our review: "It has a broadly neutral and even-handed presentation that impresses for its clarity and detail resolution. It’s a clean and crisp sound without being over-etched. We love the sense of spaciousness the DAC imparts, so the music we play rarely sounds cluttered."

The D7 comes close to closing the gap to the multi-Award-winning Chord Mojo 2, but the Mojo still races ahead when it comes to sonic performance. Its rhythmic prowess and dynamism are phenomenal, especially for this compact product and for this price.

• Read our full Audiolab D7 review

Overall winner: Chord Mojo 2

You'll get a great sonic upgrade by using any of these DACs in your system, no matter how modest. There is no doubt that the Cambridge Audio and Audiolab’s more conventional designs, ease of use and versatility will have their fans, and they remain firm recommendations.

But the Chord Mojo 2 remains our pick of the three for its clear sonic superiority. If you want the very best performance from your laptop-based music, the Mojo 2 is the ultimate option at this price. We think it’s great value, too.

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Cambridge Audio has added Qobuz Connect functionality to its second and third-generation StreamMagic products.

StreamMagic is the British audio brand’s streaming platform and app for controlling its streaming products and this recent software update finally brings Qobuz Connect to its older generation network-ready products, such as the former Award-winning CXN (V2), the first-gen CXN, Azur 851N, StreamMagic 6 V2, Edge NQ, and CXR.

Cambridge Audio streaming products already have the French music streaming service integrated within StreamMagic, but the latest update means more of its product owners can bypass the app and stream directly from Qobuz's servers and use the native Qobuz app with its greater features and functionality.

This is great news for audiophiles out there that wish to stream more than 100 million songs in up to 24-bit/192kHz high resolution or lossless CD quality on their older Cambridge StreamMagic products.

It also means owners of the aforementioned products can free up their phone use, allowing it to be used purely for playback control, while notifications and calls will no longer interrupt audio streaming.

The update is available to download now via the StreamMagic platform and means only the first generation of Cambridge Audio streamers is yet to include Qobuz Connect. Last year, Cambridge rolled out support to the current, fourth-generation of StreamMagic products in October.

In recent times, Cambridge has also added Spotify Lossless, Amazon Music and QPlay functionality to its streaming products.

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When Cambridge Audio first unveiled its Evo 75 and 150 models back in 2021, streaming amplifiers weren’t quite as widespread as they are now. These premium units housed power amplification, DAC, preamp and streaming modules all in one neatly designed box – all you need to do is add speakers. Both got five stars.

Since then, plenty of established hi-fi and emerging audio brands have joined in on the action, offering a range of streaming amplifiers in all shapes and at all prices.

Cambridge has given its Evo 150 model a refresh (the cheaper Evo 75 is now discontinued), bringing purported sonic upgrades while keeping its ample feature set intact. The SE in the name might stand for ‘special edition’, but this is no limited, fleeting model with an unusual finish. It’s a full production model that aims to appeal to hi-fi and casual/lifestyle users alike. Does it succeed?

Price

At £1999 / $3299 / AU$5795, the Cambridge Audio Evo 150 SE is cheaper in the UK than the original Evo 150, which launched at £2249 / $3000 / AU$4299. Those in the US and Australia will unfortunately be paying more for the new model.

At this price range, our favourite streaming amplifier is the NAD C 3050 (with MDC2 BluOS-D module), which can be yours for less at £1699 / $2199 / $3599. The NAD isn’t just a current What Hi-Fi? Award winner; it’s also the recipient of a coveted Product of the Year trophy, so Cambridge Audio has some mighty competition to reckon with.

Features & connectivity

On the whole, there is plenty about the SE version of the Evo 150 that hasn’t changed. Its amplification power rating remains the same 150W per channel (into 8 ohms), it uses the same ESS Sabre ES9018K2M DAC chip, and has the exact same set of connections as before.

That might be a disappointment to some, but the original Evo 150 was so feature-packed that it would be difficult to see what else Cambridge’s engineers could add to it. As we said in our original review, “There’s little you can’t plug into the Evo 150.”

So what has changed? Instead of superfluous changes, Cambridge’s engineers have concentrated on elements of the internal circuitry to improve performance as much as possible. Firstly, there is a new Hypex NCoreX Class D amplifier module, which has been custom-tuned by Cambridge to deliver a “warm, dynamic and controlled sound” across all inputs. Additionally, the SE model uses uprated components, and features improvements throughout the signal path.

The Evo 150 SE runs on the current, fourth-generation StreamMagic platform, which offers a well-equipped, slick and user-friendly interface for all your streaming needs. All the popular music streaming services – Spotify, Qobuz, Tidal and their Connect versions, along with Amazon Music and Deezer – are supported, as well as internet radio.

Bluetooth, AirPlay 2 and Google Cast are also on board for easy streaming from mobile devices, and you can even connect a pair of wireless headphones by choosing Bluetooth as an audio output. You can stream large digital media libraries stored on hard drives or NAS drives connected to the same network thanks to UPnP compatibility, too.

File compatibility is extensive, with the Cambridge supporting hi-res audio files up to 32-bit/384kHz PCM and DSD256, and streamed playback is stable across both wi-fi and wired Ethernet set-ups.

As before, there are analogue and digital connections aplenty on the Evo 150 SE, including balanced XLR alongside the usual RCA line level inputs. You get an HDMI ARC input so you can use the Evo with a TV, and there is a moving magnet phono stage built in for connecting a turntable directly.

Optical, coaxial and USB type B inputs are available so you can plug in a variety of sources (we used a CD player and a laptop), and there is a 3.5mm headphone port for plugging in your favourite pair of wired cans.

The Evo 150 SE can also function as a preamp and, unusually at this level, there are two sets of speaker terminals in case you want to run a second pair of speakers in a different room.

In short, there is little the Evo 150 SE can’t do or play. Even streaming amplifiers double the price tend to struggle to deliver such exhaustive options.

Build & design

Physically, there is even less difference compared with the original model, but it’s hard to complain when the Evo 150 SE is such a looker. It’s a well-designed streaming amp, from the appealing footprint that’s roughly the size of a vinyl record sleeve, to the clean, modern and minimalist styling – for many, this streaming amplifier will have more lifestyle appeal than many of its more traditional hi-fi rivals.

The black aluminium cabinet is well made, and the Evo’s party trick is swappable side panels that you can change up to suit your tastes or match your interior design. There are two options in the box – a real wood veneer and a (new) all-black, slatted option – that snap on magnetically.

The front of the unit is dominated by a 6.8-inch full-colour screen that’s crisp and brightly contrasted, showing off album artwork with punchy colours. We especially like how large the font is, as song and artist names, and source inputs, can be clearly read from across the room. The knurled pattern on the control dial is slightly different from the previous model, but it feels well-machined and offers good grip when scrolling through the sources.

The volume dial, in contrast, feels less precise in action, and we wish this was given as much attention as the control wheel. The small strip of buttons on the side of the screen returns, and while they still feel a little cheaper than the rest of the unit, they are handy to have.

A sleek remote control handset is also included here, and we must applaud Cambridge for how well the unit responds no matter what you use to control it. During testing, the Evo 150 SE is a joy to use; we didn’t encounter any hiccups or barriers to playing our music no matter what method we used.

Most of the music playback control will naturally be done using the StreamMagic app, which is an organised, user-friendly interface that works in perfect unison with the streaming amplifier. There is a basic slider for room compensation and a suite of EQ settings, but otherwise the Evo 150 SE is a straightforward, plug-and-play operation.

You can hide unused inputs in the StreamMagic app so only the relevant sources and favoured streaming options are at your fingertips, while saving/selecting presets and scrolling through our large music library stored on a Naim Core server are intuitive in use. It’s a smooth system.

Sound

We plug our reference Epos ES-7N speakers into the Cambridge, rev up Midnight City by M83 and are put smack in the middle of a big, shiny, neon-lit soundscape. The Evo 150 SE’s soundstage is impressively large and wide, with ample space given over to the various instrumentals. The dreamy synth track is delivered with clarity and plenty of detail, with enough headroom and shine to the sparkling synths – but never making those highs sound too bright or wince-inducing.

Play Meltphace 6 by Aphex Twin and the Cambridge eats up the ambient noises with relish; the initial sparse electronic noises bubble around in a spacious, enveloping soundscape that’s fairly easy to listen to. The stop and start of notes are clearly defined, and the punctuating, low-frequency beat thumps you in the chest with brawny physicality.

The Evo 150 SE prefers being played loudly rather than at softer volumes, and you’ll be rewarded with a clean, powerful sound with little distortion as you turn the volume up and up.

That powerful bass can sound a little overcooked when listening to more delicate pieces of music, such as Waxahatchee, Norah Jones, Nick Cave or Billie Eilish. That slightly relentless, muscle-bound lower end works with frenetic songs that require that high energy, but it does these gentler, emotive songs a disservice. Toning down the bass EQ helps mitigate this somewhat, but the more we listen, we find that while there is plenty of punch through the Cambridge, its rhythm and dynamic prowess are lagging somewhat behind.

There is a curious lack of real grip and propulsive momentum to the performance. Fat Larry’s Band’s Act Like You Know sounds big and brawny on the surface, but is lacking the gritty textures and dynamic subtlety to really get us grooving. We’d like to hear greater precision with each note that hits, along with a more tuneful, agile bassline that we can really sink our teeth into.

Play Joni Mitchell’s A Case Of You, and we find ourselves struggling to connect with her lilting vocals. The Evo 150 SE’s midrange sounds a touch reserved, with voices coming across less focused and not packing the emotional nuance and textural insight we’d normally hear. Dynamically, we find ourselves willing the Cambridge on, to gain more momentum and variation to the notes as the song ebbs and flows.

Switch to the rival NAD streaming amplifier, and all that rhythmic cohesion, the dynamic subtlety, the momentum and emotional pull come flooding back into the same tunes. Yes, the NAD is smaller-scaled, less refined and doesn’t sound as muscular, but the music hangs together better through it.

Joni Mitchell sounds sweeter, with more vocal and emotional nuance clearly and more capably delivered to capture our senses, while even the shiny, spacious ambient Aphex Twin tracks have more dimensionality and greater precision here. There’s more grip and control; there’s greater agility and fluidity; it simply makes more musical sense and sounds more engaging.

We switch back to the Cambridge and note the slightly detached and less dynamic presentation, even as more power, space, clarity and refinement are added into the mix.

Our experience with testing streaming amplifiers tells us this might well be a case of finding the right speakers to pair the unit with, and we go through some trial and error. Swapping our reference Epos and ATC speakers (both quite neutral and transparent) for the smooth and subtle Acoustic Energy AE300 Mk2 doesn’t quite work to bring the Cambridge out of its shell. But pair the Evo 150 SE with the KEF LS50 Meta or PMC Prodigy 5 speakers, and suddenly, more pep, warmth and dynamism enter the fray.

It almost sounds like it’s given a new lease of life. The White Stripes’ In The Cold, Cold Night has more verve and precise footing when using either KEF or PMC speakers, while the electric guitar distorts with scuzzy edges and textures that sound more vibrant and enjoyable when using either of these speakers. Voices such as Mitchell’s or Norah Jones’ have more immediacy, and sound more tender and affecting. Altogether, music flows with greater fluidity and there is more warmth given to the Evo 150 SE’s performance.

It doesn’t quite fix all of the Cambridge’s inherent issues, however. Nina Simone has plenty of headroom when singing My Baby Just Cares For Me and the Evo 150 SE is capable enough to convey the differences between a 1950s/’60s soul jazz track and a shiny modern K-pop track with a good deal of transparency. The NAD rival, however, gets more of the spirit and personality of her singing through, regardless of what speakers it is paired with. Dynamically, the Evo is still outperformed by the less costly NAD streaming amp.

To give credit to the Cambridge, its open, refined sound character is consistent throughout every input we test. Yes, tracks played over lossy Bluetooth and AirPlay sound less refined, but it won’t make much of a fuss; feeding it higher-quality tracks (from our Naim server or through our laptop via USB type B) results in a more detailed and composed sound overall.

Plug in a pair of Grado SR325x headphones and we’re treated to much of that clear-eyed, tonally balanced sound that marks the Evo’s overall sonic characteristic. We also use a Cyrus CDi CD player to test the Evo 150 SE's DAC (good) and a Rega Planar 3 RS Edition to test its phono stage (less good). The phono stage sounds lightweight and muddy; it’s not particularly dynamic or detailed, and we’d urge anyone serious about vinyl to opt for an external phono stage.

Verdict

The Evo 150 SE proves just how important system matching is. Get the speakers right, and you’ll be rewarded with a fluid and spacious sound that is wonderfully clear and detailed. A mismatch in partnering speakers will show the Evo at its worst: lacking in dynamics and rhythmic flow.

The Evo may not be an all-rounder this time, but there’s no denying how good its design, ease of use and exhaustive features are for this kind of all-in-one unit. It has greater competition than before when it comes to sound, but its lovely, user-friendly design is worth an audition.

Review published: 18th February 2026

SCORES

• Sound 4
• Build 5
• Features 5

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The traditional advice that we at What Hi-Fi? give about separate components providing better performance than products trying to be jacks of all trades needs to be given with a few caveats these days. There are some remarkable pieces of equipment out there now that will do the job of source, amplifier and speaker incredibly well.

The principle does, generally, hold true, however. Particularly when you are looking at performers at what used to be called the entry level of hi-fi – possibly better-named now as step-up products.

What we have here is, with one exception, a system that would look perfectly at home in the nation’s living rooms 40 and more years ago. A CD player feeding its signal into a stereo amplifier that in turns is linked to a pair of stereo speakers; can’t say more ’80s than that.

The new addition to the satisfyingly old-school mix is, of course, a music streamer. One little box that brings the whole shebang right up to date – and performs (of course – this is a What Hi-Fi? system after all) really well for the money.

The system

• Integrated amplifier: Rotel A8 – £399 / $449
• CD player: Marantz CD6007 – £349 / $650
• Music streamer: Cambridge Audio MXN10 – £349 / $499
• Stereo speakers: Dali Kupid – £299 / $600
• Total system price: £1396 / $2198

Integrated amplifier: Rotel A8

Every great system needs a steady powerhouse, and the budget Rotel A8 integrated amplifier does the job brilliantly. This is a unit that doesn’t shout about its talents; its appearance is simple and unassuming, and its styling is best described as functional. But don’t let the modest facade fool you – this is a hugely capable performer.

While it lacks the digital inputs and Bluetooth connectivity of some rivals (which in this system, of course, are nicely catered for by the Cambridge MXN10 streamer), the A8 has the basics covered: a moving-magnet phono input for a record player, should you wish to add one to the system at some point, and three single-ended line-level inputs.

This amp’s stated output is a modest 30W per channel into 8 ohms, but when we tested it, it proved eminently capable, driving everything from budget bookshelf speakers to more premium options without issue.

Surefooted with rhythms, it delivers an easygoing momentum with a fine sense of drive and authority. Basslines are handled with grip and punch, and its insight into the music’s subtleties is impressive. The A8 is a calm, fuss-free, well-built tool that fades into the background and lets the music shine. Just what you should want from your stereo amplifier.

CD player: Marantz CD6007

It shouldn’t surprise you in the slightest to see the Marantz CD6007 in this system. This CD player has taken a What Hi-Fi? Award each year for more than half a decade for good reason.

It provides class-leading insight, with an expansive and focused soundstage. Large-scale dynamics are delivered with verve, punch and a pleasing sense of composure.

This is a CD player that will highlight all that is good about the venerable digital format, one that brings an invigorating performance to your silver-disc collection.

Its sturdy build quality remains remarkable for its budget price, too, feeling solid and operating with a slickness that belongs at a far higher price point. The CD6007 plays CDs (and CD-RWs), but you can also play stored files using the USB type A input.

This system combination also allows you the choice between two headphone ports: a 3.5mm one on the Rotel A8 amp, and a 6.3mm output on the Marantz CD player – and it's always nice to have the choice if you use multiple wired headphones.

Stereo speakers: Dali Kupid

From a perennial Award winner to a product that is brand new. Dali’s lovely little Kupid loudspeakers picked up their Best Buy Award in 2025 at the first time of asking. With their compact form and eye-catching design, these speakers are aimed at a modern audience looking for something fresher than the traditional hi-fi crowd.

To highlight that, they are available in some pretty funky (by hi-fi speaker standards at any rate) colours. Along with the more mainstream black, white and walnut finishes, you can also go for “chilly blue” or a bright “golden yellow”. Those starburst lines radiating from the tweeter are a lovely design flourish and are present in every colourway.

The Kupids are small enough to be placed on desks or bookshelves and can be wall-mounted – indeed all the fittings required for that are included with purchase. Crucially, they are cut from the same cloth as Dali’s celebrated budget ranges.

As we say in our review: “Right from the moment we hit play, the Kupids reveal a lively, nimble presentation that is packed with enthusiasm.

“We have to accept they won’t deliver the hugest spread of sound or the deepest bass due to their cabinets’ physical constraints, but we find ourselves looking past any such limitations as the speakers themselves sound well balanced. They have a particularly expressive and solid midrange, with enough slam in the lower frequencies to contrast against the sweeter, more delicate moments.”

Music streamer: Cambridge Audio MXN10

From dinky, high-performing speakers we come to the part of this set-up that truly belongs in the 21st century. The Cambridge Audio MXN10 network audio player is equally diminutive, but it punches well above that weight as far as sonic ability goes.

The MXN10 is stacked with all the popular streaming options: Google Chromecast, AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect and more are supported, alongside built-in internet radio.

Running on Cambridge Audio’s oft-lauded bespoke StreamMagic platform, the MXN10’s dedicated app is responsive and makes set-up a breeze.

Being easy to set up is all well and good, of course. Happily, though, what truly wins us over with this little box of tricks is its abilities with music.

Equipped with the excellent ESS Sabre ES9033Q DAC, the MXN10 can stream high-resolution files up to 32-bit/768kHz PCM and DSD512. And it performs brilliantly for the price.

As we say in our review: “It walks a carefully chosen path between the even-handed, detailed and spacious sound of the similarly priced Audiolab 6000N Play and the more characterful and energetic balance of the former Award-winning Bluesound Node (2021). It combines the strengths of these talented rivals while adding a dose of dynamic expression and rhythmic coherence that they can’t match.

“We like that the Cambridge remains composed when the music becomes demanding, and the way it renders the tone and texture of instruments in such a convincing way.”

All in all, this modernised old-school system is a masterclass in step-up hi-fi building. Combining the Marantz CD6007's dramatic presentation with the Cambridge MXN10's streaming smarts, the composed control of the Rotel A8, and the sheer fun factor of the Dali Kupid speakers, this setup delivers a performance that is far greater than the sum of its parts.

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“No one really makes a bad product anymore.” That’s the comment we’ve been hearing for the past couple of years when meeting with hi-fi manufacturers, and they’re not wrong. The world of hi-fi has shrunk since its glory days, but it means that brands making products on the premium side (let’s say, anything above £1000 / $1500) have little room to make mistakes, in a bid to deliver their very best in today’s challenging economic climate for those discerning souls that still value separates hi-fi.

In fact, we’d go so far as to say that most hi-fi products these days are really rather very good, and nowhere is this more evidenced by the two premium music streamers going head-to-head here. Arcam and Cambridge Audio have been around for 50 years in the hi-fi business, and each brand has pooled their audio expertise into network audio players that meet the modern demands of wireless music streaming.

The Cambridge Audio EXN100 (£1599 / $1799) came first, offering an elevated, more powerful step above the established CX range that we have regarded highly for a decade. Arcam’s impressive Radia range is a more recent rebirth for the brand, with the slightly less costly ST25 streamer (£1499 / $1650) only entering our test rooms last year.

In such a short time, both models have made a strong impression. At this price range, our expectations for a dedicated music streamer are high, especially considering that many emerging brands can offer the same features for a slice of that asking price. But it all comes down to performance, and getting the very best out of your digital music library.

Arcam ST25 vs Cambridge Audio EXN100: build & design

In terms of design, both music streamers are housed in sturdy, rectangular boxes that are built to a high standard. The ST25 and EXN100 look and feel impressive in the flesh, with minimal styling and a large screen dominating both designs.

They both occupy roughly the same footprint on our hi-fi racks. Cambridge’s customary ‘lunar grey’ finish looks smart, if a little safe. We particularly like the knurled volume/control dial on the thick aluminium front panel – it turns smoothly and is a classy detail.

Arcam cuts a fresher, more striking all-black figure whose modern styling and certain details – such as the furrows cut into the top panel and the stripe of yellow along the sides – make it stand out from the crowd. As with its Award-winning amplifier siblings, it has an overhanging lip on the back panel that protects the connections from collecting dust.

In contrast, the front of the ST25 doesn’t have any controls, dials or buttons in sight, whereas the EXN100 does have a smattering of buttons for easy access to menus and playback controls. It’s worth noting that the Arcam streamer includes a slim remote control in the box; you have to buy one separately for the Cambridge.

The large, high-resolution display screen that shows off album artwork and metadata on both units is sharp, colourful and impressive in action. We said the EXN100’s screen “has a pleasing contrast” and all the information is shown “in a crisp, bright manner that’s easy to read.” Similarly on the ST25, we said the screen is also easy to read while album artwork “appears bright, punchy and colourful with good viewing angles.”

Whichever model you choose, you won’t be disappointed when it comes to the design and build of the streamer.

**Winner: Draw**

Arcam ST25 vs Cambridge Audio EXN100: app and control

There’s no remote with the EXN100 because Cambridge, quite reasonably, envisions that the way you’ll be browsing and playing your music and switching between sources on a streamer will be done by the accompanying app on a smartphone or tablet.

Cambridge’s StreamMagic app is a well-organised, user-friendly interface that we’ve encountered many times with the brand’s other five-star streamers, and it’s one of the best examples in the business.

The app displays all the streaming services, local radio stations and sources available; you can set presets to your favourite stations and playlists, and you can access other features of the streamer, such as the display brightness, power-down timer, and preamp mode. It is smooth and intuitive in use.

For the Arcam ST25, users will need both the Radia app and remote control working together to access all of its options. You can access music services, podcasts, radio stations and your sources through the app, although we found that navigating through vast music libraries and playlists can be a little clunky.

It’s also a shame you can’t use the Radia app to access options like dimming or turning the display off, or selecting your favourite DAC filter (there are four options) on the ST25. To do this, you’ll need the included remote. We said in our review that jumping between the app and the remote does feel a little jarring when using the ST25. In comparison, the EXN100 is much slicker and simpler in use via the one control app.

**Winner: Cambridge Audio EXN100**

Arcam ST25 vs Cambridge Audio EXN100: features

In terms of streaming features, the two streamers are neck-and-neck with their offerings. The most popular music streaming services – Spotify, Tidal, Qobuz, even Deezer and Amazon Music – are baked in, as is internet radio.

Both units feature AirPlay, Google Cast and are Roon Ready certified. However, while the Cambridge EXN100 offers Bluetooth (aptX HD) for easy streaming from mobile devices, the Arcam ST25 eschews Bluetooth altogether.

The Connect versions of Spotify, Tidal and Qobuz are fully supported, meaning you can use the native music apps directly to stream hi-res tunes to the streamer, without the need to go through a separate app. Both feature wi-fi and wired Ethernet connections, and you can access and play songs stored on UPnP-compatible media libraries and NAS devices on the same home network.

Regardless of how we play our music, from Tidal Connect to our Naim Uniti Core server, both streamers play all tunes without any fuss.

One point of difference is the maximum file resolutions and format they support. Cambridge takes the lead here, with playback of up to 32-bit/768kHz PCM, DSD512 and MQA files possible. Arcam’s support extends to 32-bit/384kHz PCM and DSD256 files.

In our experience, the vast majority of hi-res downloads and libraries are available in 24-bit/192kHz native resolution or lower, so either streamer should be more than capable enough for most users. Only those with the most niche music collections should need to check this specification with a fine-tooth comb to ensure the streamer plays those rarer hi-res files and formats.

When it comes to physical connections, Arcam keeps things simple with optical, coaxial and line-level RCA outputs, and a USB type A port for plugging in hard drives. Cambridge goes further with additional balanced XLR outputs, digital inputs – including a USB type B port – and, most importantly, an HDMI eARC input. For those wanting to incorporate your streamer into your TV/home cinema set up, this inclusion will undoubtedly be attractive.

