A good pair of floorstanding speakers come with virtues aplenty: extended bass, thanks to larger enclosures and extra woofers, no need for an additional subwoofer and a sense of scale and authority that most bookshelf speakers can’t rival.

Best of all, finding a quality option in the £700-£1000 price bracket has recently become easier, with numerous brands developing their entry-level offerings.

Last year, our favourite was the Fyne Audio F501E, which came out on top as 2025’s Product Of The Year at the What Hi-Fi? Awards. It would be sensible, then, to pick up a pair and go forth with unwavering confidence in your choice. Well… not so fast!

Fantastic speakers though the F501E are, they have recently come up against tough competition from Dali’s Sonik 5 speakers. Designed to replace the company’s Award-winning Oberon 5, the Sonik 5 have a sound that gives speakers north of their price a serious run for their money, as do the Fynes.

So, which should you go for? Let’s get stuck into it.

Dali Sonik 5 vs Fyne Audio F501E: price

The Sonik 5 cost £899 / $1800 / AUS$1749, while the F501E are available for £999 / $1299 / AU$1999. So, right off the bat, there’s a £100 disparity between the speakers. But considering the larger size of the F501E, you quite literally get more speaker for your money.

But, because the F501E have been on the market for longer than the Sonik 5, we think they are more likely to see a discount during big sales events. Indeed, we have seen discounts of as much as £100 this year, which, when they strike, bring the speakers down to the same price for UK customers, making this a draw.

**Winner: draw**

Dali Sonik 5 vs Fyne Audio F501E: build & design

The Sonik 5 are smaller than the F501E in all dimensions. Standing at just 83cm, compared with the Fynes’ 98cm, these speakers have a significantly smaller footprint and will fit into most listening spaces with ease.

Admittedly, due to their diminutive height, some thought is necessary when it comes to positioning the speakers, especially if you are planning on sitting close to them, which, from our test room’s sofa, leaves the tweeters well below ear height.

The Sonik 5 are available in four finishes: natural oak, white, walnut or black ash. Each of the finishes has a fairly unobtrusive look, which we think is particularly well exemplified by our walnut test pair.

The cabinets’ high-grade laminate looks convincingly wood-like, with a pleasant, natural feel. Overall, these speakers have a subtly refined air.

That impression of refinement is only enhanced by the build quality. Although they are not heavy speakers, they are appropriately solid and well-constructed, and the included magnetic grilles connect firmly and complement the speakers visually.

Inside the cabinets, the Dalis employ a two-way design, using a 29mm soft-dome tweeter and two 13cm mid/bass drivers made from the company’s trademark mix of fine-grain paper pulp reinforced with wood fibres. A flared reflex port at the back of the speakers optimises airflow to reinforce bass.

Due to their reflex port, the Sonik 5 sound best when placed slightly away from the wall, so we wouldn’t recommend tucking them in too tight.

The Fynes, too, are sturdily built, and are now available in a walnut finish alongside the original black option. While their basic aesthetic does leave a somewhat monolithic impression, costs saved on aesthetic tweaks have afforded the inclusion of Fyne’s proprietary Isoflare driver technology within their entry range for the first time.

The IsoFlare design, which sees a 19mm titanium-dome tweeter mounted at the centre of a 12.5cm multi-fibre mid/bass woofer, is said to result in improved sound dispersion and integration between drivers.

Unlike the Dalis, the F501E use a two-and-a-half-way design, and the lower 15cm multi-fibre driver is tuned by a downward facing port in a configuration that the company calls Basstrax. Here, the port fires onto an upward facing cone to disperse low frequencies evenly across 360 degrees, making these speakers adaptable to different placements.

Fyne has also used a fluted surround to the mid/bass driver which it claims terminates the cone more effectively, for reduced distortion and improved clarity.

In terms of design, choosing between these speakers will depend heavily on buyers’ tastes and listening spaces. Both speakers have serious strengths: the Dalis take the lead for aesthetic charm, while Fyne’s Isoflare design works wonders in terms of stereo imaging.

As these speakers excel in different areas, at this stage, it’s neck and neck.

**Winner: Draw**

Dali Sonik 5 vs Fyne Audio F501E: compatibility

The petite Sonik 5 are unlikely to dominate most listening spaces, while the Fynes will need a bit more room to sit comfortably.

The Fyne’s Basstrax system does a lot to make the speakers less fussy about placement, though. In our 3 x 7 x 5m (hwd) test room, we find they sound best when positioned about 70cm away from the wall, but they don’t prove too particular about being placed closer.

The Dalis are somewhat more choosy about placement and need to come further into our test room – 80cm from the wall – to avoid bass dominance. Additionally, due to their compact height, we suggest tilting the Dalis slightly upwards when listening close, so that the tweeter axis lines up with your ears.

For stereo imaging, we think the Fynes sound best angled slightly in, while the Dalis perform better when facing straight out into the room. Thanks to their Isoflare design, the Fyne’s have a more precise stereo image than the Dalis, which remains stable as we move around the test room.

The Fynes have a slightly higher sensitivity of 90dB/w/m compared with the Dalis 88dB/w/m, and a claimed impedance of 8 ohms rather than 6 ohms. Both speakers work well with a range of amplifiers, from Arcam’s A5+ (50 watts per channel) and Naim Nait XS3 (70 watts per channel) to PMC’s Cor (95 watts per channel).

**Winner: Fyne Audio F501E**

Dali Sonik 5 vs Fyne Audio F501E: sound

The Sonik 5 are a highly talented pair of speakers. We are impressed by how much they do with their humble dimensions, with punchy bass, intricate dynamic tracking and a stable soundstage.

Across the frequency range, textures are presented with finesse. The Dalis’ midrange, in particular, wrings every last drop of emotion from vocal parts, with palpable humanity and warmth across genres.

Basslines are tight and well-textured, contributing to the Sonik 5s’ propulsive rhythmic drive. Thanks to the dynamic precision of these speakers, which brings out the fine details in decaying notes, percussive hits and basslines alike, their neat low frequency performance doesn’t diminish their rhythmic power.

In our review, we say that the Sonik 5 have a “layered soundstage, which retains focus and precision, even in dense arrangements”. Width is no issue for these speakers, either, and they can be positioned quite some distance apart before holes begin to appear in the stereo image.

The F501E won 2025’s Product Of The Year at the What Hi-Fi? Awards, so there isn’t much question about their sound quality.

The sophisticated and muscular sound of these speakers impresses us right away, with an ability to effectively convey a variety of sonic worlds, from “the majesty of a full blown orchestra” to A Tribe Called Quest’s The Low End Theory.

Speaking of low end, the Fynes have no trouble generating authority and punch on command. But they are also highly proficient in terms of treble, managing to handle “less than perfect recordings” with grace, “avoiding edge and undue harshness”, thanks to their balanced tonality.

Bass is taut and tuneful for price-standards, but while they might be capable of delivering more bass than the Dalis, we find that the Dalis reveal textures and dynamic subtleties in low frequencies that the Fynes sacrifice to their more powerful sound.

Nonetheless, the alignment of the drivers’ acoustic centres contributes to a well-integrated sound, with a stereo image that remains stable even as we move off axis. Improved driver integration also lends the Fynes’ midrange a crisp and forthright tonality that lets vocal lines shine through with emotional sincerity.

We find that the F501Es, a highly expressive pair of speakers, “track rhythms with determination while communicating changes in musical momentum in a natural and convincing manner.” They are rhythmically sure-footed and composed, but the Dalis take the lead here, with their snappy, more powerful sense of rhythmic drive.

While they may not be able to dive as deep as the Fynes in terms of bass, the Sonik 5 creep ahead in terms of textural detail, while also providing emotive dynamics with more than enough punch.

**Winner: Dali Sonik 5**

Dali Sonik 5 vs Fyne Audio F501E: verdict

Talk about a clash of titans. Both of these speakers boast performances that competitors will have difficulty matching. The Fyne F501E is the current What Hi-Fi? Award winner, so it’s something of a shock to see them beaten by the Sonik 5.

That’s not to say the Fynes aren’t excellent speakers in their own right. If you have the space to accommodate these towers, they are a rewarding listen with more extended bass than the Dalis and an exceptionally well-integrated sound.

But for a more precise performance, propulsive rhythmic drive and unobtrusive looks we recommend the Dali Sonik 5.

**Overall winner: Dali Sonik 5**

MORE

Read our Dali Sonik 5 review

And our Fyne Audio F501E review

How to choose the right speakers and get the best sound

Then, why not check out our guide to the best floorstanding speakers you can buy for every budget

The size of the average UK living room is now just a third of what it was in the 1970s, according to a survey by LABC (a UK representative body for local council building inspectors). Of course, as living space constricts, so does the amount of room being allocated to hi-fi set-ups.

That’s where speakers like the Dali Sonik 5 come into play. With a compact design and a price of £899 / $1800 / AUS$1749 – just shy of the current Award-winning Fyne Audio F501E at £999 / $1299 / AU$1999 – these Dali floorstanders strike a pleasing balance between convenience, cost and quality.

The new series of Sonik speakers replace the discontinued and much-loved Oberon range, making the Sonik 5 the successor to the five-star Oberon 5. A tough act to follow, given the multiple What Hi-Fi? Awards under its predecessor’s belt.

On inspection, the apple doesn’t seem to have fallen far from the tree between these models, with similar dimensions and driver configuration. But the question is, will these new floorstanders throw down the gauntlet or leave us reminiscing about the good ol’ days?

Build

The Dali Sonik 5 are compact two-way towers, with fairly diminutive dimensions of 82.6 × 16.2 × 27cm (hwd). Their petite size means these speakers never dominate visually and will fit seamlessly into most spaces.

The internally braced MDF cabinets are clad in high-grade laminate and come in four finishes: natural oak, white, walnut and black ash. On our test pair, the walnut finish looks convincingly wood-like and complements the clean front panel cosmetics well, making it look notably more modern than the Oberon 5.

In terms of drive units, there are two 13cm mid/bass drivers loaded with a rear port, and a 29mm soft dome tweeter. The mid/bass diaphragms use Dali’s trademark mix of fine-grain paper pulp reinforced with wood fibres, which the company claims provides rigidity, good damping and light weight.

The drive units employ Dali’s patented SMC (Soft Magnetic Composite) technology in the motor system to reduce distortion, which should help with optimising detail, transparency and dynamics.

All three drivers are linked through a single-wired two-way crossover, resulting in a sensitivity of 88dB/w/m and nominal impedance of 6 ohms – identical to the Oberon 5. These are typical figures, and shouldn’t cause any problems when paired with decent, price-compatible amplifiers. That said, Dali recommends pairing it with an amplifier with a power rating of 30-150 watts.

Compatibility

In terms of positioning, we find the Sonik 5 sound best facing straight ahead, with a gap of at least 0.8m from our testing room’s rear wall. When angled in, the sound is a little narrower and brighter than we would like. Positioned too close to the wall, the bass starts to dominate.

If you are listening at close range – say, closer than two metres – then it’s likely that the tweeter will be well below your ear height. In which case, we recommend tilting the speakers slightly upwards, so that the tweeter axis lines up with your ears. If your listening position is further away from the speakers, this becomes less of an issue.

In terms of partnering electronics, we found the Dali speakers coped well with similarly priced separates. We got good results from both five-star Arcam A15+ and Naim Nait XS 3 stereo amplifiers.

For the bulk of this test, we were streaming hi-res tracks using the Naim Uniti Atom Headphone Edition music streamer, or playing compact discs from the Cyrus CDi CD player.

Sound

After giving the Sonik 5 a few days to settle in, we find ourselves thoroughly impressed by their performance. With an intricate and highly musical sound, these speakers are versatile, proving themselves a serious contender across genres.

Listening to Nude by Radiohead, we enjoy powerful but pleasingly tight bass for the speakers’ small size, vivid textural details across the frequency range, and a musical presentation that conveys each of the instruments with good separation, allowing their individual tonal qualities to shine through. At a similar price, the larger Fyne F501E produce deeper bass, but sacrifice a degree of precision in the process.

While listening to Johnny Cash’s I Won’t Back Down, backing harmonies have a pleasant, airy quality, while Cash’s voice holds its own in its chesty, elderly bass. Most impressively, his vocal remains crystalline, occupying centre stage with an eerily lifelike presence.

Dynamically, the Sonik 5 are responsive. We find that the decay of certain notes, dynamic swells and subtle ebbs in volume are all conveyed with a faithfulness that outperforms both the Oberon 5 and the Fyne F501E. No mean feat.

Dali’s speakers are not traditionally shy when it comes to treble, but with such refined textures and an ability to sparkle without veering into shrill territory, the manufacturer’s boldness has, once again, earned our respect.

Their midrange is another highlight, evoking palpable humanity and emotion from voices as varied as Tom Jones and Martha Wainwright. We enjoy the texture and natural warmth that the Sonik 5 reveal in vocal performances across our music collection.

Rhythmically, these speakers are highly adaptive, with the capacity to maintain a musical sense of momentum, even when faced with the raucous rhythms of Elvis Costello’s 20% Amnesia. But they cope just as well with the subtle undercurrents of John Coltrane’s A Love Supreme, Pt. III – Pursuance.

These Dalis work well with classical recordings, too. Listening to Henryk Górecki’s Symphony No. 3, the cello’s delicate texture is preserved even when it plays incredibly quietly, as it does for extended periods in the piece. When the symphony swells to its dramatic climax, the scale and depth of field conveyed by the Sonik 5 leave us feeling the music to our very core.

The Sonik 5 maintain a stable stereo image, which by price standards is precise and well focused. Symphony No. 3 allows the speakers’ stereo image to shine, highlighting their layered soundstage, which retains focus and precision, even in dense arrangements.

Verdict

With a pleasingly compact size and excellent sound, we think the Dali Sonik 5 will make a superb addition to any home set-up, especially if you’re working with small spaces.

Provided you are willing to take some time to set them up carefully, these floorstanding speakers have plenty to offer, with a sound that transcends their dimensions.

Review published: 8th July 2026

SCORES

• Sound 5
• Build 5
• Compatibility 5

MORE:

Read our review of the Fyne Audio F501E

Also consider the Dali Oberon 5

Best floorstanding speakers 2026: budget to premium models tested by our experts

If you’re just getting into hi-fi, or short on cash, but still want a stellar pair of floorstanding speakers capable of punching above their sonic weight, then we have good news.

After years of belligerently selling at full price, you can currently pick up the Dali Oberon 5 for £499 at Peter Tyson. That’s a solid £299 saving on their regular price, and the lowest currently available; the next best deal we’ve seen is on Amazon, which is selling the Oberon 5 for £599.

Why the Oberon 5 when they’re so long in the tooth? It's a fair question, as the speakers last won a What Hi-Fi? Award all the way back in 2020, and are currently being replaced by Dali’s new Sonik 5.

The answer is simple: they still sound great and are incredibly competitive performers at their new, lower price. In fact, they were so good that eagle-eyed regular readers will know I had them shortlisted to replace the Q Acoustics 3030i in my home system for many years.

They only got dethroned after I heard the Acoustic Energy AE309 Mk2, which has since replaced them as the top entry on my letter to Santa. However, with them selling for £1199, that’s a big step-up in price. And for those looking for an entry-level, sub-£500 set of speakers, the Oberon 5 is a fantastic option.

As we say in our review:

“Overall, these speakers manage to sound notably larger than they are. The Q Acoustics 3050i dig even more deeply into the bass, but lack the sheer expressiveness of these Dalis, particularly through the mid and higher frequencies.”

As we said in our review, they offer buyers an unfussy, fun-sounding set of floorstanders that will match nicely with a variety of amps – including the Technics SA-C600 system I have in my lounge and the newer, Award-winning Arcam A5+ from last year.

That’s why, if you’re shopping at that level during Prime Day, I’d wholeheartedly recommend considering grabbing a pair at their current price while stocks last. With the Sonik 5 now out, they won’t be around much longer if you don’t.

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Check out our Prime Day 2026 hi-fi deals live hub

We rank the best floorstanding speakers

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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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Dali has announced its new all-in-one wireless system, the Vega.

Cut from a similar cloth as the likes of the Naim Mu-so 2, Ruark Audio R410 and Cambridge Audio Evo One, the Vega one houses amplification, drive units and music streaming in a single box, with Dali billing its latest model as an "audio system built for those who want the best possible sound without the complexity of a hi-fi setup".

The Vega boasts 400 watts of amplification delivered across eight channels, with drivers including an ultra-light 25mm soft dome tweeter alongside midrange and bass units arranged in a back-to-back configuration to reduce cabinet resonance and deliver "room-filling sound with clarity and detail".

Paper and wood fibre cones, alongside passive bass radiators and low loss surround drivers, also come together to create "a balanced sound with best in class low frequency performance".

To maximise its drivers' performance, the Vega uses 'Adaptive Stereo Enhancement' (ASE) technology, designed to create a wider, more expansive soundstage by automatically adapting to the incoming signal to deliver, says Dali, a panoramic effect that fills your listening space with ease.

Complementing ASE is 'Adaptive Orientation Adjustment' (AOA) tech, helping the speaker to adjust its output in real time for optimised stereo mapping and better spatial accuracy.

That tech should come in particularly handy with the Vega, which has been designed to be placed in a variety of locations in a range of different ways. Not only can you position your all-in-one system horizontally on a given surface, but you can also mount it – either vertically or horizontally – on walls or corners via a set of removable wall brackets.

The new Dali all-in-one system uses the BluOS streaming and multiroom audio system, the same platform used to power the likes of the Cyrus 40 ST music streamer and the NAD C 3050 and Roksan Attessa streaming amps.

The Vega offers HDMI ARC, RCA and optical inputs alongside a sub out, while Spotify Connect, Tidal Connect and Apple Airplay 2, not to mention standard Bluetooth, are also on the menu for your wireless streaming needs.

Externally, the Vega's body is constructed using a blend of wood, anodised aluminium and woven fabrics to create what Dali describes as a "refined, contemporary look", while a large volume wheel and an array of preset buttons are housed on the main unit.

The Dali Vega will be available this September in a Dark Oak or Natural Oak finish, priced at £2599 / $4500 / AU$4499 – a good deal more than the comparative Ruark Audio R410 (£1299 / $1699 / AU$2599) or Cambridge Audio Evo One (£1299 / $1499 / AU$2499).

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Ryan Gosling is really in his element right now. Following the success of the sci-fi blockbuster Project Hail Mary, every other piece of content on my social media is a slickly edited video of the handsome devil.

Much of his back catalogue regularly appears in our AV test room. Barbie and Drive, for instance, are both excellent test discs, and the eagle-eyed among you will have spotted us using them in our reviews.

But there's another film featuring Gosling that is a brilliant way to test your home cinema hardware, and it is celebrating its 10th birthday. Damien Chazelle's La La Land leapt onto the screen back in 2017, and blew critics and audiences away with its show-stopping score and captivating performances from Gosling and Emma Stone in the leading roles.

If you have somehow never seen the modern classic, let us fill you in. It follows Sebastian, a struggling pianist, and Mia, an aspiring actress, who fall in love. When their careers start to take off, they find themselves having to make some tough decisions.

It's a film that we see used time and time again in demos for a range of AV kit, but over the years we have not used it in our own test room as much as we would like to. So this anniversary seems like the best time to revisit the best scenes to challenge your home cinema system, and also to bring it back to the top of our shelf where it belongs.

Opening sequence

From the off, La La Land really starts all guns blazing. On a hot summer's day, a seemingly endless queue of cars stretches to the Los Angeles horizon during rush hour. And what would any of us do in this scenario? That's right, open up your car door and break into a synchronised song and dance number.

The six-minute scene is dynamic and energetic with near constant movement that challenges a TV or projector's motion handling. With the crowd weaving around the cars and dancing in every direction, keep your eyes peeled for motion blur or juddering.

On top of that, the scene puts your audio system to the test. As dancers clamber about on the roof of the cars and horns blare around the soundfield, the precision of your audio set-up will be challenged. With a convincing Dolby Atmos system, you should hear the various sounds all around the space with a sense of accuracy and immersion.

"A Lovely Night"

Even if you haven't seen the film, you will almost certainly recognise the classic iconography of this scene. After running into each other at a party, Sebastian and Mia find themselves at the top of a beautiful hill but, despite obviously having feelings, lament that they are wasting this romantic view by spending it with each other.

As the pair move from the shade under a tree to a colourful night sky, it is a good test of how your screen handles the subtle detail in the crinkles of Sebastian's white shirt and the darker areas of Mia's yellow dress.

This beautiful sky also delivers a great test on its own. It starts at the top of the screen with a bright violet, before merging to pink and then ending in a darker red. On many screens, this may reveal an issue with colour banding, which is where smooth colour gradients are instead divided into stark lines.

A dance under the stars

After admitting their feelings for each other, Sebastian and Mia take a romantic trip to the Griffith Observatory which makes for another excellent test scene.

As the scene takes a magical realist turn and the pair floats into the night sky, note the contrast between the bright twinkle of the stars and the dark of the sky. There is a danger of the deep black looking more like a dark grey, or the stars not standing out against the more cavernous black backdrop.

On top of that, the twinkling stars can go the other way to create an unwanted "halo effect" where light spills out too much. That is particularly prevalent with Mini LED TVs because they rely on a backlight with local dimming zones. This all means it is particularly useful if you want to challenge your own Mini LED screen.

What's your favourite scene in La La Land? Drop it in the comments below.

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If you’re looking for a pair of step-up speakers to elevate your entry-level hi-fi setup, then I have good news – after four long years, the five-star floorstanders I’ve long considered for my own rack have finally come down in price.

Right now, you can pick up the 2021 Award-winning Dali Oberon 5 floorstanding speakers for £499, a solid £200 saving on their standard £699 price tag.

Why these speakers? Well, for starters, they’re fantastic value and remain incredibly competitive performers at this price, despite their age.

We now have their successors, the Dali Sonik 5, which currently retail for £899 at most stores, to look forward to, but the Oberon 5 remain a staple comparison point we use when reviewing similarly priced speakers.

Unfussy, both for matching and room placement, they remain a fantastic step-up option for hi-fi fans looking to upgrade their entry-level, or budget system, offering an entertaining, expressive sound that’s a cut above nearly all the cheaper speakers you’ll find at this price.