Both streamers offer the essentials of a modern streamer to suit most users’ needs, and we can’t imagine anyone feeling shortchanged with either. The Cambridge EXN100’s inclusion of the HDMI input and Bluetooth means it takes the win this round.

**Winner: Cambridge Audio EXN100**

Arcam ST25 vs Cambridge Audio EXN100: sound

Cambridge’s EXN100 impresses straight out of the box with a clear, spacious and balanced sound. We play Alt-J’s Breezeblocks and “there’s a controlled sense of rhythm, attack and drive, while also moving with just enough fluidity to sound at ease”. The stereo imaging is stable, while the room-filling sound is composed and controlled.

We said in our review that there is “enough body to the sound that music never sounds thin but also not overly warm; it simply sounds well balanced”. Bass notes are deep, agile and tuneful, while voices – such as on Waxahatchee’s Right Back To It – are clearly defined and in solid focus.

It’s a confident, muscular presentation whose balanced character is heard regardless of what source you play. The EXN100 does perform its best when fed high-resolution tracks, but it doesn’t make a fuss when streaming music using lossy Bluetooth.

Our main complaint here is that we wish for more subtlety in the way it handles dynamic shifts, and for the EXN100 to have a bit more attitude and emotion for songs that require it.

Arcam’s ST25 also impresses us with a “crystal clear” presentation, with an “eerily quiet backdrop for the music” that allows instruments ample space to breathe and greater detail and texture to be revealed. Basslines bound along with speed, agility and power, laying a fantastic foundation for the high-energy tempo of Madonna's Sky Fits Heaven.

Shift gears down to a more contemplative Ludovico Einaudi composition (Einaudi: Experience), and here Arcam’s greater fidelity with detail and dynamic subtlety comes to the fore.

The precision and delicacy of the piano notes are beautifully replayed: “Notes hang in open space, with differences in dynamics explicitly presented. You can hear the intent and intensity behind each key strike change as the track flows gracefully along.”

As the tightly defined strings and snappy percussive elements join the fray, the “drama blossoms into a beautiful crescendo” – it’s a captivating performance that fills the ample soundstage.

Compared with the Cambridge streamer, Arcam’s quieter background allows for a greater level of insight and emotion to be revealed, while its dynamic prowess – both in the contrast between the quiet and loud moments and in the subtler shades between notes – delivers an overall more musically satisfying experience.

**Winner: Arcam ST25**

Arcam ST25 vs Cambridge Audio EXN100: verdict

Cambridge Audio’s EXN100 and Arcam’s ST25 are both five-star Award winners, and truly you can’t go wrong with either. Each streamer has its many strengths, and much of your choice might well come down to personal preference of the finer details in design, use and feature set.

In our comparative tests, we do have a clear preference when it comes to sound quality, as evidenced by the trophy being handed over from one Cambridge-born company to another at the most recent What Hi-Fi? Awards.

The refined and spacious Cambridge streamer will appeal to many, but the Arcam ST25’s more insightful and dynamically subtle sound is the one that captures our attention more, and allows us to make a stronger connection to the music we’re listening to. For its greater sonic talents, we can put up with some of our niggles with the app.

If you’re after a talented, well-made premium streamer that brings your digital music library or streamed playlists to life, the Arcam ST25 is a worthy choice.

**Overall winner: Arcam ST25**

MORE:

Our guide to the best music streamers across all budgets

Qobuz Connect: what is it? Which products support it?

Don't Look Back in Anger at these classic 1996 tracks turning 30 this year

CES 2026 proved to be yet another busy and exciting showcase of the top home cinema and hi-fi products that are set to launch later this year.

We caught up with a wide range of manufacturers, including Samsung, LG, Hisense, TCL, Xgimi and Cambridge Audio, checking out their latest innovations, which are set to shape 2026 for cinephiles and audiophiles alike.

As ever, the show proved to be a major hit for OLED TVs, with Samsung and LG debuting a handful of truly impressive-looking sets, despite RGB Mini LED also having a prominent presence at the show.

New Dolby Atmos soundbars were also unveiled by the companies mentioned above, including a convertible Samsung soundbar that boasts a serious boost to bass. LG, on the other hand, launched its flagship, Dolby Atmos Flex Connect-enabled soundbar, which is also compatible with its new wireless speakers and subwoofer.

A duo of unique-looking projectors from Xgimi and Hisense also made an appearance at the show, both with unique and eye-catching designs.

And for the hi-fi fans, an exciting new turntable from Audio Technica was unveiled, as was a new range of active speakers from Cambridge Audio.

That's a lot to unpack, but you can find out exactly why we chose these freshly announced products below.

TVs

LG W6 Wallpaper OLED TV

Remember LG's Wallpaper OLED TV? That super-slender TV that you could affix to your wall with magnets remains a legend in the home cinema world, and it's got a spiritual successor in the form of the W6.

LG's latest flagship TV sports the Primary RGB Tandem OLED panel tech from the G-series TVs, and crams it into a sleek and stylish chassis that measures just 9mm thick.

It leverages LG's Zero Connect box, which was popularised on the M-series wireless OLEDs, which is what the W6 is replacing. Gamers may be put off by the wireless interface, but LG promises smooth 4K gaming up to 165Hz on the W6.

LG also claims that this TV can deliver a superb picture performance despite the slender frame. It's leveraging its new Hyper Radiant Colour technology (which can also be found in the G6 and some versions of the C6) and low reflectivity display tech, which should make viewing the TV in traditional environments easier.

If you're looking for style and substance, then you definitely need to pay attention to the W6.

Samsung S95H

Samsung has also given its flagship OLED TV a stylish redesign. Meet the S95H, an all-new OLED TV that takes design, brightness and functionality to a new level.

Its new design echos the firm's Frame TV, and the more effective Glare Free display coating makes this set look even more like a piece of art than ever before.

While looks are important, we care most about picture performance, and Samsung is claiming that this TV is a big step up over its five-star predecessor. It reports that the QD-OLED panel can reach a new peak brightness of 2700 nits in a 10% display window, and there is an overall improvements to highlights, colour and sharpness.

Gamers should get excited too, as Samsung is offering this TV with an optional new Wireless One Connect solution, which adds four HDMI 2.1 sockets onto the four already available on the TV itself. That results in eight high-bandwidth sockets primed for various consoles, disc players, streamers and audio equipment.

LG C6

We’ve been waiting generations (TV generations, not human ones) for a big panel upgrade to LG’s C-series OLEDs, and we finally have one – albeit in limited fashion.

That upgrade is from standard W-OLED to super bright Primary RGB Tandem OLED, but only for the 77- and 83-inch models, which will be given the C6H name to differentiate them from the non-Tandem C6 sizes.

Every C6 is getting a new processor this year, though, and it’s the same flagship chip that is going into the G6 and W6.

In other words, we’re expecting the C6 to be a decent upgrade on the C5 at all sizes, but it should be a huge step up in the 77- and 83-inch models, which looked great when we saw them at the show.

TCL X11L

While the big TV story of 2026 is going to be the tsunami of new RGB Mini LED models, TCL is swimming against the tide with a new concept – the Super Quantum Dot TV.

The Chinese brand, which is quickly turning itself into one of the industry’s biggest players in terms of quality as well as quantity, does have RGB Mini LED models on its slate for this year, but sitting above them all is this X11L SQD model.

According to TCL, its Super QD model can go brighter and more vibrant than RGB Mini LED models, while also having better local dimming and colour accuracy, and being slimmer.

That sounds like a very tasty recipe indeed, and the X11L looked stunning when we saw it in the flesh on the show floor. Astonishingly punchy, colourful and contrasty, this could be the flagship TV surprise of 2026.

Projectors

Xgimi Titan Noir Max

Xgimi is a brand with a growing reputation for always improving with each new generation of its projectors. Which is why we were happy to see it launch its new Titan Noir Max at CES.

Sitting below the firm’s Titan and Horizon 20 Max from 2025, we’re still waiting on final pricing, but there’s no denying it’s an interesting beast with some solid specifications.

Highlights include new “precision-tuned optics” and the firm’s “most advanced dynamic IRIS system to date”. According to Xgimi, these factors will fix one of our biggest gripes with its past offerings: their lacklustre handling of dark scenes.

If that rings true when we get a Titan Noir Max into our review rooms, then we may have a new power player in the coffee table projector market on our hands.

Hisense XR10

Hisense has a strong track record in the home cinema in a box space. So much so that its entry-level, dinky Hisense M2 Pro won a What Hi-Fi? Award last year.

Which is why we paid attention when it launched its new XR10 and boastfully described it as “a first-of-its-kind laser projector built for cinephiles.”

While it’s too early to tell if there’s any truth to that claim, it certainly does have some impressive hardware. Key specifications include a completely new custom chipset, the brand’s latest LPU 30 Digital Laser Engine, atypical liquid cooling system and a staggering 6000 ANSI lumens peak brightness.

Add to this the ability to project an image up to 300-inches big, and it has certainly piqued our interest, earning the XR10 a place on this list.

Soundbars

LG Sound Suite (H7 Dolby Atmos soundbar)

Rather than announce a whole new soundbar range for 2026, LG has instead launched a family of home cinema speakers that can be mixed and matched to create a setup that’s tailored just to you and your room.

This Sound Suite consists of the H7 soundbar, the M7 and M5 wireless speakers, and the W7 subwoofer. So, you can just buy the solo soundbar, or you can partner that with a pair of either speakers and/or the subwoofer. In that regard, it’s rather like a Sonos system, with the Sonos Arc Ultra as the starting point.

The difference is that Sound Suite is built on the Dolby Atmos FlexConnect platform, so the components should be super-flexible over positioning. FlexConnect is built into LG’s new TVs, too, so you can do without the soundbar if you prefer, and have your television act as the hub for just the wireless speakers and/or sub.

Conceptually, this is really neat, and it sounded good during our limited demo session, too. Here’s hoping it still sounds good when we get it into our test room for a full, comparative review.

Samsung HW-QS90H

Samsung unveiled its first convertible soundbar last year in the form of the HW-Q700F, and now it's back with an updated take on the format.

It ditches the external subwoofer in favour of more bass drivers directly inside the 'bar, and the bass upgrade was certainty noticeable during our demo at Samsung's First Look conference.

It features a total of 13 drivers inside, and a gyroscope to recognise when the soundbar is placed in either of its configurations; those being wall-mounted or table-top. It will then redistribute the sound to the appropriate drivers to ensure that front-firing sound and Dolby Atmos height effects are positioned correctly.

We noted its punchy and bold sound in our HW-QS90H hands on review, and it's bass performance frankly speaks for itself. The real question is this: does the HW-QS90H have what it takes to dethrone the Award-winning Sonos Arc Ultra?

Hi-Fi

Cambridge Audio L/R X

This is the flagship in Cambridge’s new range of L/R speaker systems (the others being the S and the M), and it’s set its sights high. It’s gunning for KEF’s LS50 Wireless II, a system that has won a What Hi-Fi? Award a staggering six years in a row.

But the X certainly looks impressive. In terms of features, it goes toe-to-toe with the KEF, with a spec that’s nigh-on identical. It’s also set to launch at exactly the same RRP (though the KEF has seen some significant discounts in its lifetime).

It’s not out until the summer, but our intrepid senior staff writer Harry McKerrell has already gone hands-on with it at Cambridge’s London HQ. He found it to be a “clear, clean and rhythmically sound performer, one which is capable of bringing out ample helpings of textural detail while going loud and proud in the process.” Although the usual disclaimer about this being just a first impression applies.

Looks like KEF has a fight on its hands.

Audio Technica LP7X

We’re always interested when Audio-Technica unveils a new turntable, and the AT-LP7X sits just below the very enjoyable AT-LP8X record player we reviewed last year.

The LP7X is, surprisingly, a belt-drive model – which bucks the trend of most Audio-Technica turntables that use a direct drive motor – a feature that has piqued our interest.

It comes with a J-shaped aluminium tonearm and pre-fitted moving magnet cartridge that offers ample adjustment and upgrade options down the line. The minimalist design also has a built-in phono stage and aims to offer flexibility for vinyl fans.

We’re promised a “clean, considered deck” that isn’t showy but focuses on the fundamentals for £679 / $999, and we can’t wait to hear it in action.

MORE:

Read our Samsung S95H hands on review

As well as our Cambridge Audio L/R X hands on review

And our Samsung HW-QS90H hands on review

Cambridge Audio is "ready for the fight." So it said when we asked it about going head to head with KEF in the wireless speaker system market.

As Cambridge's first all-in-one active speaker system, the L/R X is a direct challenger to the Award-winning KEF LS 50 Wireless II. Both products offer a pair of standmount speakers capable of amplification and streaming skills, doing away with the need for separates while also incorporating digital music listening.

Cambridge might be full of fighting talk, but is the flagship L/R X model up for the challenge?

Cambridge Audio L/R X vs KEF LS50 Wireless II: price

The L/R series comes in three variants: the entry-level L/R S (which is a pair of powered speakers with Bluetooth streaming), mid-range L/R M and flagship L/R X. The latter is what we're dealing with here, and it will cost £1799 / $2299 (around AU$3600) when it goes on sale this summer.

That's cheaper than the KEF LS50 Wireless II's RRP £2199 / $2499 / AU$4295. Though the KEF system's price does vary – it often costs as little as £1799 in the UK depending on the finish and retailer, and has dropped as low as £1499 during the peak sales period. As the system gets older, more discounts are likely.

Cambridge Audio L/R X vs KEF LS50 Wireless II: design & build

Like the LS50 Wireless II, the L/R X speakers have a clean, minimalist look that's designed to blend into your décor rather than leap out as a statement piece. Though maybe not if you opt for the bold orange finish. We weren't able to try out the LED underlighting during our hands-on, as it wasn't ready yet, but it should be a nice touch to elevate the L/R X above much of the competition in the design department.

Despite being the largest model in Cambridge's line-up, the L/R X aren't so big they'll take up all of the space in your room, and they can still go seriously loud if you crank the volume up to eleven.

A 28mm version of Cambridge's new Torus tweeter lurks inside – bigger than the usual 25mm size we see in the majority of speakers. This extra surface area should mean 25 per cent more air displacement, according to the manufacturer.

The L/R X also have twin 12.7cm woofers and a pair of side-mounted 15cm passive radiators, the latter of which aim to deliver deeper and louder bass from the modestly-sized cabinet.

The L/R X have a more angular look than the LS50 Wireless II, which are nigh-on identical to their LS50 forebears, but we're fans of their slightly more bulbous aesthetic, like they're bulging with sonic tech just waiting to delight.

There's also the contrasting Uni-Q driver array, a signature of almost all of KEF's speakers, consisting of a 25mm aluminium tweeter and a 13cm aluminium mid/bass. That's supported by KEF's 'Metamaterial Absorption Technology' (MAT) which, essentially, uses a maze-like disc to absorb sound waves that radiate from the rear of the tweeter dome for cleaner highs.

They've inspired a lot of imitators since they first launched, which is a sign of how significant the LS50 Wireless II have been and remain.

Their design is practical as well as good looking, with threaded inserts in the corners letting them lock onto KEF's S2 Floor Stands (which cost around £400 / $449 / AU$800 extra per pair).

Cambridge Audio L/R X vs KEF LS50 Wireless II: features

Cambridge Audio wins the battle of power, with 400W per channel of Class D amplification, compared with the KEF LS50 Wireless II's 380W. But of course, there's a lot more to sound quality than sheer oomph.

The L/R X lets you connect the speakers together wired via USB-C, or wirelessly using WiSA HT tech. Both methods support 24-bit/96kHz resolution, which isn't quite as high as the KEF LS50 Wireless II's resolution of 24-bit/192kHz via an Ethernet cable.

In terms of connections, the L/R X boasts a separate USB-C port, RCA stereo and optical inputs, plus a moving magnet phono stage for plugging in a turntable and HDMI eARC for hooking up your TV. There's also a subwoofer output if you want to up the bass with a dedicated woofer.

The KEF system also has all these, minus the USB-C option.

That's physical connections, but what about streaming? The L/R X have Cambridge's StreamMagic Gen 4 platform, which includes UPnP streaming, AirPlay 2, Google Cast, Spotify Connect, Amazon Music, Deezer, Tidal Connect, Qobuz Connect and internet radio. There's also Bluetooth for local streaming and an Ethernet port for a more stable internet connection than wi-fi. Oh, and it's Roon Ready too, for music management using that platform. That's a lot of features.

KEF brings a similar suite of features via its KEF Connect app, including AirPlay 2, Google Chromecast and Bluetooth 5.0. So on paper at least, there really is very little to separate them.

We've used KEF's app extensively over the years, and have found it a breeze. As we wrote in our LS50 Wireless II review: "Loading dense service libraries, navigating its clean and logical interface and switching inputs proves a pleasant and reliable experience." If Cambridge wants to top it, it will have its work cut out.

Cambridge Audio L/R X vs KEF LS50 Wireless II: sound

Of course, the million dollar question is: how do they compare in terms of sound?

We've only heard the Cambridge Audio L/R X in its maker's demo space, rather than our dedicated listening room, and what we heard might not be the finished product. The L/R range isn't due for release until the summer, during which time it could have changed significantly. Since we heard it in Cambridge Audio's London HQ, for example, the firm has fine tuned the audio to reduce some top-end harshness at higher volumes.

But our first impressions were of a clear, clean and rhythmically sound performer. That 400W per channel makes it go very loud for a system of its size, and it retains plenty of textural detail in the process. It displays a good level of musicality, with plenty of space around the distinct-sounding instruments.

The L/R X showed considerable dynamic headroom at loud volumes, and as we hopped between musical genres in our demo – from Alice In Chains to a techno cover of Come Together – a picture emerged of clarity, scale and snappiness regardless of the track chosen or volume it's played at.

We also detected a slightly hard, bright edge among higher frequencies from time to time, but we can't confirm this until we've carried out our own extensive testing in our own listening rooms, especially as this is something which Cambridge has vowed to look at.

Cambridge Audio was so sure of its system that it actually played it side by side with the KEF LS50 Wireless II, albeit very briefly. The L/R X seemed to go louder than KEF's system, although obviously we can't draw any concrete conclusions outside of our own test rooms. Let's be honest, there's a lot more to a system than pure volume.

The original KEF LS50 Wireless gained entry to the What Hi-Fi? Hall of Fame, and the sequel has won an Award for a phenomenal six years running, so we know it sounds superb, but it's worth noting its many, many strengths to gauge exactly what Cambridge is up against.

KEF's Metamaterial Absorption Technology (MAT) helps achieve a clean treble, distinct mids and well-defined bass notes. There's more room within the presentation compared to its predecessor, with more detail and greater separation between instruments.

Listening to Adrienne Lenker's Symbol, the LS50 Wireless II "lay bare more intricacies in the guitar work, while disclosing the distinctive fragilities in her vocal," we wrote in our review. And these characteristics aren't unique to this track. "Similar sharpness and attention to detail is evident as we switch to Peter Broderick's Moment, the piano sequence aching with meticulously written melody as the LS50 Wireless II more deftly define the start and finish of notes."

They have a dose of extra punch too, and more agility, but these extra capabilities never come at the expense of subtlety. Cambridge Audio, the ball is in your court.

Cambridge Audio L/R X vs KEF LS50 Wireless II: early verdict

It's too early to say whether Cambridge Audio has managed to dethrone KEF. Trumping a six-time What Hi-Fi? Award-winner is no easy feat, but the L/R X certainly looks ready to give it a good go: it's a nicely designed, well thought out system that offers many of the same features as KEF's finest.

With similar premium price points, truly, Cambridge is bringing the fight.

But if any music system is up for it, it's the LS50 Wireless II. With multiple Awards to its name, a proven excellent sonic performance, and regular price drops, it's a very tough act to beat. We'll update this with our full verdict once we've reviewed the L/R X in due course.

MORE:

Read our Cambridge Audio L/R X hands-on review

And our KEF LS50 Wireless II review

KEF wireless speaker systems compared, from LSX II to LS60 – which one should you buy?

This week, British hi-fi audio brand Cambridge Audio all but called KEF outside for a “chat”, when it unveiled its new range of L/R active speakers.

The manufacturer went so far as to boast "it's ready for the fight" at the speakers' launch when we asked about it going toe to toe with KEF. It even ran the speakers head to head with their rivals during a demonstration.

This really is a pound-for-pound grudge match: the L/R range's pricing puts it in direct competition with KEF's LS range of speakers.

The middle-child L/R M, which Cambridge is marketing as “the best option for most people”, retails for £1199, the same price as the five-star KEF LSX II we have long recommended to any buyer on the hunt for a wireless speaker system.

How does Cambridge plan to succeed where other hi-fi heavyweights – including Technics with its three-star SC-CX700 system – have failed in their efforts to dethrone KEF?

We talked to the L/R range's architect, Cambridge Audio’s active systems development manager, Ollie Marshall, to find out.

Cambridge isn’t interested in its past

Cambridge Audio is a brand that has always sold itself on having a distinctive “British” sound. This was a key ingredient of the charm of its separates and speakers.

Highlight products include the five-star Cambridge Audio Aero 6 floorstanders and 5.1 Aero surround sound package we reviewed in 2015, as well as its CXN (V2) network streamer, which entered our Hall of Fame in 2023.

Ollie Marshall says, however, that the firm is not taking any cues or inspiration from its past efforts. He tells us that Cambridge Audio is interested only in what’s to come – as evidenced by its recent rebrand.

“If I’m honest, no, we didn’t borrow anything [from our existing products],” Marshall says.

Instead, he is focusing on using his experience gained working on speakers and systems at hi-fi rival Naim / Focal, with a goal to create something entirely new.

“These are the first speakers I’ve worked on [at Cambridge], so they’re completely different. For example, I used to work at Naim / Focal, so I really appreciate the hard domes, where it’s a bit like playing with fire: there’s so much to gain with hard diaphragms, but you can definitely get it wrong as well. So for these, it’s about trying to find that balance.”

He adds that the end goal is to create something that treads the tightrope of being enjoyable and energetic enough to delight regular music fans, while also being clear and transparent enough to appeal to audiophiles. He openly admits that that's a tall order for any hi-fi company.

“I just wanted to make something that I really wanted to listen to. I consider myself an audiophile, but also someone who loves music and just wants something fun to listen to,” Marshall tells us.

“I want it to communicate the music. I wanted these to be a balance between audiophile and my style. I wanted it to be something that has the credentials to excite the audiophiles but also the simplicity and features that are appealing to other, I guess you would call them, normal people.”

He adds that this is a key reason Cambridge still puts great emphasis on tuning to its team’s ears, as well as measurements.

“We use a mix [of listening and measuring]. There’s a huge part of it, with the drive-unit design, using simulation tools, using systems and tools to get the drive units to behave as you want them to on paper. But so much more of it is done by listening to music through them,” he says.

“Measurements are a useful tool, but it’s about judgment; I’m always thinking, maybe I could try something here, or something there to make it better. Ultimately, it comes down to whether or not it sounds good.”

Separates are important, but systems are the future

Marshall adds that the new active speakers are also a sign of a shift in thinking by Cambridge, which now views systems as the future of hi-fi.

“I think long-term, this is the future of hi-fi. Sure, sometimes it won’t be all built in, there will be add-speaker boxes. But I think even then, this is the long-term future of the industry. So it makes sense for us to lean into it. I don’t want to undermine the other products we make, but they’re for a different customer,” he says.

“There will be some customers with big passive systems that are interested [in the L/R series] because they want to simplify; but there are a lot of lifestyle buyers – people who don’t know what to get, but want to level up from basic stuff. They don’t want to worry about what cables to buy, what pre-amp to get. They want a system that’s just there for them. That’s what this is.”

He adds that, while separates will remain the best port of call for pure performance, there are advantages to systems at a technical level.

“You can get the absolute best from separates if you have a bigger box, with more muscle, etc., but you can get pretty close with this. You can optimise so many things that you simply can’t do in a passive system – protecting the drivers, making it so you can get close to their limit but retain their musicality, things like that. It’s quite powerful to have this closed system for the acoustics and amplifiers,” Marshall tells us.

Do you agree with Marshall’s thoughts on the future of hi-fi? Are you tempted by one of its new L/R Series of over KEF’s alternatives? Let us know in the comments section below, or get involved with the conversation on our forums. We’re eager to hear your thoughts.

MORE:

These are the best speakers we have tested

We rank the best hi-fi systems

Our picks of the best wireless speakers

Cambridge Audio is heading into unknown waters.

It's been a while since the British brand has made a pair of stereo speakers, but Cambridge is now breaking completely new ground with its L/R range of all-in-one wireless active speaker systems, the first in the company's history.

Akin to the likes of the Award-winning KEF LS50 Wireless II or KEF LSX II LT systems, which incorporate amplification and streaming capabilities within a pair of standmounts, the new Cambridge range consists of three distinct models: the entry-level L/R S, the middle child L/R M and the more premium L/R X, all of which tease "the maximum possible performance" from a "room-friendly" setup.

Leading the charge for the L/R X and M models is Cambridge's new 'Torus' tweeter which, as you'll have perhaps guessed at if you're keen on geometry, utilises a ring-shaped design with a tapered horn inside the rear chamber. The Torus employs a dual radius configuration, with a flatter top and steeper sides, alongside a large rear chamber for better clarity and direction.

• We've had a first listen! Read our Cambridge Audio L/R X hands-on review

The L/R X and L/R M both feature a 28mm tweeter, with Cambridge promising that this increased surface area results in 25 per cent more air displacement than the more traditional 25mm dome.

For the L/R X model, this tweeter is complemented by twin 12.7cm woofers working alongside a pair of side-mounted 15cm passive radiators, while the smaller M harnesses dual 10cm woofers working alongside twin 12cm passive radiators.

Both active speakers feature Class D amplification, with the L offering a total of 800 watts of power, while the M model delivers 300 watts.

The smaller L/R S version, meanwhile, doesn't have a Torus driver, instead using a 21mm aluminium tweeter working in tandem with a single 7.6cm woofer, both fed by 100 watts of power.

Cambridge Audio envisions this range to be flexible enough to work with a range of sources, from TV to CD player to turntable. All three models offer RCA line-level inputs, while the X and M models house twin USB-C ports – one for handling audio and the other for the speaker interconnect link – as well as digital optical inputs.

Both feature a built-in, moving magnet phono stage for connecting to a record player, as well as an HDMI eARC input for hooking your speakers up to your TV or home cinema setup. There’s also a subwoofer output if you want a three channel system boosted with more bass.

Being the most affordable member of the family, the L/R S doesn't offer HDMI eARC or a phono stage, but optical and USB-C inputs are still on the menu. All three models grant Bluetooth connectivity, and while there's no wi-fi streaming capabilities for the smallest S model, it is the only system capable of supporting the aptX HD Bluetooth codec.

Conversely, the more premium L/R X is the only system capable of supporting a wireless connection between both speaker units, although you can use a USB-C tether as you would across the entire range.

The L/R X and M models' streaming powers are driven by the fourth generation of Cambridge’s StreamMagic platform, offering support for the likes of AirPlay 2, Google Cast, Spotify Connect, Tidal Connect, Amazon Music, Deezer and Qobuz Connect. There is also support for UPnP, Roon Ready and internet radio.

The StreamMagic platform is one we've generally got on well with in the past (as evidenced in the CXN100, EXN100 and MXN10 streamers), so we're hoping for a similarly smooth experience with the new speaker systems.

There’s also a seven band equaliser for personalising your sound, while Cambridge’s ‘DynamEQ’ algorithm works to ensure that the speakers maintain their tonality and character at any volume.

The Cambridge Audio L/R speaker systems will be available in six colours: blue, green, orange, black, white, and a real walnut veneer.

They will be available from the following dates and at the following prices:

- L/R S: £399 / $549 / €499, from March 2026 (£449 / $599 / €549 for Real Walnut)
- L/R M: £1199 / $1599 / €1399, from July 2026 (£1299 / $1699 / €1499 for Real Walnut)
- L/R X: £1799 / $2299 / €1999, from June 2026 (£1899 / $2399 / €2099 for Real Walnut)

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Also consider the Triangle Twin AIO

Cambridge Audio's entry into a new market sector is undeniably exciting. The new L/R range of wireless stereo speaker systems represents a brave new expansion for Cambridge, and while there's strong competition about from the likes of KEF and Triangle, the market for feature-laden, all-in-one speakers with streaming capabilities and built-in amplification is certainly ripe.

We've had the chance to listen to the new range's most premium model, the L/R X, at Cambridge's London headquarters in December, with a view to discovering whether the hi-fi brand's considerable pedigree and heritage can translate from amplifiers and music streamers to this versatile speaker system format.

The competition for the flagship Cambridge L/R X (priced at £1799 / $2299, out in summer 2026) comes predominantly from the Award-winning KEF LS50 Wireless II speaker system, whose price varies from £2199 to £1799 depending on the finish and retailer chosen.

With the appeal of do-it-all compact systems only set to grow, Cambridge's expansion therein could prove to be a savvy strategy for a whole new audience beyond traditional hi-fi. It just needs to make sure that the sound performance is up to scratch.

Build and design

The new speakers opt for a clean, minimalist design that, depending on your preferences, can be daubed in a choice of colours ranging from pristine white to a bold, arresting orange. The L/R X also features some rather nifty LED underlighting if you're keen to set the mood, though this feature wasn't available to witness during our demonstration.

These speakers are the largest in the lineup, yet they don't appear so vast that they'd look out of place in a relatively modest listening space. Their reasonably compact size belies their ability to go seriously loud when the time calls for it, thanks to their considerable 800 watts of total power (that's 400W per channel), courtesy of Class D amplification.

Unique to the X model, you can choose between a USB-C wired or a fully wireless (WiSA HT technology) interconnect between the two speaker units themselves. Both methods support playback up to 24-bit/96kHz resolution.

The L/R X features Cambridge’s patented Torus tweeter, which as the name suggests, uses a ring-shaped design with a tapered horn inside the rear chamber. The Torus tweeter uses a dual radius configuration, with a flatter top and steeper sides, and a generous rear chamber for better clarity and direction.

The L/R X uses a 28mm Torus tweeter, with Cambridge promising that this increased surface area results in 25 per cent more air displacement than the more traditional 25mm dome size we see in most speakers.

Alongside, you get twin 12.7cm woofers working with a pair of side-mounted 15cm passive radiators, the latter of which have been chosen in pursuit of deeper, louder bass from a relatively modest cabinet size.

Features

Around the back of the left speaker unit you’ll discover two USB-C ports – one for handling audio and the other for the wired speaker interconnect – as well as RCA stereo and optical inputs.

The L/R X also has a built-in moving magnet phono stage for plugging a turntable in directly, while a HDMI eARC input is available for connecting the speakers to your TV. If you want greater bass, there is also a subwoofer output.

For all your streaming needs, the L/R X features Cambridge’s current StreamMagic Gen 4 platform, which gives you access to UPnP streaming, AirPlay 2, Google Cast, Spotify Connect, Amazon Music, Deezer, Tidal Connect, Qobuz Connect and internet radio. We've generally found the StreamMagic platform and app easy to get along with in the past, so we're hoping for a similarly smooth experience when we get hold of our own test samples for a full review.

You'll naturally spend most of your time listening to the L/R X via wi-fi, but standard Bluetooth is on the menu for listeners who just need a quick and simple way to get their tunes firing. Along with wi-fi, there is also a wired Ethernet port available for a more stable connection.

Sound

During our launch preview at Cambridge's HQ in London, we managed to enjoy a decent amount of listening time with the L/R X, but we also need to make some important disclaimers at this point.

We listened to the L/R X in an unfamiliar demo space that is different to our dedicated What Hi-Fi? listening rooms, for a short period and without the comparative rivals against which we normally judge sound quality. Any concrete assessments, therefore, are reserved for when we can get a review sample of the L/R X into our own listening rooms and assess them under our own controlled conditions.

It's also worth noting that our initial experience may not be fully reflective of the finished product, either. Since our demo, Cambridge has made some audio tuning tweaks to the L/R X, including adding two filters in a bid to take a little top-end harshness out at higher volumes.

With that in mind, our demo ran the musical gamut, from peppy pop to ear-melting heavy metal (often with the volume cranked firmly towards the red zone), so we do have an initial idea of what the L/R X is capable of.

All songs during the demo were streamed using Spotify Lossless (24-bit/44.1kHz) from an Android smartphone.

Our first impressions are of a clear, clean and rhythmically sound performer, one which is capable of bringing out ample helpings of textural detail while going loud and proud in the process. The first track we’re served is Prince’s 1+1+1 is 3, and we note how the track’s funky underpinnings are well serviced by L/R X’s sharp and punchy sense of rhythm.

It’s always a nice surprise to hear Alice in Chains pulled out during a hi-fi demo, and an even nicer one when the grunge gods are given such a generally positive rendition. The L/R X seems to bring admirable detail and musicality to No Excuses, offering a great feeling of space and clear delineation around instruments and the track’s intertwining vocal strands.

To showcase how the L/R can handle large-scale dynamics, we are treated to Hans Zimmer’s Mountains from the Interstellar soundtrack.

There’s no question that, as the volume is cranked to eleven, the L/R X has considerable dynamic headroom – how naturally it shifts between more subtle dynamic fluctuations, however, requires further investigation on our end.

Not many stones are left unturned in the music department, and whether it’s Steely Dan’s Peg or a techno rendition of Come Together courtesy of Urbandawn and Tyson Kelly, our overall impressions don’t alter much – all of that clarity, scale and snappiness remain in evidence no matter the track chosen or the volume at which the system is played.

Certain quirks or potential limitations also remain consistent from tune to tune. It might be that this is an early sample we're listening to, or the loudness at which many of songs are demoed, but we do detect a slightly hard, bright edge that threatens to detract from our listening fun.

Whether it’s the lean snare on Peg or Prince’s vocals on 1+1+1 is 3, we’re left wondering if this excessive brightness could be a potential sticking point.

Again, further testing and running in – and possibly some tinkering with the speakers’ EQ settings – will reveal a more concrete answer, and this might well be something that Cambridge's subsequent tuning has rectified. The L/R X may also sound more forgiving when given a run out in our own test rooms, especially when they're granted more time to run in and warm up.

Most of the demonstration is performed in isolation, although there's a brief period during which the KEF LS50 Wireless II are wheeled out in order to demonstrate how much louder the L/R X can go when compared with their closest rivals, a head-to-head that's performed using Bleed from Within's headbanging In Place of Your Halo.

Yes, the Cambridge system wins out easily in the volume stakes, yet we'll need more dedicated time to gauge which speaker system wins out when it comes to the finer subtleties of rhythmic cohesion, dynamic prowess and overall emotional impact.

That’s a head-to-head we are looking forward to exploring in more depth when we get a full review sample in for testing. For now, the L/R X has left quite the impression, and it's always a good sign that, rather than having had our fill after an hour, we're curious to hear more.

Initial verdict

We can certainly see the appeal of all-in-one speaker systems such as this, and it's high time that more hi-fi brands joined this category. The likes of the KEF LS50 Wireless II and LSX II LT, and the cheaper but also Award-winning Triangle AIO Twin, demonstrate the appeal of proper hi-fi heritage housed in a modern, easy-to-integrate and lifestyle-friendly format.

Cambridge Audio's L/R X initial performance, ample feature set and compact design footprint, even in our limited demo time, has given us a solid impression of the new system's potential, but whether the L/R X has the full range of talents to topple the current class-leaders will require a good deal more investigating.

MORE:

Read our KEF LSX II LT review

And the KEF LS50 Wireless II review

Check out the best hi-fi systems we have tested and rated

You don't always get everything you want for Christmas.

Some desired gifts can fall through the cracks, and while it's nice to have another set of novelty socks and a festive hamper from your estranged aunt who now lives over in Australia (doesn't she know you're a vegetarian?), sometimes you have to take matters into your own hands.

Grannies are great for knitting jumpers, but they don't know a huge amount about wireless headphones or budget amplifiers.

That's why we've compiled this list of the best hi-fi and audio products we're eyeballing in the post-Christmas sales – if you're flush with cash, it might be time to take matters into your own hands and get 2026 started on the right foot.

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It's nearly Christmas! But wait – before we start counting down the sleeps and getting ourselves merry on mugs of mulled wine, we have a handful of hi-fi and AV treats waiting for us in the What Hi-Fi? test rooms.

While the post-Awards schedule is less hectic, there is still a queue of products waiting to be reviewed – and here, we've picked the five most exciting hi-fi and TV models that we are currently testing or are excited to get started on.

These include a new product category entrant from the legendary Rotel brand, a successor to an exquisitely made phono stage, the next iteration of Cambridge Audio's five-star streaming amplifiers, and two TVs at either end of the spectrum: an entry-level Sony LED and a range-topping Philips OLED boasting brand-new panel technology.

As ever, if you have any questions about the products we are reviewing, comment below or email us at whathifi@futurenet.com, and we'll do our best to find the answer during our testing process and get back to you.

As we head into the holiday season, we hope everyone reading What Hi-Fi? has a wonderful and restful festive break, and we thank you for all your support throughout this year. See you in 2026!

Rotel DX-3

Rotel has been around for 60 years, but this marks the first time the hi-fi brand has made a headphone amplifier. The DX-3 wants to be the "ultimate desktop audio companion", offering DAC and preamp functionalities alongside two headphone ports (6.3mm and 4.4mm) with selectable gain options.

That's not all: it has aptX HD Bluetooth, supports hi-res files up to 32-bit/384kHz PCM and DSD256, and has a good complement of analogue and digital connectivity to plug into hi-fi systems, too. The compact footprint makes it about the size of a WiiM Ultra, making it desktop-friendly. It costs £1399 / $1499, and we're looking forward to taking it for a spin.

Luxman E-07

We are big fans of Luxman's stunning, high-end EQ-500 phono stage, which we tested back in 2017. It's a beautifully made product, with exquisite sound quality to match.

We have its successor, the E-07, in for testing and we are fizzing with excitement to hear how it performs. Announced as part of the brand's centennial celebrations, the new Luxman E-07 features a refined build, the return of tactile toggle switches and dials, and "carefully selected components prioritised for supreme audio quality".

Costing £5500, the E-07 needs to be tested in an appropriately highly talented turntable system – which is exactly what we've been doing.

Cambridge Audio Evo 150 SE

It's been four years since Cambridge Audio launched Evo 75 and Evo 150 – the brand's first just-add-speakers streaming amplifiers that combined style, features and sound in an enticing manner.

Those five-star models have now been discontinued and replaced by a single model: the Evo 150 SE (£1999 / $3299). This continues the sleek industrial design language, with a large display screen and swappable side panels, while there is ample connectivity (including MM phono stage and HDMI ARC) and extensive streaming features thanks to the StreamMagic Gen 4 platform.

The internal Class D amplification uses a new Hypex NCOREx module and delivers 150 watts per channel (into 8 ohms). Cambridge says it has made improvements throughout the signal path and used more high-quality components to elevate the Evo 150's sound performance even further.

Let's hope this new 'Special Edition' mode continues the Evo range's fine form.

65-inch Sony Bravia 3

Bravia 3 is Sony's new entry-level 4K HDR TV series, and the cheapest LED in the range does without local dimming entirely. This means it goes up against TCL models with full Mini LED backlights.

Can Sony's legendary processing overcome this specification deficit? We can't wait to find out. We have the 65-inch model in for testing, which currently costs £849, and we're reviewing it against the 65-inch TCL C7K – a 2025 What Hi-Fi? Award winner we tested at £899 and lauded for its excellent value and punchy picture.

Philips OLED910

After a rather long delay, we are finally finishing our review of Philips’ first Primary RGB Tandem OLED TV.

The OLED910 series combines the super-bright, next-generation panel tech found in the LG G5 and Panasonic Z95B, with Philips' classy styling and lovely four-sided Ambilight. The OLED910 undercuts those rivals (and the Samsung S95F and Award-winning Sony Bravia 8 II) on price, too.

The Philips also has an integrated premium Bowers & Wilkins 3.1 sound system (81W total, 8 channels), and supports HDR10+ and Dolby Vision. A very enticing proposition!

You can read our first impressions in this Philips OLED910 hands-on review, but stay tuned for the final verdict very soon.

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If you have a beloved old turntable and don't want to replace your perfectly functional vinyl hi-fi system, but still want to give it a sonic refresh and some extra features, then an outboard phono stage is an excellent upgrade path.

Alternatively, you might have bought a new budget turntable and have a pair of active desktop speakers, but are missing the crucial phono stage element in the chain.

In either use case, this Cambridge Audio Alva Duo phono preamp is a great, inexpensive and discreet addition that will give your vinyl system a modern refresh and a sonic upgrade in the process. You can snap it up for £249 at Richer Sounds – that's a £50 saving off its full price in this early Black Friday deal.

The five-star outboard phono stage is compatible with both moving magnet (MM) and moving coil (MC) cartridges. Best of all, it includes a built-in headphone amplifier stage and volume dial, which is highly unusual for most standalone phono stages, no matter the price.

This is ideal if your ageing turntable-based hi-fi system doesn't have a headphone socket, and you want to enjoy listening to your records late into the night and without disturbing anyone else in the house.

The Cambridge Audio Duo's full-size 6.3mm headphone socket means you can easily plug in a pair of great wired headphones – such as the Beyerdynamic DT 990 Pro X, the Grado SR325x, the Austrian Audio Hi-X20 or your trusty old Sennheiser HD 600 – and enjoy your records with their quality largely intact.

For those embarking on their first turntable adventure, the addition of this Duo phono stage to a pair of active speakers (one that already has amplification built in) will ensure your vinyl records will be heard with a smooth, detailed and full-bodied sound.

You do get a punchier and more rhythmically precise sound from our current Award-winning Rega Fono MM Mk5 phono stage for a similar price, but it doesn't have any of the extra features that make the Cambridge Duo so enticing.

Most budget to mid-price turntables that we would recommend using the Duo with will likely be equipped with MM cartridges as standard, but if you were to explore MC options in the future (be warned: they tend to be much, much pricier), the Duo gives you the option to expand your horizons when the time comes.

Whether it's the missing link in your compact desktop vinyl system or a modern refresh to an ageing but much-loved hi-fi system, the stylish little Duo with its dynamic sound and great features is worth considering as an upgrade. Snap it up for its deal price of £249 at Amazon or Richer Sounds before Black Friday is over.

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Check out all the early Black Friday hi-fi deals currently live

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Black Friday quick links

• Amazon: browse all of today's best deals
• B&W speakers: save £200
• Bluetooth speaker: 48% off five-star JBL
• Bose QC Ultra Earbuds: save £100
• Bravia 8 TV: save 34% on 55in Sony TV
• Denon AV receiver: save £500
• Dolby Atmos soundbar: down to £299
• ELAC Debut 2: five-star speakers now £199
• Headphones: Sennheiser Momentum 4 now £169
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• TVs, movies, home cinema: browse the best deals

As music streaming dominates the way we listen to our favourite tunes more than ever before, far surpassing vinyl's resurgence, it is perhaps no surprise that the music streamer – or network audio player – category at the What Hi-Fi? Awards 2025 has seen such an upheaval.

Three out of the five winners are brand-new entrants, showing just how competitive and strong the market is in this ever-growing category. That these new winners are all on the premium side also shows just how serious – and seriously good – brands are getting in terms of delivering great usability, a wide array of features and great hi-res sound quality.

All the winning streamers here tick the boxes when it comes to supporting the popular music streaming services (Qobuz, Tidal, Spotify, internet radio), playing hi-res music over a wi-fi or wired network, along with a varying array of physical connectivity. Each model has its own particulars – and some provide more features than others – but overall, each model's streaming platform is strong, covers the most popular streaming methods, and is easy to use.

Taking it from the top, our most premium winner (over £2000+) is the Cyrus 40 ST. We were impressed with its sleek, modern design – that still stayed true to Cyrus's iconic half-width chassis blueprint – and were further enamoured with its terrific sound quality. We said in our review: "Dynamically, it is impressively expressive, rendering low-level shifts in intensity elegantly, and delivering large-scale orchestral crescendos with real conviction." No matter what genre of music we play through it, the Cyrus sounds composed, organised, insightful and, crucially, heaps of fun.

We concluded that the Cyrus 40 ST has a "blend of detail, dynamics and rhythmic security that’s hard to better at the money" – it's an outstanding performer.

Arcam's new ST25 is our favourite music streamer in the £1000-£2000 price range. It's actually the only traditional full-width streamer in this category, with most other winners favouring compact forms. The ST25 naturally works a treat with its partnering A5+ and A15+ stereo amplifiers (both 2025 Award winners, too), and delivers an effortless, crystal clear sound quality.

"It sets an eerily quiet backdrop for the music, which allows all the instruments space to breathe," we said in our review. "There’s a real sense of pace, agility and power to the bassline as it pounds along, laying a robust foundation for all the electronica poured on top." There is ample subtlety and dynamics as you hear the intent and intensity changing behind each piano strike, while a bountiful soundstage allows every layer of a composition to be delivered in a cohesive, insightful manner.

And the last of our fresh new trio of winners is perhaps the one with the most features packed into a small box: the Bluesound Node Icon. We've seen Bluesound pick up Award trophies in the more affordable price ranges in previous years, but it's the brand's most premium model yet that delivers a brilliantly musical, dynamic and subtle sound that works a treat for all genres of music.

We said in our review: "It’s a lively, engaging and dynamic performer that grabs our interest at the beginning and only continues to impress us the more we listen." There is a spark to the Node Icon's sound, coupled with composure, good balance and agile rhythmic ability, that means we simply have a great time listening to it.

Taking the trophy in the £750-£1000 price bracket, the Bluesound boasts plenty of additional features that the more traditional hi-fi brands/models don't – such as an HDMI eARC input, support for Dirac Live room correction technology, and two 6.3mm headphone sockets.

The two returning winners in this category are brilliant budget gems that we are delighted to give flowers to for another year: the WiiM Pro Plus and the Cambridge Audio MXN10. Both remain superb value products at their more affordable price points, and we wouldn't hesitate to recommend them to anyone looking to gain a wealth of hi-res streaming features without spending big bucks.

Cambridge's MXN10 is a delightful compact streamer whose dynamic expression and rhythmic coherence are really rather impressive at its more budget price point, is packed with energy and detail, and is a great stepping stone into the world of separates hi-fi.

Of course, if your budget can't stretch even to the MXN10's £350 price tag, the WiiM Pro Plus remains one of the best bargains of the year, costing under £300 and delivering a detailed, organised and likeable sound for very little relative outlay.

We liked its rather natural midrange talents, "where the vocal is brimming with character and attitude", while it sounds best with hi-res tracks but is still forgiving with poor sources. It also has a well-executed app that we find is particularly user-friendly for beginners, which is always a bonus.

The well-deserved 2025 winners in our music streamers category cover a broad price spectrum, sonic tastes and specific connectivity, and no matter your budget, we think there's something for everyone here to enjoy.

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Streaming hi-fi systems from Arcam, NAD, and Ruark make their mark at the What Hi-Fi? Awards 2025

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

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

Cambridge Audio owners, rejoice: Qobuz Connect is now available on the brand's current crop of streaming products, following a software update this week.

Qobuz Connect integration comes to Cambridge Audio products running on the fourth generation of the StreamMagic platform. That includes the Evo 150 SE, Evo 150, Evo 75 and Evo One streaming systems, and the CXN100, EXN100, AXN10 and MXN10 music streamers.

Owners of these products simply need to run the latest software update and then should be able to enjoy Qobuz Connect functionality in full. While Cambridge Audio products already had Qobuz integrated in the StreamMagic app, Qobuz Connect allows you to bypass this control app entirely and stream music directly from the native Qobuz app.

Like Tidal Connect, Qobuz Connect allows music to be streamed over the network directly from the music platform's servers to the compatible audio product, freeing up your phone to be used simply for playback control. It means text notifications and phone calls won't interrupt your stream, and offers a more intuitive experience overall.