Hence why, despite originally being tested in 2021, we stand by our verdict to this day: “The Dali Oberon 5 are brilliantly musical and will fit into most rooms with ease.”

Not convinced? Well, they've long been on my Christmas wish list for my own hi-fi system. I've spent many hours listening to them, and can confirm they offer a greater sense of “fun” than their Q Acoustics and Wharfedale rivals.

This, plus their small, unfussy dimensions and the clear sonic improvements they offer on the Q Acoustics 3030i I currently have plugged into my Technics SA-C600, is a key reason I've spent many moments hovering my hand over the checkout button, with these speakers in my basket.

If you have a similar entry-level system, I’d strongly recommend considering the Dali Oberon 5 as a tidy upgrade.

Just make sure to be quick – with the Sonik 5 taking the Oberon 5’s place, manufacturing has stopped. So once stock of the Oberon 5 runs dry, that’s it – they’re gone.

MORE:

These are the best floorstanding speakers we’ve tested

We rank the best speakers money can buy

Our picks of the best stereo amps

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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This budget trio delivers a profoundly musical performance and is a great first step into hi-fi

I’ll be listening to two iconic Thin Lizzy albums to celebrate their 50th birthday – you should too

Check out our guide to the best stereo amplifiers for all budgets

Happy Monday, and welcome to a fresh entry into our hi-fi and home cinema news digest.

In it, our team of experts once again detail all the top stories to break over the past seven days, and as always, it was a hectic period.

We saw everything from new Temptation-level amps to affordable portable DACs launch.

Here’s what you need to know.

New Arcam hardware

Kicking us off, last week Arcam chose to unveil a wealth of new hardware, including a new set of speakers and home cinema amplifiers.

The new speakers are part of the firm’s 2024-launched Radia range and come in six varieties. These include two floorstanders (R45, R35), two bookshelf models (R25, R15), a centre speaker (R35C) and a subwoofer (R25B). As you’ve likely guessed, these can be combined to create a home cinema surround sound package.

The firm also unveiled its new home cinema amplifiers. These include the entry-level AVA15, step-up AVA25, and top-end AVA35. The amps’ specifications scale with their place in the range, but given how much we’ve loved Arcam’s older AVRs, which offer a sense of musicality missing on many rivals, we can’t help but get a little excited about the new models.

Read the full story: Arcam's new Radia loudspeaker range could be the perfect match for its Award-winning electronics

Read the full story: Arcam’s Radia AV line of home cinema amps promises serious movie magic

A headphone shootout

The wireless headphones market is a noisy, chaotic mess with every man and his dog offering a pair. Which is why knowing which is best is a tricky task, even if you follow the market.

To help, last week our intrepid senior staff writer, Harry McKerrell, took the time to run all the big sets in our listening rooms head-to-head to help offer the best, most up-to-date advice possible for potential buyers.

These include top pairs from Sony, B&W, Sennheiser, Bose and more. And, while the final winner wasn’t a huge surprise, quite how competitive the battle was between each set definitely was.

Read the full story: I've heard every major pair of premium wireless headphones – and one set reigns sonically supreme

LG Sound Suite pricing

We had an early look at LG’s latest flagship Dolby Atmos system, the Sound Suite, at CES in January.

And during the demo, we found a lot to like about it, including the inclusion of Dolby’s swish new FlexConnect tech, which promises to make it much easier to optimise speakers to the specific space they’re playing in, amongst other things.

But there was one big concern the entire home cinema team shared: their very high price.

With the soundbar alone costing £1000 and its top-of-the-range M7 satellite speakers £700, Sound Suite looked set to be one of the most expensive systems on the market. Thankfully, last week, LG made moves to partially address the problem, announcing price reductions across the entire range.

Read the full story: LG's just fixed a key issue we had with its latest Dolby Atmos soundbar system – and it’s not even out yet

KEF speakers tried and tested

Finishing off this week’s digest is our review of KEF’s new Coda W standmounts. They’re an interesting set of active speakers, in that, unlike their established cousins, the KEF LSX II LT and LS50 Wireless II, they’re distinctly focused on working with vinyl and CD players, over streaming.

That’s why, instead of built-in wi-fi streaming support for Tidal Connect and the ilk, they only have Bluetooth functionality. But, to make up for that, you get a built-in moving magnet phono stage.

Has the change paid off? After thoroughly testing them, we’re happy to report that the answer is, for the most part, yes. Either via Bluetooth or with a price-appropriate turntable or CD player connected (in our case Cyrus CDi and Rega Planar 3 RS Edition) the speakers delivered a clear, detailed presentation and deep, but controlled, low end.

Hence, our verdict:

“While the phono stage could be better, listening via the other inputs is a joy. The sonic performance is a step above its smaller, Award-winning cousins, and costs you less money to enjoy, too. If you’re happy to live without the wi-fi streaming features and are looking for a neat speaker system that doesn’t cost thousands, this should definitely be on your radar.”

Read our in-depth KEF Coda W review

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These are the best turntable speakers we've tested

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Proprietary technology is a great luxury for a company to have, making for a unique selling point and potentially giving an advantage over the competition. In the case of Fyne Audio, IsoFlare is its proprietary driver technology, and the F5E speaker brings it to a more affordable price point.

IsoFlare, where the tweeter is mounted in the middle of the bass/midrange driver, is similar in principle to KEF’s Uni-Q driver array. This arrangement offers improved dispersion and integration over the conventional separated driver approach.

The Fyne Audio F5E standmounter forms part of the brand’s entry-level F500E range, which we’ve already dipped our toe into by reviewing the superb, What Hi-Fi? Award-winning F501E floorstanders (currently £899 / $1299 / AU$2149). These took home a Product of the Year trophy for floorstanders in 2025.

The F5E are the only standmounts in the range, however, so we are keen to see how they perform compared to their larger sibling.

Build & design

The F5E’s IsoFlare driver array is smaller than that used in its floorstanding sibling. Its multi-fibre mid/bass unit measures 12.5cm in diameter, while its titanium dome tweeter comes in at 19mm.

Fyne has also included another piece of proprietary technology here, its BassTrax diffuser. This is where a downward-firing port fires onto a circular cone that disperses low-frequency sound through 360 degrees. This arrangement makes the speakers less fussy about their position relative to a room wall, so they should be easier to place in a listening environment.

In terms of size, the single-wired F5E measure 27 x 17.4 x 22.8cm (hwd), so these compact boxes should slot nicely into listening rooms where space is something of a premium.

The speaker’s MDF cabinets feel pretty solid, although not as sturdy as the class rivals at this price point. We compared them to the Bowers & Wilkins 607 S3 (currently £439 / $1000 / AU$1149) and the Dali Oberon 1 (currently £399 / $750 / AU$549), and found the F5E felt slightly less substantial.

The plastic vents used for the F5E’s BassTrax system also feel a little cheap. However, we’re seeing the F5E available for £349 at some retailers in the UK, so we’re happy to give them a bit of leeway at this price.

Currently, these standmounts are only available in a black ash finish, but a walnut option is set for release in late spring/early summer. It’s a tidy finish, but feels a bit basic compared to their rivals.

The F5E are supplied with optional hooks for wall hanging, which do the job, but the recessed hooks built into the back of the Dali Oberon speakers are neater.

Compatibility

With a sensitivity of 87dB/W/m and nominal impedance of 8 ohms, the F5E should work well with most price-compatible stereo amplifiers. To extract the best sound from them, however, it’s important to consider the sonic character of the amplifier they are paired with.

We started off using the Arcam A5+ integrated (currently £749 / $1199 / AU$1595), as it's our go-to amplifier when testing products at this budget-to-mid price level, and the results were pretty good. The Arcam gave us a refined and fluid presentation that sounded pleasant, but we felt something was missing. Switching to Rega’s similarly priced Brio Mk7 (currently £799 / $1195 / AU$1699) gave us more of what we wanted: more punch, drive and solidity.

Our source throughout is our reference Naim Uniti Atom Headphone Edition music streamer (currently £2399 / $3290 / AU$4299). While it’s pricier than the kind of source the F5E would usually be partnered with, its detailed and balanced presentation allows us to put a strong spotlight on the speaker’s performance.

In our listening room, the Fynes sound best close to a wall, with about 15cm of space from the back wall. This positioning meant the F5E’s tonality remained balanced without sacrificing their ability to float an expansive soundstage. We also angled them slightly towards the listening position to add greater focus and solidity to the sound.

The claim that IsoFlare offers improved dispersion rings true as the F5E sound remarkably consistent as we get up from our main listening position and make our way around the room.

Sound

The Fyne F5E are a highly enjoyable listen, owing to how well balanced they are. We play everything from The Human League to Beethoven and A Tribe Called Quest, and there is a wonderful cohesion to the presentation. Nothing untoward sticks out, leaving us to focus purely on the music, while no favour towards a specific genre is exhibited.

The F5E’s balanced tonality and rhythmic surefootedness ensure the breakdown of Creedence Clearwater Revival’s Ramble Tamble flows beautifully from one point to the next, taking you with it each step of the way. When playing the same song through the Bowers & Wilkins rival, however, the 607 S3’s slightly top-heavy presentation means the hi-hats sound too upfront, which prevents you from fully appreciating the breakdown’s mesmerising flow.

We move on to Beethoven’s Symphony No 7 In A Major - 2nd Movement - Allegretto and the F5E do a good job conveying the shifts in dynamic intensity, although the 607 S3 and Oberon 1 are superior in this regard. When the horns hit, they really wallop you on the 607 S3, while the Fynes feel like a good shove in comparison. You know you’ve been hit, but just not for six.

This classic Beethoven piece also highlights the class leaders’ superior level of detail. While the strings have a richness to them when heard through the F5E, there is less textural insight compared to the B&Ws, in particular. Picking out individual instruments is a little harder on the Fyne speakers, too.

The F5E is a small box, so it's no surprise that it doesn’t delve too deep into the low end. The 607 S3 does notably better in this regard, but the Fyne’s rendering of the lower frequencies remains relatively tight and tuneful.

Their stereo imaging is also impressive, while the soundstage is pleasingly expansive and the image nicely focused. Instruments are convincingly layered too, and they remain stable once the music becomes demanding.

At low volume, the F5E retain their tonal balance and none of the instruments feel out of place. As we begin cranking things up, this evenness is nicely maintained, and the presentation remains muddle-free.

Verdict

Fyne has obviously had to make sacrifices in order to accommodate its proprietary tech at this lower price point. The relatively basic finish is an indication of that. An enjoyable sonic performance that does many things well is the payoff for this, however. They may not be outright class leaders at this price, but a broad range of talents means these Fyne speakers are worth considering.

Review published: 19th January 2026

SCORES

• Sound 4
• Build 4
• Compatibility 4

MORE:

Read our review of the Bowers & Wilkins 607 S3

Also consider the Dali Oberon 1

Read our Dali Kupid review

Best bookshelf speakers: top standmounts for every budget tested

The attraction of small speakers is obvious. They won’t dominate a room and can be tucked out of the way, maybe close to a wall, or – less ideally in a sonic sense – in a corner or a bookshelf. From this, it would be easy to conclude that opting for a pair of compact speakers is all about convenience and little else.

Physics certainly dictates that a speaker barely larger than a shoebox will have clear limitations compared with something more generously dimensioned. The disadvantages range from restricted bass-reach to compromised large-scale dynamics and lower volume limits.

Much of this can be put down to the size of the drive unit that can be fitted into a smaller, slimmer box.

It’s time for some maths: the radiating area of a 16.5cm mid/bass (as found in most larger standmounters and many of the floorstanders on the market) is around 60% greater than that offered by the 13cm drivers typically specified in smaller speakers. The smaller unit has to work proportionally harder to produce the same output as its larger counterpart; and a driver that has to work harder usually distorts more.

But there is another side to this coin, where small speakers turn the tables on bigger alternatives. The first benefit turns a limitation into an advantage and is centred around the lack of low-frequency extension.

Most people, particularly in the UK, don’t have the luxury of large listening spaces, and smaller rooms can easily be overwhelmed by powerful low frequencies. If you use larger speakers with extended bass reach, it is easy to excite room resonances, leading to lows that are bloated and ill-defined. Such characteristics have knock-on effects across the board, from degrading midrange clarity to spoiling rhythmic drive and agility.

Small speakers produce less bass, but if they are properly engineered, the low frequencies they do generate will still sound balanced and properly integrated (Dali's new Kupid speakers are a fine example of this). The result in most modestly sized rooms will be more satisfying in the long run.

Another advantage of a compact speaker design is that the enclosure is inherently more rigid, giving the drive units a more solid base to work from. Remember, any movement of the driver’s chassis relative to the cone means lost information.

Also, the cabinet’s smaller surface area means that unwanted sound caused by panel vibrations will be at a lower level, so any negative impact on the speaker's performance is reduced. The benefits of this are plentiful, from a purer presentation to improved stereo imaging. PMC's Prophecy 1 deliver a superbly focused soundstage, and I strongly suspect that their rigid, well-controlled enclosures are a key factor in this.

Our ears are great at identifying the direction of sound, and if a cabinet resonates, we are adept at locating the source of that vibration. So, even with eyes closed, it is clear where the speakers are positioned, and the impression of a well-projected soundstage, floating free of the loudspeakers, is lost.

If you don’t think a cabinet produces much sonic output, put your ears on the top panel of your own speakers as music is playing. I suspect you will be surprised by the volume of the sound it produces.

A smaller mid/bass driver may struggle to dig out the lows or deliver large-scale dynamic shifts at higher volumes, but it does offer an advantage in terms of driver integration.

Most sensibly priced speaker designs tend to work in a two-way configuration, with a typical crossover point positioned around 2.5kHz. The smaller the mid/bass driver, the more comfortable it will be working up at this kind of frequency, and this gives the engineers greater leeway in choosing the partnering tweeter and the type of crossover filter employed.

This is the reason that small speakers tend to have a clearer, more articulate and expressive midrange performance than their larger siblings.

The successful design of all hi-fi components is invariably rooted in choosing the right compromises. There may be greater freedom at higher price points, but in the end, it is all about the engineer choosing their priorities with care.

Designing a small speaker isn’t easy, but the format also offers plenty of inherent advantages over bigger designs that shouldn’t be overlooked.

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How to build the perfect hi-fi system

Our guide to the best speakers we've tested across all budgets

Goodbye, 2025! Check out 7 of our favourite test tracks of the year

November is a busy time for What Hi-Fi?. For starters, we have to get into our gladrags, ascend from our test rooms and reveal the year’s What Hi-Fi? Award winners at our swanky black-tie ceremony.

Then we have to contend with Black Friday and trawl all the stores, specialist and mainstream, to find you the best hi-fi and home cinema deals to be had on said Award winners and any other five-star product we have reviewed.

*Raises fist at sky and screams “Black fudging Friday” in angry William Shatner voice*

On top of all that, we have to continue our eternal quest, reviewing new products to keep our buying advice up to date and relevant to what’s actually in stores right now.

Which is why, despite all of the above, we continued to publish reviews throughout November (11 to be precise), maintaining business as usual in our viewing and listening rooms.

During that process, however, there was one thing that was a little bit different in November for our reviewers: we found only one product worthy of a five-star rating. Which makes this, the latest edition of our regular Pick of the Month column, our shortest ever.

The Rotel Michi Q5

The vinyl revival has been a joyful thing for quite some time now – which is awesome. But if you prefer your physical media to be a little more compact and shiny – and at the same time have a surplus of serious cash – then you might want to consider the Rotel Michi Q5.

This undeniably premium CD player retails for £5499 ($7499 / AU$9499). That's a clear level above the £2995 ($3995 / AU$4999) Cyrus 40 CD we recommend as the top option in our best CD player guide.

After putting it through its paces, though, we can say that it’s certainly worth it – assuming you have the accompanying amplifier and speakers to back it up. The giant unit is packed with top-end, custom hardware designed to make the absolute most of CDs.

Highlights include a bespoke CNC-machined aluminium CD-transport mechanism and ESS ES9028PRO eight-channel DAC chip. The latter lets you play 32-bit/384kHz PCM and DSD256 files via its USB input, in addition to its CD-spinning capabilities.

Most importantly, when paired with our price-appropriate reference Burmester 088/911MkIII amplifier and ATC SCM50 speakers, it delivers stellar audio. Whether it’s layered classical arrangements, bopping pop, or booming metal, the unit delivers audio with impressive detail resolution, expressive dynamics and a nicely taut bass.

As you will see from our reviewers' five-star rating and verdict: “Some people will baulk at the Michi Q5’s price, and that’s understandable. Given we are so far into the age of streaming, a high-end CD player certainly isn’t going to make sense for everyone. However, if you are dedicated to the original silver disc and have a collection that justifies this kind of expense, we have no hesitation in recommending the Rotel Michi Q5 highly.”

Five stars

Read our full Rotel Michi Q5 review

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Our reviewers rate the best stereo amps

Our picks of the best bookshelf speakers

We rank the best floorstanding speakers

If you’re looking for a solid entry-level hi-fi setup or a secondary system, then I’d strongly recommend looking at this new hi-fi bundle from Sevenoaks Sound and Vision.

The bundle deal lets you pick up a pair of the Award-winning Dali Kupid desktop speakers and WiiM Amp Pro streaming amplifier for £599 – a £100 saving on what they’d cost if bought separately.

Why this system? Because we personally matched the two when reviewing the Kupid and found they add up to create one of the best value systems you can get without spending hundreds more or going the separates route.

The Dali Kupid speakers are undeniably the stars of the show. Dali told us it intentionally designed the beginner-friendly Kupid as an entry point for newbies or those on a strict budget to get into hi-fi.

And putting them through their paces in our listening rooms, they delivered exactly that. While you may have to be careful about their relatively low sensitivity rating with partnering products, we found they have a surprising amount of heft for such small units.

Matched with price-appropriate amplifiers and systems, which included the Amp Pro streaming amp during testing, they delivered a dynamic, detailed and punchy sound. Hence our reviewers’ glowing conclusion:

“A great choice for small, modern music systems, the entertaining Dali Kupid speakers will win over many hearts.”

And if you want a cost-effective, just-add-speakers solution to go with then, then the WiiM Amp Pro is the model I personally recommend to friends who don’t want to go down the separates route with the Kupids. I even penned a feature on how well the two work together ahead of Black Friday week.

The WiiM Amp Pro didn’t quite perform well enough to secure What Hi-Fi?’s elusive fifth star, with our reviewers yearning for a little more rhythmic precision and dynamic expression overall. However, this convenient unit combines amplification and extensive hi-res streaming smarts in one compact box – it’s still a stellar option you’ll struggle to beat without spending more.

The closest separates system we’d recommend right now would pair the Kupids with the Cambridge Audio AXA35 stereo amplifier and WiiM Pro Plus streamer, but this would raise the combined price for your new system to £817.

The best price for the Cambridge Audio AXA35 we’ve spotted is £299 at Richer Sounds. The price-appropriate WiiM Pro Plus, meanwhile, continues to sell for its standard £219 at most retailers.

If you weren’t 100 per cent wed to the Dalis, you could save a few extra pounds and bring the price down a bit by swapping them for the Wharfedale Diamond 12.1, which cost £179 right now.

But as we said in our Dalli Kupid vs Wharfedale Diamond 12.1 guide, we’d urge most fans to go for our current Award-winners.

Having run the two head-to-head, we found that while the bigger Diamond 12.1 have their charms and a more refined, there’s a reason they were dethroned during this year's What Hi-Fi? Awards in favour of the more detailed, clearer-sounding Kupid speakers.

If you can afford the extra cost, then the dinky Dali Kupids added liveliness and greater dynamic ability make them a more enjoyable listen in most instances.

Hence, if saving space and cash is your primary concern and you need a new stereo setup with streaming smarts, the team and I fully endorse checking out Sevenoaks Sound and Vision’s current bundle deal.

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
• LG C5 55-inch: lowest-ever price at Richer Sounds
• JBL soundbar: now better than half price
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• Sony headphones: now just £29
• TVs, movies, home cinema: browse the best deals
• Vinyl: 3 for £66 at Amazon
• Wireless earbuds: Award winners now £75

One of the trade-offs for being a professional magpie / shiny things chaser is that you automatically volunteer yourself as tech support for family, friends, distant acquaintances and even long forgotten evil twins (mine’s called Al-ario and if you see him in the street run, he’s still wanted in Perth for crimes against plushies).

This is particularly true during Black Friday. Which is why it was no surprise that this week I had more than a few friends, who are eager to take their first steps into hi-fi and finally leave the Wonderbooms they’ve been using since university behind, ask for advice on what “cheap” hi-fi hardware they should keep an eye on as the deals roll in.

It’s not the first time the question has come up and it certainly won’t be the last. But, as I went into my memory palace and scrolled through my rolodex of What Hi-Fi? reviews, I realised something has changed; for once, I have some actually affordable recommendations!

They are the Award-winning Dali Kupid bookshelf speakers, and the WiiM Amp Pro streaming amplifier that combines amplification, streaming features and connections into one small box.

Why these two products? Well, they are both great value: the Dali speakers retail for £299 ($600 / AU$599), while the WiiM streaming amp is yours for £399 ($379 / AU$699).

On top of that, both are pleasingly compact and a great first step into the world of hi-fi – and the team and I know they work well together as we matched them during our What Hi-Fi? Awards 2025 testing.

The Dali Kupid in particular are an easy recommendation – the best-sounding bookshelf speakers we have tested in their budget price range. Their low 83dB sensitivity means you may have to match your amplifier choice carefully, but we find they have all the muscle and control most people need at this level. Hence their 2025 Award and our verdict:

“Dali has hit upon a winning combination in the Kupid speakers. Small size, attractive looks, entertaining sound and an affordable price – what more could you want?”

The WiiM Amp Pro is a more interesting curveball recommendation that some buyers may not be fully convinced by, given its four-star rating in our review. But don't be deterred by ratings alone. Yes, we would have liked greater rhythmic precision and general insight from its sound, but there are very few streaming amplifiers around that deliver so many features in such a compact form – especially at its sub-£400 price point.