Qobuz's 100 million+ catalogue is available in up to 24-bit/192kHz high resolution and in lossless CD quality, which you can enjoy in full via Qobuz Connect. Simply fire up the Qobuz app, select the compatible Cambridge Audio product as the audio output, and hit play.

What about older generation models? Qobuz Connect availability for the StreamMagic Gen 3 and Gen 2 network streamers – such as the Hall of Famer CXN (V2), Edge NQ and Azur 851N – is also being worked on, we're told, and will be available at a later date. An earlier community post says this support should arrive by the end of the year.

Cambridge Audio has recently added support for Spotify Lossless in all Gen 4, Gen 3, and Gen 2 StreamMagic products. Qobuz has also updated its Discover home page in the app to include a more personalised feed and recommendations.

MORE:

Read our Cambridge Audio EXN100 review

Qobuz Connect: what is it? Which products support it?

Our guide to the best music streaming services for sound quality

Amazon's Big Deal Days is still going, but not for much longer. We're a good deal of the way through what is essentially Prime Day by a different name, and while we've seen some spicy deals that are enough to have your typing fingers tingling, the big sales event won't last forever. Nothing good in life ever does...

That means that you need to get a move on if you're looking for a pair of wireless earbuds and you want to bag yourself a bargain. Maybe you've got a friend with an upcoming birthday, or you've got one eye on Christmas. Or, naturally, you just want some great gear for yourself.

Whatever your motivation, these are four very tasty deals that we don't want you to miss out on before Big Deal Days ends tonight.

• Browse all the Amazon Prime Big Deal Days deals

Best for noise cancelling

Best value

Best for Apple fans

Best battery life

MORE:

I man the Big Deal Days hub – here's why today is the best day to grab a deal

Amazon Big Deal Days hi-fi deals: all the top headphone, vinyl and speaker savings picked by our experts

And check out Amazon Prime Big Deal Days: the best deals on headphones, TVs, speakers, home cinema and more

As live gigs become more ambitious to stage and expensive to attend, TV coverage is ramping up, meaning it could be time to give your home cinema a musical makeover instead.

MTV has returned to its roots with 24/7 music videos this week, the BBC and Sky Arts deliver wall-to-wall festival coverage, concerts can be downloaded in exceptional quality, and streaming giants are increasingly broadcasting artist tours and documentaries.

The music content we can now stream at home has evolved far beyond, and deserves far better than, basic TV speakers. It has created new demands for your home cinema setup, and positively demands an upgrade to a versatile all-in-one music system, or active stereo speakers with an HDMI eARC input.

Turning to TV

The catalyst for all this excellent content isn't nostalgia – it's economics. As anyone scrambling for Oasis tickets will tell you, concert tickets have become prohibitively expensive, while shows sell out instantly, only to reappear on extortionate reseller sites.

Jamie Tagg, Festival Director of Mighty Hoopla, reveals the harsh reality: “Our talent budget has well over doubled, if not even tripled, in the last few years. And that's for a whole host of reasons. Not only is top talent huge now, the numbers are just insane.”

“The market is so different to 10 or 15 years ago when touring was part of your campaign. Now it is your main driver of income, and we all want exclusivity on our lineups – so I’ve got to pay for that.”

Tagg also cites increasing customer expectations for the ticket price – bountiful hand sanitiser, glamping-style flushing toilets, and gourmet food choices. It’s an economic reality that has priced out countless music fans.

Matt Kaplan, UK & EU Director at ethical ticket reseller Tixel, which caps prices at 20 per cent above face value, says over 90 per cent of tickets on the platform are for last-minute gigs taking place that week. But if they can’t get one, music television can be the next best thing.

“I don’t think there’s ever going to be a substitute for the religious experience of going to the show. But if that’s supplemented by digital or virtual experiences for those who couldn’t be there or want to relive it, then that’s a good thing.

“Ultimately, shows have a certain capacity, and high-demand events are going to sell out, leaving many fans disappointed. But there are other ways artists and their management can offer access to the music.”

Gig-ready home cinema

Here's where most home cinema enthusiasts get it wrong. Traditional surround-sound systems, and even soundbars, are designed for dialogue-heavy films and explosive action sequences, and often disappoint when playing musical content.

Music demands stereo imaging, tonal balance, and rhythmic precision over directional effects – qualities many home cinema speakers (and especially most soundbars) prioritise less.

The solution lies in music-first audio equipment that combines streaming convenience with serious musical chops. Modern hi-fi streaming products, all-in-one systems and active speakers all prioritise stereo performance over surround effects, and take up less space than a 5.1 surround sound system.

Many of these stereo products now also include HDMI eARC (Enhanced Audio Return Channel) connectivity, which allows your TV to send high-quality audio signals to dedicated music-first audio equipment.

So, your options are no longer limited to a traditional multi-box surround system or poor soundbars; for those who want a great-sounding and immersive music experience, the best TV sound setup for music streaming in 2025 is a seriously capable stereo product that embraces HDMI eARC connectivity for seamless TV integration, and recognises that musical and cinematic priorities often differ.

Here are our five-star suggestions below.

Best all-in-one systems with HDMI ARC connectivity

If you don't want multiple boxes and cables, then an all-in-one system is a great (and stylish) option. The Ruark Audio R410 combines classic British styling with modern connectivity. Its warm, musical character suits acoustic and vocal-heavy content particularly well.

Meanwhile, the Naim Mu-so 2 delivers the British manufacturer's characteristic rhythmic drive and punchy timing – qualities that make live concert streams feel more immediate and engaging. Its distinctive design also serves as a statement piece.

The Cambridge Audio Evo One makes it a clean sweep for the Brits, thanks to its broad, room-filling presentation and fluid handling of dynamics. It is ideal for spacious and immersive concerts and documentaries, coming across almost like a live living room performance.

Active stereo speakers for music streaming

The desktop speaker-sized KEF LSX II system represents the sweet spot for compact, all-in-one wireless speakers with HDMI eARC capability. These diminutive speakers deliver remarkable clarity and stereo separation that make studio recordings and live performances equally engaging.

For maximum musical impact, though, the bigger KEF LS50 Wireless II scales up that concept significantly. Larger drivers and more powerful amplification mean this speaker system can handle everything from intimate jazz recordings to full-scale concert broadcasts with finesse.

Budget-conscious buyers should consider the Elac Debut ConneX DCB41 powered speakers. While lacking built-in streaming (only Bluetooth), they offer excellent musical performance (and far better than any budget soundbar) when paired with your TV via HDMI.

Music streamers with HDMI eARC

For maximum flexibility, consider building around dedicated components. A music streamer is an increasingly popular source – just remember that you will have to provide amplification and speakers to complete the system.

The WiiM Ultra offers exceptional value as a music streamer, supporting as it does all major streaming services while providing the crucial HDMI eARC connection for TV integration.

Premium alternatives include the Eversolo DMP-A6 and Cambridge Audio EXN100. Each offers enhanced build quality and a more sophisticated DAC section for improved sound quality as you go up the price range.

Sonically sound streaming amplifiers

The WiiM Amp Pro represents remarkable value in the streaming amplifier category, combining as it does streaming capabilities with amplification – you just need to add speakers. Its compact form factor suits modern living spaces, too.

Mid-range to premium streaming amplifiers include the Ruark R610, NAD C 3050 and Naim Uniti Atom. Each offers distinct sonic characteristics and varying degrees of power output. Naim emphasises timing and rhythm, Ruark provides warmth and musicality, while NAD delivers power and control.

For those preferring entirely separate amplification, the high-end Cyrus 40 AMP offers audiophile-grade performance and an e-ARC input, though you will need to add a separate streamer (and speakers) to complete the system.

The psychology of music streaming at home

Jamie Tagg believes the key difference to watching music content at home lies in the storytelling. “We put Kate Nash and the Royal Philharmonic Orchestra together and then thought we’ve got to document this. That’s going to be out soon, and it’s a really lovely thing to watch.

“We’re all walking behind the Beyoncé Coachella documentary, which was a performance, but it had insight, it had commentary, and it was interesting, so I do think there is a huge world of that coming.

“Blur’s To the End was excellent, as was The Stone Roses: Made of Stone. When you get to see the journey, that to me is much more fascinating than just watching a gig.”

As live music costs continue to rise, Matt Kaplan notes the likes of Viagogo and Stubhub employing something called speculative listings to assess demand, but the tickets don’t exist yet.

“That’s how prices are artificially inflated. They might think there’s a super hot show and decide to buy X amount of stock, put them up for £1,000 or whatever the mark-up might be, and they only need to sell a fraction.

“So with Beyoncé, her actual stadium shows weren’t sold out, but I’m sure the brokers had sold a lot of tickets. They don’t necessarily care about filling the room; they just care about offloading stock. It’s like an arbitrage game for them.”

Kaplan adds that most artists and managers aren’t making money; they are merely covering costs. So while Tixel supports the grassroots LIVE Trust with a £1 levy on every ticket sold, music TV and online content could be a vital revenue stream.

MORE:

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Hi-fi and sustainability aren’t the first things you think of as natural partners.

Audiophiles, in particular, often have an overt focus on sound quality above all else and are willing to pay astronomical amounts of money for Temptation level hardware full of precious, not always sustainably sourced, materials to get it.

But, as we know from the latest UK government poll data, young people do give a monkeys about what happens to, well, the monkeys and our planet in general.

Which is one reason why the What Hi-Fi? team took a step outside its comfort zone and is running a special Sustainability Week event.

As part of this I drew the British hi-fi straw and was tasked with doing a call round to some of the big names in audio to see what efforts the companies are making to protect the planet.

Cambridge Audio CTO, Matthew Dore, was one of the first to get back to me and give a proper update on the firm's sustainability efforts. Here’s what he told me.

It’s all about longevity

Starting off, Dore is bullish when asked if the company and its customers care about the impact hi-fi has on the environment telling me: “Yes [they care], as evidenced in a survey of our customers, where 67% ranked sustainability as important to their product purchases.”

He then adds that this is a key reason the firm is taking proactive steps to use more sustainable materials and sign up to schemes that help reduce our impact on the environment.

These include phasing out single-use plastic, especially with packaging, and incorporating recycled materials, such as FSC-certified wood and neodymium into its products.

Both measures have already been key tenets of recent Cambridge products' designs including the Melomania M100, Melomania P100 and Evo One system, which all passed through our listening rooms recently.

The firm is also one of the founding donors of EarthPercent, a music-industry charity led by Brian Eno, Coldplay and Billie Eilish, designed to help fund “meaningful climate initiatives”.

Despite these efforts, at a consumer level Dore argues the main thing Cambridge Audio is focussed on is building products that can last a lifetime.

"Sustainability and longevity work hand in hand – we aim not just to make products that are up to our high sustainability standards, but that will last beyond expectations and satisfy listeners for many years without replacement. Great sound shouldn’t cost us the planet,” he tells us.

But there are challenges

According to Dore, despite the firm’s focus on using sustainably sourced materials where possible, there are implications for product’s cost and performance that also need to be considered in order for it to remain competitive.

“As with many things in the world of audio products, the biggest challenge is getting the balance right. We have a strong supply base and sourcing sustainable materials is generally not an issue for us – however, they are more expensive,” he says.

He adds that the use of “pure” recycled materials can also impact their longevity as some parts are not robust enough to meet Cambridge’s standards.

“One challenging area that we don’t often see mentioned is the performance of sustainable materials. We are focused on the longevity of our products, and through extensive testing we have found that some recycled materials are not as robust,” he says.

“In some areas where we have intended to use 100 per cent recycled materials, we have had to move to a 50:50 mix to pass our stringent lifetime testing. The same is true for our packaging. While we aim to be 100 per cent plastic-free, and have achieved this with our current headphones, we have had to include some PPE foam in heavier products’ packaging to pass our drop and vibration tests.”

On the question of repairability, Dore confirms that Cambridge Audio does design its products to be serviceable, but he falls short of confirming if the firm plans to sign up to key schemes including the right to repair, or Cradle-to-Cradle targeted by a limited number of Bang & Olufsen products.

Either way, the moves are undeniably welcome and we’ll hopefully hear more audio firms reporting similar initiatives soon.

Until then, make sure to get involved with the conversation and tell us if you factor sustainability into your hi-fi purchases, for a chance to be included in our special edition Ask The Reader column at the end of the week.

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Our picks of the best music streamers

We rate the best hi-fi systems

Welcome to the latest edition of On the Radar, where we recount some of the biggest hi-fi and AV announcements from the last month and the products that we're most eager to get into our test rooms.

This month we saw two legendary Japanese audio brands reveal landmark new products in categories in which they have previously excelled.

Yamaha unveiled its latest Dolby Atmos soundbar system, which it hopes will be the key to defeating the likes of Sonos, Samsung and Sony.

Onkyo, on the other hand, continued its revival with a new CD player that sports a surprisingly low price tag.

Elsewhere, LG launched a new super compact ultra-short-throw projector that features a 4K image and Dolby Atmos audio. It hopes to outshine Samsung's The Premiere 5, which shouldn't be too hard considering it only scored three stars in our full review.

Up next is the Pro-Ject Head Box E, which promises punchy amplification for your headphones despite its pocketable form factor and affordable price.

And rounding up our list of new products is the Cambridge Audio Melomania P100 SE, a revised version of the company's P100 wireless noise-cancelling headphones, which we weren't entirely convinced by in our original review. Can this freshly-tuned pair deliver the goods?

Let's dive in to all the details...

Yamaha True X Surround 90A

Yamaha’s Dolby Atmos surround sound system takes technology from the Japanese audio brand’s very first soundbar and boosts it with two decades of soundbar advancements.

Sporting an upgraded version of beam-firing drivers from 2005’s YSP-1, this new system utilises those drivers and Yamaha’s clever processing to amp up height effects in order to increase cinematic immersion.

The soundbar is paired with wireless surrounds, which double as individual Bluetooth speakers, and a new wireless subwoofer, which features a symmetrical flared port design for reduced vibrations and bass distortion.

You’ll also find support for wireless music streaming over Bluetooth and wi-fi, and Yamaha’s Surround:AI system, which can adapt the audio output to suit the content you’re watching in real time.

• Price: TBC (estimated £2500)
• Release date: September 2025

LG CineBeam S

Projector manufacturers are going crazy for compact, ultra-short-throw models at the moment, and LG is the latest company to jump on the bandwagon.

This 4K UST projector can beam images of up to 100 inches in size from just 39cm away from your wall, with a claimed 500 ANSI lumens of brightness and built-in stereo speakers that support Dolby Atmos (on paper at least).

LG’s webOS smart platform is also on board, meaning you can stream from the likes of Netflix, Disney Plus and Apple TV directly from the projector, though there is an HDMI socket (which doubles as the eARC connection) if you plan on hooking up a Blu-ray player or games console.

With Samsung launching its Premiere 5 projector earlier this year, could LG be eyeing up its own slice of the compact UST pie?

• Price: £1099 / AU$2,499 (around $1460)
• Release date: September 2025

Cambridge Audio Melomania P100 SE

We weren’t totally enamoured with the first generation of Cambridge Audio’s noise-cancelling over-ear headphones, so we’re glad to see that it’s launching a refined model that tweaks some of our biggest gripes.

The new SE variant of its Melomania P100 headphones claims to have weightier low end and more refined dynamics, which will result in "more powerful, immersive playback" according to Cambridge Audio.

The new cans also sport a redesigned headband that promises "exceptional comfort for every head shape" thanks to improved cushioning and clamping force.

They still have the same custom 40mm composite neodymium drivers alongside Class A/B amplification as the previous generation, as well as support for Qualcomm’s aptX Lossless wireless audio codec. The promised sound improvement is all down to the tuning, so we’re eager to see if Cambridge can win us over.

• Price: £249 / $299 / €279 (Australia pricing TBC)
• Release date: available now

Pro-Ject Head Box E

Pro-Ject’s new headphone amp is punching well above its weight, but who doesn’t like an underdog?

Costing less than £100, Pro-Ject assures us that it has no trouble powering “even the most demanding headphones". It weighs just 390g and is easily pocketable if you plan on taking it on the go, while its 665 milliwatts (0.665 watts) into 32 ohms is enough to drive a variety of wired headphones.

It may be small, but Pro-Ject maintains that it's mighty indeed, claiming it can outperform a typical stereo amplifier in a hi-fi setup with a CD player or turntable. Inside this plucky little box is a fully discreet electronics system which should allow for more robust power handling, cleaner performance and easier servicing and repair.

Connectivity-wise, the Head Box E sports a pair of RCA sockets for inputs, along with a bypass RCA loop output for passing the signal on to another amplifier or audio device. There are also dual headphone outputs (6.3mm and 3.5mm) which can be used simultaneously for shared listening.

• Price: £89 (around $120 / AU$180)
• Availability: available now

Onkyo C-30

This Onkyo CD player has been designed to work seamlessly with the trio of amplification devices that launched at CES in January, as the brand reemerges into the hi-fi market.

It sports the company’s VLSC (Vector Linear Shaping Circuit) technology, which claims to remove pulse noise from the signal path for a cleaner analogue output from the player’s 24-bit/192kHz DAC.

Furthermore, the C-30 features a “vibration-resistant, blast-finished aluminium front panel” on the front, alongside analogue, digital optical and digital coaxial outputs on the rear.

UK pricing is yet to be confirmed, but we do know that it will cost just $349 in the US; a relative bargain compared to the amplifiers in the range, which all cost north of £1000.

• Pricing: £TBC / $349 / AU$TBC
• Availability: TBC

MORE:

Read our full Yamaha True X Soundbar System review

As well as our Cambridge Audio Melomania P100 review

Check out our picks for the best projectors

Cambridge Audio is seeking to take the performance of its flagship ANC wireless headphones to the next level.

The new Melomania P100 SE aim to enhance the sonic performance of last year's Melomania P100 over-ears, teasing "more powerful, immersive playback" from this updated version of the brand's first over-ear headphones.

That more immersive playback is provided thanks to what Cambridge Audio vows is a weightier lower end and more refined dynamics, combined with a transparent, balanced profile replete with textural detail.

We weren't too enamoured of the original Cambridge Audio P100 headphones, as we found that they lacked a sense of fun, rhythmic ability and musical engagement – resulting in their three-star rating. So Cambridge Audio’s plan to update the sound tuning in the new P100 SE headphones could be just what the doctor ordered – we look forward to hearing how the sound quality has improved.

The new cans also make use of 'DynamEQ technology' which preserves your music's balance and integrity, even at lower volumes. There is also support for aptX Lossless for delivering CD-quality streaming (16-bit/44.1kHz audio) via Bluetooth.

Additionally, the P100 SE's headband has been re-engineered to provide "exceptional comfort for every head shape" thanks to increased amounts of cushioning, with a clamping force calibrated for a variety of head sizes.

As before, the P100 SE feature a custom 40mm composite neodymium driver alongside Class A/B amplification, the same tech as found in Cambridge Audio’s CX line of hi-fi amplifiers.

Like the standard P100 over-ears, the new P100 SE offer up to 60 hours of battery life with ANC switched on, rising to a massive 100 hours when noise cancelling is turned off. Fast charging capabilities, meanwhile, give you four hours (or two hours with ANC) of playback from a snappy five-minute boost from a USB-C charge.

The Cambridge Audio Melomania P100 SE are available now in white, black and a new blue finish, priced at £249 / $299 / €279 (Australian pricing is TBC). That's a small advance on the original P100's £229 / $279 / AU$479 price, although they can now be found for around £199 / $239 these days.

The new P100 SE are occupying the same territory as the excellent, five-star Sony WH-1000XM5 (now around £249 / $299) which, while now superseded by the newer, pricier WH-1000XM6, still provide ample competition at this price level.

MORE:

Read our original Cambridge Audio P100 review

Cambridge Audio Melomania P100 vs Melomania P100 SE: what are the differences?

Cambridge Audio takes one of our favourite streaming amps to the next level with its fully featured Evo 150 SE

These are the best noise-cancelling headphones you can buy

We've seen a raft of announcements over the last month, ranging from powered stereo speakers, to flagship smartphones and even a new rival in the competitive noise cancelling headphones market. While there were quite a few products to choose from, we've whittled it down to the five we're most looking forward to testing.

So, in our second edition of On the Radar you'll find the latest flagship foldable phone from Samsung, which is slimmer and more powerful than its five-star predecessor, as well as the first-ever over ear headphones from the plucky British tech brand Nothing.

Cambridge Audio also unveiled its latest streaming amplifier, which is a follow up to a five-star amp from 2021 that boasts more power and an upgraded DAC.

Finally, we have two new pairs of powered speakers; one courtesy of Elac which sits at the more affordable side of the market, the other a super-premium pair from Focal and Naim with a price tag that rivals a brand new Mercedes Benz.

Elac Debut ConneX DCB61

Elac has launched a bigger and more powerful successor to one the best pairs of active speakers you can buy right now.

The Debut ConneX DCB61 follow up on the equally catchily named Debut Connex DCB41, this time with dedicated 60W Class D amplifiers in each speaker which power a new 16.5cm polypropylene mid/bass woofer.

Elac claims that this will create "deep, punchy bass", while the 19mm soft-dome tweeter (which is powered by its own 20W amplifier) is set to offer smoother and more accurate high end frequencies.

You’ll find a wide range of connectivity options on these speakers, including USB-B, optical, HDMI eARC, a moving magnet phono stage and Bluetooth.

Read our full Elac Debut ConneX DCB61 story

• Price: £699 / $899 / €799
• Release date: Available now

Samsung Galaxy Z Fold 7

Samsung’s latest foldable flagship smartphone is here, and it could be the portable AV champion that we’ve been waiting for.

With a 21:9 cover display that looks perfect for watching cinematic content, and a huge 8-inch interior screen (both displays are OLED, by the way) the Z Fold 7 has not one, but two displays which are primed for movie watching.

HDR10+ is supported, and so is Samsung’s ProScaler feature, which upscales video content to look sharp and detailed on the Quad HD displays.

These new AV upgrades come in a supremely slender new body which is an astounding 4.2mm when unfolded, and there are plenty of top notch smartphone features including a 200MP main camera and loads of AI-backed software features.

Read our full Samsung Galaxy Z Fold 7 story

• Price: £1799 / $2000 / AU$2899
• Release date: July 2025

Nothing Headphone (1)

British technology brand Nothing may still be in its infancy, but we can’t dispute its ambition. With countless smartphones and wireless earbuds under its belt, Nothing is expanding into a new product category: wireless over-ear active noise-cancelling headphones.

Nothing has called in a major name in British hi-fi to bring these wireless cans to market, as they’ve been tuned by Kef. Each earcup houses a precision-engineered custom 40mm driver, with polyethene surrounds that aim to deliver minimal distortion and better performance at low frequencies.

Elsewhere, you’ll find Nothing’s signature transparent design as well as a staggering claimed 35 hours of battery life with ANC turned on.

There’s some big competition to contend with from the likes of Sony, Bowers & Wilkins and Bose, so Nothing needs to bring its A-game with these new headphones.

Read our full Nothing Headphone (1) story

• Price: £299 / $299 / €299
• Release date: Available now

Cambridge Audio Evo 150 SE

Cambridge Audio has upgraded one of our favourite streaming amplifiers; naturally we’re intrigued as to what’s new.

At the heart of this upgrade is a new ESS SABRE ES9018k2m DAC, which Cambridge Audio claims will deliver an “emotive sound with exceptional clarity, resolution and musicality”. This is paired with 150W of Class D amplification into 8 ohms via a new Hypex NCOREx module, meaning it should have no trouble powering larger and more demanding speakers.

Streaming is a core component of this amp, so you shouldn’t be surprised to see an extensive list of supported services, including Spotify Connect, Tidal Connect, Qobuz Connect, Amazon Music, Deezer, as well as Apple AirPlay 2, Google Cast and aptX HD Bluetooth.

Physical connectivity also looks solid, with RCA line input and balanced XLR inputs for analogue sources, as well as two optical, a coaxial and USB inputs for digital sources. There is also HDMI ARC, a moving magnet phono stage and a subwoofer out connection.

Read our full Cambridge Audio Evo 150 SE story

• Price: £1999 / $3299 / €2399
• Release date: Available now

Focal Diva Mezza

Focal’s Diva Utopia powered speakers proved to be a hit in our hi-fi testing room towards the end of last year, despite the hair-raising price tag of £29,999.