We have searched high and low for a five-star system with the same stellar in-built streaming smarts for this budget price, and failed. The only system you’ll find that is better is the multiple Award-winning Technics SA-C600 – but that still costs a good £350 ($370) more than the WiiM, generally floating at around £750 ($799) at most retailers.

That may not sound like a big difference to people with full separates racks, but having seen the faces many of my friends pulled when I recommended the Technics to them during past Black Fridays – especially those still on basic Bluetooth speakers – I know it is.

It may seem strange to hi-fi enthusiasts, but for most people there's a psychological block that stops them wanting to spend more than £500 / $500 on their first amp, or system.

And that’s why I recommend the WiiM Amp Pro with the Dali Kupid as an entry level, affordable system to any buyer looking to take their first step into hi-fi.

For less than £800, you’ll get a complete stereo system with a fun, entertaining sound packed with all the streaming smarts most music fans will need. It also won't take up too much space in your living room. What’s not to love?

Got a better cheap system recommendation? Get involved with the conversation using the comments section below, or on our social media channels and forums.

MORE:

These are the best hi-fi systems we have tested

We rate the best standmount speakers

Our picks of the best stereo amplifiers

When it comes to our yearly Awards testing, the best surround sound speaker package category is easily one of our favourites to judge. While it involves a lot of physical labour – constantly swapping subwoofers and floorstanding speakers is a workout for sure – we're often treated to an immersive cinematic sound experience that floors even the very best soundbars.

This year has been no exception, and the good news is that after a fairly stagnant 2024, we have a new entry to our Award-winners list. The list, which features returning champs from Wharfedale, Dali and Bowers & Wilkins, now includes a premium package courtesy of KEF; and it happens to be really quite good.

Each entry is a 5.1 system. However, the beauty of any surround sound speaker package is the flexibility to swap in different elements. Adding a pair of height channel toppers to most of these systems can easily result in a 5.1.2 Dolby Atmos system, or you could hypothetically turn any of these into a 7.1 system with an additional pair of surround speakers.

That said, we've judged these systems in their respective 5.1 configurations and found plenty to like about each. We'll start with the newest addition to our list...

KEF delivers a truly stunning speaker system

KEF has made an impressive return to our AV testing room, not long after delivering one of the best Dolby Atmos soundbars of the year in the form of the XIO. The Q Concerto Meta 5.1 speaker package takes a pair of five-star standmount speakers, adds a mighty good subwoofer and centre channel, and rounds things out with a very capable pair of bookshelf speakers to create a rich, powerful and superbly cinematic system.

It's a pricier package than the previously Product of the Year-winning Bowers & Wilkins package (more on that in a moment), but we found its dashing good looks, impressive cohesion and, most importantly, its exceptional cinematic sound to easily justify its price tag.

We raved about its "rich, warm and engaging sound" in our full review, noting how capable the Kube 12 MIE subwoofer is in underpinning the overall experience with a controlled-yet-punchy dose of low-end oomph.

That's balanced nicely with how agile and dynamic the other components of the system are. The centre channel does an excellent job of capturing clear and emotive dialogue with plenty of detail, while the Q Concerto Meta speakers (which serve as the namesake and front left and right channels of this system) deliver a rich and punchy sound.

The system as a whole sounds precise and keeps pace without sounding thin or analytical; in fact, we were pleasantly surprised at how rich and dynamic it sounded during our testing.

It's a step up over the B&W system, but we couldn't overlook it during our judging, which is why we've bestowed it with the "Best speaker package over £2500" title.

Wharfedale, Dali and Bowers & Wilkins all defend their titles

The rest of this list is comprised of previous Award winners, as each remains a shining example of what makes a great surround sound speaker package.

The cheapest entry is the Wharfedale DX-3 HCP, a pint-sized system that's designed for those who want top-notch cinematic sound in smaller rooms, yet you shouldn't let its compact footprint deceive you. It has no trouble in firing out a wide, spacious sound that is simultaneously crisp and dynamic. This is a great choice for anyone looking to dip their toes into the world of 5.1 speaker systems for the first time, too, as it comes in one convenient package.

Stepping up to a much larger Wharfedale system, we have the Diamond 12.1 HCP, which has just earned its fifth What Hi-Fi? Award. It's a composed, spacious and insightful system that bears Wharfedale's usual warmth and depth in equal measure. We struggled to find a moment where this system put a foot wrong in our original review, and it remains a seriously compelling option in the £500-£1000 range.

Next up is another firm favourite, the Dali Oberon 5 5.1. It's won countless Awards, and for good reason too. It's a stylish system that delivers a rich, detailed and dynamic sound without breaking a sweat. We especially like how cohesive it sounds, and when we consider the cons of this system, we simply reach this conclusion: there's "nothing at this price".

Rounding out the list is the formidable Bowers & Wilkins 606 & 607 S3 speaker package. This two-time Product of the Year winner comprises two pairs of five-star stereo speakers, while the ASW610 packs a punch in the bass department. This system has it all: clarity, dynamism, warmth and agility, which is why we've featured it on our Awards list for the third year running.

The real question is who will take home the Product of the Year title? Can B&W defend its title and score the hat trick, or will KEF steal its thunder? No spoilers here – but the good news is that you'll only have to wait a few more days to find out the answer.

MORE:

Find all of the What Hi-Fi? 2025 Award winners here

Read our full KEF Q Concerto Meta 5.1 review

And check out our picks for the best surround sound speaker systems

If you thought hi-fi speakers were big, old fashioned and expensive, then you clearly haven't seen the Dali Kupid. These chirpy little boxes come in a range of cheerful colours, are compact enough to sit on a bookshelf and are very reasonably priced, too.

They also earned five stars in our review.

So you should just buy them, right? Not so fast. Because the Kupid is up against some stiff competition in the form of the Wharfedale Diamond 12.1. These speakers actually started life more than 40 years ago with the introduction of the original Diamond model. They have come a long way since then, of course, and offer a similarly compelling package.

Wondering which is more deserving of your hard-earned? Let's help you decide.

Price

Dali Kupid vs Wharfedale Diamond 12.1: price

These two are very evenly matched in terms of price. The Dali Kupid is the newer of the two models, having launched in the summer of 2025 for £299 / $600 / AU$599. That's similar to the Wharfedale Diamond 12.1's price of £249 / $399 / AU$699.

But it really depends on which country you're in. The Wharfedales are cheaper in the UK and US, but more expensive in Australia. As the older of the two pairs (having launched in 2020), they are also more likely to be given a discount during a big sales event.

**Winner: Wharfedale Diamond 12.1**

Build & design

Dali Kupid vs Wharfedale Diamond 12.1: build & design

The Kupid is the smaller of the two designs, being shorter, narrower and less deep than the Wharfedale Diamond 12.1. This makes them more versatile in terms of placement, by simple dint of the fact that more surfaces will be able to accommodate a smaller speaker footprint.

They come ready for wall-mounting too, with wall brackets and fixing screws included in the box.

But of course it's the colours that are the most noteworthy aspect of the Kupid design. The two standout finishes are the “chilly blue” of our review unit and “golden yellow” which will bring a welcome pop of colour to even the drabbest of interiors.

But not all Kupids come in bold colours – the speaker also comes in more subtle shades of black, white or walnut. Whichever finish you choose, they each have the same starburst lines radiating from the tweeter (though these stand out more on some colourways than others).

Build quality is good, but the speaker is a bit lightweight and feels a little cheap compared with the Diamond 12.1, whose wood finish is sturdier and more refined. But then the Wharfedales are larger and look more traditional, which may not appeal to everyone.

Despite their many similarities, these speakers are pitched quite differently – the Dalis as younger and more accessible, the Wharfedales as the more traditional offering.

The Dalis use a 26mm “ultra-light” soft dome tweeter and an 11.4cm mid/bass driver made from a paper and wood fibre material that has long been used in Dali’s speakers. A “dual flare” reflex port at the back optimises airflow to maximise bass, while magnetic grilles protect the drivers.

The Diamond 12.1s are by no means massive, though, and they have been engineered to sound equally good whether placed into a room or up against a wall. So there's still plenty of versatility to their positioning.

The cabinet is reassuringly solid, and is made from differing thicknesses of MDF bonded together to control resonances, with strategic bracing added for good measure.

The 12.1s have a 13cm mid/bass driver with a polypropylene/mica composite cone material called Klarity, along with a rear-firing reflex port. There's also a 25mm textile-dome tweeter which aims for wide dispersion.

In terms of design, these speakers are apples and oranges, and which you prefer will depend very much on your needs and preferences.

**Winner: Draw*

Compatibility

Dali Kupid vs Wharfedale Diamond 12.1: compatibility

The Diamond 12.1s have the higher sensitivity of the two: 88dB to the Kupids’ 83dB. But it’s a tricky tightrope to walk – speakers at this level need to play nice with both micro systems and more demanding separate components. Both models fare well.

The Kupids are easy to drive with most amplifiers we partnered them with during testing, producing ample levels of volume. They do start to sound less convincing when pushed harder, but that's to be expected given their diminutive size and the fact that they are better suited to smaller rooms.

The Diamond 12.1s are similarly adept, whether we partner them with high- or mid-level equipment. They sound more confident and composed than most similarly priced rivals, with a presentation that is simultaneously bold yet refined. Very impressive.

**Winner: Wharfedale Diamond 12.1**

Sound quality

Dali Kupid vs Wharfedale Diamond 12.1: sound

We'll start with the Kupids. They sound lively and full of get-up-and-go, which is appropriate given their bright and colourful design (we imagine they have a very sunny demeanour).

They don’t provide the deepest bass, nor the widest soundstage, but that’s to be expected given their small stature.

But what there is is very good indeed – well balanced, with a solid, expressive midrange and enough kick in the lower frequencies to keep your head nodding.

Basslines are tuneful and punchy, and dynamically, the Kupids deliver the ebbs and flow of tracks with conviction and deliver an exciting, involving presentation. Voices are delivered with delicacy and depth, and they sound clean and clear, too.

These speakers are also very agile, with a snappy sense of timing. “From Kendrick Lamar’s King Kunta to Tunng’s Didn’t Know Why to the KPop Demon Hunters soundtrack, the Kupid have a fleet-footed quality that zips along with all kinds of tracks in an engaging manner,” we say in our review.

The soundstage might not be as wide as some rivals’, but it does give instruments enough room to breathe, while also revealing subtler details that some speakers might miss. For example, you can hear the differences in pressure on the piano keys in Erik Satie’s Gnossienne No.1, which is deeply impressive for speakers at this price.

We never find ourselves getting bored listening to the Kupids, and they are adept at conveying the personality and tone of different recordings, too, which is lovely to hear.

The Diamond 12.1s are previous What Hi-Fi? Award winners, so you know they're going to put in a great performance.

And they do. “They dig up a pleasing amount of detail and manage to organise it in a cohesive and musical way, with easy to follow low-level musical strands and a presentation that doesn’t start to get confused when things get busy,” we say in our review.

They are tonally smooth, and never sound anything but balanced. They will expose sub-par recordings, but at the same time they don't over-egg proceedings – a vital quality at this price.

Again, the bass isn't as deep as with bigger speakers, but that's to be expected. However, they do deliver a larger, more spacious sense of scale and authority compared with the smaller Kupids.

The Diamond 12.1s also remain composed even when the music becomes more demanding, with a surefooted sense of rhythm.

So which sound better? Again, they're really different beasts. The Kupids have more pep in their step, and are the clearer and more enjoyable listen, while the Diamond 12.1s have the more spacious and refined presentation.

For us, the Kupid's sense of liveliness and greater dynamic ability gives them the edge.

**Winner: Dali Kupid**

Verdict

Dali Kupid vs Wharfedale Diamond 12.1: verdict

What a battle. With a heritage spanning back 43 years, the Diamond 12.1 standmounts remain highly recommended, while the bright and peppy Kupids are the new upstarts and have just won the 2025 What Hi-Fi? Award for best standmount speaker under £500.

Each is a fantastic budget option; it just comes down to what you want from a speaker.

If space is limited, and you want a bright and colourful design that is matched by its lively sonic character, go for the Dali Kupid. If you have a touch more room to play with, and you prefer a more mature and refined design, the Wharfedale Diamond 12.1 are for you.

Whichever you choose, we're sure you'll have many hours of happy listening.

**Overall winner: Dali Kupid**

MORE:

Read our Dali Kupid review

And our Wharfedale Diamond 12.1 review

These are the best bookshelf speakers around

With their bold colour palette, eye-catching design and space-friendly compact form, the new Dali Kupid speakers are made to appeal to a wider audience of music fans.

The Kupid are designed to fit into people’s spaces easily and be used with modern compact hi-fi, micro systems or as TV speakers. Indeed, part of our testing period was spent hooking the Kupid speakers up to the WiiM Amp Ultra streaming amplifier we also have in for testing – and the pair showed just how simple, compact and streamlined a modern hi-fi system can be.

And affordable, too. The Dali Kupid are priced at £299 / $600 / AU$599 per pair – that puts them right up against the Award-winning Wharfedale Diamond 12.1 (£249 / $399 / AU$699).

Considering the Danish brand has spent the last handful of years focusing on the higher echelons of the high-end hi-fi scale – from the flagship Kore and Epikore speakers, to the premium IO-8 wireless headphones – this is a welcome return to the budget speaker market.

Dali’s wallet-friendly Lektor, Zensor and Spektor ranges have entertained us in the past with their enjoyable, dynamic sound from compact forms, and the new Kupid model is cut from the same cloth.

Build & design

While they’re not as titchy as the Neat Iota II speakers, the Dali Kupid are small speakers that are designed to be placed just about anywhere. Standing 23.7cm tall and 14cm wide, they are a little bigger than desktop speakers such as the Ruark MR1 Mk3, but are still a fair bit more compact than standard small speakers such as the B&W 607 S3 and Neat Petite Classic.

This means they can be placed on desks, cabinets, bookshelves, TV stands or large windowsills rather than on dedicated speaker stands, and are especially suited to those with limited space. You can even wall-mount them, with the required wall brackets and fixing screws included in the box – helpful!

The overall build quality is good, with smooth curves and a neat finish, while its lightweight frame speaks to its budget billing. But these aren’t plain Janes. We really like the styling of these speakers – they come in colourful shades that set them apart from the traditional hi-fi speaker crowd.

Our review sample comes in an appealing “chilly blue” finish, but you can also choose from a bright “golden yellow” or subtler shades of black, white and walnut. Those starburst lines radiating from the tweeter are a lovely design flourish and are present in every colourway, with the contrasting gold detail standing out on our blue sample in particular.

Compared with the brand’s own Zensor and Spektor speakers or their main rival, the long-running Wharfedale Diamond 12.1, the Kupid’s build does feel a little on the ‘budget’ side. The Diamonds are sturdier and have a more refined build quality with their wood finish, but they are also larger and more traditional-looking. The Kupid are clearly aiming for a different (and most likely younger) audience who are looking for something fresher and more modern.

Underneath that more accessible outlook lies Dali’s decades of acoustic engineering expertise, with the Kupid speakers promising to deliver a rich performance from such a compact form and at this price level.

The two-way speakers feature a 26mm “ultra-light” soft dome tweeter and an 11.4cm mid/bass driver made from a paper and wood fibre material that Dali has long used in its speakers. The dished tweeter waveguide is shaped to help integration with the midrange driver, and the custom crossovers are designed to deliver accurate timing overall.

There is a “dual flare” reflex port at the back of the cabinet that optimises airflow, minimises turbulence and aims to deliver deep bass from this compact cabinet size. It’s all very sensible, and there are magnetic grilles included in the box to protect the drivers.

Compatibility

The Kupids have a rather low sensitivity of 83dB to get enough bass extension out of such compact speakers, which is a balancing act Dali has done before in its Spektor 1 standmounts.

Despite this figure, we found they were easy enough to drive with most amplifiers we tried during testing, and got good volume levels out of them. The Kupids start to complain just a little when pushed to party levels in our fairly large test room, but as these speakers will be used mostly in smaller spaces, this shouldn’t be much of a problem.

During our testing period, we had the Kupids plugged into our usual reference system of Naim Nait XS 3 amplifier and Cyrus CDi CD player. Shifting to more appropriately priced partners, we tried the Kupid with the Arcam A5 and Rotel A8 amps, and the budget Pro-Ject Primary E turntable and Bluesound Node Icon streamer as sources, and then finally connected the speakers straight into the one-box WiiM Amp Ultra streaming amplifier.

With all combinations throughout our testing time, the Kupid speakers more than hold their own and retain their innate lively character.

Sound

Right from the moment we hit play, the Kupid 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.

They exhibit a knack for snappy timing and agile rhythm. From Kendrick Lamar’s King Kunta to Tunng’s Didn’t Know Why to the KPop Demon Hunters soundtrack, the Kupid have a fleet-footed quality that zips along with all kinds of tracks in an engaging manner.

The bassline in Rag’n’Bone Man’s Human sounds tuneful and agile enough to keep the track’s fierce momentum going, while the brooding quality and build-up of tension in Massive Attack’s Angel is felt thanks to spot-on timing and clear, precise edges to notes.

There’s enough space to allow instruments and textures to flourish, from the crunchy depth of a grungy guitar to the sweeping orchestral strings in the Game Of Thrones soundtrack.

Dynamically, the Kupids deliver the ebbs and flow of tracks with conviction, while also revealing subtler moments with a deft hand. The smooth, soulful quality of Marion Black’s 1970s hit Who Knows is full of richness and body; the hi-hats in Max Roach’s Lonesome Lover have enough fizz and snap without sounding thin, and that saxophone glides through with verve.

The Kupids do a great job in expressing the high drama and frenetic attitude of Fontaines D.C.’s Starburster, with those punctuating gasps in the chorus stopping and starting with alacrity. There’s ample excitement and solidity underpinning the high-octane track to get into the groove, but there is also no undue brashness at the top and no flab at the bottom.

Equally, the subtle differences in pressure on the piano keys in Erik Satie’s Gnossienne No.1 are delivered clearly, which is quite impressive for such budget speakers.

We particularly like how expressive, detailed and fluid the Kupids are in the midrange. Laura Marling’s strong yet intimate vocals in Hope In The Air are communicated with crystal clear focus and all the nuances and emotion in her singing are laid bare. Her voice hangs beautifully in the centre, against a fairly low-noise background.

Play Still Dre and we find ourselves tapping our toes and snapping our fingers along to the melody, with the Kupids' infectious sense of enthusiasm and stellar sense of timing and agility keeping our attention hooked. Sure, those bass notes would hit deeper with bigger speakers, but we find that the Dali speakers deliver a satisfying amount of punch that keeps us entertained.

These are very capable performers for their modest price and size. We find ourselves listening to song after song and never get bored; the Kupids also allow the personality and tone of each recording era to come through with little fuss – something that even more expensive speakers struggle to do.

The Kupid speakers are livelier and more dynamically exciting than the Diamond 12.1 rivals, even if the larger speakers are more spacious and a touch more refined. The Kupids punch harder and win us over with their sure-footed rhythm and sheer sense of fun – sonic characteristics that have run through Dali’s previous budget speakers, and which we are delighted to hear resurrected here.

Verdict

Dali has hit upon a winning combination in the Kupid speakers. Small size, attractive looks, entertaining sound and an affordable price – what more could you want?

Give them a whirl, and don’t be afraid to opt for the bolder, colourful finishes.

Review published: 1st October 2025

SCORES

• Sound 5
• Build 4
• Compatibility 4

MORE:

Also consider the Wharfedale Diamond 12.1

Read our Elac Debut B5.2 review

Our guide to the best bookshelf speakers for every budget

Another month has rolled by, and with it came a raft of new product announcements that caught our attention.

It has been a busy time for the world of AV and hi-fi, with new launches across categories including, but not limited to, soundbars, stereo speakers, USB DACs, Bluetooth speakers and smartphones.

Headlining this edition of On the Radar is the Bluesound Pulse Cinema, a stylish Sonos Arc Ultra alternative that could challenge the five-star ’bar’s title of the best Dolby Atmos soundbar.

Following closely behind is iFi's latest pocket-sized USB DAC, as well as JBL's latest addition to its Award-winning Bluetooth speaker family.

These are joined by Dali's cutest speakers to date, as well as Google's latest flagship Android-powered smartphone.

We told you it had a been a busy time…

Bluesound Pulse Cinema

The premium Dolby Atmos soundbar market is a competitive place, with the likes of Sony, Sennheiser, Sonos, KEF and Samsung all vying for your attention.

That hasn’t stopped Bluesound from taking a stab at the competition, however, with its latest offering: the Bluesound Pulse Cinema.

This 3.2.2 ’bar touts a total of 16 drivers, including dual 4-inch woofers and dedicated upward-firing speakers for Dolby Atmos height effects, with a total claimed power output of 500W; pretty punchy if you ask us.

The Pulse Cinema also wears its hi-fi influence on its sleeve, as it is compatible with Bluesound’s BluOS platform, which can be linked to a wide range of streaming services – including Tidal, Qobuz and Spotify – for hi-res streaming up to 24-bit/192kHz.

Priced at £1149, the Pulse Cinema is going head to head with our current favourite Atmos-equipped soundbar on the market: the Sonos Arc Ultra.

Read the full Bluesound Pulse Cinema news

• Price: £799 / $999 (around AU$1543)
• Release date: November 2025

Dali Kupid

As cute as the cherub it is named after, the Kupid puts a colourful and affordable spin on Dali’s signature and highly regarded hi-fi sound.

Best known for its high-end Epikore speakers, which can cost upwards of 30 times the price of these new budget speakers, Dali hopes to bring its signature sound to more people by pricing the Kupid very aggressively.

Inside each cabinet, you’ll find a proprietary 4.5-inch paper and wood fibre mid/bass driver, which is reinforced with a ferrite magnet system and low-loss rubber surround.

This is backed up by a custom-developed 26mm ultra-light soft-dome tweeter, which promises “detailed, extended highs with smooth dispersion and minimal distortion”.

With a custom crossover for accurate timing and a dual-flare reflex bass port for low distortion and deep bass, these speakers should sound as good as they look.

Read the full Dali Kupid news

• Price: £299 per pair (around $400 / AU$600)
• Release date: 1st October 2025

iFi Go Blu Air

Looking to boost your smartphone’s audio performance with a DAC that won’t bog you down? Enter the iFi Go Blu Air, which is one of the British audio company’s smallest and lightest offerings to date.

Measuring just 5cm and weighing a mere 30g, the Go Blu Air somehow manages to cram in separated DAC and amplification stages in pursuit of reduced noise and low distortion – despite its tiny chassis.

You’ll also find Qualcomm’s QCC5144 chipset for Bluetooth connectivity, a Cirrus Logic MasterHIFI DAC, and a twin-mono amplifier stage as part of the audio signal path to deliver up to 256mW of power.

Wired connectivity comes in the form of 4.4mm and 3.5mm balanced headphone outputs, and Bluetooth 5.2 is backed up by the latest hi-res codecs, including LDAC, aptX Adaptive and aptX HD.

Despite all this tech, iFi claims that this miniature portable DAC can last 10 hours on a single charge – impressive indeed.

Read the full iFi Go Blu Air news

• Price: £129 / $129 / AU$229
• Release date: Available now

Google Pixel 10 Pro XL

Google’s latest smartphone series celebrates a decade of Pixel, and the brand is adding some much-needed AV-focused features which have caught our attention.

The Pixel 10 Pro XL is the biggest and flashiest of the new range when it comes to conventional smartphones (the 10 Pro Fold is the highest-end model with a pliable folding display), and it comes with a big and bright OLED display.

Measuring 6.8 inches, the Super Actua LTPO OLED (now that's a tongue twister) screen will reportedly sport an eye-searing 3300-nit peak brightness, support HDR, and feature a variable refresh rate of 1Hz to 120Hz.

It is also Google's first phone to include Pixel Snap, a nifty magnetic system that clips accessories (such as a wireless charger and grip/stand combo) into place, similar to Apple's MagSafe system.

The real question is, will it compare with the best that Sony, Apple and Samsung have to offer?

Read the full Google Pixel 10 Pro XL news

• Price: £1199 / $1199 / AU$1999
• Release date: Available now

JBL Grip

There's a new member in JBL's impressive Bluetooth speaker roster, and it sits just below a five-star favourite of ours.

The Grip undercuts the Flip 7 in price and stature, with a design that can be clutched in one hand; though, as we have come to expect from JBL, a small speaker doesn't mean small sound.

Within the Grip's cylindrical body, you’ll find a 43 x 80mm full-range transducer, delivering a continuous output of 16W on average, with a claimed frequency response spanning 70Hz to 20kHz.

Pair that with a rugged woven-fabric covering, IP68 water and dust resistance, a claimed 12 hours of playback on a single charge and a customisable ambient-light feature, and you should find that the grip is ready to party in any condition.

The real question is, will it carve out a name for itself among its talented peers?

Read the full JBL Grip news

MORE:

Check out our picks for the best Bluetooth speakers

As well as the best DACs: USB, desktop and portable

And the best smartphones for movies and music

Dali is best known for its high-end speakers like the £10k Epikore 3, but the new Kupid speakers are a much more affordable option. A pair costs just £299 (around $400 / AU$600), yet it promises to deliver Dali's signature sound.

Dali's speakers can be a little old school in their looks but the Kupid provides a welcome splash of colour. With options including Golden Yellow and Chilly Blue, alongside more traditional finishes Black Ash, Walnut and Caramel White, they should complement most decors.

Despite its diminutive size and fun colours, Dali claims the speakers deliver "true hi-fi sound".

Like other Dali speakers, it's designed and engineered in-house in Denmark, and promises to maintain Dali's high levels of "precision, performance, and musicality".

This is possible thanks to the proprietary 4.5-inch paper and wood fibre bass/midrange driver, ferrite magnet system and low-loss rubber surround, all of which aim to deliver fast, tight bass and a dynamic midrange.

There's also a custom-developed 26mm ultra-light soft dome tweeter which promises "detailed, extended highs with smooth dispersion and minimal distortion". Dali promises a natural, cohesive soundstage, with the tweeter baffle being tuned for seamless integration with the midrange driver.

Custom crossovers ensure accurate timing, soft roll-off and "exceptional clarity". And a 'dual flare' bass reflex port optimises airflow and minimises resonance, promising low distortion and deep bass.

Dali says the Kupid speakers are designed around a philosophy of "keep it simple."

The speakers' consistent impedance of over 4 ohms should ensure smooth performance across a wide range of amplifiers, ​including budget models and streaming amplifiers.

Each speaker also comes with wall brackets and rubber feet, giving you options for installation and positioning.

Dali claims the Kupid speakers are the first product of a new chapter at the company, in which it will aim to make hi-fi more accessible.

The firm has released affordable speakers before – like the Award-winning Spektor 2 and Katch G2 Bluetooth speakers – but more accessible hi-fi speakers are always welcome.

The Dali Kupid speakers go on sale from 1st October for £299 per pair (around $400 / AU$600).

MORE:

Read our Dali Epikore 3 review

Best bookshelf speakers: top standmounts for every budget tested

These are the best budget hi-fi speakers

The current cycle of premium wireless headphones has thrown up some wonderful options. We had the Dali IO-8 (currently £499 / $900 / AU$999) arrive at the end of last year, and while they remain an expensive pair of over-ears, we thought the Dali would be extremely tough to beat for any set of cans operating within the premium realm.

2025, however, has seen the bar nudged ever-skywards. Beyerydynamic looked to stake its claim in the wireless arena with the talented Aventho 300 (£359 / $400 / AU$640), while the Bowers & Wilkins Px7 S3 were a treat for the eyes and ears when they arrived in the summer for roughly £399 / $449 / AU$699.

Then, of course, there are the established models that are still staking their respective claims. The Bose QuietComfort Ultra Headphones (currently £349 / $449 / AU$449) remain a great pick if noise cancelling is your top priority, whereas the older but still ongoing Apple AirPods Max (£499 / $480 / AU$899) remain a top choice for dedicated Apple fans.

Each of the aforementioned candidates has its own respective strengths and weaknesses. The Bowers & Wilkins Px7 S3, for instance, sound superb and look the business, but their noise cancelling leaves rather a lot to be desired given the price you’ll pay, while their lack of foldability hinders their portable credentials.

The AirPods Max continue to deliver a luxurious experience befitting the high price tag, but their talents work best for iOS users and newer rivals offer greater clarity and precision. While the Bose flagships are superb for noise cancelling, their sound isn’t quite class-leading anymore.

The talented Dali IO-8, meanwhile, will rightly have many fans, but their reliance on on-button controls, some of which can be fiddly to use, will frustrate users who prefer proper app support. Plus, like the Px7 S3, they don’t fold away.

Yes, you can get even better sounding wireless headphones, but as the new Focal Bathys Mg have demonstrated, you’re going to have to spend more for the privilege. For the Bathys Mg, that privilege will set you back £999 / $1299 / AU$2300.

The best of a brilliant bunch

So, what we’re looking for is a pair of wireless over-ears that sound great, are comfortable to wear, easy to use, offer a great feature set and, even if they’re not super cheap, make you feel like you’re getting proper value for money. I know just the pair...

If true all-rounders are what you seek, the Sony WH-1000XM6 (£400 / $450 / AU$699) are my top pick. The idea of ‘all-rounders’ can make you think of compromise, or of a product hedging its bets to try and please all users, but that’s never something you could accuse the sixth-gen Sony over-ears of.

They’re excellent across the board, nullifying most potential weaknesses while showcasing their exceptional strengths.

The Sony WH-1000XM6 are brilliant in all of the areas in which their WH-1000XM5 antecedents excelled, albeit to a greater extent. They sound better, their feature set is expanded, they’re nicer to use and they’re even more comfortable than before.

Better yet, they’ve rectified the minor issues that we and many customers had with the fifth-generation cans. They collapse completely away with the earcups folding neatly upwards, which is a massive bonus for everyday use, while their reinforced hinges should rectify the structural weakness issues which many users had with the outgoing, Award-winning WH-1000XM5.

They're supremely comfortable, too, with our test ream finding their snug fit, improved clamping force and resistance to making our ears overheat only adding to our affections.

Heading off the competition

Against their competitors, the WH-1000XM6 can take on all comers in all departments. Sonically, they outstrip the Bose over-ears, as our review explains: “We try Time from the Inception soundtrack and the WH-1000XM6 are a step above the XM5 in terms of detail, dynamics and openness. Play the same track through the Bose QuietComfort Ultra Headphones, and it isn’t a fair fight – the Bose sound out of their depth”.

They’re up for the fight against the Bowers & Wilkins Px7 S3 and the Dali IO-8 too. As we wrote at the time, the B&W cans might just win the race in terms of precision and fine detail, but the Sony have bringing a greater sense of expressiveness and musicality to their delivery.

The Dali are spacious and refined, if a little flavoured, but the Sony's exceptional helping of fun and dynamism, not to mention their overall experience, are tough to top.

Plus, unlike the Px7 S3, the Sony are now foldable and offer spatial audio support, all while dealing with noise cancelling more effectively.

In fact, in almost any area, the Sony WH-1000XM6 can hold their own, such is their impressive lack of any discernible blind spots. The Bose cans are the ANC kings, but the XM6s’ noise cancelling is so excellent that not once will you use them and feel as though you’d rather have a better alternative. They do the job brilliantly, and that’s more than enough for the vast majority of users.

Feature-wise, they’re exceptional. 30 hours of battery is enough to keep you happy at this level, as are hi-res LDAC Bluetooth codec support, Bluetooth LE Audio and Auracast (for opening up connectivity to a variety of compatible sources and streams).

Sony’s 360 Reality Audio works well, while other Sony features, such as Speak to Chat and Quick Attention Mode – which allows you to hear ambient sounds by touching the right earcup – round out the spec list nicely. At this price, very few headphones can boast so many features or, more crucially, so many features that perform so well.

Maybe we'd have liked USB-C wired listening, as found with the rival Bowers & Wilkins Px7 S3, but considering how good the XM6 sound without wires, it's hardly a huge issue.

It wouldn’t been nice to see the high quality aptX codecs on the menu, but Sony counters all that with LDAC support, provided you have a compatible source player.

Headphones for everybody

If you’re going to spend this kind of money on a pair of wireless headphones, you want excellent performance across the board and no discernible weaknesses leaving you frustrated over time.

These are cans you have to live with, and while average ANC, say, might not bother you on day one, over time it can become a real issue. That’s the same with poor levels of comfort, tricky usability, an anaemic feature set or, of course, middling sound quality.

Perish such concerns with the WH-1000XM6. At this level, they truly are the jacks of all trades and masters of quite a few, leading the pack sonically and levelling up the flagship line’s usability credentials to new heights.

To quote from our review: "The WH-1000XM6 deliver the most detailed, dynamic, precise and open sound we’ve heard from a wireless Sony flagship". When you consider how high those standards were already, that's some seriously high praise.

I was a big fan of the WH-1000XM5, but as all the wireless headphone a person could need, the WH-1000XM6 are masterful all-rounders.

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Read our Focal Bathys Mg review

These are the best noise-cancelling headphones you can buy

Sound+Image is Australia no. 1 mag for audio & AV reviews, news and technology. Every issue is divided between hi-fi features and reviews, audiovisual reviews and updates, plus a lashing of music and movie features to highlight the reason we need the equipment in the first place.

And in our latest issue, #362:...

MINI AMPS THAT ARE BIG ON STREAMING
Group test: Various developments have fed the rise of smaller hideaway amplifiers with app control and built-in streaming. But with such variety in power and price, how do you find your level?
- Feature: How to choose your amplifier
- Review: WiiM Pro
- Review: Sonos Amp
- Review: Denon Home Amp
- Review: Bluesound Powernode Edge
- Review: Marantz Model M1
- Review: Electrocompaniet RENA SA2

OPEN HEADPHONES
Group of three: They may annoy people on the bus commute, but for solo listening, open-backed headphones are a pathway to the airiest of hi-fi sounds. We test three new models at radically different price levels.

- Review: AUDIO-TECHNICA ATH-R30x
New and attractively-priced open headphones – just A$219, yet they pretty much blew us away with their effortless and balanced presentation.

- Review: SENNHEISER HD 550
It can be hard to tell Sennheiser’s many headphones apart – yet they are invariably safe performers when it comes to the sonics, as these HD 550s confirm.

- Review: MEZE POET
Spectacular looks meet sparkling sonics in these Romanian planar-magnetic beauties. What airy wonders do they reveal, for their A$3499 pricing?

MORE REVIEWS...

- MARANTZ HORIZON wireless speaker
Luxurious materials and a remarkable design differentiate Marantz’s wireless speaker costing A$6500 (+A$1500 for the stand). Does it repay the price?

- KALEIDESCAPE TERRA PRIME + STRATO C 4K movie server + player
The premium movie server system is now ‘officially’ available in Australia, including a local movie store. We test a two-box server and player solution.

- VIEWSONIC V57-4K projector
It’s a ‘lumen king’ using a higher level of DLP projection than rivals to achieve higher brightness and overcome ambient light conditions.

- TANNOY SGM 10 stereo loudspeakers
These ‘heritage’-look speakers are developed from studio models and certainly have some quirks, but their sound can take on all modern challengers.

MORE FEATURES...

- TOP TVs & TV TECH FOR 2025
Advanced OLED panels arrive, but Mini LED has an RGB variation waiting in the wings. Is 8K coming or going? And will 3D return to TV?

- comment
ONE EAR ON THE FUTURE
The Editor looks forward to understanding whatever you’re all saying.

- show reports
HIGH-END MUNICH SHOW REPORT
From 2026, the HIGH END Show will move to Vienna, so there was much tearful sloshing of steins amid the usual collection of horns and sounds to celebrate the final Munich show.

- AUSTRALIAN Hi-FI SHOW, SYDNEY
Three days of Sydney sunshine, four floors of hi-fi and AV on song: here’s our full report of all the joys from this year’s Sydney show.

- countdown
THE BEST MOVIES OF THE 1980s!
From ‘Raging Bull’ to ‘Dogs in Space’, these are the 1980s movies that will get your home cinema back to the 1980s. Bring your own Spandex...

- classic movie scene
E.T.’s FLYING BICYCLE
Spielberg was riffing on the imaginary friend of his youth, but when Elliott’s bicycle took to the skies he created a scene that cinemas cheered.

- music stars
KATE BUSH
We look back at the original Kate Bush tour of 1979, her first and only time on the road until her residency London concerts 35 years later.

- NEWS
Marantz announces surprise two-box AV; Harman buys all Masimo Consumer brands; Electrocompaniet gets knobby; Rega goes digital with its Mk7 Brio amp; Melbourne gets a new AV experience store; Qobuz Connect debuts on loads of kit; Krix reveals its biggest ever subwoofer; Triangle effects speaker goes both ways; Blu-ray news: Pioneer stops, Sony goes...

It's all in #362 of Sound+Image, out now in print at newsagents and as a digital issue through Apple, Google, Readly, Zinio. Libby and more!

These days a lot of people default to soundbar packages when looking for surround sound systems. And there are plenty of good reasons for that.

The systems don't require cable management, as many – including the Award-winning Samsung HW-Q990D – use wireless satellites and subwoofers. They also take up less space than a proper 5.1 setup.

So if ease of use is your priority, going for a soundbar system makes a lot of sense. If, however, performance is your be all and end all, there’s not getting around the fact that a full-fat, multi-speaker package is usually your best bet.

After decades of testing surround sound systems we know that a good one will deliver audio with a sense of directionality and heft that you just can’t get anywhere else.

Which is why home cinema aficionados with the space to accommodate one are very likely to be looking at the wealth of new AVR / surround sound package deals that recently launched on Richer Sounds.

If you meet that description, we also have good news: after price checking the components of each deal to make sure they are actual discounts, and of course with our years of experience in using the products, we have two recommendations for you.

Sony TA-AN1000 with Q Acoustics 3020i 5.1 speaker package

The first deal we recommend gets you a Sony TA-AN1000 AVR with a Q Acoustics 3020i 5.1 surround sound package for £1489 at Richer Sounds. That’s a £106 saving on the two if you bought them separately.

Why this specific system? The two products certainly represent stellar value, but they also leave plenty of room for growth.

Sure, the Q Acoustics 3020i package is getting long in the tooth, having launched in 2021, but, to this day it offers solid value for money and a sound profile that’s great for movies.

Highlights include an atypically rich, warm sound with a full bass and precise treble. This, plus its ability to deliver sweeping dynamics makes it a great entry-level option.

For context, our perennially broke editor (me), still uses a stereo pair of the 3020i with a Technics SA-C600 system in his lounge for music listening.

The only real downside is that, despite being standmount units, they are atypically deep and you shouldn’t place them with their backs to a wall if you want the best results. So you should certainly measure the space you intend to put them in before buying.

The Sony TA-AN1000 is another impressive, stellar value option if you're just getting into “proper” home cinema surround sound. So much so that we described the Award-winning AVR as a “no brainer” purchase when we first reviewed it.

Could you get away with paying for a less muscly, cheaper AVR to power the 3020i? Probably; but the main selling point here is that the Sony has lots of room for growth, meaning you can continue to use it even if you choose to add extra channels or upgrade/replace the speakers down the line.

This, plus its flawless HDR and surround-sound standard support make it a wonderfully flexible, future-proof unit. And, even more importantly, it sounds sublime. As we say in our Sony TA-AN1000 review:

“Its crisp, precise and punchy sound strikes a nearly perfect balance, and it elevates every movie and song we throw at it. This amplifier ticks all our boxes, with a sleek design, good feature set and outstanding performance, making it so easy to recommend. If you’re looking at buying an amp at this level, then the Sony TA-AN1000 is a no-brainer.”

Denon AVC-X3800H with Dali Oberon 5 5.1 speaker package

The second deal lets you grab a Denon AVC-X3800H AVR with a Dali Oberon 5 5.1 speaker package for £2599 at Richer Sounds. Doing the maths after a thorough deal hunt, that’s a £150 saving on how much the two would cost if you bought them separately right now.

This is a great mid-tier package, ideal for people looking for a louder, more powerful system.

The speakers are another What Hi-Fi? Award-winner and it's the package we recommend to most buyers looking for a 5.1 system for less than £2000.

The package uses Award-winning Dali Oberon 5 floorstanders as the main left and right channels, with five-star Dali Oberon 1 standmounters taking on the surround duties. Add to these the Dali central channel and subwoofer, and you get a system that offers more heft and volume than the Q Acoustics – but requires more space as a result.

It also offers some sonic improvements, which justify its higher price tag. During testing, the system delivered a wonderfully full sound, with a hefty, but controlled low end and agile dynamics.

The end result is a surround sound system that delivers truly immersive home cinema experience, whether in conversation dramas or explosion-filled action movies. Which is why the verdict of our review says:

“The Dali Oberon 5 5.1 system presents every frequency in full, but with honesty and warmth that brings the best out of any soundtrack. They’re transparent but fun, powerful but subtle; we’d have them round to ours any day.”

Similarly, the five-star Denon AVC-X3800H is a step up on the Sony TA-AN1000, both in price and performance. It’s also one of the mid-tier AVRs we recommend, even at full price.

For starters, it’s crammed with hardware, making it one of the most future-proofed units you’ll find at its price. For regular surround sound, it can power 9.2 to 11.4 channels. If you want to make the leap to Dolby Atmos down the line, it can go up to 5.4.4 out of the box.

We tested it with 5.1 and Atmos systems and it delivers excellent results in both – so there is plenty of headroom for a system expansion in the future if you need it.

Then there’s flawless HDR support and six HDMI inputs – three of which are HDMI 2.1 ports rated to 40gbps. You shouldn’t run out of connectivity options, then, even if you have a ludicrous number of players, streamers and consoles.

But, as with the Sony, the Denon's main selling point is its excellent audio ability. All of which makes it a stellar AVR to match with the fine Dali package, and an easy recommendation at its current price. As we say in our Denon review:

“Combining future-proofed connectivity, flexibility and a mature, authoritative but expansive sound [if] you’re looking for an all-round performer with plenty of features and ample scope for system expansion, then the 3800 is a superb choice.”

If you want something significantly better than the Denon, you will need to go up a tier and invest in a more expensive AVR – such as the Marantz Home Cinema 30 we currently recommend, which costs £3800.

MORE:

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We rate the best projectors we have tried and tested

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Munich has said goodbye to the High End show with a hearty wave and one hell of a bang, as Europe's biggest hi-fi show moves to Vienna next year.

High End Munich 2025 is the annual showcase of biggest launches from the heaviest hitters in the hi-fi industry, and this year continued that trend with a raft of audio products to get mouths watering and wallets sweating nervously.

Living up to its name, many of the new hi-fi products we saw at this year's showcase have been appropriately 'high end' in price, with five- and six-figure price tags being the norm rather than the exception in the sprawling halls. However, there were a handful of products available at real-world money that we're just as much excited about as the big, shiny, flagship products with the wow factor.

The What Hi-Fi? team spent a whirlwind couple of days at the last High End Munich 2025, and below are the biggest launches and most exciting hi-fi products we encountered. From giant subwoofers and transparent turntables to elegant floorstanders and a surprise reveal from a 40+ year brand... these are our pick of the best from Munich 2025.

Burmester Reference Line

We'll start off with one of the more wallet-busting new launches we saw at High End, and perhaps one of the most minimalist yet striking looking designs.

Burmester unveiled a brand new range of Reference Line products, comprising the 257 turntable, the 249 preamplifier and the 259 stereo power amplifier.

Which one do you fancy? If you need a turntable, the 257 boasts an inverted magnetic main bearing, two high-torque motors and an optical sensor system for outstanding rotational accuracy.

Or, you could splash out on the mighty 259 power amplifier: it has a claimed power output of 500 watts into a four-ohm load, which rises to 1500 watt when used as a monoblock. And the 249 preamp is modular, with the option to add streaming, phono and extra analogue inputs

Whatever you pick, you won't get one for cheap. While we don't have official prices just yet, we do know that the entire set is likely to cost you roughly €300,000, so we're dealing in very high end territory here.

Cyrus 80 Series

It was a surprise to see a Cyrus product in full-width form. We're so used to see the British brand's hi-fi separates in the half-width 'shoebox' chassis since its inception, but that's all about to change with the upcoming 80 Series. Cyrus' first full-width hi-fi range consists of the 80 AMP streaming amplifier, the 80 PRE preamplifier and the 80 PWR power amplifier – and we got a first look at the new design in Munich.