So, what if there were a bigger, more powerful, and more expensive version of these enthusiast speakers? Wonder no longer, as Focal has unveiled the Diva Mezza, complete with a "completely re-engineered" Naim Audio electronics system to power them.

Inside each stylish speaker unit are three Class A/B amplifiers powering the drivers: 90W to Focal's inverted 'M' beryllium tweeter, 130W to the 6.5in (16.5cm) mid drivers, and 280 watts for the 20.5cm W' cone bass drivers.

That adds up to a staggering 500W per speaker, up from the 400W peak offered on the Diva Utopia system.

However, with great power comes a great price increase, and with a price tag of £55,000, only serious audiophiles need apply.

Read our full Focal Diva Mezza story

• Price: £55,000 / $69,000 / €65,000
• Release date: Available now

MORE:

Check out our picks for the best active speakers

Read our Samsung Galaxy Z Fold 7 hands-on review

And our Nothing Headphone (1) hands-on review

“Oh hello, old friend,” we thought as we dusted off our long-held sample of Cambridge Audio’s original CXA81, smiling as we lifted it out of the box as a whisky connoisseur might a 40-year-old bottle of single malt Scotch.

This 2019-released integrated amplifier is fondly remembered at What Hi-Fi?, having won back-to-back What Hi-Fi? Awards for four years. In fact, we named it our Product of the Year in the stereo amplifier category each time, too.

Its re-emergence in our test room isn’t, however, to satisfy some nostalgic longing, but owing to the long-anticipated arrival of a second-generation version, which lands at What Hi-Fi? towers with clown-sized shoes to fill.

That the Cambridge Audio CXA81 MKII not only replaces the CXA81 but also the step-down CXA61 – also a four-time Award-winning star – in the company’s CX series, only adds to the pressure.

Needless to say, we are itching to see how far this much-loved model has come in six years (spoiler: it’s quite a way) and whether it can claim back the crown from the Arcam A15 that dethroned its predecessor back in 2023.

Build & design

If you judged innovation on looks, you would think Cambridge Audio has stood still in its transition from the original, now-discontinued CXA81 to this MKII model.

Its casework is identical to its predecessor, to the point that a game of spot the difference between our samples would throw up only two minor disparities – the somewhat odd move from ‘CXA81’ to simply ‘CXA’ for the front-chassis printing on the CXA81 MKII, and the (removable!) front-panel stickers on the original – neither of which screams ‘evolution’.

Did Cambridge Audio still possess surplus casing stock of its CXA81, or did the design team simply see no room for improvement? Despite the five years that have passed between the models’ release, perhaps the British company considered the smart Lunar Grey chassis and its connections still befitting a modern-day amplifier. And we wouldn't argue.

After all, the amplifier market is hardly one of the most aesthetically progressive categories in consumer electronics and this model remains sleek, substantial and well-equipped by today’s standards.

And if this is one reason that Cambridge Audio has been able to keep the RRP consistent between the generations – it remains £999 in the UK and, at $1199, is actually $100 cheaper in the US – then all the better.

We love the large volume dial and how the inset bottom makes the facade look as though it is floating centimetres above whatever support it sits on.

A text display, as found on its Arcam rival, would, in our minds, be both aesthetically and practically preferable, but woe betide us to begrudge the simplicity of the Cambridge’s input LED display and accompanying physical buttons.

Features

Speaking of inputs, you won’t feel shortchanged. Alongside the typical line-level (three), optical (two) and coaxial (one) inputs are single USB Type-B and balanced XLR, giving you a range of options to connect a music streamer, CD player, TV or computer/laptop if you so wish.

Predictably, Cambridge Audio suggests its own CXN100 – a five-star product – as a natural streaming partner for the CXA81 MKII, which sensibly also has balanced XLR connectivity (outputs).

You can get wireless playback without going down the separate streamer route courtesy of the amplifier’s built-in aptX HD Bluetooth, though the performance potential of Bluetooth technology is comparatively limited.

Elsewhere of note on the busy rear panel are subwoofer and pre-out outputs, accommodating the expansion of your system to an external sub and power amplifier respectively, plus a Control Bus socket, which allows any compatible Cambridge product to power up with the CXA81 MKII in synchrony.

So what, we hear you ask, is new here?

Like the most recent generations of iPhones, the CXA81 MKII doesn’t wear its progression on its sleeve, but hides it.

Beneath the hood, Cambridge Audio has swapped in more “premium” components in the Class A/B amplification circuitry, and chosen a more advanced DAC chip for its digital circuitry; the ESS ES9018K2M SABRE32 supports PCM up to 32-bit/384kHz and DSD256.

So while you may not get enhanced features or aesthetics, you should, Cambridge Audio says, get enhanced sound quality.

Sound

We reacquaint ourselves with the older Cambridge amplifier before firing up its successor, and are met with the confident delivery we remember: clear, full-bodied (particularly in the midrange) and with a slightly forward inclination that leans into music. Its balance of strengths remains enjoyable even today.

Switch over to the CXA81 MKII, however, and the years between them are revealed as obviously as those between Harrison Ford’s portrayal of Han Solo in the first Stars Wars film and The Force Awakens. You’re immediately drawn into the music even more thanks to significant gains in clarity, detail and openness.

It’s a bigger, bolder and more authoritative performer that, as is evident with the fat walking bassline in Mac Miller’s What’s The Use?, also has a weightier, grippier low-end – even if you don’t quite get the same sense of musical drive as you do with the veteran model. Like a floor-to-floor living room window, it invites you into whatever is before you.

Once again, we find ourselves falling for the mid-range model’s lush, clean midrange. Playing Adrienne Lenker’s zombie girl, it captures the rawness of her sweet, melodious vocal and ably tracks the subtle dynamic lurches of her accompanying acoustic fingerpicking, the deep bass guitar notes anchoring the piece prominently.

So far, so good. And we are pleased to report that the CXA81 MKII feels just as at home with appropriate, price-comparable partnering kit, such as the KEF LS50 speakers, as it does with our reference system.

Its delivery remains as consistent as we would expect through the digital connections, too, the move to a new DAC chip clearly paying off. Sure, that mighty big presence and scale is somewhat less mighty, as though the soundstage has been minimised via the standard pinch-to-zoom action on a phone screen, and the higher frequencies are noticeably thinner. But in terms of tonality and, to a large extent, quality, it is more or less in line.

Bluetooth performance is still an area of weakness for most amplifiers that integrate it – cruder, notably less clear and detailed and missing the polish of the wired connection – although fine for occasional use.

It’s when we bring another music genre and amplifier into our testing that the CXA81 MKII’s foibles come to the fore.

Play Yellow Mellow by Australian psych-rock band Ocean Alley, and the amplifier’s somewhat muted rhythmic drive compared to its predecessor reveals itself.

The funky jazz fusion of cymbals, keyboard and guitar fills the soundstage with purpose, but while its pace should be laboured at the beginning before launching into its prevailing buoyant tempo, it all feels a little one-speed.

It’s time to hook up the class leader at the Cambridge amp’s price point – the Award-winning Arcam A15 – to our reference system instead, and indeed its clearly more musically cohesive and organised delivery is more convincingly able to carry the momentum and pace-changes of the piece.

While the Arcam is a little lighter in the bass than the Cambridge, it is more agile down there, too.

Over to Black Country, New Road’s Besties, and, again, the current Award-winner better communicates the playfulness of the harpsichord intro, as well as the rhythm of the tune-carrying guitar beneath Georgia Ellery’s vocal.

In its own right, the CXA81 MKII doesn’t exactly feel dynamically limited in its rendition of the Out Of Africa Theme, riding the ebbs and flows of the strings and woodwinds, and rising to the occasion of the climax. Yet the A15 is that bit more expressive and organised in delivering the intricate instrumentation, and is ultimately more interesting to listen to.

Verdict

The Arcam A15 is a special amplifier, hence its back-to-back What Hi-Fi? Award wins – an achievement Cambridge Audio has itself enjoyed many times in the past, and not only for its CXA81. Arcam has raised the bar considerably at this competitive price level, and while Cambridge Audio has moved its CXA81 on in nearly every aspect, it hasn’t closed the gap on its closest rival with the latest iteration.

We love how the CXA81 MKII grabs us from the off with its impressively big, clear and full sound, we just wish it had the musical tenacity and drive to keep us hooked.

Review published: 11th July 2025

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Arcam A15

Also consider the Rega Elex Mk4

Best stereo amplifiers: 9 class leaders chosen by our review experts

It’s the start of the week, which means a fresh entry into our regular Rewind column, where our team of hi-fi and home cinema experts once again detail the top stories you need to know about.

The only thing hotter than the weather was the wealth of juicy stories to break last week, with our experts covering the launch of a new streaming amp from Cambridge Audio and delivering their final verdict on a key set of PMC floorstanders.

Here’s what you need to know.

Cambridge Audio launched a new streaming amp

The big news last week was Cambridge Audio launching a new Evo 150 SE streaming amp. As the naming suggests, it’s heavily based on the original Evo 150, which we reviewed and gave five-stars in 2021.

Key changes to justify the added “Special Edition” branding include the use of a more powerful ESS SABRE ES9018k2m DAC and new Hypex NCOREx module designed to reduce noise.

Outside of this the Class D amp can deliver 150 watts per channel into 8 ohms, which makes it a fairly muscly unit that should be able to drive demanding speakers.

Read the full story: Cambridge Audio takes one of our favourite streaming amps to the next level with its fully featured Evo 150 SE

Our head honcho decided the Sonos Arc isn’t for him

What Hi-Fi? content director and semi-retired reviewer, Joe Cox, dusted off his keyboard and penned a feature detailing the trials and tribulations of swapping his aging Sonos Playbar for a more modern Sonos Arc.

And while he liked the newer model, there was something missing that made him go back to the Playbar in less than 24 hours, showing newer isn't always better in the AV world.

Read the full story: I switched my old Sonos Playbar for the Arc soundbar – but 24 hours later the Arc was back in the box

PMC’s classy floorstanders sound excellent

Last week our audio experts finished testing the PMC Prophecy 7 and found that for their target, high-end enthusiast market they are a perfect match. The speakers are part of the latest range from PMC, replacing the firm’s long-running Twenty 5i series.

Offering a classy design that manages to pack a lot of muscle into a surprisingly small frame, the speakers deliver excellent results when paired with appropriate partners.

Whether it was 12-bar blues, bopping pop or classical, the speakers delivered exceptional clarity and resolution, plus impressive low end heft, considering their size.

Read our full PMC Prophecy 7 review

Our managing editor asked: does Bluetooth really make hi-fi better?

These days Bluetooth seems to be a box every hi-fi manufacturer feels the need to tick. Even in the high-end market we’re seeing more and more amps, turntables and systems come loaded with it as standard.

And at first glance there’s a good reason for that. Why not? It makes it easier to stream and connect devices, right?

But, with Spotify Connect, Tidal Connect, AirPlay, Chromecast, and more, also becoming increasingly standard and offering better quality, is it actually needed?

This is the very question our managing editor, Becky Roberts, pondered in her latest column.

Read the full story: This popular amplifier feature is super practical on paper but almost pointless in practise

We celebrated 12 awesome albums that are turning 20 this year

While they’re still a year off being able to buy a beer in the United States, a number of awesome albums are set to hit a key milestone this year.

Eager to celebrate, our team of audio experts took the time to detail their favourites, whittling the long list down to 12 iconic albums that are well worth revisiting, or checking out for the first time.

Read the full story: 12 albums from 2000 that are celebrating their 25th anniversary this year

MORE:

These are the best floorstanding speakers we’ve fully reviewed

We rate the best stereo amplifiers money can buy

Our picks of the best soundbars revealed

Cambridge Audio has launched its latest pair of true wireless earbuds: the Melomania A100.

Following the launch last year of the Melomania M100, Cambridge's first-ever noise-cancelling earbuds, the A100 combine Class AB amplification with a set of precision-tuned 10mm Neodymium drivers, delivering "deep bass, richer mids, and crystal-clear highs".

They are also the first Cambridge in-ears to sport a stem design, rather than the usual rounded bud design of the brand's established models.

The Melomania A100 support the hi-res LDAC and aptX Lossless Bluetooth codecs. The wireless buds also employ Cambridge’s proprietary 'DynamEQ' technology, which aims to ensure that your music's details are preserved, even at lower volumes, by adjusting bass and treble through the volume curve.

Noise cancelling is on board, with the Melomania A100 offering a standard ANC mode alongside a Transparency Mode for letting in more of the outside world.

Voice calls, meanwhile, are handled via a six-microphone array designed to isolate human speech from background environmental noise.

The compact buds offer 11 hours of playback from a single charge with noise cancelling switched off, or 6.5 hours with ANC on. The compact charging case offers a further 28 hours of playtime, while a quick 10-minute charge grants a further three hours of playback in a pinch.

Control of the A100 is taken care of via the Cambridge Audio app, wherein users can access a seven-band equaliser, remap their touch controls and adjust their ANC experience.

The Cambridge Audio Melomania A100 are available now, priced at £119 / €139. They will also be available in the US later in 2025, costing $150. That puts them roughly in line with the five-star Sony WF-C710N (£100 / $120 / AU$189) ANC earbuds – tricky competition, then.

MORE:

5 brilliant budget audio products to soundtrack your summer

These are the best wireless earbuds you can buy

6 of the best genre-swerving tracks to test your hi-fi system

Cambridge Audio has added to its arsenal of streaming amplifiers with its new Evo 150 SE. We reviewed the original Evo 150 and its more affordable sibling, the Evo 75, back in 2021, awarding both the full five stars, so expectations are high for this latest addition to the established line.

This Special Edition promises to take the Evo 150's performance to the next level, offering elevated sonic performance thanks to more high-quality components, improvements made throughout the model's signal path and a refined output stage.

Central to the new model's performance is an ESS SABRE ES9018k2m DAC, with Cambridge teasing “emotive sound with exceptional clarity, resolution and musicality”. The Class-D streaming amp delivers 150 watts per channel into 8 ohms via a new Hypex NCOREx module, so it shouldn't have too much trouble driving demanding speakers.

There is support for Spotify Connect, Tidal Connect, Amazon Music, Deezer and Qobuz. It is also Roon Ready and supports uPnP for streaming locally stored files over your network, as well as offering up aptX HD Bluetooth, AirPlay 2 and Google Cast.

As for physical connections, the new unit comes equipped with an RCA line input and balanced XLR inputs for analogue sources, as well as two optical, a coaxial and USB inputs for digital sources.

An HDMI ARC connection allows the user to hook the unit up to a TV. There is also a moving-magnet phono stage for connecting a turntable, plus a subwoofer-out for adding a sub for extra bass.

The Evo 150 SE has been designed to look clean and compact, and sports a 6.8-inch colour screen alongside a large dual-concentric control knob.

When you're not up close and personal with it, all of the new model's major functionalities can be accessed via Cambridge's rebranded StreamMagic app. A dedicated remote control is also supplied if you prefer to keep things more traditional.

You even get a choice of two side-panel designs which can be magnetically attached and easily changed, and you can pick from real wood or rigid metallic inserts depending on your mood and/or decor.

According to Matt Dore, Cambridge's CTO: “Evo 150 has been a very special product, merging hi-fi sound with lifestyle-friendly aesthetics and convenience. For this special edition, we’ve pushed the boundaries of what to expect from Class D amplification – an even more musical listening experience in a design that has been further refined.”

The Cambridge Audio Evo 150 SE is available now, priced at £1999 / $3299 / €2399.

MORE:

Read our original Cambridge Audio Evo 150 review

Should you buy a streaming amplifier? Pros and cons to consider

The next generation of streaming amplifiers is here, and I think they point to an exciting new chapter for hi-fi

Welcome to On The Radar, our new monthly column where we collect our top five most highly anticipated announcements of the month. These are the latest AV, hi-fi and home cinema reveals that we're looking forward to getting into our dedicated testing facilities.

In this first outing, you'll find the latest edition of JBL's flagship Dolby Atmos soundbar packages, complete with nifty magnetic wireless surround speakers, as well as a portable powerhouse projector from Hisense.

Bose also announced its latest iteration of its popular QuietComfort Ultra Earbuds, now with wireless charging and even better noise cancelling.

And it didn't stop there, as Bose revealed a brand new entry in its SoundLink portable speaker series, too. It's got some tough competition in the form of the JBL Charge 6, but its rugged design and promise of powerful sound mean it could be up to the challenge.

We can't, of course, forget Cambridge Audio's adorable new power amplifier, which promises a serious sonic punch despite its compact footprint.

JBL Bar 1300MK2

JBL’s new super-powerful Dolby Atmos soundbar system features 29 drivers in total, spanning the main soundbar, the nifty detachable surround-sound speakers, and the new dual driver subwoofer.

It’s also packed full of proprietary sound processing modes, with a new version of JBL’s MultiBeam system for a wider and more immersive soundscape.

Pair that with HDMI 2.1 passthrough, a comprehensive app for controlling and tuning the system, and support for a wide array of streaming services for wireless music casting, and the Bar 1300MK2 could pose a serious threat to the likes of Samsung’s new HW-QN990F system.

Read our full JBL Bar 1300MK2 story

• Price: £1300 / $1700 / AU$TBC
• Release date: September 2025

Bose QuietComfort Ultra Earbuds (2nd Generation)

Bose’s QuietComfort Ultra Earbuds are the current kings of noise cancellation, and they also happen to provide a five-star sound, so expectations are immediately set high with this latest generation model.

Updates coming with these second-generation buds include a new AI-backed noise-cancelling system that promises smoother changes to the noise cancelling, meaning sudden loud noises (such as a siren or train passing by) will be handled more efficiently by these new buds.

Furthermore, Bose has finally added wireless charging to the case, and a new AI-based (we’re seeing a trend here) sound suppression feature will improve call quality.

Our favourite new feature, though, is the new eartip design, which has been redesigned to reduce earwax build-up and make cleaning your buds easier.

Read our full Bose QuietComfort Ultra Earbuds (2nd Generation) story

• Price: £299 / $299 / AU$450
• Release date: June 2025 (UK) / TBC (US) / July 2025 (Australia)

Cambridge Audio MXW70

Cambridge Audio’s adorable (and Award-winning) MXN10 music streamer now has an equally cute stereo amplifier to match, in the form of the MXW70.

It sports the same industrial design and identical dimensions, meaning it can be stacked on top of the network streamer to create a compact hi-fi arrangement.

This small-yet-mighty power amp features 70W of Class-D amplification per channel (with two channels driven) and aims to deliver “high efficiency and a compact form without compromising the rich, musical sound quality Cambridge Audio is known for”.

Despite its compact footprint, Cambridge claims that it has no trouble powering more demanding speakers.

Connectivity-wise, the MXW70 sports a set of speaker terminals, a choice of balanced XLR and unbalanced RCA stereo line level inputs, accompanied by an input selector and a switch to toggle between stereo and mono sound.

Read our full Cambridge Audio MXW70 story

• Price: £499 / $599 / AU$TBC
• Release date: Summer 2025

Hisense M2 Pro

Compact, streaming-ready projectors are becoming an ever more popular category of home cinema products, and Hisense is no stranger to the concept.

Following up on the admirable C1 and C2 Pro, Hisense has now launched the M2 Pro, which promises excellent picture performance thanks to "next-gen AI 4K Clarity technology".

Using algorithms, the M2 Pro will upscale images, reduce noise and optimise contrast. It also uses Hisense’s proprietary Triple Laser system, with a claimed 1300 lumens of brightness, alongside automatic picture calibration settings, including Hisense’s Seamless Auto Keystone Correction and Seamless Auto Focus.

Optical zoom is also on board, with the ability to beam an image ranging from 65 to 200 inches, and there is even picture compensation for projecting onto non-white surfaces.

Read our full Hisense M2 Pro story

• Price: £TBC / $1299 / AU$TBC
• Release date: Summer 2025

Bose SoundLink Plus

Bose’s latest addition to its SoundLink portable speaker line sits between the Flex and Max, and it looks as though it has a lot to offer.

Bose claims that it offers a "rich sound" blended with a "rugged, ready-for-anything design" with an IP67 water and dust resistance rating for a best-of-both-worlds approach.

Inside the SoundLink Plus you’ll find one subwoofer, a tweeter, and four passive radiators which aim to create a class-leading sound within the Bluetooth speaker category.

However, competition is rife, especially from the likes of the JBL Charge 6 and Flip 7, so the Bose has to prove its mettle to outshine its five-star competitors.

Read our full Bose SoundLink Plus story

• Price: £250 / $269 / AU$429
• Release date: June 2025 (UK, US) / July 2025 (Australia)

MORE:

Check out our picks for the best Bluetooth speakers

As well as the best wireless earbuds

And read our full JBL Bar 1300 review

The work week is once again upon us and to help you start it with your best foot forward, our team of audio and home cinema experts has penned a fresh entry into our regular Rewind news digest.

It was yet another busy week at What Hi-Fi? towers. As well as attending launches from Cambridge Audio, JBL, Acoustic Energy and Apple, we also finished reviewing some big products – including an amp from a brand we know our regular readers love.

Here’s everything you need to know.

WiiM’s latest streaming amp hints at greatness

WiiM is a brand that has recently developed a strong reputation for delivering stellar value hi-fi. Over the past months we’ve given its WiiM Pro Plus and WiiM Ultra streamers five-star recommendations. Which is why we had high hopes for the WiiM Amp Pro.

After weeks of testing we can confirm there is plenty to like about the small, surprisingly affordable, unassuming streaming amplifier.

Offering better detail, much more lively audio and the same compact design as WiiM’s past streaming amp, it is the best the company has made to date in most ways.

So much so that our reviewers described it as, “A versatile, budget streaming amp with a huge leap forward in performance.”

But sadly, issues with some feature gaps and minor niggles with its rhythmic precision meant it fell just short of nabbing a fifth star from our reviewers.

Read our full WiiM Amp Pro review

Cambridge Audio’s latest amp follows in an Award-winner’s footsteps

The new Cambridge Audio MXW70 is the second amp to make it into this list. And while it doesn’t have the streaming smarts of the WiiM, there’s a good reason for that.

Specifically, this tiny power amplifier unit is designed to be paired with its older, equally tiny sibling, the Award-winning Cambridge Audio MXN10 streamer/preamp.

We’re yet to get any hands-on time with the amp, so can’t attest to its audio quality, but from what we’ve seen there’s plenty to like, with it sharing the same core DNA as its sibling. Highlights include 70 watts of power and a competitive £499 / $599 / €599 price tag.

Read the full story: Cambridge Audio's compact MXW70 power amplifier is the perfect partner to the five-star MXN10 streamer

JBL’s new Dolby Atmos soundbar is a beast

2025 is turning into a great year for Dolby Atmos soundbar buyers, with a number of big systems hitting the market. Most recently that list was added to by JBL, with its new Bar 1300MK2 system.

At a surface level it follows the same format as the four-star JBL Bar 1300 system we reviewed in 2023. This pairs an Atmos soundbar with a wireless subwoofer and twin satellite surrounds, which can be attached to the main bar for storage and to charge when not needed.

Under the hood it has had a few key upgrades, however. The biggest is its increased 29-drivers count, which lets it deliver a total of 11 audio channels in a 7.1.4 arrangement. We’ll be curious to see how it performs against its arch-rival, the Samsung Q990F, when we get them both in for review later this year.

Read the full story: JBL's super-powerful new Dolby Atmos soundbar system has the Samsung Q990F in its sights

Acoustic Energy revamped its 300 Series

Last week, Acoustic Energy unveiled the latest entry to its 300-series of mid-range loudspeakers, the new AE320².

The floorstanding speakers are interesting beasts since, despite costing £1999 / €2199, they feature a number of technologies seen on the firm’s 15-year-old Reference Series of speakers and much more expensive Corinium speakers.

Highlights include Acoustic Energy's Resonance Suppression Composite technology, which works to improve clarity, a slot-shaped duct port at the rear for better bass output, and a new 29mm soft dome tweeter based on that of the Corinium.