While they're all full-width, the new 80 Series borrows the same modernised and smart-looking design that we've admired in the 40 Series, with the anodised aluminium build and touchscreen display screen.

We're particularly excited by the prospect of the 80 AMP (pictured above), which has BluOS streaming platform at its heart and features 150W per channel of Class A/B amplification. For keeping you connected to your music, it's also equipped with support for Tidal, Qobuz and Spotify, and has an MM/MC phono stage inside.

If the 80 Series can match the 40 Series line in terms of five-star performance, exciting times could lay ahead for Cyrus. The 80 Series will officially launch in November.

Gryphon Audio Antileon Revelation

It hasn't been long since we had the five-star Gryphon Audio Diablo 333 integrated amplifier in our test rooms, which impressed us with a staggering 333 watts of power per channel. Now that is a spectacular amplifier.

At High End Munich, we saw the unveiling of a new Gryphon amplifier to fill the hole left by the Diablo 333. Designed to celebrate the 30th anniversary of its Antileon Series and the 40th year of the company as a whole, the new Antileon Revelation power amplifier is available in both stereo and mono versions, delivering 160 and 180 watts per channel of Class A power respectively.

If that wasn't enough, two custom-wound 1500VA toroidal transformers are fitted to each 90kg enclosure, while a third independent power supply takes care of the dedicated digital control circuitry.

And the price? It's cost you a cool €38,000 / $45,500 / AU$64,995 when it's available later this year.

JBL Summit Series

Considering how many rugged Bluetooth speakers they make and the popularity of these portables, it's easy to forget that JBL has a serious history in the world of high-end hi-fi.

The JBL Summit Series of loudspeakers are certainly talking a good game. There are three new additions unveiled at the show, and we like the way these large speakers look, especially when fitted out with a rich ebony veneer with gold accents. The trio are named after Himalayan mountains: the Makalu, the Pumori and the Ama. They join the extraordinarily large Everest and five-star K2 speakers in the flagship range.

The Makalu and the Pumori are the floorstanders of the family, whereas the Ama are the ones to go for if you want standmounts in your life. We had the chance to hear what the Makalu were capable of, albeit in a less-than-ideal trade show setting, and they certainly seemed to be comfortable pumping out some rather rowdy German rock/techno fusion to a room of eager punters and journalists.

Prices range from £15,000 / $20,000 to £37,000 / $45,000, so you might have a small mountain to climb in terms of paying for them.

Fyne Audio F704SP

We've been immensely impressed with the speakers Fyne Audio has been producing in their short lifespan. We think the flagship F1-8 speakers are fantastic; and more recently, the Fyne Audio F501E bowled us over as excellent 'economy' speakers at their £1000 price point.

The new F704SP ('SP' stands for 'Special Production') are a more high-end proposition. Joining the F701SP, F702SP and F703SP models, the F704SP is positioned as the lead model in Fyne's latest F700SP range of speakers, and priced at £20,000 / $26,000 / €24,000, they're easily at home within the high-end halls of the MOC Event Center Messe München.

Aiming to replicate the experience of live music in your home, the F704SP use a 30cm IsoFlare driver which combines a 30cm multi-fibre bass/midrange cone with a 75mm titanium dome tweeter, plus a 30cm multi-fibre bass driver.

When combined with an upgraded crossover, more premium components, high-density birchwood cabinets and downward-firing port harnessing Fyne's 'BassTrax' diffuser system, they're an alluring prospect on paper.

We can't wait to hear them again.

Audiolab D7

We were super-keen to see Audiolab's latest additions to its stable of standalone DACs, the D7 and D9, as these models are set to follow in the footsteps of the original M-DAC, a five-star, multiple Award-winner that we still hold dear in our memories.

What surprised us was just how compact the Audiolab D7 DAC/headphone amp/preamp was in person, and we can see it easily fitting into many desktop surfaces – especially for laptop and headphone users who might be short on space.

It has a welcomingly petite footprint compared to the larger (and pricier) D9, the latter sporting a display screen and more advanced technology, circuitry and connectivity.

But the D9 has plenty going for it in its compact form. It uses the same ESS 32-bit DAC as the 7000A and 6000A MkII integrated amplifiers, supports up to 32-bit/768kHz PCM and DSD512 high-resolution files, and is Roon Tested.

There are multiple analogue and digital outputs crammed into the rear panel, including balanced XLR outputs and USB type B and type A ports.

Priced at £449 / AU$999 (around $600), it goes up against strong desktop-friendly rivals such as the Chord Mojo 2 and Cambridge Audio DacMagic200M.

Mark Levinson 600 Series

Mark Levinson's 600 Series of amplifiers consists of three models, the No. 626 dual-mono preamplifier, the No. 632 stereo power amplifier and the No. 631 monoblock. We've seen them in the flesh and, while we've not heard them hooked up to an actual system, they certainly look the business, especially the No. 631 mini-tower with brooding red vertical lights.

The amplifiers use Class A/B amplification, boast multiple analogue and digital connections, and are built on Mark Levinson’s proprietary Pure Path circuit philosophy that aims to deliver "uncompromising musical purity and an engaging listening experience" thanks to discrete components chosen for specific, precise functions.

Prices range from around 24,000 / €28,000 / $25,000 to £38,000 / €44,000 / $40,000, and we are seriously impressed with the build quality and aesthetic which blends an anodised aluminium chassis with silver controls and glass panels atop each unit.

Very much a 'If Batman had a sound system' kind of affair.

Dali V-16 F

It's always exciting to see what Danish brand Dali is up to. High End Munich 2025 was a relatively busy one for Dali, heralding the arrival of a swathe of new colourways for its IO-8 and IO-12 headphones as well as its flagship Kore loudspeakers, and, as we have here, a brand new subwoofer.

The Dali V-16 F is a big boy. At 53kg, it's something of a beast, employing a wide-band, low-loss design with low harmonic and non-harmonic distortion, with Dali promising that the V-16 F has plenty of precision to go with all of that power.

With 2500 watts of Class D power, the V-16 F is billed as Dali's "most powerful subwoofer yet". The new sub's 40.5cm driver is the main attraction, incorporating aluminium for the driver diaphragm for a rigid yet lightweight design.

It goes on sale in July for a whopping price tag of £4499 (around $6000 / AU$9000).

Audio-Technica AT-LPA2

Audio-Technica has a new premium turntable, and its name is the AT-LPA2. We're always excited to see a brand record player, especially from such an established brand, and it's sweetened even furtherer by the fact that it's a completely see-through design!

Based on a limited edition AT-LP2022 that commemorated the Japanese company's 60th anniversary, the AT-LPA2 features a belt-drive design, a carbon-fibre tonearm, and comes fitted with the brand's AT-OC9XEN dual moving coil cartridge. The transparent effect is thanks to the clear acrylic chassis and platter; a separate power supply is also included.

Audio-Technica was only offering listening demos through headphones at the show, so we'll have to wait until we get a sample in our test rooms to really hear what this new spinner can do.

Want one? The AT-LPA2 is available now, for £1699 / €1999.

Eversolo Play (+CD Edition)

Now here's something a little bit different. We've been dealing in what's generally been reasonably high-end gear, especially from the likes of Burmester and Gryphon, but as ever, High End Munich also attracts emerging brands targeting more budget tranches of the market, such as WiiM and Eversolo.

The new Eversolo Play is a versatile streaming amplifier that aims to offer a seemingly-endless list of functionality to rival most hi-fi brands, and for less money. The compact form houses a Class D amplifier, and AK4493 DAC chip and Eversolo's excellent streaming platform and interface, complete with support for hi-res audio, UPnP, Tidal Connect, Qobuz, Amazon Music and more.

Physical connections are impressive too, and include HDMI ARC plus optical and coaxial inputs, a sub out and a phono input. There's even a 5.5-inch touchscreen; when seeing it at the show, it seemed just as clear, responsive and delightfully packed as the Eversolo DMP-A6 music streamer that we liked using so much.

More excitingly for physical music fans, there is a CD Edition that includes a CD drive that pops out from the side.

We think that one might be rather popular, especially considering the prices. It's €699 (around £600 / $790 / AU$1200) for the standard version and €799 (around £680 / $900 / AU$1400) for the CD Edition.

Chord Electronics Ultima Phonostage

And finally, here is a product that we don't know too much about, but it makes up for it with abundance of overt styling.

Chord Electronics took the lid of the Ultima Phonostage, the new flagship phono preamplifier in its flashing Reference Ultima range.

It has a dual mono design and features the brand's Ultima technology; we've rather liked the UItima integrated and Ultima Pre 3/Ultima 6 amps, so we already have high expectations.

It supports MM and MC cartridges and you can configure the analogue inputs independently to work with up to three turntables or three tonearms.

The visual blueprint Chord's 'spaceship' aesthetic, complete with a glowing LED orb in the middle – but we were mesmerised by the two VU meters that were going full tilt during the demo.

The Ultima Phonostage will launch later this year, but we're told that the price will be around £18,000. Phew.

MORE:

High End Munich 2025 highlights: all the news and hi-fi launches

7 of the quirkiest and strangest pairs of speakers we saw at High End Munich 2025

I've had a first look at the HomePod-rivalling WiiM Sound smart speaker – and Apple should be worried

Dali has launched its most powerful subwoofer ever, and where better than at High End Munich?

Weighing over 50kg, the V-16 F is an absolute monster of a woofer. But while it packs plenty of power (as you would expect from a sub of this size), it also has "the precision and control needed to work in any audio system context and even in small rooms", Dali says.

That's thanks to a wide-band, low-loss design with low harmonic and non-harmonic distortion, that's optimised both in and out of its primary frequency band. It also boasts ultra-low signal latency, a controlled, non-resonant, low-pass roll-off and four continuous flare reflex ports tuned to 18Hz.

But the jewel in its crown is a 16-inch driver that incorporates the largest ever Constant Surface Surround (aka CSS Technology). This has been geometrically engineered to eliminate the radiating area distortion mechanism, meaning a cleaner sound with less distortion.

The driver features a T-shaped vented pole-piece that's designed to ensure symmetrical magnetic flux distribution through the voice coil. The vent hole through that pole-piece flares at both ends to ensure turbulence-free airflow, while two Faraday rings suppress flux modulation and maintain a consistent sound.

The bass driver and voice coil use a four-layer winding on a vented ultra low-loss glass-fibre former – because this material doesn't conduct electricity, it prevents the build-up of eddy currents and minimises any breaking effects on the moving voice coil, improving dynamics.

Dali has used aluminium for the driver diaphragm, as it's rigid but light, and retains its profile even under extreme excursion. Dali claims that despite its size, it's the most rigid diaphragm ever fitted to a Dali driver.

That's the insides covered, but what about the cabinet?

Its 90-litre volume is enclosed as space-efficiently as possible, and made from 25mm thick wood composite panels with 21mm internal braces. The front panel doubles this thickness to 50mm, with the internal bracing supporting the bass driver and the four 350mm long Continuous Flare reflex ports (similar to those previously seen on the Dali Epikore 11 loudspeaker).

The 1500-watt Class-D amplifier can deliver a peak power up to 2500 watts. But it also promises to keep a "vice-like grip" of the bass driver even at extreme diaphragm excursion levels, meaning powerful and accurate bass dynamics and impeccable timing, whatever the volume.

You also get three sound modes: Cinema, Music and Boost (for extra impactful bass).

So there you have it. Dali says the V-16 F will melt into the soundscape, blending seamlessly with other speaker channels, adding bass without masking midrange clarity. Which sounds good to us.

It goes on sale in July for £4499 (around $6000 / AU$9000).

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I love it, but guys, turn down the bass

How to build the perfect hi-fi system

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

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

Price

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

Build

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

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

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

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

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

Features

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

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

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

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

ANC & call quality

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

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

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

Sound

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

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

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

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

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

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

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

Verdict

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

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

First reviewed: March 2025

SCORES

• Sound 4
• Build 4
• Features 4

MORE:

Read our review of the Dali IO-8

Also consider the Bose QuietComfort Ultra Headphones

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

I remember being around four years old and all the adults in the house made the mistake of leaving me alone with the family hi-fi. The unit was a cassette receiver from a brand called Elizabethan, and I recall very little about it now apart from the stack of dials on the front and its rather fetching fake wood finish.

It was playing some classic Bollywood song from the 60s, and for the first time ever, I noticed the tone controls on the amplifier. Being so young, I had no idea what the words ‘treble’ and ‘bass’ meant at the time, of course. But once the dials were twiddled in a random fashion, I knew the one marked ‘bass’ did good things and should always be turned up to the max. The treble control, on the other hand, didn’t have any significant impact on the drums that the child-me was focussing so hard on and was quickly ignored.

My love of bass sounds started there and has continued ever since, though I would like to think my tastes are more sophisticated than just turning everything up to full as I did for most of my teenage years. Now, not only do I crave low-frequency power but I want grip, articulation and texture too. The harmonic richness of a double bass matters as does the agility and finer details of a typical Massive Attack bassline. To sum it up, I’m a bass addict and proud of it, but nowadays quality and balance matter more than outright quantity.

A recent listen to the Dali IO-8 wireless headphones annoyed me. These are excellent wireless over-ears (in most respects) and have the sonic talent to worry any alternatives vaguely near their £499 selling price, hence why they sit loud and proud in our best wireless headphones buying guide. Like just about every rival, these headphones give the user a way of boosting bass output. In this case, it’s not done through an EQ setting in an app, but a mode button on the headphones that switches between ‘Hi-fi’ and ‘Bass’ settings.

Given my tastes, the 'Bass' option should be right up my street, particularly as these headphones were designed by the very same people who engineered Dali’s new high-end Epikore speaker range (starting price of ten grand) and many other talented speakers besides. Surely, any engineer who has the well-honed sensibility to design what are undoubtedly fantastic speakers would be able to tune the bass setting just so? It turns out they don’t. The nicest thing I can say is that whoever fixed the final bass EQ curve had very similar priorities to the four-year-old me.

The lows swamp everything, leaving these otherwise excellent headphones sounding thick and sludgy. It spoils their articulate nature, unsettling their otherwise nicely judged tonal balance to a degree that I find unlistenable after a while. The standard ‘Hi-fi’ setting, on the other hand, is spot on.

Dali is not alone. Much of the industry seems to think that bass quantity trumps quality and I can understand why. It impresses on a brief listen, and that usually leads to more sales. I get it. The success of the Beats brand was built on a foundation of excessive bass, and I wouldn’t be surprised if Sony’s recently introduced ULT Series of headphones and wireless speakers, aimed at the youth market, are going great guns for the same reason. Yet, whenever I listen to such products, I can’t help but wish the manufacturers had intentionally boosted the lows with a lot more finesse to ensure satisfaction over the long term.

I know it is possible to do this. Mark Levinson gets it right on the No. 5909 headphones, as does Chord with its Mojo 2 portable DAC's clever DSP tone controls. On the more traditional hi-fi side, the Rotel A8 budget integrated amplifier still sounds articulate with the bass control turned up, and at the other end of the price scale, the PMC Cor does a fine job of it too. There are other examples, but you get the point.

While lots of bass can be fun on the right kind of music, that on its own isn't enough. Manufacturers need to realise that balance, articulation and definition matter even more over the long term. Even a certified bass-head like me recognises that.

MORE:

29 of the best tracks for testing bass

Best subwoofers 2025: brilliant bass for music and movies

9 of the best action scenes to test your subwoofer

Today, Sky unveiled its Sky Glass Gen 2 TV and teased a second, more affordable Sky Glass Air set, which is set to get a proper full reveal at an unspecified point later this year.

And, to be clear, the Gen 2 features some notable upgrades on the original Sky Glass, which launched in 2021 and earned a respectable, but not quite perfect four-star rating from our reviewers at the time.

In case you missed the original news, the short version is that the new Sky Glass will be available tomorrow, 12th February, with prices starting at just £14 per month. This is roughly the same price as the original and puts it in the same bracket as the Amazon Fire TV Omni QLED.

The key upgrades include an improved 3.1.2-channel Dolby Atmos-ready sound system that, according to Sky, will “remove the need for a separate sound system”. Yes, we’ve heard and poo-pooed this claim before, but considering the fact we flagged average audio as an issue on the original Sky Glass it’s still a welcome move.

While the QLED panel hasn’t been upgraded to having a Mini LED backlight, Sky claims it has more dimming zones and more advanced local dimming powers than the original Glass, allowing it to produce better black levels, clearer colours and generally better performance. Considering how impressive recent FALD sets (including the four-star Panasonic W90A I reviewed at the end of last year) have been, there could well be some truth to this claim – but we’ll need to get the new model in to confirm this.

Despite all of this, throughout the presentation, I couldn’t help but think, 'why didn’t Sky go for bigger upgrades to its new TV’s panel tech?' And, while many would talk about Mini LED, which is established in the mid-range market, my mind went a step further – surely Sky should make an OLED!

Sky representatives at the Glass Gen 2’s launch event, which was attended by our TV & AV Editor, Tom Parsons, made it very clear the firm is not interested in going after the OLED market. This is apparently largely due to the fact it thinks its customers care more about value and don’t want to splurge that much for a TV. Or, if they do, they’ll just buy one from LG, Samsung, Sony or Philips and connect a Sky Stream puck to it.

Specifically, a Sky spokesperson told us: “we wanted to expand the range so that everyone can afford our products. We're really, really thoughtful and want to make sure Sky is accessible and affordable for everyone”.

I agree with the primary point around value. I know plenty of people looking to consolidate and reduce their spending. For them, a holistic package including your content subscriptions, TV and sound system makes sense. But I’d argue that doesn’t rule out OLED. In fact, if anything, it makes a stronger case for it.

In my personal life, I know plenty of people who want an OLED but simply can’t justify paying the four-figure cost for even an entry-level TV with the tech, let alone a flagship model. Look at our LG G5, Panasonic Z95B, Philips OLED910 and Samsung S95F hands-ons and you’ll see that even in 2025 these will set you back a hefty amount of cash...

So, offering one on a subscription model is appealing, especially one where Sky could even potentially sell the hardware close to cost price as it would be making money on a subscription and the content services it provides.

This is why, for me, it would have actually made sense to offer an OLED option alongside the cheaper Glass Gen 2 and Glass Air. This would have given home cinema fans at every end of the market an option and an entry point to the entertainment platform.

MORE:

These are the best cheap TVs we've reviewed

Our picks of the best OLED TVs

We rate the best 65-inch TVs

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

MORE:

These are the best OLED TVs we’ve tested

We rate the best hi-fi systems

Our picks of the best headphones

2025 is already proving to be an incredibly busy one for the What Hi-Fi? reviews team.

As well as covering the Consumer Electronics Show in Las Vegas, where we saw key OLED TVs including the LG G5, Panasonic Z95B and Samsung S95F break ground, our reviewers also finished testing a wealth of big name products last month.

However, only six of them impressed our hi-fi and home cinema teams enough to earn our hallowed five-star rating.

Here’s what you need to know about them.

Rega Planar 3 RS Edition

Rega is a company with a strong track record in the turntable space. Over the decades our reviewers have constantly been impressed with its offerings, awarding numerous iterations five-star ratings.

So when we describe the latest RS edition as “the iconic Planar 3, but even better”, you should immediately understand quite how special it is. The record player features a number of additions, including a new plinth and brushed metal finish, that are designed to improve performance. Though it increases the unit's price, the tweaks worked a treat during testing, with our reviewers reporting:

“The Rega Planar 3 RS Edition is an elevated Planar 3, further refining an already excellent build and performance to deliver even more from your vinyl records and bring you closer to the music. It’s a beautifully designed turntable, too.”

Score: 5/5

Read our Rega Planar 3 RS Edition review

Austrian Audio Full Score One

Austrian Audio is a new brand that is already carving a strong track record in our listening rooms, with its stellar-value headphones, including the recently reviewed Austrian Audio Hi-X25BT, earning five-star ratings from our reviewers.

This continued with its first ever headphone amp, the Full Score One, which we finished reviewing last month. Though the unit isn’t as feature packed as some rivals, the purist, frill-free approach paid off during our checks.

Paired with with everything from Austrian Audio's The Composer (22 ohms), Sony’s MDR-Z1R (64 ohms), Focal’s Stellia (35 ohms) to Grado’s RS-1x (38 ohms) and early-generation Beyerdynamic T1 (600 ohms), the amp deliver excellent results. Hence our five-star rating and conclusion:

“For most headphone listeners the addition of a product like the Full Score One is a bit of an over-kill. But if you are truly obsessive about getting the most from your high-end headphones and have sources of sufficient quality, this Austrian Audio amplifier is warmly recommended.”

Score: 5/5

Read our Austrian Audio Full Score One review

Dali IO-8

The Dali IO-8 are the latest set of wireless headphones to earn a perfect five-star rating from our reviewers.

They sit in the upper end of the standard wireless market, above the Sony WH-1000XM5 but below the T+A Solitaire T. But based on our testing they are among the best wireless headphones money can buy right now. As well as delivering solid codec support, robust battery life and reliable ANC, the headphones offer brilliant audio quality, with our reviewers reporting:

“Dali’s core business may be based around an extensive range of hi-fi speakers but the IO-8 show that the company has plenty to offer the premium wireless headphones sector. Sure, we have some small ergonomic quibbles, but when it comes to performance and build quality these headphones are top-class.”

Score: 5/5

Read our Dali IO-8 review

Technics EAH-AZ100

The Technics EAH-AZ100 are another big product that fundamentally changed our buying advice last month. They're the first wireless earbuds from Technics to impress our reviewers enough to earn a five-star rating. They’re also the new recommended premium set in our general best wireless earbuds guide. Why? Because they sound sublime. As we said in our EAH-AZ100 review:

“The AZ100 is a well-thought-out design, with a comfortable fit, useful features and scope for customisation at nearly every step. But it’s the elevated performance that combines the Technics’ strengths of clarity, detail and spaciousness with the punch, presence and dynamic impact we were hoping for that cinches the deal.”

Score: 5/5

Read our Technics EAH-AZ100 review

Sony Bravia Projector 9 (VPL-XW8100ES)

The Sony Bravia Projector 9 is a device with big shoes to fill, being the successor to the Award-winning Sony XW7000ES and a direct rival to the JVC DLA-NZ800. Thankfully during our tests the projector lived up to the Japanese brand’s strong legacy in the home cinema space.

Paired with our reference set-up, the unit delivered stellar results with class leading image processing and offered a stunningly bright, colourful, detailed picture regardless of what test disc we threw at it. Hence our verdict:

“We don’t mind admitting that we’ve fallen head over heels in love with the Sony Projector 9. Its picture quality is truly, madly, transportatively magnificent, enjoying levels of detail, colour volume, brightness and three-dimensionality, especially with HDR visuals, that we’ve just never seen before.”

Score: 5/5

Read our Sony Bravia Projector 9 (VPL-XW8100ES) review

Cyrus 40 AMP

Cyrus’s 40 AMP is the latest integrated amplifier from the brand in quite some time – which automatically makes it interesting. It sits in the same new 40 series as the Cyrus 40 ST streamer we reviewed last year, which aims to modernise Cyrus's hi-fi offering. Thankfully, as well as clear modernisation features like the addition of a colour screen and sleek new design, Cyrus has also worked on its engineering and internals.

The end result is a modern, swish looking unit that delivers excellent sonic results when properly partnered – in our case with Naim’s ND555/555 PS DR and the Cyrus 40 ST music streamers as sources and either the Wilson Benesch Discovery 3Zero or ATC SCM 50 speakers.

As we said in our Cyrus 40 AMP review:

“It is fair to say that the Cyrus 40 AMP is a terrific product. It is well made and sensibly featured, but it is the excellent sound quality that sets it apart from the competition. We can’t think of a better all-rounder for the money, and given the quality of its rivals, that is saying something. Having heard the 40 ST streamer and now the 40 AMP, we believe that they have the star quality necessary to give the brand the kind of rebirth it craves. Highly recommended.”

Score: 5/5

Read our Cyrus 40 AMP review

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Analogue headphone amplifiers are less common than they used to be thanks to the more fashionable DAC/headphone amp alternative dominating. However, a dedicated analogue unit still has a place. It is ideal if you just want to add headphone functionality to a system or are trying to eke the final degree of performance from your wired cans. Austrian Audio’s Full Score One is one of the finest examples we’ve come across in recent years.

Austrian Audio is a young company, formed in 2017. But don’t think that youth means a lack of experience. The team behind the brand have been in the business for decades, having worked for AKG Acoustics up until its Vienna-based facilities were closed following Samsung’s takeover of its parent company Harman International in 2016.

Since then, Austrian Audio has carefully built a surprisingly diverse range of products from microphones and headphones to studio-orientated software. Then there is the Full Score One headphone amplifier we have on test here.

Design & connections

It’s a small unit, about the size of a hardback book and is beautifully made. We like the curved metal casework and the neat way the volume control is integrated, though it would have been nice if the dial were just a little thicker to make it easier to handle. Front panel headphone connections consist of a pair of 6.3mm sockets, and beneath a sliding flap, a 4-pin balanced XLR output.

You will find a button marked TTT on the left of them, next to the power switch. The initials stand for True Transient Technology, and it is a proprietary circuit that claims to improve the Full Score One’s responsiveness to the signal.

That rings true in use. Pressing the button improves detail resolution, leading-edge definition and image precision. The downside is that it also makes the Full Score fussier about recording quality, revealing any harshness or edge mercilessly.

While the Full Score One has natural partnering headphones in the Austrian Audio range, the excellent pair called The Composer, the company has designed the amp to work well with a wide range of designs. It can drive impedances from 10-600 ohms, which covers the majority of offerings on the market.

Compatibility

During the test process try a range of wired headphones from The Composer (22ohms), Sony’s MDR-Z1R (64ohms), Focal’s Stellia (35ohms) to Grado’s RS-1x (38ohms) and early-generation Beyerdynamic T1 (600 ohms) without issue. However, we note that there isn’t much travel on the volume control before things get too loud with some of the more sensitive designs. When it comes to inputs there isn’t much to say, a single pair of stereo RCAs is connected in parallel with a pair of balanced XLRs. We would only recommend using one connection at a time.

Take a look inside the Full Score One and you will find a neat discrete layout that avoids the use of IC chips on performance grounds. There is evidence of good quality parts and plenty of care in the assembly. This is a product that inspires a great deal of confidence in use and feels like it will withstand many years of hard service.

You will want to use it plenty too, as it is a terrific performer. The Full Score One rewards the use of top-quality partnering equipment. Our main sources are the Cyrus 40 ST and Naim ND555/555 PS DR music streamers. We also have a Technics SL-1000R/Vertere Dark Sabre/ Cyrus Phono Signature/PSX-R2 turntable combination on hand, along with the aforementioned range of quality headphones.

Sound

Any worry that the Full Score is only optimised for its natural partnering headphones, The Composer, proves unfounded. The unit sounds equally capable and balanced regardless of what we plug into it. That’s thanks to an even-handed temperament and the ability to drive most headphone loads without issue, just as claimed. Given the company’s strong studio heritage, it should come as no surprise that this amplifier has a warts and all presentation; one that prefers the unvarnished truth to trying to make every recording sound good.

Quincy Jones had just recently passed away at the time of writing, so we pay homage by listening to his terrific Back On The Block set. The Full Score covers itself in glory by delivering the title track's explosive punch and instrumental complexity so well. Regardless of partnering headphones, we get a lovely sense of space and a convincing rendition of vocal and instrumental textures.

Sometimes a component that goes for tonal neutrality compromises on rhythmic drive and dynamic expression, but that is not the case here. This Austrian Audio delivers all the verve in the recording without diluting it one jot. We’re impressed by its grip at lower frequencies, along with its generally articulate nature.

Moving to an old favourite in the form of Hans Zimmer’s Interstellar soundtrack shows that the Full Score One is capable of high levels of analysis and can track multiple instrumental strands without sounding confused. We’re pleased with its sonic authority and the way it renders the scale of the orchestra.

Scale and authority are areas where headphone listening invariably suffers compared to a good pair of speakers, but using this amplifier delivers better results than most. Stereo imaging, such as it can be with headphones, is crisp, layered and stable.

Verdict

For most headphone listeners the addition of a product like the Full Score One is a bit of an over-kill. But if you are truly obsessive about getting the most from your high-end headphones and have sources of sufficient quality, this Austrian Audio amplifier is warmly recommended.

First reviewed: January 2025

SCORES

• Sound 5
• Build 5
• Features 3

MORE:

Also consider the SPL Phonitor SE

Need a DAC included? Read our review of the Chord Hugo 2

Best wired headphones: the 7 top pairs tested by our in-house experts

Literally tens of millions of words have been written about The Beatles, covering everything from the minutiae of their recording sessions to the all-encompassing nature of their impact on popular culture. One book takes almost 50,000 words to get to the point where five teenagers leave Liverpool for the first time in 1960 for a series of performances in Hamburg.

So there seems little point in trying to add to those words here – everyone already knows, after all, that The Beatles rank alongside William Shakespeare and football where British contributions to global happiness are concerned. Instead, we’ll restrict ourselves to selecting a dozen of their recordings that happily combine a thorough examination of your audio system’s talents with the band’s customary knack for exquisitely, instinctively correct pop music.

• Listen to the best tracks by The Beatles on Tidal

Can’t Buy Me Love (A Hard Day’s Night, 1964)

They have been recording artists for less than two years at this point, but already the development that would gather almost comical momentum is beginning to show. It’s upbeat, sunny and poppy, just as surely as most of their output has been until now, but Can’t Buy Me Love also demonstrates new confidence in their songwriting abilities and a knack for a catchy arrangement that can’t be entirely credited to producer George Martin. Momentum and rhythmic positivity are among the key elements your system must demonstrate to bring this recording to life, but the nature of the recording means control of treble frequencies is almost as important. 

‘Hardness’ or ‘splashiness’ are seldom welcome traits in an audio set-up, but this recording is just desperate to tip over the edge – high-end authority is essential. And management of the percussion, driving-yet-rolling in the already-established Ringo manner, is critical too.

Buy A Hard Day’s Night on Amazon

You’ve Got to Hide Your Love Away (Help!, 1965)

The songwriting is maturing nicely now – this is perhaps the first example of John Lennon writing from a position that seems strongly at odds with what one might imagine a man in his position might be feeling (see also the title track of the album Help!). The desire to be taken as seriously as someone like, say, Bob Dylan, rather than be regarded as a loveable moptop fit only to be screamed at, is getting stronger and stronger… You’ve Got to Hide Your Love Away is very midrange-heavy, so your system’s tonal variation and powers of separation need to keep competing elements distinct from each other while still delivering the recording as a unified whole.

There’s little broad dynamic variation here, but in the acoustic guitar and woodwind especially there are plenty of harmonic under- and overtones around the fundamental note to be revealed. Or not, if your system’s not up to the task.

Buy Help! on Amazon

Nowhere Man (Rubber Soul, 1965)

Slowly but surely, the sepia of The Beatles’ previous recordings is becoming Technicolor. And between the telepathic vocal harmonies, the remarkably aggressive lead guitar sound and better-identified and -defined drumming, the recordings are starting to sound less like ‘live in the studio’ affairs and are starting to utilise the recording studio as a greater resource. Lyrically, the journey from ‘sweet’ to ‘bittersweet’ is becoming more and more apparent, too. 

All of which means your system needs to demonstrate proper poise and balance where the frequency range is concerned, as this is a fuller sound than the band had previously enjoyed. Low-frequency control becomes an issue (this is one of McCartney’s first true show-off bass lines), midrange focus and fidelity are an even greater issue than before thanks to all that bounceback echo around some of the voices, and the primitive stereo separation is a proper test of focus too.

Buy Rubber Soul on Amazon

Rain (B-side, 1966)

The confidence and ambition are ever more apparent, the medicine has properly started to kick in, and The Beatles are trying to advance the art of the pop song exponentially – even if, as with Rain, they’re only courageous enough to do so as a B-side at this point. Nevertheless, it’s an outstanding song in every department – melody, rhythm track, inventive use of the studio and the effects available therein… John Lennon’s vocal performance lasts less than three minutes, and yet Liam Gallagher managed to turn a facsimile of it into a 30-year career. 

How does your system handle the sinuous bass line, the stop-start journeys around the drum kit, and the none-more-jangly guitar sound? There’s plenty going on that will trip up a set-up that can’t handle itself where rhythm, tempo and tonality are concerned, and it will need to know what’s what when it comes to the prolonged decay of sounds too.

Buy Rain on Amazon

Tomorrow Never Knows (Revolver, 1966)

And now here are the 60s as everyone at 60 years’ remove understands them. It’s probably safe to say very few people had heard anything like Tomorrow Never Knows before the moment it was released, and certainly not when it was the product of what was definitely a boy band the last time anybody checked – “listen to the colour of your dreams” indeed. The Beatles lay it on with a trowel here: backwards tapes, guitar feedback, sitar drones, a drumbeat for the ages and a treated vocal intoning The Tibetan Book of the Dead. 

Need I say without undue emphasis that your system had better be able to establish some clarity and separation in what is a foggy hot-box of a mix? That it needs to be particularly attentive to the ‘soft’ attacks produced by running tape backwards? Probably not…

Buy Revolver on Amazon

Lovely Rita (Sgt Pepper’s Lonely Hearts Club Band, 1967)

If ever an album could be said to have a smell, Sgt Pepper’s Lonely Hearts Club Band has a smell – the sulphurous tang of spent matches, in my opinion. It may have been billed as a ‘concept’ album, but really it’s a collection of quite disparate songs, the most engaging and exuberant of which is Lovely Rita. One of McCartney’s many ‘story’ songs with one of McCartney’s many indestructible melodies, Lovely Rita needs your system to have a proper grasp of soundstaging, good separation and focus, and the sort of tonality that can differentiate acoustic clanging from metallic clanging without difficulty. 

And it needs to have the sort of rhythmic positivity that makes the coda to the song sound like it should: that’s to say, like the perfect sample for a yet-to-be-recorded smash-hit hip-hop tune.

Buy Sgt Pepper’s Lonely Hearts Club Band on Amazon

I am the Walrus (Magical Mystery Tour EP, 1967)

No two ways about it: by this point, the boy band that conquered the world and became bigger than Jesus is an overt drugs band, and is rather pleased about it. I am the Walrus is an acid-fried slice of Lewis Carroll-inspired psychedelia, all glissando and portamento with extra-vivid nonsense imagery (“goo goo ga joob!”), detuned radios and an overall whiff of a playground game gone badly awry. 

There’s plenty for your system to be getting on with here – the tonality of the strings alone, as they glide and lurch from one note to the next, is a pretty stern test. And the fact that the stereo version of the song switches from ‘true’ to ‘fake’ stereo at around the two-minute mark (because radio extracts were added directly to the mono mix and were unavailable for the stereo version) will only really become apparent on a system with the sort of robust staging and stereo focus to reveal it.

Buy Magical Mystery Tour EP on Amazon

While My Guitar Gently Weeps (The Beatles, 1968)

Apart from various members of various orchestras (and Yoko Ono), very few people appear on records by The Beatles who aren’t, well, The Beatles. Eric Clapton is one – his coruscating solo on the George Harrison composition While My Guitar Gently Weeps elevates the tune to the status of ‘essential’ in The Beatles’ catalogue. Its tone and sheer attack are testing enough for your set-up, which also has to be able to cope with the extraordinarily assertive hi-hat inputs from the drumkit without getting in any way sharp or edgy. 

The chugging low-frequency input from the bass guitar requires careful handling, too, and midrange resolution should be able to reveal just how difficult George always found it (or how unwilling he was) to remove the Scouse inflections in his singing voice.

Buy The Beatles 1968/The White Album on Amazon

Happiness is a Warm Gun (The Beatles, 1968)

The four members of The Beatles couldn’t agree on much by this point, but they each declared Happiness is a Warm Gun to be their favourite of the far-too-many songs on The Beatles. It’s pretty obvious why: it’s inventive, it’s alive with tricky time changes, it features utterly committed contributions from all performers, and it managed to get banned by the BBC thanks to its ill-defined but absolutely apparent undercurrent of (whisper it) sex. 

Rhythmic expression and a facility with tempo- and attitude-changes are among the biggest tasks facing your system here. Midrange fidelity gets a big workout too – and separating the contributions of the lead from the background vocalists while keeping each distinct and characterful isn’t easy either. It’s a stiff test of dynamics, too, with both broad shifts in intensity and constant tonal variations to attend to.

Buy The Beatles 1968/The White Album on Amazon

Hey Bulldog (Yellow Submarine, 1969)

Even at their lowest ebb, even when inspiration was at a premium and willingness even harder to come by, The Beatles seemingly couldn’t help but turn out direct, melodic and somehow unerring music whenever the need arose. Hey Bulldog emerges from a piano riff (and so is one of very few of their songs not built on a guitar part) and wastes no time establishing itself as one of those ‘big verse/bigger chorus’ Beatles tunes that somehow manage to avoid cliché and stay fresh even after the 100th listen. 

The attacking tone of the lead guitar is a great test of your set-up’s balance, and the square four/four rhythm isn’t as straightforward to describe as it might at first seem, either.

Buy Yellow Submarine on Amazon

Come Together (Abbey Road, 1969)

Has there ever been a more obliging song, where hi-fi systems are concerned, than Come Together? The opening track of the final-album-that-wasn’t-the-final-album in The Beatles’ catalogue is beautifully performed, exquisitely recorded, and so wide open that it can’t help but dish the details of your set-up’s abilities – for better or for worse. It’s a recording with a huge amount of space in it, and those spaces and silences need to be given just as much emphasis as the events of the recording themselves. 

There’s an extraordinary amount of detail just waiting to be retained and revealed here, too, from the fretboard noises of the bass guitar to the exact distance of the harmony vocal relative to the lead. And above all else, your system needs to present this as genuine performance, with the protagonists responding to each other, rather than as a collection of discrete occurrences.

Buy Abbey Road on Amazon

Don’t Let Me Down (Let It Be… Naked, 2003)

By the time the band had finished recording sessions for Let It Be, they were sick a) of the sound of it, and b) of each other. So the tapes were handed over to Phil Spector (still an icon to people like The Beatles, and not yet revealed to be a murderous head-case) and he was asked to get on with it. The result was the opposite of the ‘back to basics’ recording they had envisaged – the Spector treatment called for baroque orchestral arrangements and contributions from huge choirs. 

Early in the 20th century, Paul McCartney instigated an effort to return the album to what had originally been intended… which meant, in part, including Don’t Let Me Down. Perhaps the most straightforwardly soulful recording the band has ever made, it’s a stern test of midrange resolution, tonal variation and rhythmic expression – and plenty more besides.

Buy Let It Be… Naked on Amazon

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The majority of my portable music listening is done through my phone. It's an Apple iPhone 12, and I use both Apple Music (great playlists, music discovery) and Tidal (great higher-quality Masters tracks) for everyday music streaming. Whether I'm commuting to work, picking up groceries or even just sitting outside for a quiet moment, music gets pumped into my ears from my phone through Bluetooth into wireless earbuds. 

But there are too many distractions from my phone to really concentrate on just the music. Fun apps, text notifications, cat videos, doom scrolling, the temptation to keep checking in on the latest news or searching for the next songs I might be in the mood for... My eyes are always glued to the screen and taking in other information, with the music taking a back seat. And my iPhone doesn't play high-res audio, either.

I need a dedicated portable audio player

A dedicated portable music player is what I really need, which focuses on doing just one job: playing music. It also means I can ditch my very convenient AirPods/Sony earbuds in exchange for a 'proper' pair of wired headphones thanks to all portable music players offering, at the very least, a 3.5mm headphone jack.

Astell & Kern's fleet of extremely capable hi-res digital music players is the obvious choice here. Every single player we've tested has offered genuine portable hi-fi quality and received five-star reviews, not to mention stunningly crafted designs and sleek performance in use. Its stripped-back interface also meant you could listen to albums in full, without skipping or any distractions, much like you'd get with the vinyl experience. It is, in many ways, such a pure and personal listening experience.

But as much as I've enjoyed listening to my small but curated library of hi-res albums on the A&K players like the latest A&norma SR35, I'm always worried my clumsy fingers will drop it, or the beautiful screen will get scratched amongst my keys and other random stuff I carry in my bag. It's rather expensive and very expensive-feeling for my personal everyday use; it's something I'm always aware of when using it. These players can also be rather bulky; forget even trying to fit one into the pocket of my skinny jeans.

Sony's new Walkman could be a winner

Enter the new Sony NW-A306 portable music player. This Walkman is not only more affordable but also plays all the hi-res audio formats you can dream of. Costing £349, it's more than half the price of the SR35, which is A&K's current 'entry level' player at £799. The Sony also has a modest design that prioritises a secure, grippy hold over high-fashion. It's compact, easy to hold in one hand, and has no sharp edges. In my time with the review sample we had for What Hi-Fi?, I was never worried about dropping it or getting it scratched. It was sturdy, durable and was begging to be used in my daily life.

I loved being able to plug in the terrific Grado SR325x or the super comfy Shure SRH1540 wired headphones to fully immerse myself in my digital music collection. And since the Sony NW-A306 can handle full-fat hi-res audio files (we're talking 32-bit/384kHz PCM/FLAC, DSD256, MQA – the very same file resolutions as the SR35), I could listen to hi-res albums through a player that offered greater resolution, ample precision and even-handed balance, with an openness and clarity that you just don't get with a smartphone. Even one as good-sounding as an iPhone.

But there's one slight issue

But there's one problem. The Sony doesn't just play music. It also acts, rather disappointingly for me, like a phone. The NW-A306 comes with a full Android 12 operating software baked in, meaning it works just like your normal app-heavy Android smartphone. Which is exactly what I wanted to get away from when looking for an iPhone alternative with a dedicated music player.

Not only does the Android OS bog the Sony's interface down somewhat (menu swipes aren't as smooth and selecting music to play is a tad delayed compared to using my phone), but it also takes up so much internal space (nearly half of what's available). Space that should really be given up to storing as many hi-res, CD quality and even MP3 music files as possible.

All the distractions I was trying to get away from in my iPhone are present there in the Sony. Yes, you can simply turn off every single notification, turn off wi-fi and not download any new apps, but the fact that they're there, waiting, ready to spring an unsuspecting app update on me is always on my mind. Swiping down on the screen reveals hidden notifications and updates, even if muted. There's no escape.

I can understand why Sony felt the need to include the whole suite of Google apps and the Play Store with this Walkman (more choice is better, right? Not always...) – it seems obvious to offer more features and at such a decent price. But we've enjoyed the more basic and functional interfaces of previous Sony models like the Sony NW-A55L (£160 in 2020) and NW-A45 (£180 in 2019), which didn't offer any smartphone-aping features that took away from the main job of playing your music. Both those models were five-star Award-winners.

My husband uses an even older Walkman model (NWZ-E585) which is entirely devoid of any fancy operating software, it doesn't even have a touchscreen (or even a backlit screen) and it doesn't do hi-res. But it has zero apps and zero notifications to distract him, he gets the full use of the onboard storage, and, despite looking very worn and used (and loved), it actually still sounds pretty decent. As much as I enjoy the feel, the sound quality and technical capabilities of the newer NW-A306 player, I did envy his distraction-free music experience.

Astell & Kern gets it right

You don't get this distraction (or the space-hogging OS issue) with the Astell & Kern players. There's simply no room for it, and there's a beauty to that limitation. It lets you switch off, gives you a wonderful sense of calm away from constant doomscrolling and screen use, and offers the unbridled joy of listening to albums (Agnes Obel's Aventine, Tom Waits' Closing Time, The Dismemberment Plan's Emergency & I) in full.

That's the experience I longed for with the Sony A306, which is such an otherwise brilliantly designed and ideally priced (and specced) player. It's a talented and mature performer and is easy to recommend. If you can live with the smartphone-like distractions, that is... 

MORE:

Read the full Sony NW-A306 review

And the Astell & Kern A&norma SR35 review

Where can you buy hi-res music? Here are the top download sites

19 best British rock songs to test your music system

iFi has released a string of successful DAC/headphone amps in recent years, but the new 'Go Link' is said to be the British company's first "super-affordable" model. 