Read the full story: Acoustic Energy adds range-topping floorstanders to its revamped 300 Series

Bose's latest earbuds want to take the fight to B&W and Technics

The wireless earbuds market is getting increasingly competitive, with Technics and B&W releasing stellar five-star pairs recently. This week Bose looked to get in on the action, unveiling its latest 2nd-gen QC Ultra Earbuds.

Built on the foundation set by 2023’s five-star Bose QuietComfort Ultra Earbuds, the firm is making some pretty bold claims about the new model.

Specifically, promising they will deliver the "same iconic performance" that made the original a hit, but with significantly improved noise-cancelling and mic quality. Add to this the quality of life addition of wireless charging and they become a pretty enticing bit of hardware, at least on paper.

Read the full story: Bose's 2nd-gen QC Ultra Earbuds promise enhanced ANC, but can they compete with B&W and Technics rivals?

MORE:

These are the best hi-fi speakers we’ve reviewed

Our picks of the best Dolby Atmos soundbars

We rate the best stereo amps money can buy

We all love hi-fi. At least I hope you do if you’ve made it onto this article. But, as any fan knows, hi-fi comes in a variety of shapes and sizes, and not all of us love them equally.

These range from giant floorstanding speakers that would look perfect in Liberace’s gallery, to dinky grey boxes that look equally at home in server rooms as they do in a lounge.

And there's nothing wrong with that variety.

I know there are plenty of fans of the more flamboyant school of design. And to be clear, I do love some of the cooler looking products on the market – I still think there’s a thesis to be written on why Chord’s 1970s sci-fi prop-looking DAC designs are so darned appealing.

This year alone the “wow-factor” school of design was showcased particularly nicely by some of the separates we saw at the High End Munich Show in May.

Highlights include the space-age Chord Ultima Phonostage, devilish Mark Levinson 600 Series (which comes with a colour screen and red LED light flourishes) and transparent Audio-Technica AT-LPA2 turntable.

These all look lovely and, considering their price and target audience, I get why they need to be eye-catching.

So it makes sense that many, including our hi-fi and audio editor, Kashfia Kabir, like that more amps and just-add-speaker systems now have colour touch screens and modern design flourishes. To be fair, the screens do undeniably make systems and streamers more pleasant to use in certain situations.

But for me personally, I’ve always preferred a more subdued “server room” aesthetic in most instances.

Why? Mainly because I’m a middle-aged, boring millennial – specifically the “Great Recession” generation that most people are blaming for "cringe Millennial Grey” décor and the ongoing popularity of Coldplay.

Take the newly launched Cambridge Audio MXW70 Power Amp or WiiM Amp Pro we just reviewed as an examples of what I mean.

If you stripped the branding from either of the tiny grey boxes’ chassis you could easily mistake both for being Mac Mini desktop computers.

The grey even matches the tone of my home's "cringe" colour scheme.

Sure you could call that boring, but for me they’re a great example of substance over style and an age-old adage I learned playing bass in various (bad) cover bands over the years.

Specifically, one that a veteran organiser told me when we he saw us rehearsing, and me making the standard 20-year-old mistake of overplaying, in a bid to show off my “skills” rather than keep time for the rest of the band.

“Son, you’re the bassist. Unless you’re Jaco Pastorius or Stanley Clarke, no one should know what you’re doing until you stop.”

I can’t help but feel the same sentiment applies to hi-fi.

Like me trying to peacock attention away from our lead guitarist and singer, I want my hi-fi to remember it is there to make my music, not itself the centre of attention.

And that’s why, while I endorse and understand variety is the spice of life and that some people justifiably will favour more eye-catching hi-fi, I can’t help but hope we see more small, awesome sounding, minimalist-looking separates continue to appear.

MORE:

These are best stereo amps we’ve tested

Our picks of the best speakers

We rate the best music streamers for hi-fi fans

Cambridge Audio has added a power amplifier to its half-width MX range. It joins the five-star and multiple Award-winning MXN10 music streamer.

The new MXW70 power stereo amplifier has the same compact dimensions as the MXN10 streamer, meaning they can be stacked together to create a rather sleek hi-fi system that's ideal for smaller spaces.

The MXW70 features Class-D amplification with Hypex NCore technology (similar to that used in the five-star Evo 75 and Evo 150 streaming amps) and delivers 70 watts per channel into 8 ohms.

The power amplifier aims to deliver “high efficiency and a compact form without compromising the rich, musical sound quality Cambridge Audio is known for”. Cambridge Audio claims this dinky powerhouse is capable of driving more demanding speakers, too.

You can also turn the stereo amplifier into mono mode, which gives you 250 watts of bridgeable power when using two MXW70s in your system.

Around the back, you'll find a set of speaker terminals, a choice of balanced XLR and unbalanced RCA stereo line level inputs, and switches for choosing between these two inputs and mono/stereo mode.

The MXW70 can be paired with the MXN10 streamer when the latter is in preamplifier mode, allowing the streamer to handle all volume and source duties. The system can be controlled by Cambridge Audio's StreamMagic app.

The MXW70 is encased in an all-metal casework in Cambridge Audio's customary Lunar Grey finish, with a very minimal styling.

The Cambridge Audio MXW70 power amplifier will be available in the summer, costing £499 / $599 / €599.

The MXN10 streamer/preamplifier is yours for £349 / $499 / €399 at the time of writing, so together, this duo will cost you £848 / £1098 / €998 – assuming there is no bundle discount. That's quite an appealing price point for this compact combo; here's hoping the MXN70 sounds just as good as the hugely engaging and capable MXN10.

MORE:

Read our five-star Cambridge Audio MXN10 streamer review

The rise of small, complete hi-fi systems that are more accessible for newcomers is a great direction for the industry

Check out our guide to the best music streamers

We have said it before and, sadly, we will without doubt say it again: modern TVs seem incapable of producing sound of a quality anywhere near approaching the brilliance of the images they provide. Which is a problem. Without great sound, you can never truly be engrossed in what you are watching.

This is why we are forever recommending that you budget for a soundbar when you invest such a lot of money in a top-notch television. Even a relatively cheap model will, almost certainly, provide a better experience than the TV alone. In this issue, then, we give you a trio of choices in a trio of price breaks. Our round-up of bargain soundbars will give you some fine options that won't break the bank.

At the other end of the scale, certainly as far as price goes, we bring you some stunning stereo amplifiers. If you are serious about your music, investing in the heart of your hi-fi system is never a bad idea.

Bargain soundbars from £80-£500

Don’t worry – it’s not your ears; movie dialogue really has become harder to hear in recent years, thanks to a shift in acting styles, filmmakers prioritising characters’ emotional responses over clarity of vocal delivery and a rise in more prominent sonic special effects. And the sub-standard sound quality offered by today’s televisions – even flagship models with impressive visual credentials – does nothing to help the situation.

Thankfully, there’s an easy fix – in the shape of a soundbar. Even a budget soundbar is more than likely to raise the quality of the sound you hear significantly. And, whether you are buying a budget ’bar or a top-end device, it is in vocal delivery and other midrange sonics that the improvements are most noticeable.

What’s more, the best soundbars do a pretty good job of making your movies sound more cinematic – but without the need for multiple speakers and for far less money.

This month we are focusing on affordable soundbars (less than £500), but even in this arena the improvements in terms of additional bass weight and greater depth to the sound are obvious. Above the £300 mark, you will hear a wider soundfield and often even a palpable sense of height. And it’s around this price point that you will usually get HDMI eARC connectivity, giving access to more advanced sound processing modes and hi-res audio.

Soundbars proliferate like bunnies in spring, so to help you find the breed that’s right for you, we have assembled nine popular models in three price brackets. So if you’re not sure where to start, check out this month's What Hi-Fi?

Our favourite premium stereo amplifiers

The stereo amplifier is the MVP in any hi-fi team, being the beating heart of your separates system and the component that necessarily amplifies the audio signals from your source to an output that your passive speakers can deliver. Quite simply, no amplifier means no sound!

Which stereo amplifier you choose will greatly impact your overall system performance, so you want a best-in-class performer – one that also offers the connections your sources need.

While many amplifiers retain a more purist, analogue-only approach, the popularity of music streaming means that many now contain built-in DACs for connecting phones, hard drives and digital hi-fi sources. What you require will depend on your needs and the connectivity of any existing equipment you have.

This month we focus on the best stereo amplifiers your money can buy at the more premium end of the integrated market, specifically those priced between £1000 and £5000. You can, of course, go much higher-end, but these amplifiers are the sweet spot between fair money and top-drawer performance, with invariably lovely build and a sonic character that has found favour with us.

We have rounded up 11 great amplifiers from hi-fi stalwarts such as Arcam, Rega, Chord, JBL, Audiolab, Cambridge Audio, Cyrus and Naim; and we think that every one of these amplification stars will serve you well for years to come.

Budget streamers go head-to-head

Both the Cambridge Audio MXN10 and WiiM's Ultra are brilliantly affordable ways to add cutting-edge streaming skills to your hi-fi separates, and they can even be used to create a simple but effective audio system by connecting them directly to a pair of powered speakers.

However, with both of these products earning five-stars when we reviewed them, you might reasonably be wondering just which one should be the recipient of your hard-earned cash. So, we’ve put these two network audio players up against each other to find out which one comes out on top.

Find out more in June's What Hi-Fi?

First with reviews

Once more, our First Tests section is filled to the brim with in-depth, impartial and expert verdicts on the very latest hi-fi and AV gear.

This month we had LG's latest flagship TV, the G5, in our testing rooms. The Korean TV giants' premium G-series sets have always impressed, and this latest earned top marks from our expert reviewers. Read our thoughts on this five-star OLED in this month's What Hi-Fi?

That wasn't the only five-star TV we tested this month – we also put the 55-inch version of Sony's Bravia 7 through its paces. Elsewhere, another Sony product – this time earbuds – also acquitted itself well; the WF-C710N impressed us, and you can read just why this issue.

We also had JBL's latest iteration of its fantastic wireless speaker range, the Charge 6, in for testing, as well as a neat little lifestyle projector in the form of the BenQ GP520, Elac's new Debut 3.0 DB53 standmount speakers and iFi's Zen DAC 3. Finally we took a long, considered look at Hisense's Canvas – a TV that doubles as a work of art.

See what our review team thought of all these products in June's What Hi-Fi?

Top-drawer products at top-of-the-line prices

Our Temptations section of the magazine is where you'll find the highest of the high-end of hi-fi and AV products.

Esoteric's F-01 integrated amplifier and PS-01F power supply combination is an impressive prospect. "It marries exceptional detail resolution and dynamic fluidity better than almost anything else we've heard," enthused our reviewers, before throwing lots of stars at it. Read more in the June issue of What Hi-Fi?

The Canton Reference 5 are a fine-looking pair of floorstanding speakers that graced our test rooms this month. Our review team noted their "imposing driver complement doesn't disappoint, delivering deep, muscular lows with minimal stress". Sound like it's up your alley? Got deep pockets? Read more in this month's mag!

Finally, don't forget to check out our Buyer’s Guide, featuring a definitive and freshly updated list of all the best home entertainment kit you can buy – including winners of 2024's What Hi-Fi? Awards. If you’re looking to purchase anything from a pair of the best wireless headphones to a home cinema speaker system, this section will tell you where to spend your money wisely.

Whatever you do, don't miss the June 2025 issue of What Hi-Fi?. Grab a copy today, or simply download it onto your tablet or smartphone. Enjoy!

You can subscribe or buy the latest issue here, or buy the digital edition on iPhone, iPad, Android devices or Kindle edition

The Cambridge Audio MXN10 has been at the top of our best music streamers guide ever since we reviewed it two years ago, and it's a well-deserved two-time and current What Hi-Fi? Award winner.

But if there’s one thing we won’t allow is for a product to rest on its laurels, and the arrival of the WiiM Ultra has presented the perfect opportunity to put the two streamers head-to-head.

Both of these products are brilliantly affordable ways to add cutting-edge streaming skills to your hi-fi separates, and they can even be used to create a simple but effective audio system by connecting them directly to a pair of powered speakers.

With both affordable streamers from Cambridge Audio and WiiM earning five-star reviews, you might be wondering which one should be the recipient of your hard-earned cash, so we’ve put these two network audio players up against each other to find out which one comes out on top.

WiiM Ultra vs Cambridge Audio MXN10: price

It can sometimes feel a little unfair to compare two products with different price tags, so helpfully Cambridge Audio has dropped the asking price for the MXN10 since we first reviewed it in July 2023, and it’s now available for exactly the same affordable price as the WiiM Ultra in the UK: £349.

In the US and Australia there’s still a bit of a price difference, with the WiiM Ultra setting you back $329 / AU$599, and the Cambridge Audio MXN10 costing closer to $399 / AU$749.

WiiM does trump Cambridge Audio by including all the cables – optical, RCA interconnect, HDMI – in the box (you only get a power lead with the MXN10), which could save you a few quid if you don’t already own the required cables for your set-up, but that’s unlikely to be a deal-breaker for most people.

** Winner: Draw **

WiiM Ultra vs Cambridge Audio MXN10: build & design

In terms of size, there’s not much between these two very compact streamers. Both take up as much space as a paperback book and have a solid build quality; either should easily fit on to your hi-fi rack, in your TV cabinet or on your desktop.

The WiiM Ultra is a couple of centimetres taller, but the MXN10 is slightly wider and deeper, so unless you have a very specific space to fit one of them into, size probably won’t play a huge part in your decision-making.

The most significant design difference between the two is that the WiiM Ultra sports a 3.5-inch touchscreen colour display. It’s slick and responsive, and we found it not unlike using the touchscreen on a smartphone.

For controlling basic playback, selecting inputs or choosing saved playlists, we actually prefer tapping at the display compared to the companion WiiM Home app. However, this depends entirely on where the Ultra is placed in your set-up and if you can reach it easily.

Seeing the album artwork on display and being able to tweak the volume dial using just the unit makes the WiiM Ultra all the more appealing.

There is still something to be said for the clean simplicity of the Cambridge Audio MXN10, which sports a small handful of responsive buttons for selecting inputs. You can, however, control everything you need using the StreamMagic app, but the MXN10 does look a little plain in comparison to the Ultra's more modern sensibilities.

In terms of colours, both are available in Apple-esque grey, while you can also get the WiiM Ultra in silver. Cambridge Audio did also release a limited-edition black version of the MXN10, but at the time of writing there are only a few left and it hasn’t had the same price cut as the grey model. Cambridge Audio has said there are no plans to make any more, so if the rest of your kit is black you’ll have to weigh up whether the extra £100 is worth it (and quickly).

** Winner: WiiM Ultra **

WiiM Ultra vs Cambridge Audio MXN10: streaming features

Obviously having the full complement of streaming features is paramount for a network audio player.

Both MXN10 and Ultra offer wi-fi and wired ethernet connectivity to your home network. There's also support for Bluetooth and Google Chromecast, although the WiiM Ultra misses out on AirPlay support. That will be a blow to iOS and Apple Music subscribers, so this alone is likely to be a dealbreaker for many when choosing between these two models.

In terms of high-resolution compatibility, both units are able to play hi-res tracks, but there are some small differences in the maximum file resolution they can play natively. The WiiM Ultra is equipped with a 32-bit/384kHz ES9038 Q2M Sabre DAC, and it can natively play up to 24-bit/192kHz PCM files. That covers pretty much all hi-res files available to download, so it should be more than enough for those with a large digital music collection.

The Cambridge MXN10 uses an ESS Sabre ES9033Q DAC and it goes a little further in supporting up to 32-bit/768kHz PCM, and it can also natively play DSD files (up to DSD512 resolution). Essentially, both streamers will be able to cope with pretty much any hi-res digital file you’re likely to throw at them.

And if it doesn't make your decision-making any harder, both units support multi-room audio, are Roon Ready and are able to play stored music files from a network storage device or connected laptop on the same network.

The major music streaming services such as Spotify Connect, Tidal Connect, Qobuz and Deezer are supported on both, as is internet radio. You can handily choose which services are prominent on your StreamMagic app homepage, and pin specific stations or playlists in the app. And as mentioned before, you can do the very same on the WiiM Ultra, but save your go-to favourites as presets that you can select directly from the unit's screen.

Speaking of the control apps, both are among the better ones we've used with music streamers. WiiM’s Home app is well laid out, accessible and intuitive to use even for hi-fi newbies, while Cambridge Audio’s StreamMagic app is a good example for any hi-fi brand to follow. The WiiM Ultra also comes with a voice-enabled remote control in the box. Both are easy to set up with their respective apps, too.

It's fairly neck and neck between the two, but the lack of AirPlay on the WiiM Ultra is a big omission. Cambridge Audio MXN10's extensive streaming features and handling of even higher-res tracks make it the preferred choice here for pure streaming ability.

** Winner: Cambridge Audio MXN10 **

WiiM Ultra vs Cambridge Audio MXN10: connectivity

Where the Cambridge Audio MXN10 and WiiM Ultra start to diverge is with the spread of connectivity included.

The MXN10 is a straightforward music streamer, offering coaxial and optical digital outputs, a pair of RCA line level outputs, and a USB type A input. This covers the basic elements you'd normally expect from a budget streamer.

The WiiM Ultra aims to be more than just a streamer, with more features thrown in to create a one-stop music hub for your system. For starters, it has an HDMI ARC input – an increasingly popular demand from customers who want to connect their hi-fi to their TV more easily. (In fairness, newer Cambridge Audio models now include an HDMI connection, so here's hoping the next iteration of the MXN10 will feature this input.)

The Ultra also sports a moving magnet phono stage for incorporating a turntable easily into your system, and there is a 3.5mm headphone socket on the front. You get the same amount of optical, coax and RCA outputs as the MXN10, but the Ultra provides an additional optical input.

The amount of features and connectivity thrown in for the Ultra's price and compact size will clearly have huge appeal. While its talents as a network streamer may not be as exhaustive as the MXN10, the additional inputs and headphone stage here will give plenty for prospective buyers to think about.

** Winner: WiiM Ultra **

WiiM Ultra vs Cambridge Audio MXN10: sound quality

Cambridge Audio might have more long-standing pedigree in the hi-fi world than WiiM, but the Ultra continues an impressive run of releases for a company that’s relatively new on the scene.

In our five-star review of the Ultra, we praised its “mature and engaging performance” that offers a clear step up in audio quality compared to its cheaper, Award-winning WiiM Pro Plus. It's a crisp, clean, easy-going presentation regardless of what source you use, but the Ultra offers a good dose of solidity, muscle and clarity with all kinds of music.

We said in our review: "We play Doechii’s Alligator Bites Never Heal album over Tidal and her fierce yet playful tone comes through with crispness and clarity through the Ultra. There’s agility and decent snap behind the driving rhythm, while her distinct, crystal clear vocals come through with ample attitude and detail on Denial Is A River. Play Billie Eilish’s Blue, and we find the Ultra treads a fine balancing act, with neither end of the frequency sticking out unduly or sounding smoothed off.

There’s enough space and bite at the top end without getting too shrill or splashy; while basslines on Massive Attack’s Paradise Circus have a decent amount of punch and solidity."

But what about in comparison to the Award-winning MXN10?

This is where Cambridge Audio’s experience shows, with the MXN10 delivering “an extra level of textural depth and subtlety to detail” and “greater dynamic scope and rhythmic precision” than the Ultra. It’s the all-round performance of it that’s so impressive, keeping us entertained with everything from Max Richter to Wu-Tang Clan.

We said in our original review: "We like that the Cambridge remains composed when the music becomes demanding, and the way it renders the tone and texture of instruments in such a convincing way. There is a good sense of scale here combined with a surprising dose of authority."

The way it delivers the energy, punch and momentum of a track is hugely enjoyable and captivating. The layers of subtle detail and harmonies around a piano note are delivered with nuance and richness; it sounds musical and entertaining.

It’s important to point out, though, that we never felt shortchanged by the WiiM’s performance. It’s nimble, balanced and likeable, but just lacking a little in terms of texture and rhythmic propulsion compared with the Cambridge rival.

There are a few more elements to the Ultra's sound quality. The WiiM's headphone stage is of a good quality, retaining the same sonic characteristics but with a touch of added richness when we plug in a pair of Beyerdynamic Amiron wired headphones.

Its phono stage is decent but not its strength by far. We connect the Rega Planar 3 RS Edition turntable during testing and it loses clarity and dynamic breadth, opting for a mid-forward balance. Having the phono stage option is nice, but we think going for a dedicated phono preamp or choosing an amplifier with a good phono stage is the way forward if you want the best from a turntable.

** Winner: Cambridge Audio MXN10 **

WiiM Ultra vs Cambridge Audio MXN10: verdict

The WiiM Ultra has plenty of appeal thanks to its touchscreen-enabled modern design and more features than we'd expect from a standard affordable music streamer. It's a talented, multi-faceted unit and its clear, balanced, likeable sound quality will reward many fans. We highly recommend it.

The Cambridge Audio MXN10, however, is the more complete streamer when it comes to its wireless talents, and triumphs in the area that matters the most: sound quality.

What that means to a prospective buyer who’s torn between the two is that both will make great purchases, but the MXN10 remains our top choice if sound quality is your main priority. For this affordable price, the little MXN10 delivers a big performance that still excels and impresses us to this day.

MORE:

Read our full WiiM Ultra review

And our Cambridge Audio MXN10 review

Best music streamers: top network audio players tested by our experts

Consumers across the world are currently watching prices very closely, with the US tariff situation causing a fair amount of uncertainty – and that is especially true of the hi-fi industry.

The exact figure for the tariffs varies depending on which country the brand is based and manufactures products in.

But with the US adding a base 10 per cent rate for all countries, any product that is not made in the US will face an additional import tax entering the territory. And that's a cost that can radically change a company’s bottom line given the size of the market.

In an attempt to assess the impact of the new US tariffs, What Hi-Fi? has talked to some major brands that provide many of the products we regularly review. And the picture being painted is fairly grim.

Audio Pro CEO, Nils Ankarcrona, told What Hi-Fi?: “We will be increasing prices by 20 per cent in the US market as of April 15. This is a necessary step due to rising costs in our supply chain and imports.”

This response is unavoidable, said Ankarcrona, as the constantly changing situation means the firm has been forced to take a defensive stance.

“Currently, we do not plan to make changes to our supply chain, as we believe we are already operating in an efficient and optimized way. Our current setup ensures high quality and reliable delivery. However, the future of the tariffs remains uncertain – both in terms of duration and rate – which makes it difficult to take long-term decisions at this stage.

“The main challenge is the increased import costs, which directly impact our US subsidiary. This affects our pricing and overall profitability in the US market.”

Cambridge Audio owner and CEO, James Johnson-Flint, mirrored Ankarcrona’s focus on uncertainty. He added that the tariffs are particularly difficult for audio brands, which rely heavily on some of the hardest hit countries for parts and manufacturing.

“The tariff news we have all received is nothing short of worrying for the US population as a whole, and the impact it will inevitably have on the prices of almost everything they buy. Even if a product isn't made in China, or in other countries outside the USA, it's probably made from parts that are, or with an overseas contribution in the supply chain,” he said.

“The tariffs announced are shocking and make little or no sense, especially to an industry like ours that has no realistic ability to produce audio equipment locally in the USA, especially after so many years of manufacturing capability stripped away by the USA's thirst for low prices enabled by Asia.”

Johnson-Flint confirmed the brand currently doesn’t have plans to raise prices, but may soon have to.

“As a brand that loves to offer high levels of value and performance, the last thing we like to do is increase prices – however this now seems inevitable,” he said.

Yamaha and LG representatives also declined to rule out the prospect of price increases.

“It is impossible to predict how the tariff situation will be settled. We will continue monitoring the situation, and only adjust pricing if it is necessary,” a Yamaha spokesperson told What Hi-Fi?.

"LG Electronics is closely monitoring the evolving international trade landscape and exploring various scenarios accordingly," mirrored an LG spokesperson, in a separate statement.

Numerous other brands we contacted refused to rule out price increases but asked to comment off the record.

We will continue to liaise with manufacturers and update you on any further developments as they happen. In the meantime, make sure to stay apprised of all the latest discounts on offer in our best hi-fi deals guide.