Priced at £59 / $59 (around AU$87), the pocket-sized dongle promises to deliver "supercharged sound when connected to smartphones, tablets, PCs and Macs via a USB port." 

It also doubles as an adaptor, enabling wired headphones and earbuds to connect to digital devices that don’t have a 3.5mm output. 

Despite the eye-catching price, iFi has packed in some impressive tech including a power-efficient, high-performance DAC chip from ESS Technology’s Sabre HiFi series. This combines with Quad DAC+ and Time Domain Jitter Eliminator technologies, plus iFi’s dedicated clock circuitry, to kill off distortion and enhance dynamic range.

The Go Link supports hi-res audio including digital music files up to 32-bit/384kHz, as well as plus DSD to 11.2MHz (DSD256) and MQA – the high-end streaming format used by Tidal’s HiFi Plus tier. An LED on the device's lightweight magnesium alloy case changes colour to denote the decoded audio format and the sample rate.

iFi says that, unlike other headphone dongles, the Go Link doesn’t rely on the software-based volume controls in connected digital devices, which can adversely affect audio resolution. Instead, adjusting the volume on the connected device controls the volume level in the Go Link’s DAC, not in the phone, tablet or computer. Nice.

The flexible 6cm cable between the Go Link's USB-C connector and DAC reduces stress on whatever USB port the Go Link is connected to. Adapters are included in the box, so you can convert the Go Link's USB-C connector to fit USB-A and Apple Lightning ports.

Given that most smartphones rely on a DAC that is built into the main SoC (System on a Chip), adding a dedicated DAC – even one as affordable as the Go Link – should provide a decent bump in sound quality.

Fancy upgrading your listening experience without upending your finances? The iFi Go Link is available now from selected retailers.

MORE:

Our pick of the best headphones for every budget

iFi Go Bar aims to be the gold standard of portable DACs

Sony WH-1000XM5 review: the new gold standard of wireless ANC headphones

Apple’s AirPods have had a decent, if bumpy, ride with us over the years. A raft of four-star reviews for its wireless earbuds, and a single five-star rating for its first over-headphones, the premium and excellent 2021 Award-winning AirPods Max.

The AirPods and AirPods Pro in-ears have always been one step behind the competition, particularly when it came to sound quality. They’ve been good-but-not-great wireless earbuds; lovely to use for iOS users, but never quite reaching the sonic heights established by the top noise-cancelling earbuds in this crowded and popular category.

That’s all changed with the latest AirPods Pro 2. The second generation of Apple’s flagship wireless ANC earbuds promises a more powerful processor, with advancements in active noise-cancelling, longer battery life, new features and, more importantly, better audio performance.

Since its launch in September 2022, Apple has launched an updated version with the charging case now featuring a USB-C connector, replacing the old case with its proprietary Lightning connection. That's the only material difference, with the earbuds themselves unchanged between the two versions.

With the AirPods Pro 2nd generation, Apple finally gave us the five-star experience we've been waiting for. With its brilliant sound quality coupled with updated features, it's a great pair of wireless earbuds to stand amongst the class leaders.

• I spoke to Apple to find out the secret behind the AirPods Pro 2’s audio success

Price

The AirPods Pro 2 (with the original Lightning case) first launched at £249 / $249 / AU$399 in September 2022, and it's a price tag that’s unchanged from the launch price of the original AirPods Pro (2019), which is both surprising (there were rumours of a price hike) and welcome considering the general rise in prices across all tech products.

The current, updated AirPods Pro 2 with the USB-C case launched in September 2023 for £229 / $249 / AU$399 – that's the same price as before in the US and Australia, but UK buyers can rejoice with a very welcome £20 discount off the original price. You can't buy the USB-C case separately, but as that's the only difference between the two models (and any software updates apply to both), don't feel shortchanged if you are happy with your original model.

This remains a competitive price point for flagship earbuds and Apple's flagship is now the most affordable pair of its five-star rivals. The superb new Sony WF-1000XM5 currently cost £259 / $299 / AU$419, while Award-winning Bose QuietComfort Earbuds II retail for just under £280 / $299 / AU$429 (although this model is being replaced by the newer, pricier Bose QuietComfort Ultra Earbuds, £300 / $299 / AU$450).

Both the original AirPods Pro and the Pro 2 with the Lightning case have disappeared from Apple’s website. The Cupertino giant clearly wants you to focus solely on the new 2nd generation model with its new USB-C case, but you can still find the other buds at a discount at various retailers.

• The best deals on all AirPods

Design & comfort

Place the two generations of AirPods Pro side by side and they’re effectively indistinguishable. Apart from the slightly repositioned vents and microphones, the bud-and-stem design remains exactly the same.

You now get four ear tips in the box: a smaller XS size is included, giving you more options to get the perfect fit and seal. If you’ve struggled with the AirPods’ fit before (as some on our review team have), the extra tip could help. We’d run the handy ear tip fit test to double check you have the best seal for sound quality, too – we found a good seal with more than one ear tip size. They are comfortable to wear as well, thanks to a lightweight design that you don’t have to cram into your ear holes.

One thing the original Pro were criticised for was a lack of on-device volume controls, a staple of any wireless earbuds. Apple has finally seen sense and rectified this with a touch-capacitive layer on the stems where you can swipe up or down (on both buds) to change volume. There’s reassuring haptic feedback when you swipe and, while it takes a bit of getting used to, it’s responsive every time we use it.

You still have to pinch the stems to pause and skip playback and take calls, while a long press switches between the different noise-cancelling modes. It all works well, and over time have found the method just as intuitive as tapping on the earbuds’ surface area like we do with the Sony or Bose rivals. As a bonus, there’s no chance of accidental track changes when you brush against the AirPods.

The bigger design change is to the charging case: it now has a built-in speaker and a lanyard loop. The speaker emits tones to indicate charging, low battery and to help you find it if you’ve misplaced it. The case itself remains the same small and pocketable size – it easily slips into a pocket, bag and the palm of your hand. These features remain the same whether you're using the Lightning-equipped case or the new case with the USB-C connection.

There are more ways to charge wirelessly too: with an Apple Watch charger, a Magsafe charger or any Qi-compatible charging mat.

If you have the original case with a Lightning connector, a Lightning to USB-C cable is provided in the box. If you've got the updated model with the USB-C connection in the case, you'll be glad to know a USB-C to USB-C cable comes with the box, too.

Features: ANC, call quality, iOS

Let’s get straight to it: the active noise-cancelling in the Pro 2 is impressive. There’s an immediately noticeable difference between the new and old models, with Apple reportedly blocking out twice as much background noise with the new earbuds. This is thanks to a combination of the powerful new H2 chip and the ‘optimised’ re-positioning of the acoustic vents and mics, says the company.

In practice, we found it to be incredibly effective. Background noise disappears to a mere murmur, whether that’s office chatter or the roar of train engines on our daily commute. It’s a comfortable, airy effect, too, and does a great job of letting you enjoy your music without much distraction from the world around you. Compared with the original AirPods Pro, which we’ve had with us throughout our testing, the improvement to noise-cancelling with the 2nd generation model is dramatic.

We’re not quite as cocooned in silence as our new benchmark in flagship ANC earbuds, the Bose QuietComfort Earbuds II, but the AirPods Pro 2 is a satisfying step up from the original Pros, and its improved ANC performance is ideal for everyday use.

Apple’s advanced H2 chip that powers the earbuds is responsible for many of the improvements in performance – both ANC and sound – as well as a handful of new features, general smooth use and greater efficiency.

One of these new features is called “Adaptive Transparency”, which aims to reduce sudden loud and harsh noises when using Transparency Mode to keep aware of your surroundings. This works well on the London Underground, where the sharp, screeching sound of the tube rails is blissfully damped down. It can be a subtle effect at other times, but we would recommend keeping it toggled on as it does take the higher-frequency edges off environmental noise like traffic.

In our original review published in 2022, we wished for the ability to adjust the level of ANC the way you can on the Bose and Sony rivals. Apple has clearly listened to our complaints (or more likely to wider customer feedback), as 2023's latest iOS 17 software update brought with it a new Adaptive Audio feature to the AirPods Pro 2 (available on both versions).

When kept on, this new mode reacts to the noise levels in your surroundings and adjusts the level of ANC dynamically. It's a nice blend of full ANC and Transparency Mode, and we found the effect to be reactive and subtle: high traffic noise was damped down, while the ANC effect was effectively absent in our quiet home office. While you still can't manually adjust the actual level of ANC, it's nice to get a great halfway point alternative to ANC being simply on or off.

Another addition is Conversation Awareness and it works similarly to Sony's nifty Speak-to-Chat feature, by lowering the volume of music you're listening to when the buds detect you're speaking. Unlike the Sony version (which can be easily triggered by any noise you make), Apple's version doesn't get activated if you cough or are singing along to music. It does seem to recognise more intelligently when you're talking to someone. The way it gradually fades in and out of the volume changes is more elegantly handled, too.

Call quality remains decent. Our voice sounds a touch thin rather than fully rounded out over video and phone calls, but still very clear and audible. Callers’ voices come through cleanly as well. Although, it's the wonderfully clear Sony WF-1000XM5 you want if you're after the best quality for voice calls.

As ever, using the AirPods Pro 2 is supremely easy and intuitive. Apple has a great track record in improving the seamless use of its devices – especially within its own iOS ecosystem – with every generation. And it proves the same here: pairing with our iPhone 12 is near-instant, every single time. Playback is responsive, and the ’Pods pause naturally when an earbud is taken out (and resume playing when it's put back in). It all works smoothly without you having to give it a second thought.

There’s also a new dedicated AirPods section in the iPhone’s settings menu for quicker access (rather than delving into the Bluetooth menu) – it's much easier to access than having to fire up a separate app as with other headphones. The settings are extensive: you can customise Siri voice control, spatial audio, ANC modes, touch controls and turn various features (such as conversation awareness) on or off.

Apple’s Spatial Audio with dynamic head tracking returns, giving an immersive, 360-degree effect when listening to music or watching videos. As before, some tracks fare better than others, and overall we still prefer the stability and tight cohesion of the original stereo mix. You can now personalise Spatial Audio to your profile for a more accurate effect, too. The process involves using your iPhone’s camera to capture images of your ears, but we struggled to make headway here: it’s a tricky and frustrating process, and one we hope Apple can streamline in an update.

Those with an Android device sadly won’t have access to any of these extra features, and there’s still no Android app (like Beats – an Apple-owned brand – provides with its Fit Pro buds) for the AirPods. The major tech brands – Apple, Samsung and Google – are keeping their flagship products’ best features very much in their own walled gardens, rewarding those that stick within the ecosystem (Samsung's Galaxy Buds 2 Pro are a prime example). While it does mean that platform-agnostic rivals like Sony and Bose have wider appeal, the AirPods Pro 2 are still worth a look regardless of the device you use, as they sound so good.

Battery life

Battery life on the AirPods Pro 2 has improved greatly, too, now taking on the class leaders. You get six hours in the earbuds on a single charge (with ANC on), with a total of up to 30 hours with the charging case. That’s six hours more than the previous model (which topped out at 24 hours total) – and is now far more competitive compared with the Sony WF-1000XM5 (eight hours in the buds, 24 hours in total) and the Sennheiser Momentum True Wireless 3 (seven hours in buds, 28 hours total).

We did find that the souped-up charging case with its features drains a bit more power than before during use, but it charges up swiftly. If you’re running low on battery, pop the earbuds into the case for five minutes to get an entire hour of charge.

Sound quality

And they do sound really, really good. Apple has always impressed us with the clarity and tonal neutrality of its products’ audio quality, coupled with a wonderful way with voices. There’s all of that in the AirPods Pro 2, but now with added weight, greater detail and even greater dynamic subtlety.

Inside each earbud is a new custom low-distortion, high-excursion audio driver, transducer and high dynamic range amplifier, which combined with the H2 chip’s advanced audio algorithms, results in a sound that’s been improved in every way from the original Pro.

The performance is engaging and entertaining right from the second we start listening. It’s a richer, more powerful sound – every song played has a pleasing amount of solidity and weight. The heavy guitar riffs and drum beats in Slipknot’s The Dying Song are delivered with a muscularity we’ve not heard in AirPods before, but there's still a clean, well-organised and detailed presentation that ensures you’re not just hearing a wild mess of sound.

There’s a superb sense of drive. The AirPods Pro 2 are rhythmically agile and nimble, songs flow with an easy fluidity, and they communicate both high-energy tracks and ones that are more contemplative with ease. The sparse piano notes in Chilly Gonzales’ Whist are delicate and have ample space around them, while Macklemore’s Thrift Shop sounds snappy, slick and packed with playful attitude.

We have so much more fun listening to these AirPods Pro than the previous generation. There are more layers and textures to dynamic shifts, keeping you hooked on a song. They dig deeper, soar higher without any hint of brightness, and the midrange is beautifully conveyed.

From the gravelly, soulful tones of Tom Waits to the more languid tone of Wet Leg’s vocals, the AirPods Pro are solid, focused and crystal clear with voices. It simply sounds natural. If you’re a fan of podcasts, nuances in humour and inflection are relayed clearly through the earbuds – you’ll be immersed in whatever you’re listening to.

We’ve praised the openness of the AirPods Pro’s sound before, and once again we’re struck by how airy and open these earbuds can sound, even with the improved noise-cancelling. This is in part thanks to the updated vent system that helps with better airflow. With full ANC and Adaptive Audio turned off, the sound is clearer, with even more space in between elements for the song to breathe. A touch more subtlety in detail and dynamics is uncovered, too.

Next to the Sony and Bose rivals, Apple is now on par where it once was still playing catch up. The lively Sony XM4 now sound lightweight in comparison to Apple’s richer, more full-bodied performance, but the newer Sony XM5 offer a greater level of detail, clarity and power. The pricier Bose QC Earbuds II have the edge over the AirPods Pro 2: they sound even subtler, more evenly composed, and the sonic character is better balanced across the different ANC modes.

But there’s no denying Apple has levelled the playing field: the AirPods Pro 2 sound confident, as if they’ve finally found their footing. They deliver a sound that’s very capable while also being very easy and fun to listen to. Regardless of what you’re listening to, the AirPods Pro 2 turn their hand skilfully to all genres of music.

It’s worth noting there’s still no support for high-res or higher-quality codecs, which remains at odds with the 24-bit high-res audio tracks available in Apple Music’s large catalogue. The AirPods Pro 2 use the basic AAC codec over Bluetooth – while this lags behind the aptX HD and LDAC codecs in terms of the amount of data transferred, it doesn't necessarily mean that sound quality suffers. The AirPods Pro 2's sound quality when paired with an iPhone outperformed most other earbuds that do have the snazzier codecs, so the Bluetooth codec doesn't seem to be a limitation here.

Apple clearly doesn't think any gains in audio quality can be made using current Bluetooth standards. Instead, it has announced a new "groundbreaking wireless audio protocol" that "unlocks powerful 20-bit/48kHz Lossless Audio" – although this only works when the Pro 2 USB-C model is connected to the upcoming Apple Vision Pro headset. Let's hope that wireless protocol makes it to other products for music playing as well.

Verdict

We admit that we weren’t expecting such a huge leap in performance from the AirPods Pro 2 when they were announced. We certainly didn’t expect them to trouble the best-in-class competitors such as Sony and Bose, but with the AirPods Pro 2, Apple has more than caught up.

The noise-cancelling is convincingly effective, they are once again lovely to use, and most of all: they sound fantastic. It’s an all-round enjoyable performance.

Apple has brought out even more features that improve the experience of using the AirPods even further (Adaptive Audio ANC mode, conversation awareness), but we’re glad to see the company push the boat out when it comes to audio. We knew Apple was serious about sound when we heard the AirPods Max headphones, and it’s fantastic to see it bring that level of quality performance to the more popular, smaller and relatively more affordable AirPods Pro range.

Apple has stepped up, and the AirPods Pro 2 remain, even a year on, a five-star stunner.

First reviewed: October 2022. Review updated: September 2023.

SCORES

• Sound 5
• Features 4
• Comfort 5

Also consider

MORE:

Interview: I spoke to Apple to find out the secret behind the AirPods Pro 2’s audio success

Sony WF-1000XM5 vs Apple AirPods Pro 2: which premium earbuds are better?

Apple AirPods 4 vs AirPods Pro 2: what are the differences and which is best?

Apple Adaptive Audio explained and tested: AirPods Pro's latest ANC feature

AirPods Pro 3: release date rumours, price predictions, and 5 features we want

Our pick of the best wireless earbuds: budget and premium

If you're looking for a pair of stereo speakers for your hi-fi system, then you have plenty of choose from. Big bookshelf models, compact floorstanders, small budget speakers or high-end audiophile pairs – there is so much variety to choose from.

So how do you know which speaker is right for your room, your listening tastes, and your system? We're here to help.What Hi-Fi? has been testing hi-fi speakers of all types, prices and sizes for 50 years, so we know exactly what to look for in a great-sounding speaker.

Every speaker in this guide has been tested in our dedicated listening rooms by our in-house team of expert reviewers, all of who love listening to music and have extensive knowledge to give the best advice on the best speakers that fits your criteria and budget.

Every speaker has its own sonic characteristic, but the best stereo speakers should deliver great sound quality for the price, whether that's at £100/$150 or £3000/$4200 per pair. They should bring your music to life with clarity, detail and spaciousness, offer engaging dynamics and snappy rhythmic ability – all while upholding the build quality standards expected at their respective price brackets.

Below you'll find our curated list of the top passive stereo speakers we've tested across a range of prices. These deliver the best value for money and will make your music sing – we are confident there's something for everyone here. You can read more about our speakers testing process, get our expert tips on how to choose the right speakers for you, or scroll down for our pick of the best speakers for every budget.

Best speakers overall

To make it onto this list, you need to be a very fine pair of speakers, but for us to consider you to be the best overall, you need to be something truly special. Fortunately, the AE300 Mk2 are just that.

The AE300 Mk2 are housed in neatly made but pleasingly compact boxes. Each speaker stands 32cm tall and is relatively slim at just 17cm wide, and while they're visually unobtrusive units, that isn't a byword for boring.

The AE300 Mk2 employ a large 29mm fabric dome tweeter with a 12cm paper/coconut fibre mid/bass, a design that leans heavily on the lessons learnt during the development of Acoustic Energy’s high-end Corinium range.

Don't be put off by the Acoustic Energy units' slightly lower-than-usual impedance. The speaker’s mostly benign impedance curve ensures that any decent price-compatible amplifier will be able to drive them properly, with both the Arcam A5 (£749 / $699) and the Rega Brio Mk7 (£799 / $1095) doing a fine job of playing nice with the AE300 Mk2.

Regardless of partnering equipment, we find so much to be impressed by. These are speakers with poise and control, so that even when we feed them a demanding recording such as Michael Jackson’s Off The Wall, they don’t sound out of their depth. There is an excellent level of detail, but it's presented in a natural and unforced manner.

When listened to against their key rivals, the Acoustic Energy are smoother, more refined than almost anything else at this level, with, to quote from our review, "high-frequency sounds shimmer rather than sizzle". A lovely way to put it.

The AE300 Mk2 aren't the sort of speakers that grab you by the lapels. Instead, they slowly charm you , steadily revealing themselves to be a superb pair that, if you invest a little time, will reward you endlessly.

Read our full Acoustic Energy AE300 Mk2 review

Best budget bookshelf speakers

If you're in the UK (£299) or Australia (AU$599), the Dali Kupid are the most affordable speakers you'll find on this list. They're more expensive for US buyers at $600, but not so much that we don't consider them great value no matter where you get them.

The Kupid are truly compact bookshelf speakers. They've got a small price and a small footprint, weighing in at just 5.8kg, and while they've also got a low sensitivity of 83dB, we didn't find them tough to drive during our rigorous tests.

Their small size actually works to their advantage, as they can be placed on desks, cabinets, bookshelves, TV stands or large windowsills rather than on dedicated speaker stands, making them a perfect pick if you have with limited space. You can even mount them on the wall thanks to their included fixing screws and wall brackets.

Small speakers they may be, but the Kupid aren't shy in how they deliver their sound. The compact units offer a lively, nimble presentation that is packed with enthusiasm, and while you won't get a huge amount of bass, their expressive midrange takes the spotlight and shines as it does so.

They're great with rhythms, and as we stated in our review, the Dalis "exhibit a knack for snappy timing and agile rhythm (and) have a fleet-footed quality that zips along with all kinds of tracks in an engaging manner".

Dynamically, the Kupid can pull out the ebbs and flow of tracks with aplomb, all while revealing subtler moments with a delicate touch. They can bring out the drama of more challenging tunes, and while they may be small, we don't often feel as though the Kupid aren't immersing us in the music we feed them.

As we enthused in our review's verdict: "A great choice for small, modern music systems, the entertaining Dali Kupid will win over many hearts". How romantic.

Read our full Dali Kupid review

Best budget floorstanding speakers

Wharfedale's Diamond range has been impressing us for many years for its potent mix of great performance and great value. The affordable 12.3 floorstanders have been a multiple Award-winner and our go-to recommendation for the last handful of years.

The updated Diamond 12.3i model retains the same dimensions and 2.5-way design as its predecessor, with changes to the internal damping and rear-firing bass reflex port. These might sound trivial, but they result in quite the sonic difference – the new 12.3i floorstanders are bigger and bolder-sounding than before.

In our review, we said: "Dynamic shifts are a little more vivid with the new-gen model going from quiet to loud and back again with greater conviction. The bass also kicks harder and, perhaps surprisingly given the identical specifications, seemingly a little deeper."

Despite an unchanged tweeter, we find the treble is a touch forward, which makes low-level details clearer and adds to the overall sense of space. The speakers remain a refined listen, with no other rivals coming close to their winning blend of insight, dynamic expression and control at this price.

We would like to hear a touch more musical momentum and cohesion, but these new floorstanders are still a fun listen, conveying a good amount of energy, sure-footed rhythms and vocal textures to keep us entertained.

These floorstanders have always been easy to accommodate in a room, although we find the new 12.3i's revised port arrangement means they are a little fussier about room positioning. Don't place them too close to a wall – we found placing them 70cm into a room helped solidify the stereo imaging.