The audio industry is one of many being hit with potential price hikes. Phones are another key concern for consumers, with many handsets, including Apple iPhones, being made in China. Laptops and computing equipment prices are facing similar uncertainty.

MORE:

These are the best speakers we have reviewed

We rate the best headphones money can buy

Our pick of the best stereo amplifiers

Records are back, there's no escaping it. Even major high street stores (like John Lewis in the UK) now sell records, so the vinyl revival has gone well and truly mainstream.

But of course, unless you're buying them for their artistic covers only, you'll need something to play them on.

If you're thinking of buying your first record player but aren't sure where to start, you've come to the right place.

These eight questions will help you decide what you want from a turntable, so you can whittle down your search and find the best deck for you.

1. Do I need a turntable with a built-in phono stage?

A phono stage (also called a phono preamp) amplifies the record player's signal so that it's ready for your amplifier and speakers. It also applies an RIAA equalisation curve to flatten the frequency response and give a more accurate sound reproduction.

Plenty of turntables come with a phono stage built in. If you buy one without, you'll need either an amplifier with an integrated phono stage, or a dedicated standalone phono stage to go between your turntable and amplifier in your system chain.

A record player (or amplifier) with a built-in phono stage is simpler, as it means you don't have to set up a separate phono stage. It can also be cheaper, as it means buying fewer devices. But a record player connected to a separate, dedicated phono stage will sound better.

For that reason, a phono stage built into a component you already need (a turntable or amplifier) might be a good option for beginners for whom sound quality isn't the be-all and end-all.

If you're not sure, you can always opt for a turntable with a switchable phono stage. This lets you use the built-in phono stage but also lets you add a separate phono stage if you like. This is a great option if you want to upgrade your system at a later date.

Our pick of the best phono preamps for most people is the Rega Fono MM Mk5, while those on a tighter budget, require moving coil compatibility or even a headphone stage can peruse plenty of other options.

2. What type of cartridge do I need?

The cartridge is a crucial component – it acts as a bridge between the tonearm (which you move into position to physically start playing a record) and the cantilever (which holds the stylus).

Cartridges come in two types: moving magnet (MM) or moving coil (MC).

Most affordable turntables will be fitted with a moving magnet cartridge as standard, with moving coil becoming an option as you head into premium territory.

With a moving magnet cartridge, the magnet is fixed to the cantilever and moves while the coil of wire is fixed in place. A moving coil cartridge has a coil fixed to the cantilever, while the magnet remains stationary.

A moving magnet cartridge will usually have a higher electrical output than a moving coil cartridge (it can be 10 times higher). This can mean a punchier, more muscular sound, while moving coil cartridges tend to present a more detailed sound with more finesse.

But there are no hard and fast rules. It's just worth noting that if you are considering an MC cartridge, then you have to ensure your phono stage can handle this type and has ample loading and gain adjustments. Upgrading the cartridge on your record player can be a great way to update its performance, too.

Moving coil cartridges tend to be more expensive than their moving magnet equivalents Expect to pay around £400 / $600 / AU$700 at least for a decent MC model, while a good moving magnet cartridge can cost as little as £90 / $200 / AU$200.

• Moving magnet vs moving coil cartridges: which is right for you?

3. Will I be using headphones?

Naturally, you'll want to share your newfound love of vinyl with everyone you live with. Whether they want to hear it is another matter.

Whether they don't share your love of obscure Belgian folk music, they're trying to sleep, or they're just not in the mood, sometimes it makes sense to keep your listening personal.

Which is where headphones come in.

Not many record players have a headphone jack so that you can plug your cans in directly. The Audio Technica AT-LP60XHP is one model that does (although note that we haven't tested this model).

Crucially, this has a volume control on the record player, so you can adjust your personal listening volume. If you buy one without a headphone jack, you can still listen through headphones. It will just mean some extra investment.

Again, you'll need an external phono preamp somewhere in your system chain, as well as a headphone amplifier. The former boosts the record player's output to line level, ready for the headphone amp to amplify it to be heard through your headphones (the headphone amp should have its own volume controls).

Products that combine the two are rare, but the five-star Cambridge Audio Alva Duo phono stage (pictured above) has a headphone jack included, which is a neat solution. The most common option is to have a headphone amp and jack on your amplifier.

Or you could buy a Bluetooth model, which we'll cover next.

4. What about Bluetooth?

While still mostly the preserve of less 'serious' turntables, Bluetooth is becoming more common in record players. And the quality is getting better.

The beauty of a Bluetooth turntable is that there are no extra wires, a phono stage is always included, and there is no need for external components – just plug it straight into your existing amplifier or active wireless speakers.

For headphones aficionados, the music just sails through the air from your vinyl straight to your wireless headphones. Or you can connect it to any Bluetooth speaker, if you want to play it for public consumption.

Our top picks for an affordable Bluetooth record player are the new Pro-Ject T1 Evo BT, which sounds great while also delivering a smooth wireless connection, and the long-running budget Sony PS-LX310BT.

And if you want a premium turntable with Bluetooth, we recommend the Cambridge Audio Alva TT V2 model – read all about them in our best Bluetooth turntables round-up.

• Our guide to the best wireless headphones
• And the best Bluetooth speakers to share the love

5. Do I need streaming smarts?

Just because you're investing in vinyl doesn't mean you have to turn your back on streaming. Many find that the two mediums go hand in hand – vinyl for at-home listening, streaming for on-the-go, for example.

But did you know that some record players are equipped for hi-res streaming?

The Victrola Stream Onyx supports UPnP (Universal Plug and Play) streaming via Vinylstream WiFi, which allows up to 24-bit/48kHz streaming to compatible, network-enabled streaming products. Just connect it and a wi-fi-enabled speaker to your wireless network, and free your vinyl from its cabled confines.

The Pro-Ject T2 W is another such deck, which again uses UPNP. We haven't reviewed either, so can't vouch for their sound quality. But the prospect of streaming high-quality music (especially higher than standard Bluetooth quality) direct from the turntable is certainly exciting.

Again, if neither record player takes your fancy, you do have other ways to stream and even go multi-room.

Sonos' Era 300, Era 100 and Move 2 smart speakers can – with the aid of an adapter – connect to a record player to then wirelessly stream your vinyl record to other Sonos devices around your home, for example. This means kitting your home out with Sonos devices. But given the quality of its speakers, that's no hardship.

Want to go down this route? Check out our how to connect a turntable to your Sonos system article.

• Check out the best Sonos speakers

6. How much do I want to spend?

As with most audio devices, the more you spend on a record player, the better it has the potential to sound. But that doesn't mean you should automatically buy the most expensive model you can find.

If you'll just be using it for background music or the occasional dinner party, you really don't need to spend too much to get a decent sound. If it will be the centre of your listening room for multiple sessions a week, you'll want to spend a little more.

Consult our guide to the best turntables, best budget record players or best high-end record players to find a tried-and-tested model that's right for you. And don't forget to keep some budget back for extras.

Speaking of which...

7. What will I partner it with?

You'll need to think about which speakers you'll be using with your record player, and make sure they're compatible.

If you're buying passive speakers, you'll need a separate amplifier to power them. But powered or active speakers have in-built amplification, so your vinyl system won't need quite as many boxes if you opt for this set up.

Many active/powered speakers and all-in-one systems have phono stages built in, too, giving you more options than ever on system matching. It's pretty neat having a system comprised of purely a turntable and active speaker pair, after all.

Many people prefer the 'separates' (various components) route, as it tends to produce a better sound and lets you upgrade each component as your needs or budget allow over time.

But if you're on a tighter budget, and/or don't have too much space, a turntable connected to powered or active speakers makes a lot of sense (just don't forget about the necessary phono stage in the equation!).

Also don't forget to budget for decent speaker cables and audio interconnects (so long as your turntable doesn't have a fixed one) to really get the best out of your new record player.

• Learn more with our active, powered and passive speakers explainer
• Our best turntable speakers will guide you through the various combinations for your ideal vinyl set up
• How to set up a turntable and get the best sound

8. Where will I put it?

We don't all have personal listening rooms with acres of floorspace to fill. So it will take a bit of thought to make the best of whatever space you've got.

A record player will need a decent support – this can be a standard shelf or cabinet, as long as it's perfectly level, low resonance and positioned as far away from sources of vibration (like your speakers) as possible. If your turntable is on the more premium end, a dedicated hi-fi rack is worth considering to get the best out of your new system.

Turntables can be very delicate – even the slightest vibration can cause the stylus to skip, such as wooden floorboards that flex as you walk. So if you live on a busy road with buses roaring past all times of the day and night, maybe put the turntable at the other side of your home.

Also think about your other components and their positioning. If you're using wired speakers, you'll need to tuck the cables out of the way to avoid trip hazards, for example.

And you'll want speakers set away from walls if possible – and ideally not on the same surface as the turntable – to avoid the sound bouncing back off them and so any vibrations don't feed into the turntable itself.

Finally, keep kids and pets away from your new turntable, if you can. That old saying about never working with children or animals goes for record players too!

With a bit of thought, some research, and some help from us at What Hi-Fi?, you should have many happy hours of vinyl listening ahead of you.

A whole new world of audio awaits – welcome to the club!

MORE:

Ready for a deep dive? How to set up a turntable and get the best sound

Here are our top tips for buying second-hand vinyl

How to store records: 9 tips for keeping your vinyl tip-top

There’s a common misconception that music streamers are simply about the qualities of their digital chipsets alone. That is, the computer-like streaming module that pulls digital music data from the cloud (from Tidal’s server, say) and packages it into a smooth constant data stream, and the digital-to-analogue converter (DAC) that then turns that data stream into an analogue waveform the rest of your hi-fi system can understand.

It somewhat stems from the broader fallacy that digital audio’s inherent ‘ones and zeros’ makeup means that there can be limited differentiation in their delivery.

But as eloquently illustrated by Cambridge Audio, such chips are comparable to how an orchestra performs: “If the conductor isn’t very good, the orchestra won’t perform as well as they can. However, if the conductor is surrounded by poor musicians or the wrong instruments, again the performance won’t be as good as it could be.”

Indeed, while chipsets do matter, and it is true that all streamers perform one stage of the process with parity (which we’ll get to), their audio performance is predominantly down to how the chips are implemented.

As Paul Neville from Harman International told us, “Engineering a high-quality music streamer requires a holistic approach to the signal path, from the network input to the final analogue output.”

So what exactly matters in music streamer design? Here’s what experts over at Audiolab, Cambridge Audio, Chord Electronics, Cyrus, dCS, Fell Audio, WiiM, Lenbrook (NAD, Bluesound) and Harman International (Arcam, Mark Levinson) had to say about what makes streamers truly sing…

Chips do matter

The streaming module is a crucial music streamer component. It communicates with the source to get your music before packaging it up in a digital language the DAC chip can understand. Up until this point, the digital audio data is more or less handled as it would be had it come from a CD transport.

As dCS’s James Cook tells us, this first process performed by the streaming module guarantees bit-perfect data from a lossless source.

“This means two comparable streamers that support the same version of a streaming service will output an identical data stream,” he says. “This holds true largely regardless of network conditions, the equipment upstream of the network streamer, and to a degree the streamer itself.”

That’s the parity – and to some extent why some people believe that music streamers (those that are DAC-less, anyway) should all sound the same.

What about your home network conditions; does that affect the obtaining of networked music?

“While network stability is important, the reality is that most modern connections, whether wi-fi or wired, offer ample bandwidth for even the highest-resolution audio,” says Cambridge Audio’s engineering team.

“Streaming 4K video with multi-channel audio is a far greater data demand than high-resolution audio. If your network can handle that, it can almost certainly handle your music.”

How the data stream is rendered before the digital-to-analogue conversion stage, however, does make a difference. “The way a streamer unpacks and processes a digital file has already shaped the final sound,” says Fell Audio’s Luke Tyson.

“Its handling and transmission of ones and zeroes within the [circuit] board affect timing, accuracy and ultimately musicality; garbage in, garbage out!”

Tyson says that in this world of increasingly affordable music streamers, “it’s easy to assume that a great music streamer is simply defined by the DAC chipset or streaming module it uses”.

The quality of the streaming and DAC chips themselves does matter – specifically in the case of the latter.

“The first step is selecting the right chip,” says Harman International’s Neville, while Cambridge Audio and Audiolab also stress the importance of using a good-quality DAC chip. But achieving good performance goes far beyond picking expensive chipsets.

“Often you see ‘insert latest DAC name here’ as a marketing bullet point as if just having it in that product guarantees a good sound,” says Cyrus’s Nick Clarke.

But as Audiolab and Cambridge Audio reiterate, the truth is that just as crucial is how it is implemented within and complemented by the surrounding components and circuitry. And often, Clarke continues, “As the performance and functionality of these devices [chips] increase, the scope for not handling them correctly also increases.”

Negating the noise

Several design factors need careful consideration in order to prevent a plague affecting all hi-fi: noise. “Even the best DACs and processors won’t perform optimally if the power supply is noisy or the circuit design introduces unwanted electrical interference,” says WiiM’s Dr. Lifeng Zhao.

Let’s take the power supply. Ideally you want separate supplies feeding the digital (DAC) and analogue (post-DAC) stages with, as Audiolab’s Jan Ertner describes, “clean, consistent power”.

Ertner says that the DAC’s supply in Audiolab’s flagship 9000N (our current Product of the Year streamer) having multiple discrete ultra-low-noise regulators providing power separately to the left and right channels for each conversion stage is a “vital contributor” to its performance.

As an aside, Neville at Harman believes that linear power supplies are preferable to the smaller and arguably more efficient switch-mode supplies here, as they produce less noise and provide “cleaner and more stable power for optimal sound quality”.

As he rightly points out, you need these separate analogue and digital supplies to be isolated from one another, too. And ‘away’ from sensitive circuitry, full stop.

But you can go one better than that. Chord Electronics’ Matt Bartlett says that using a streamer with an external DAC is “one of the best ways to isolate the audio signals, as this allows you to keep all the analogue audio signals you actually listen to, away from any of the noisier streaming functions”.

As we mentioned earlier, the majority of music streamers (including those in our best music streamers buying guide) do, however, have DACs built-in.

Those without one do the pre-DAC music pulling and processing only, are often aspirational designs and are referred to as ‘network transports’ or ‘network bridges’; the recently reviewed Lumin U2 Mini is an example of such.

You then have noise creeping into the audio path or supply from the streamer processing or conversion. Bartlett likens streamers to computers (they are “computers optimised to run dedicated audio/streaming software”), which are inherently noisy.

“They have a lot of clocks and signals that, if not handled correctly, can induce noise,” he says. “This is exacerbated by the need to make the software run as fast as possible to give a positive user experience; users will not appreciate lags and delays in playback if the software cannot keep up. To do this effectively, larger processing and memory is required which, more often than not, also requires faster clocks and more demand on the power supply, and so more noise.”

Cyrus’s Clarke explains that the way streamers receive and decode data – by receiving it in blocks (sometimes referred to as ‘packets’) and placing it in a buffer for decoding in blocks – can also produce noise.

“Specifically when dealing with compressed audio, a poor [decoding] implementation will have measurable artefacts at the block-processing frequency,” he says.

In summary, “A low-noise environment is crucial to unlocking the full potential of high-resolution audio,” says Cambridge Audio.

A question of timing, among other aspects

One of the most important aspects of digital audio delivery is trying to prevent (or minimise) ‘jitter’.

In the case of music streamers, this is the distortion artefact that occurs from slight timing deviations in the clocking signal during the digital-to-analogue conversion stage. These small errors mean the reproduced analogue waveform isn’t exactly the same as the original.

Unsurprisingly then, every manufacturer we spoke to here mentioned the importance of clock design in a music streamer.

The most important one is the ‘master’ that regulates the conversion stage; however Cyrus’s Clarke also explains that there is scope for large amounts of jitter in the sending of data to the DAC (as there is with any digital source pre-DAC).

He says that while modern DACs are then “very good at handling this ‘automatically’, it would be much better if the data was correctly timed in the first place”.

This somewhat goes back to Clarke’s earlier comments that what happens before the DAC stage has an impact, as well as Tyson’s claim that “the way the renderer buffers and reconstructs the digital audio signal before passing it to the DAC can make or break the overall performance”.

For this reason, dCS’s Cook says that for high-performance streamers it is vital that the streaming solution can accept an external clock signal as this helps to ensure that the DAC-bound audio signal leaving the streamer has a low level of jitter.

“A key feature of this is having high-quality clock circuitry inside the product running at integer multiples of the two base audio sample rates (44.1kHz and 48kHz) which can be fed into the streamer,” he says.

Clocks and timing aside, Greg Stidsen of Lenbrook says that the circuit board layout is important too: “How the traces are laid, where the components are placed – all of this affects the sounds to varying degrees.”

Stidsen keenly reminds us that these kind of changes almost exclusively evolved the Bluesound Node 2 (2015) to the Node 2i (2018) on the engineering side of things, and that we noted in our review just how much the performance had improved in the newer model as a result.

Harman International’s Neville agrees that “adherence to high-speed circuit board design principles” is crucial for signal integrity.

Neville and Clarke (Cyrus) discuss how in such hybrid digital and analogue products, careful management of signal grounding (the reference point at which voltages are measured) is also important, with particular focus on where the analogue and digital ground domains intersect to minimise noise and interference.

Of course, Neville adds, on the whole, carefully tuned analogue stages are essential too!

Software and sound

Where digital is the topic of conversation, software isn't far behind.

When you think of music streamer software, you likely think of the app – the thing that can turn your phone or tablet into a practical and intuitive remote control for the platform your streamer runs.

And indeed it’s that operation, alongside the behind-the-scenes design, that impacts not only a product’s user experience but also its audio performance.

Stidsen of Lenbrook – who knows a thing or two about developing streaming systems, with the company’s Bluesound brand having developed its own system (BluOS) based on a Linux kernel – goes as far as saying that “audio quality is defined just as much by software as it is by hardware in a streamer”.

“A well-designed streaming app directly impacts how music sounds, from how the signal is routed to how it interacts with the hardware,” says Audiolab’s Jamie O’Callaghan, tying in with an earlier point that the way in which a streaming platform processes digital data is primarily down to software.

“The various codec implementations and audio chain are all areas where the sound quality can be greatly diminished if the software engineer does not have audio expertise,” adds Stidsen.

WiiM’s Dr. Lifeng Zhao also shares the opinion that hardware alone doesn’t guarantee a great streamer, and it is unfortunate but true that our reviews team has come across great-sounding streamers that we haven’t been able to wholly recommend due to their sub-par user experience.

Nothing is worse than buggy app control prone to drop-outs or lag. Actually, there is one thing: music playback glitches.

“A platform must have a proven track record of stability, ongoing updates and innovations,” says O’Callaghan at Audiolab, while his colleague (and others) stress the importance of platform relevance and longevity, considering the never-ending road of streaming service updates and protocols that lay ahead of music streamer development.

The big picture

Going back to our earlier point, despite those who, from the dawn of digital audio, have insisted that all digital audio kit must sound the same, Audiolab’s Ertner says that “this is demonstrably not the case, and that includes music streamers – even those that use the same streaming platform or chips”.

As several streamer manufacturers have examined here, everything from power supply and analogue stage design to software processing and platform handling impacts streamer sound performance – not just chipset selection.

To that end, Fell Audio’s Tyson proffers a fitting denouement: “A more entry-level ESS Sabre DAC chip, when given a carefully considered discrete power supply feed, better component layout, and efforts to keep signal integrity, can yield superior results and will most likely provide a more complete musical performance than simply opting for the more expensive DAC model.”

So the next time you’re shopping for and comparing music streamer specifications, it would be wise to remember the bigger picture.

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Industry sources:

• Audiolab – Jamie O’Callaghan, Global Marketing Director; Jan Ertner, Head of Electronic Design
• Cambridge Audio – engineering team combined
• Chord Electronics – Matthew Bartlett, MD
• Cyrus – Nick Clarke, MD
• dCS – James Cook, Product Marketing Manager
• Fell Audio – Luke Tyson, Design Lead
• Harman International – Paul Neville, Senior Director of Global Audio, Luxury Audio
• Lenbrook Group – Greg Stidsen, CTO
• WiiM – Dr. Lifeng Zhao, CEO

If you’re dipping your toe into the world of vinyl, you might find that you’re missing an important link – namely a phono preamp – between your record player and your active speakers or amplifier. The best external phono preamp (or a phono stage) is a neat way to bridge that gap; it’s also a great way to upgrade the quality of your existing vinyl set-up, as they tend to be a better quality than the ones built into your powered speakers, amplifier or turntable.

iFi’s Zen Phono 3 model is a compact and wallet-friendly phono stage that can neatly slot into most affordable vinyl systems, and is – unusually for a phono stage at this level – compatible with both moving magnet and moving coil cartridges.

Build & features

The Zen Phono 3 is a nicely made unit, with a similar footprint and design as its predecessor. The chassis is identical in dimensions and finish to the Zen DAC 3 we reviewed recently, and it’s a sleek, smart unit that is easy to accommodate on your desktop or hi-fi rack space.

There has been a major cosmetic lift from the original model, with the Zen Phono 3 now featuring a circular display and LEDs to indicate the different gain and loading options chosen, along with responsive buttons that help you make these adjustments.

The LEDs are subtle enough to not distract you when listening to records in a dark room, while the labels are legible – it’s a straightforward unit to use.

Compared with the previous model, the Zen Phono 3 allows you to mix and match gain and load settings independently of each other – you have four gain settings from 36dB to 72dB and four input impedance settings. This makes it compatible with a wide range of cartridges – even moving coil models. You can select low to very high gain settings using a switch at the rear of the unit, while you can choose the correct load option for your MC cartridge using the front panel button.

Around the back, you’ll find a single pair of stereo RCA inputs and outputs, along with a single 4.4mm balanced output.

The Zen Phono 3 boasts a relatively quiet noise floor as standard, while you can go further and diminish low-frequency rumbles caused by warped records or excitation of cartridge/arm resonances by using the Subsonic filter. This is a useful function but also affects overall transparency to a degree.

That this phono stage can work with a variety of moving coil cartridges for this price level is clearly a huge draw, but it’s worth noting that most good-sounding MC cartridges tend to cost at least double the price of the Zen Phono 3. While it’s admirable that an entry-level product such as this is so versatile and also offers an upgrade path, we think it offers most when partnered with budget-to-midrange moving magnet cartridges.

Sound

We plug the Zen Phono 3 into our reference system of the Rega Planar 3 RS Edition turntable, Naim Nait XS 3 amplifier and Epos ES-7N speaker. For comparison, we have our current Award-winning Rega Fono MM Mk5 phono stage (MM only, £230) and the five-star Cambridge Audio Alva Duo (£299), the latter of which is also compatible with MM and MC models.

Straight away, the iFi Zen Phono 3 shows its mettle with a refined, smooth and spacious presentation. Fleetwood Mac’s Dreams comes through in a composed manner, with guitar strums, drum kicks and vocals delivered with good detail and even better clarity. There is no undue harshness at the top end, which means that some of those scratchy, bright, high-pitched tones on Portishead’s Numb and Roads are a little more polished and polite. Overall it’s a nicely balanced sound that isn’t fazed by a rather rough and compressed Slipknot pressing or a very old but great-sounding Son House blues album.

We would like the iFi to dig a bit deeper into subtleties and have greater precision and verve when it comes to dynamics and rhythms, however. Bass performance is fairly taut and solid, although switching over to the Rega MM Mk5 brings us that greater level of authority, muscle and verve that we were missing. The Rega phono stage adds a heap of extra subtlety and textural depth to voices and instruments, along with a more propulsive sense of rhythm. The iFi’s sound is just a touch lightweight in comparison, but it also sounds fairly nimble and smooth-flowing.

The Rega MM Mk5 is more willing to unearth the grittiness and nuances of recordings, although it is a smaller-sounding and less refined presentation than the Zen Phono 3. The Cambridge Duo is also nicely dynamic and punchy (and has the added benefit of a headphone port), but it lacks the detail levels, refinement and clarity of the iFi rival. The Zen Phono 3 easily offers the biggest and most spacious sound of the three.

To test its MC capabilities, we plug the Phono 3 into our reference Technics SL-1000R record player with the Kiseki Purpleheart MC cartridge. This a high-end option far beyond what we would ever suggest pairing with the iFi, but it shows the iFi to be a decent and consistent performer with moving coil cartridges, though lacking in true transparency. Given this phono stage’s price point, that isn’t a major issue.

Verdict

The iFi Zen Phono 3 is a neat little unit and a good upgrade option for your turntable system. We like its clear, refined and big-sounding presentation, but find it plays it just a little too safe for our liking. For a similar price, the Rega rival is more expressive and musically satisfying.

However, we can see the iFi’s combination of features, smart design and price attracting those looking to give their fledgling vinyl system a spruce. It’s an alternative worth considering.

First reviewed: March 2025

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Rega Fono MM Mk5

Also consider the Cambridge Audio Duo MC/MM

Best phono preamps: budget to high-end, tried and tested

While we hold sound quality – and value for money – paramount in our estimation of any hi-fi product here at What Hi-Fi?, sometimes it's the little things that make us take notice and appreciate a product even more.

If you'll indulge me a little here, I'd like to highlight elements of design that are worth appreciating – and have made an impression on me and in how I use them – that have nothing to do with sound quality.

This musing was brought about by the presence of the vintage Michell Argo preamplifier (pictured at top) in our test rooms. It sounded lovely; what also drew my attention was the upside-down labelling on the connections at the back of the unit. I'd seen this before in various Cambridge Audio products over the years, present in the budget Alva Duo phono preamp to the high-end Edge A integrated amp, and it always struck me as a thoughtful little touch from the designers, showing they've made note of the practical way someone uses a product in real life. Most of us tend to have a piece of hi-fi equipment – an amplifier, a streamer, a CD player – placed on a rack or cabinet, and we have to lean over it to plug in another component or change cables. Having the same label written upside down on the back – and therefore being able to read it the right way up when leaning over the product – makes it that much easier to plug into the right set of connections or read what input you're using.

It's a small thing, but it's a nice addition from manufacturers that always gets an appreciative nod from us when we come across it. I most recently saw it again in Austrian Audio's debut headphone amplifier, Full Score One, and couldn't help but doff an invisible cap to the designers for adding this simple but practical element.

And it isn't just labels...

My appreciation of a product goes deeper than just mere labels. In fact, I'm sure most of us audiophiles who enjoy using hi-fi kit have happily noted the smooth feel of a volume dial with just the right level of damping, the satisfying clunk of a switch or button, or the way a CD tray operates in smooth silence. We can all appreciate when something is built to a certain high standard of quality, and we notice it even more so when it's done with obsessive love and attention by someone who cares about using a piece of hi-fi as much as you do.

Esoteric's ultra-high-end K-05XD CD player has a lovely disc-loading tray that glides as it performs its duties, but more budget models such as the long-standing Marantz CD6007 mimic that smooth and super-quiet operation. It's always nice to twiddle a dial or flick a switch and get the ultimate satisfaction when you discover it has heft and weight, and is made with care and quality.

It's why we particularly love old, retro products that offer that same tactile feel. I had the chance to see some of Technics' very first turntables last year at the brand's Osaka office in Japan, and spent a good few minutes moving the speed-switching lever on the very first SL-1200 direct drive DJ turntable from 1972. The turntable wasn't working or hooked up to anything, but moving the lever between 33, off and 45 speeds gave the most satisfying feel and noise – a proper weighty clunk and definitive motion that I couldn't help but feel nostalgic for.

But that's enough about old products. While it may seem like newer kit just isn't built in the same way as those from the 70s and 80s, with heavy metals and proper heft and clunk behind the buttons (or at least, not without paying a considerable amount of money for that level of quality), it's actually in a much more cutting-edge modern arena that certain manufacturers are offering neat touches that make using something more amenable.

Touchscreen or no screen at all?

You might debate whether a colour display screen is needed on a music streamer or not – it's lovely to see album artwork, but all your controls and information are in your iPad or smart device, no? Yet we've seen a rise in touchscreen displays on products from HiFi Rose, Eversolo and WiiM – and it's surprisingly been more useful than I ever thought it would be.

We're testing the WiiM Ultra streamer at the moment and I can begrudgingly admit just how useful its touchscreen has been. While my smartphone is usually always in my hand and so controlling the WiiM and choosing music is a mere finger tap or two away, there are times when I've either left my phone in another room or it's simply not within reach as it's charging. Depending on how your listening room is laid out and where your hi-fi is placed, it may not be practical to lean over and prod at the streamer's touchscreen to use it, but our kit rack is by the sofa, and it has been the easiest thing to simply reach over and start a playlist or radio saved in presets, or to change the volume or control playback. It's a nice way to interact with the streamer and means less time spent looking at your smartphone and all its distractions – something many of us are looking to achieve, especially when listening to music.

You can perform even more functions through the Eversolo DMP-A6's touchscreen display, including accessing any downloaded music app and going through all the playlists, artists and albums in each, just as you would on a smartphone. Ultimately, both ways involve looking at a screen, but I wasn't prepared for how often I could do what I needed simply by using the product's touchscreen rather than picking up my smartphone and poking around the control app.

You might argue that most hi-fi products don't need a distracting screen at all, especially if we're trying to focus on the music. The majority of Naim streamers don't have a screen at all, and we've never missed them.

I rather like Roksan Attessa Streaming Amplifier's neat half-way solution, which doesn't use a large display but instead features a slim row of illuminated picture icons that relate to which input/source you're using. You can customise and assign the icon images – a TV, a CD, a game controller, a DVD player, a record with a tonearm – to each source, and it adds a personal touch to a product that might otherwise be a large metal slab. Plus, you can see which source is activated at a glance without the full glare of a display distracting you when you just want to lose yourself in the music.

Again, it's only a small thing – but it's little, thoughtful elements like these that have left an impression and made me appreciate how certain manufacturers and designers have found ways to make using hi-fi kit that bit easier and more pleasurable.

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What Hi-Fi? reviewers share their favourite-ever albums for testing hi-fi

Welcome to the latest entry into our weekly Rewind hi-fi and home cinema news digest. In it, our team of audio and home cinema aficionados once again detail the top headlines you need to know about.

And this week’s another big one, with everything from our reviewers' picks of the top albums to test your system to rumblings that Panasonic may be looking to sell its OLED TV division.

Here are all the facts.

We revealed our top albums for testing hi-fi

One of the most common questions we get asked, outside of if we get to keep review samples (we don’t), is what albums and tracks we use to test hi-fi. This week our team of reviewers published a fresh list revealing the albums they keep coming back to, and it’s a pretty interesting selection!

Read the full story: What Hi-Fi? reviewers share their favourite-ever albums for testing hi-fi

Our managing editor details the six apps she uses to supercharge her hi-fi

Smartphones are clever things, but if you go on any app store there’s an awful lot of freeware tat. Just type in 'spirit level' and you’ll be flooded with a sea of “free” apps claiming to do it, but then request extortionate amounts of data, or lock the feature you want behind a paywall once you install them. Which is why last week our managing editor did the legwork so you don’t have to, and revealed the six apps she, and the wider team, use most when setting up and optimising their systems.

Read the full story: 6 free audiophile apps to supercharge your hi-fi experience

There’s a new top dog set of wireless headphones for serious music fans

We take a lot of time and care with our wireless headphone reviews. Which is why our advice can be fairly static – if something isn’t THE best option for its intended market, we’re not recommending it. So it’s quite a big deal when we do update our advice, especially in a crowded market like wireless headphones. But last week that’s exactly what happened, with the Dali I-O8 dethroning key rivals including the Mark Levinson No.5909 to become our recommended pair of wireless headphones for audiophiles.

Read the full story: We’ve just reviewed audiophile wireless headphones that knock our veteran favourites off the top spot

We finished testing the Cambridge Audio Evo One

Systems are rapidly becoming a popular category, and for good reason – they’re simple and, when done right, can sound great. Which is why last week our reviewers were delighted to finish testing the Cambridge Audio Evo One. Featuring cutting edge specifications, all the streaming smarts you’ll need, and capable of producing a spacious refined sound with fluid dynamics, there’s a lot to like about the system.

Read our full Cambridge Audio Evo One review

Panasonic’s “potentially” up for selling its TV business

Regular readers will know, Panasonic TVs have a strong track record in the What Hi-Fi? test rooms. Last year’s flagship Panasonic Z95A OLED scored a perfect five-star rating and our staff writer, Lewis Empson, walked away from his preview session with the 2025 Panasonic Z95B generally optimistic. Which is why we were surprised when industry rumblings broke last week suggesting the Japanese giant may be looking to sell its TV business. But, after we finished doing our shocked Macaulay Culkin impressions we all had a similar thought – what if Apple bought it?

Read the full story: If Panasonic does sell its TV business, I know who should buy it

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Our picks of the best headphones

“There can be only one.” “One Ring to rule them all.” “He is the One.” “I am the one and only.” Maybe we’re reading a little too much into it, but Cambridge Audio’s latest all-in-one music system makes a subtly bold claim. The cultural and literary canon is full of allusions to chosen figures who can alter the course of history as they forge their singular destinies, and such a seemingly small word can be interpreted in a few different ways; as ‘One’ box in which multiple functions and tasks can be performed or, perhaps, the ‘one’ and only all-in-one system that’s better than all the others.

Outperforming those others isn’t an easy task. While the world of all-in-one systems such as these isn’t as overstuffed as the land of Bluetooth speakers or wireless earbuds, there’s quality competition to be overcome. The Naim Mu-so 2 has been around for over five years yet continues to earn plaudits at its ever-reducing price, whereas the stunning Ruark Audio R410 is the bruiser to beat on this block. Some decent alternatives abound, but is the Evo the ‘One’ for you?

Price

Convenient as it may be, the Cambridge Audio Evo One doesn’t come particularly cheap. Clocking in at £1299 / $1499 / AU$2499, the Evo One is around what we’d expect for a product of this type. The Naim Mu-so 2 launched at £1299 / $1599 but has dropped to around £899 / $899 these days, since it debuted in the summer of 2019, whereas the new Ruark Audio R410 clocks in at £1299 / $1699 / AU$2599.

Build & design

Built like a sort of scaled-down Brutalist structure, the Evo One’s careful blending of a rectangular exterior with that dominant front grille makes for a pleasing fusion of hard and soft. It’s a classy system and, when put up against the retro-modern aesthetic of the Ruark Audio R410 or the industrial looks of the Naim Mu-so 2, demonstrates that there’s more than one way to skin this particular metaphorical cat. The Ruark’s crafted wooden grilles are arguably on another level of drop-dead gorgeous, while Naim’s metal finish and illuminated control dial has a touch more je ne sais quoi, but the Evo One is far from an ugly stepsister.

It is a bit of a beast, measuring 12.9 x 67.5 x 29cm (hwd) and weighing 14.5kg, so you’ll need to make sure you have a sturdy, robust and sufficiently capacious surface on which to house it. Beastly it may be in terms of dimensions, but there’s beauty to be found as we cast an eye, and indeed a hand, over the Cambridge’s particulars. The removable honeycomb grille sits tight to the main unit, whereas that smooth walnut top panel – very much the star of the show – lends a premium feel. Squat down and you’ll notice that the Evo One is mounted on a recessed base stand, allowing the speaker to stand above its surface without detracting from the frontage’s bold aesthetic – again, that’s a nice touch.

To keep you in the picture and grant you hands-on control of your chunky all-in-one unit, the Evo One furnishes you with a 17cm colour display screen sitting above a decent array of slightly cheap-feeling physical buttons. That display screen grants access to the likes of album artwork, track information or a pair of virtual VU meters, whereas the accompanying buttons handle playback, volume control, play/pause and information selection.

For access at a distance, Cambridge Audio has provided a utilitarian but decently furnished plastic remote control for managing the same range of functions as handled by the on-unit buttons. If that seems a bit too 20th-century, the StreamMagic app will perform the same range of functionalities while also granting access to the Evo One’s built-in array of streaming services, platforms and source inputs.

Features

Audio can be personalised in the StreamMagic app via a seven-band equaliser. We get on well with the StreamMagic platform, finding it to be reasonably intuitive and easy to use once you become accustomed to its particular layout. It’s worth taking some time to familiarise yourself with the app, too, as key functions and customisation options – such as picking which inputs can be accessed via the on-unit display – are there to be discovered amidst the more main-event settings and services.

Speaking of services, the StreamMagic platform allows for direct streaming via Tidal Connect, Spotify Connect, Deezer and Qobuz, with support for hi-res audio files up to 32-bit/192kHz over wi-fi or an ethernet connection. It's even Roon Ready, while connectivity options come courtesy of Bluetooth 5.1, AirPlay 2 and Google Cast – naturally, we’d recommend streaming over wi-fi for a sound that’s superior to the performance offered over Bluetooth.

If you want to go wired, an HDMI eARC means you can hook up to a TV and use the Evo One as a rather chunky soundbar, while a moving-magnet phono stage lets you hook up directly to your chosen turntable. A line input for analogue sources, an optical digital input and a USB-A port round things off nicely.

The Evo One houses a whopping 14 drive units, with four 25mm silk dome tweeters flanking the corners, accompanied by four 57mm aluminium cone midrange units and six 70mm woofers surrounding the entire system. That’s a lot of drivers, configured to produce an expansive, room-filling soundfield and provide a wide dispersion so that the sound balance doesn’t change appreciably regardless of where you are in the room. The Evo One has the power to match its substantial driver array via its 700 watts of amplification, all aided by digital signal processing technology, which Cambridge Audio claims helps to produce a deep, clear and controlled lower-end signature.

Sound

Those drivers unquestionably deliver that promise of an expansive soundfield. The Evo One is a burly unit, and it produces a sound that’s similarly bold and broad in terms of its size and scale, spreading music evenly and confidently across our test room. No matter where you stand, the sonic character you receive remains remarkably consistent, and while scurrying off to a corner of your test chamber doesn’t yield quite the same results as plonking yourself directly in front of the Evo One, the system’s general consistency makes it a fine candidate for accompanying evening soirees during which guests are scattered across your capacious front room.

The Evo One would probably fit in rather nicely at such a well-to-do event. This is a mature, considered performer, the sort of system that wouldn’t be out of place wearing a dinner jacket at a ’50s cocktail party with a Martini in one hand and a cigar in the other. Almost everything about its sonic character comes across as organised, controlled and considered, rounding off notes’ harsh edges and showing enough restraint to rein in any potential of screeching trebles or blobby bass. That said, the Evo One’s lower end can sometimes sound a little disconnected from the rest of the middle and upper frequencies, with the more compact, punchy Naim Mu-so 2 sounding more cohesive and contained when we assess it for comparison.

Rest assured that Cambridge Audio’s all-in-one contender has more to recommend it than just its spacious presentation. We load up a recording of Hans Zimmer’s Up Is Down from the third Pirates Of The Caribbean movie, noting how adeptly the Cambridge system takes a smooth, fluid approach to the track’s tricky dynamic shifts. Rises and swells in volume move as naturally as a ship rocking and riding on an undulating sea, giving the track a natural, unfussy character.

Sophisticated and easygoing the Evo One may be, but this smooth operator doesn’t seem the sort to loosen its bow tie and join in with the more raucous post-cocktail after-party. Up Is Down is certainly fluid and controlled, but we’re always aware of a speaker that’s not quite willing to let loose and really entertain. There’s a slight softness to the overall presentation, rendering Spacehog’s soaring rock anthem In The Meantime as lacking in punch and verve, especially when the crunchy guitars kick in and the chorus takes flight. We crave a little more punch and snap, further noting that the system’s slightly soft approach does rob the Evo One of the propulsive, front-footed assertiveness possessed by the similarly-priced Ruark R410.

Moving away from streaming our favourite Tidal test tracks, Cambridge Audio has been generous enough to provide its sturdy box with a host of connectivity features – this is a do-it-all system after all – so it’s up to us to see how well they perform. We use a Cyrus CDi CD player to test the Evo One’s built-in DAC and find that it is decent but lacks the clarity and transparency of the analogue auxiliary input. We also use the built-in phono stage to hook up a Rega Planar 3 RS Edition turntable, and while the resulting sound is perfectly acceptable, it again feels rather constrained and dynamically stunted. If vinyl playback is important to you, consider a dedicated phono stage such as the Rega Fono Mini A2D Mk2.

Verdict

The Cambridge Audio Evo One is a good all-in-one system, if not quite a great one. If you seek the absolute pinnacle of what a unit such as this can sound like at this price, the Ruark Audio R410’s dynamism and punch make it our five-star pick at the top of the pile, while the Naim Mu-so 2 is a punchier, entertaining alternative made even more attractive thanks to its ever-dropping price.

That’s not to say that we can’t see a place for the Evo One in this area of the market. Its pleasing design, solid versatility and all-encompassing feature set give it broad appeal, while the Evo One’s ability to spread out its sound far and wide will appeal to anyone who needs their room filled with spacious, mature and well-balanced sonic goodness.

First reviewed: February 2025

SCORES

• Sound 4
• Build 4
• Features 5

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Best hi-fi systems: CD, vinyl and streaming music players for the home

Now Playing: 6 songs we've been listening to in the What Hi-Fi? test rooms

This week Cambridge Audio finally lifted the lid on its Evo CD, a product it has been teasing for over two years, with it originally having been soft-unveiled in April 2021 when the Evo 75 and Evo 150 were launched.

Eager to see if it is worth the wait, we headed down to Cambridge Audio’s London HQ to have an initial play with the CD player in the company’s listening room. Here’s what we found out.

Pricing and availability

The Evo CD retails for £999 in the UK, $1199 in the US and AU$1999 in Australia. 

That's slightly higher than the figures Cambridge originally quoted – £799 / $950 / AU$1600 – when it was initially mentioned at the Evo 75 and Evo 150 launch. But the British company explained that this is due to changes to the cost of parts, extended supply chain issues and general market conditions.

The Evo CD went on sale on 16 May in "select" territories, with a wider role out to other markets, including the UK, following on 18th May.

Features 

The Evo CD is one of the more niche products we have seen this year. Why? Because unlike every other CD player we have tested and recommended, this one only works with the company's Evo 75 and Evo 150 streaming systems. That's right – this is a bespoke CD spinner for the Evo family, and only the Evo family. So if you don’t have one of these excellent just-add-speakers systems and are happy with your current amp/DAC setup, the Evo CD player is not for you.

A Cambridge Audio representative at our hands-on session explained that this decision was to ensure the company could offer the best sound quality possible for the price, and because the Evo CD has been tailor-made to work with the firm’s StreamMagic streaming platform – a cool feature that, among other things, lets you see the playing CD's album artwork on the Evo 75 or 150’s colour screen. During our demo the feature worked straight away: the album info for every CD – including those from some 2010s emo bands we didn’t even know people still listened to – appeared the moment the disc was inserted.

And in case you were wondering why Cambridge didn't just put a CD transport into the Evo systems, the company confirmed that there was no space in either's chassis, and it would require a lot of design and engineering work. So there you have it: don't go expecting a CD-playing Evo system anytime soon.

The company rep on hand described the Evo CD as a “button and a tray” and, having seen it up close, we can confirm this description is accurate.

Visually the box is fairly nondescript and, measuring 317 x 89 x 352mm, pretty compact too. Those dimensions put it roughly the same size as the Evo 75 we saw it used with. The unit feels solidly built and is actually incredibly minimalist. Aside from its wooden swappable side panels, it didn’t have any discerning features to catch the eye – which is a good thing in our minds.

Under the hood, the Evo CD player has all of the core functionality you'd expect from a CD player these days. This includes support for multi-format playback and gapless playback. CD-DA, CD-R and CD-RW discs are also supported. Cambridge also lists the Evo CD as having a low 20W max power consumption (0.5W on standby). 

The Cambridge Audio rep also amusingly noted that the Evo CD’s custom-made S5 Servo is “a plus two” upgrade on the Servo 3 used on many older products. It should offer better error correction, faster disc detection and improved detail retrieval.

Sound quality

As is typical during this kind of hands-on session, we only had a very limited listening session with the Evo CD. The Evo CD was paired with an Evo 75 and a pair of PMC OB1, speakers that are more expensive than those we’d expect owners of an Evo CD and Evo 75 set-up to own.

Playing Foals album What Went Down, the combo performed very nicely. The title track held a pleasing amount of detail, despite its fuzz-heavy bass and guitar parts, which have a tendency to overpower the more subtle parts of the song on many of the cheaper systems we’ve heard it on. Even during the heaviest and busiest elements of the album, the singer's vocals came through with focus and a pleasing amount of space and clarity from the cacophony behind.

As you can read in detail in our Cambridge Audio Evo 75 review, the streaming system's sonic character is wonderfully open and articulate, with an entertaining dose of punch – and, reassuringly, the Evo CD didn't seem to veer from that sonic signature. As you might expect from two products tuned to go with one another, the Evo pairing sounded at ease, and thankfully appeared to prioritise entertainment as much as insight, as the Evo 75 did when streaming.

Initial verdict 

While the Evo CD is undeniably a very niche product aimed specifically at Evo 75 and Evo 150 owners, it's hard to deny it is a very cool-looking piece of kit – and a perfect accessory for those looking to add CD playback to their Evo system's repertoire. After all, CD transports aren't as easy to come across nowadays as they once were.

Some may take the “button and a tray” description of its aesthetic as a negative, but we love the simplicity of the design and are seriously impressed with how well it worked, visually and sonically, with the Evo 75 during our modest time with it.

We’ll be curious to see how many Cambridge Audio Evo system owners jump at the opportunity to get one, and perhaps it will even spur some to hop onto the all-in-one Evo bandwagon now that it is truly CD-inclusive.

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Cambridge Audio has revealed two new music streamers. The AXN10 and MXN10 network audio players sit below the UK hi-fi brand's Award-winning CXN V2 music streamer, offering cheaper prices and, in the MXN10's case, more flexible placement.

Both streamers feature a more minimalist design but unusually, they feature the exact same streaming features, file compatibility and functionality.

Read our hands-on review and first impressions of the new streamers.

The AXN10 is a typical 'full size' music streamer designed to match the existing AX range of affordable hi-fi separates. The MX, meanwhile, has a much smaller footprint. Its dimensions (52 x 215 x 191mm) are actually near-identical to that of the five-star DacMagic 200M desktop DAC/headphone amplifier. Neat. Cambridge says its flexible form can be used to add "streaming to any music system and bring vintage hi-fi kit back up to date".

Both models have the brand's in-house StreamMagic module at its centre, which has powered the premium CXN V2, Evo all-in-one systems and high-end Edge NQ streaming preamp (all received five stars from What Hi-Fi?, it should be noted).

As such, the AXN10 and MXN10 have a wide range of streaming options for you to play your music. There's AirPlay 2, Google Chromecast and Bluetooth 5.0. They have wi-fi and wired ethernet on board; UPnP compatibility means you can play any locally stored files on your network through the two streamers. You can also play stored files using the USB Type A input. Music streaming services are supported – Spotify Connect, Tidal, Qobuz – as is internet radio. There's no native MQA support for Tidal Masters streams, but the players are Roon Ready.

File compatibility is extensive: the internal ESS Sabre ES9033Q DAC in both players will handle hi-res audio files up to 32-bit/768kHz PCM and DSD512 files.

”At Cambridge Audio we believe in offering our listeners choice; it’s essential to offer diverse routes to the music you love. We’re delighted to expand the StreamMagic family to even more listeners worldwide,” says Stuart George, Cambridge Audio's CEO.

For outputs, there is one pair of RCA line level, one coaxial and one optical.

There's no screen on the front panel, which is a shame if you enjoy seeing album artwork in full colour. However, both can be controlled using the dedicated StreamMagic app available for iOS and Android.

Pricing? The AXN10 will cost £549 / $599 / €599 at launch. Curiously, the press release says this model will be "limited edition" and Cambridge Audio has further stated to us that the ANX10 will be "initially available in limited quantities".

The smaller MXN10 will set you back £449 / $499 / €499 – only £100 cheaper than the full size model. At these prices, both models will go up against Award-winning rival, the Bluesound Node 2021. Both are available from March.

What about sound quality? How different will the audio performance be between the two products? We're intrigued to find out, and we'll report back once we get samples in our dedicated listening rooms for the full review. 

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