Build quality is solid for this relatively modest price tag, with three finishes available for the new 'i' model – our sample looked understated but neat.

At this affordable price, the Diamond 12.3i remain unmatched when it comes to performance and value, and the more powerful, exciting presentation will delight many. They're a little fussier to position than before, but they remain an excellent buy for the money.

Read the full Wharfedale Diamond 12.3i review

Best mid-price floorstanding speakers

Fyne Audio's new entry-level floorstanders are aggressively priced. The 501E incorporate the brand's proprietary Isoflare driver technology that we've only seen in more premium models so far, and these floorstanders deliver a performance that outstrips their more established rivals at this midrange price.

Like PMC, the brand has sacrificed visual cosmetics to keep pricing down to this sub-£1000 level, which means you can only get the 501E floorstanders in a single (and somewhat plain) black ash finish.

The build quality is solid, though, and the speakers are peppered with clever technology to ensure they are relatively unfussy with placement and partnering. The Isoflare arrangement – a concentric design where the tweeter sits in the throat of the mid/bass driver – delivers an integrated sound with a very even and wide dispersion.

The low frequencies are spread evenly thanks to a downward port design, vents and Basstrax technology, which disperses bass evenly across a 360-degree spread – allowing these towers to be less fussy about room placement.

The 501E are tremendously fun to listen to, with a fluid and expressive way with all music genres. Rhythm and dynamic shifts are handled with control and subtlety, with instruments and voices sounding natural.

The overall sound is crisp and clear, with a nicely balanced tonality – the top end is refined and doesn't get harsh or bright with challenging material, while the bass remains taut and tuneful while packing ample punch.

We said in our review that the F501 deliver a "forthright performance with vocals that captures nuances and subtle shifts in intensity superbly. The rival Q Acoustics 5050 sound a touch disinterested and mechanical in contrast."

These are wonderfully insightful and capable floorstanders, balancing sophistication with muscularity, being able to communicate intimate recordings as well as full-blown orchestral crescendos with conviction. For their asking price, we couldn't ask for better. We are entertained, and we think you will be too.

Read the full Fyne Audio F501E review

Best premium standmount speakers

While we (and most manufacturers) would advise you to place standmounter or bookshelf speakers on dedicated stands, Epos has made things a little more flexible. Recognising that it's not always viable for people to accommodate stands in their space, Epos has optimised its ES-7N small speakers so they sound their best even when placed inside a bookshelf.

Flip a switch at the back of these petite speakers and the speakers will adjust their performance accordingly when placed up against a wall or corner to remain evenly balanced.

It's impressive just how close to the free-standing (away from wall, on stands) performance these speakers get when placed inside our IKEA Kallax bookshelf, and while there is a slight drop in clarity and stereo imaging, it remains a fantastic presentation overall.

In fact, even though these are small boxes that won't compete with larger designs – such as KEF's R3 Meta, which offer deeper bass, bigger and more dynamic sound – what these Epos speakers do so well with music gets us smiling with joy and our feet tapping. They're incredibly talented.

As we said in our review: "The ES-7N are bold and confident performers that resolve high levels of detail and organise it in a cohesive and musical way. Play Kendrick Lamar’s Not Like Us and the Epos kick like a mule. They sound taut and punchy with music such as this, delivering the song’s jumpy rhythm track in a wonderfully surefooted manner.

There is plenty of drive here and the speakers are great at conveying the music’s varying momentum."

Voices are delivered with impassioned nuance and clarity, and bass notes are – for such small cabinets – taut, solid and grippy. We love the similarly-priced Neat Petite Classic's fun, peppy presentation, but the Epos are even more precise and controlled when it comes to rhythmic agility.

They are just as considerate with more classical or intimate recordings, and they pair well with a variety of amplifier partners, from the budget Rotel A8 to the premium Naim Nait XS3.

The Epos ES-7N are charming performers. They are small, hugely capable and surprisingly unfussy in use. That they recognise not everyone will be able to position their speakers perfectly and sound just as good when placed inside bookshelves is a rare talent that should be celebrated.

If your budget can stretch this high and you have a small space to work with, these are highly recommended.

Read the full Epos ES-7N review

Best premium floorstanding speakers

PMC has something of a reputation for high-end hi-fi, and while the superb Prodigy 5 have wound up as our best premium floorstanders on this list, they're actually miraculously good value.

The priority with the Prodigy 5, much like their five-star Prodigy 1 standmount siblings, has been to eke out as much sound-per-pound punch as possible, letting considerations over design and aesthetic flourishes fall away in the pursuit of the best audio you can get for the price.

And boy has the effort paid off. PMC has hit the sweetest of sweet spots with the Prodigy 5. The speakers balance subtle details and musical flourishes with a heightened sense of presence, poise and confidence. In terms of sonic performance, we didn't hear many better new speakers in the last year, and it was the Prodigy 5's musical chops that really earned them a current What Hi-Fi? Award.

The Prodigy 5 are adept at giving the best of all worlds without a hint of sonic sacrifice. While comparatively priced rivals substitute space for precision or dynamics for subtlety, PMC’s unassuming towers are truly comprehensive performers.

There's so much scale and breadth to them, yet they never seem to sacrifice the intimacy or nuance of a piece. It's a remarkable trick, and one that had us wanting to test more and more tracks to see what the Prodigy 5 could do with them.

All in all, a marvellous success story. Worthy Award-winners, indeed.

Read our full PMC Prodigy 5 review

Best high-end standmount speakers

The Prophecy 1 may be the babies of PMC's Prophecy range, but their performance is a long way from lagging behind the rest of their esteemed siblings. Just as we're keen on the Prophecy 5 floortanders, we find the standmounted Prophecy 1 to be a delight no matter what we throw at them.

The high-end standmounts stick to PMC’s tried and trusted transmission line configuration, wherein the rear-firing output from the 12.5cm mid/bass travels down a folded path inside the cabinet so that most of the sound gets absorbed and only the lowest frequencies emerge from the vent at the speakers' base.

This low-frequency sound is in phase and, if properly tuned, fills in below the point where the mid/bass’s output starts to tail off. The tweeter used here is the very same 27mm soft dome unit we so liked in the Prophecy 7 floorstanders, another five-star candidate on this list.

All of this adds up to a winning combination for PMC. The Prophecy 1 are outstanding speakers, offering class-leading precision and clarity wedded to a precise, articulate handling of dynamics. In terms of getting you close to the original intention of the recording, they're pretty much in a class of one for the price you'll pay.

To quote from our review, the PMC boxes "have the kind of free-flowing dynamics that seem a little out of place in such a compact design, and can deliver the sledgehammer crescendos of a piece like Mars with unusual composure and punch. Even when pushed, these standmounts sound controlled, where others begin to crack."

At this level, the Prophecy 1 tick almost all of the key boxes. Pair them with a talented system and we doubt many rivals will be able to keep up.

Read our full PMC Prophecy 1 review

Best high-end floorstanding speakers

The Prophecy 7 are the middle floorstander in the PMC's Prophecy range. The Prophecy line replaces the long-running Twenty 5i series that has formed the core of PMC’s home speaker output for years, so expectations were high for a brand making a big transition away from its established series of loudspeakers.

The Prophecy 7 employ a three-way design, with a woofer augmented by one of the brand’s special 'transmission line' systems, the same tech you'll have read about if you checked out our Prophecy 1 standmount entry above.

If you didn't, it's a folded, damped path inside the speaker cabinet that takes the rear-firing sound from the bass driver and absorbs all but the lowest frequencies, which then exit through a vent at the base of the front panel.

As with the Prophecy 1, the results are exceptional. Rarely have we heard such a clear, clean and well-integrated sound at this level, not to mention such an impressively spacious soundstage from what are still relatively compact speakers.

They're so well judged, too. As we stated in our review, "Tonally, these floorstanders are superbly balanced, sounding neutral without falling into the trap of being cool or aloof. That’s a difficult trick, judging by the number of ‘neutral’ products we hear that sound lifeless and boring".

Add in a knack for dynamics and plenty of punch and attack and you've got something rather remarkable on your hands.

Any downsides to be wary of? The Prophecy 7 are best suited to mid-sized rooms rather than massive spaces, but if you have an area that's right for them, they're a special pair of loudspeakers.

If you have the money, they're very easy for us to recommend.

Read our full PMC Prophecy 7 review

Best floorstanding speakers for large rooms

Fyne's F500S range of loudspeakers debuted in February 2025, promising a "significant audio and aesthetic upgrade" over the previous generation F502.

Placed a step above the brand’s entry-level F500E Series, the F502S floorstanders – aim to make noticeable sonic strides without a huge increase in price over the outgoing speakers.

They've done just that. The F502S are a sizeable set of floorstanders, dwarfing the comparably petite Neat Mystique Classic and the slimmer, cheaper PMC Prodigy 5, so you'll need space to give them room to shine, but if you can accommodate them, these Fyne towers are something really special.

The F502S pack a 25mm magnesium dome tweeter alongside a 20cm mid/bass driver and a 20cm bass driver. The mid/bass unit harnesses the brand’s signature Isoflare point source technology, which has trickled down from its higher-end models to its ever-expanding roster of speakers.

The results are outstanding. The Isoflare tech works beautifully once again, bringing impressively consistent dispersion alongside improved time alignment and excellent musical integration. Wherever you stand or sit in relation to the F502S, their central image never collapses or sounds off-kilter, making them remarkably unfussy when it comes to picking a listening position.

That's not even the best part. The F520S strike a lovely balance, blending potent power and authority with those trickier musical elements that reveal a considered, nuance pair of performers.

As we said in our review, the F502S "are like your favourite school teacher or most inspiring university lecturer: authoritative and competent, yes, but personable, engaging and genuinely approachable".

If you want to test out their abilities, Hans Zimmer's The Battle from the Gladiator soundtrack is a perfect showcase of what they can do. With their wonderful dynamic talents and eye for detail, they bring the complex arrangement to life with ease.

The premium F502S towers continue a rather remarkable hot streak for Fyne Audio. If you have the money and space, they demand your consideration.

Read our full Fyne Audio F520S review

Also consider

There are plenty of excellent speakers that we couldn't fit into the main list above, so here are some more alternative options, both new and old, that we would recommend to anyone looking for a new pair of speakers.

Monitor Audio Bronze 50 7G: The Bronze 50 7G standmounts are beautifully made and tuned to have a good time. If you like bold, flashy speakers that demand your attention, they're as good as it gets at their £500 / $849 / AU$1099 price.

KEF LS50 Meta: Their price has risen, but the KEF LS50 Meta remain a solid recommendation for their excellent sound and innovative Metamaterial (MAT) technology. Their cohesive, dynamic and detailed performance is a treat and work with a range of partnering kit, even pricier amplifiers.

Acoustic Energy AE1 40th Anniversary: A premium standmounter that is designed to capture the authentic sound of an '80s classic. It's not perfect, but it is capable of a spellbinding performance when partnered with care.

Neat Petite Classic: If you're limited on space but want high-quality sound from a very small footprint, these Petite Classic speakers are terrific fun. Their dimensions won't allow for huge scale or bass extension like the KEF R3 Meta, but we're won over by their terrific rhythmic precision and agility, solid sound and fun presentation.

Q Acoustics 5050: These flagship and Award-winning 5050 floorstanders are worth serious consideration, especially if you have ample space. They have a more balanced and mature presentation over the five-star Q Acoustics 5040, with the extra authority and detail more than justifying the step-up in price.

Fyne Audio F502SP: If you're after large-scale thrills, these high-end Fyne floorstanders will wow you with their breathtaking scale and solidity. Immersive dynamics and rock-solid stereo imaging are their strengths, and they trade in a touch of sonic sophistication for outright energy and thundering bass power.

Epos ES14N: They may not look that impressive, but these large standmounters are mighty impressive when it comes to analysis, organisation and control. Low-level detail and dynamics are revealing, while they have an open, articulate way with voices. We'd perhaps like a bit more rhythmic drive, but we can't fault the stunning clarity and cohesion on offer.

ProAc D20R: ProAc's premium floorstanders are easy to accommodate, are beautifully made, and are strikingly musical. Their expressive, articulate and energetic presentation demands your consideration, but need carefully chosen partnering electronics to shine.

Speakers coming soon

Dali Sonik: Bringing innovations and technology from the high-end Kore, Epikore and Epicon ranges down to a more affordable price point, Dali's new Sonik range features two standmounts and three floorstanders in four finishes. Prices start at £449 / $900 / AUS$849 per pair.

Neat Iota Alpha II: These tiny floorstanders are getting a new midrange driver and revised crossover, while retaining their ultra-compact dimensions and quirky upward-tilted two-way driver configuration. They will retain the EMIT ribbon tweeter and downward-firing bass driver, and we hope they keep much of their characterful, enjoyable sonic presentation. Prices start at £1995.

Arcam Radia: The brand's six-strong speaker lineup includes two floorstanders (R45, R35) and two bookshelf models (R25, R15), all designed to match its Award-winning electronics. The speakers feature acoustic technology from Arcam’s sister brand Revel, and will be available in the UK and European markets only. Price ranges from £1699 to £5998.

Bowers & Wilkins 800 Series Diamond D5: To celebrate B&W's 60th anniversary, the 5th generation of the brand's flagship 800 speakers is meant to be the most advanced yet, with improvements inside and out throughout. The range consists of the two-way 805 D5 standmount (£10,000 / $15,000), and the 804 D5, 803 D5, 802 D5 and 801 D5 three-way floorstanders, with the flagship model costing £43,000 / $65,000.

How to choose the best speakers for you

First things first, decide on a budget. Your components should be evenly matched, both tonally and in terms of price, so consider this before breaking the bank on a new pair of speakers that the rest of your kit can't do justice to.

You also need to make sure your speakers fit your room. Most speakers require a degree of space to sound their best, so be sure not to buy speakers that are too big for your listening area. This is also a good time to consider whether you want bookshelf or floorstanding speakers. Bigger speakers mean higher volumes but, again, you need the space.

It's also worth checking that your system's amplifier can comfortably drive the speakers, and that the sonic character between each component in your system match up.

A bright-sounding pair of speakers can sound too hard or harsh when paired with equally bright/top-end heavy partnering equipment, so it's worth reading multiple reviews or – if you're able to – demo the speakers before taking the plunge. If you'll be buying high-end models, it's worth having a conversation with the dealer and taking time to match your system.

There's also the choice between passive or active speakers. All the speakers on this list are passive: i.e. they have no amplification built-in, and so require a separate amplifier to work.

Active speakers or powered speakers with amplification inside (and sometimes DAC and streaming smarts) are increasingly popular and can connect straight to your source, no amp required, though they do require a connection to mains power. Check out our pick of the best active speakers or best desktop speakers if you're curious about this alternative.

For a more detailed explanation of everything you should consider, check out our complete guide to choosing the right speakers.

How we test speakers

The What Hi-Fi? team has more than 150 years of combined experience in reviewing, testing and writing about consumer electronics, from hi-fi to headphones to TVs.

We have state-of-the-art, acoustically treated testing facilities in London and Reading, where our team of experienced reviewers conduct all our in-house testing, including all stereo speakers. This gives us complete control over the entire review process, ensuring consistency across all our listening.

When testing speakers, we ensure we position them in the correct place in the room, partner them with price-appropriate source kit and amplifiers, and play a variety of music genres when reviewing.

Check out our ultimate test tracks list for the various types of songs we use to test speakers, including specific elements such as treble, bass, dynamics and vocals.

We make sure we run in each pair of speakers and spend plenty of time with them, and we try various partnering amplifiers and sources, and different positions (including placing on stands where needed) to ensure we give the best advice to buyers.

What Hi-Fi? is all about comparative testing; all products we review are tested in comparison with rival products in the same category and at the same price point, and each pair of new speakers is always listened to by two to three members of the team.

All final review verdicts are agreed upon by the reviewing team as a whole, rather than a single reviewer, to ensure we avoid individual subjectivity and are consistent across all our reviews and verdicts.

We pride ourselves in the fact that our reviews are 100% independent, with no input from manufacturers, PR or commercial teams. This means that if you take the plunge and buy one of the products recommended in this buying guide, or on any of our other Best Buy pages, you can rest assured you're getting a What Hi-Fi?-approved product.

You can read more about how we test and review products on What Hi-Fi? here.

F.A.Q

Recent updates

• July 2026: Added the Wharfedale 12.3i as our new best budget floorstanders and updated the Coming Soon list with new launches.
• March 2026: We've updated the Coming Soon section and our Also Consider list.
• January 2026: It's a new year, so we've checked that our list of recommendations are current and correct. We've also added a 'Coming Soon' section.
• December 2025: Refined our Also Consider list.
• November 2025: The Acoustic Energy AE300 MK2 are our new pick as the best speakers overall, while the Dali Kupid are our favourite budget option. The PMC Prophecy 7 are our new high-end floorstander recommendation, while the Fyne Audio F502S are the best floorstanders for large rooms.
• August 2025: Replaced the Spendor A7 floorstanders with the new five-star Fyne Audio F502S and added the Neat Mystique Classic to our also consider section.
• August 2025: Replaced the B&W 607 S3 standmounts in our main list with the five-star Acoustic Energy AE300 Mk2, and placed the 607 S3 in our "also consider" section.
• July 2025: Added the Neat Iota 2 and PMC Prophecy 7 to our "also consider" list; updated the "coming soon" section.
• April 2025: Checked all product prices are correct, updated the "coming soon" section.
• March 2025: Added the Fyne Audio F501E entry in the main list, and updated the "also consider" and the "coming soon" sections.
• January 2025: Updated "coming soon" section with new speaker launches and models we are reviewing next month.
• December 2024: Added a new "coming soon" section detailing the new speakers announced and that we will be reviewing in the coming months.
• November 2024: The Epos ES-7N and Wharfedale 12.1 have been added to the list following their 2024 What Hi-Fi? Award wins.
• September 2024: The new Dali Rubikore 2 replaces the KEF R3 Meta as our premium standmounter choice, but the R3 Meta remains a good alternative and has been added to our Also Consider list.
• July 2024: The new five-star Monitor Audio Studio 89 speakers have been added to the Also Consider list.
• June 2024: No new entries, but added the new five-star Q Acoustics 5050 to the Also Consider section, and added image galleries.
• March 2024: Added an Also Consider section to offer even more choice of speakers across all budgets and types.
• February 2024: Updated our 'how we test' process and added a FAQ section to help buyers in their decision to buy hi-fi speakers.

Today's best deals

Looking for a pair of great-sounding bookshelf speakers? You've come to the right place. Whether you're looking for your first budget pair, upgrading to a step-up model or want a premium audiophile set, there is a wealth of small stereo speakers to choose from today, and we're here to help you pick the best model for your needs and space.

Why are they called 'bookshelf speakers'? Because many of them are compact enough to fit into a bookshelf. You can also place them in a corner or even on your desk (depending on size), but a bookshelf isn't necessarily where you should put them. We would always recommend placing speakers on dedicated speaker stands, if you can, to ensure they sound their best.

Standmount speakers come in a variety of sizes, from large to petite, making it easier to choose a pair that fits your space and needs. Whether your budget is strict or endless, the performance and build quality should reflect the price point's expectations. And of course, the speaker's sonic character should match the rest of your hi-fi system.

What Hi-Fi? has been testing bookshelf speakers for nearly 50 years, and our in-house team of expert reviewers has tested every speaker below – so you can trust our reviews.

You can read more about how we test bookshelf speakers below, but rest assured, every speaker recommended below represents the best sound-per-pound performance for your listening needs and budget.

Best bookshelf speakers overall

It was always going to take something special to knock the KEF LS50 Meta off their perch as our best overall bookshelf speakers, but the Acoustic Energy AE300 Mk2 are something special.

The AE300 Mk2 are housed in neatly made but pleasingly compact speakers, with each box standing 32cm tall and measuring just 17cm wide. They're understated and slim, but don't imagine that means they look boring.

The AE300 Mk2 use a large 29mm fabric dome tweeter with a 12cm paper/coconut fibre mid/bass, a design that draws on the lessons learned during the development of Acoustic Energy’s high-end Corinium series.

Their lower-than-usual impedance is no cause for concern: any decent price-compatible amplifier will be able to drive them, with both the Arcam A5+ (£749 / $1200) and the Rega Brio Mk7 (£799 / $1095) doing a fine job of playing nice with the AE300 Mk2 during our testing.

Regardless of partnering, we find so much to be impressed by. These are speakers with poise and control, so that even when we feed them a demanding recording such as Michael Jackson’s Off The Wall, they don’t sound out of their depth. They showcase excellent levels of detail, but it's presented in a natural and unforced manner that makes for an effortless listen.

When listened to against their key rivals, the Acoustic Energy are smoother, more refined than almost anything else at this level, with, to quote from our review, "high-frequency sounds shimmer rather than sizzle".

The AE300 Mk2 aren't the sort of speakers that immediately grab your attention. Instead, they steadily charm you, revealing themselves to be a superb pair that, if you invest some time, will reward you endlessly.

Read our full Acoustic Energy AE300 Mk2 review

Best budget bookshelf speakers

If you're in the UK (£299) or Australia (AU$599), the Dali Kupid are some of the most affordable speakers you'll find on this rundown. They're more expensive for US buyers at $600, but not so much that we don't consider them great value no matter where you are and where you buy them.

These are compact bookshelf speakers through and through. They've got a small price and a small footprint, weighing in at just 5.8kg, and while they've also got a low sensitivity of 83dB, we didn't find them tough to drive during our extensive tests.

Their small size, meanwhile, works to their advantage, as they can be placed on desks, cabinets, bookshelves, TV stands or large windowsills rather than on dedicated speaker stands, making them well-suited to those with limited space. You can even mount them on the wall thanks to their included fixing screws and wall brackets.

Small speakers they may be, but the Kupid aren't shy in how they deliver their sound. The compact units offer a lively, nimble presentation that is packed with enthusiasm and brio, and while you won't get a huge amount of bass, their expressive midrange is enough to make up for it.

They're great with rhythms, too, and as we stated in our review, the Dalis "exhibit a knack for snappy timing and agile rhythm (and) have a fleet-footed quality that zips along with all kinds of tracks in an engaging manner". Nice.

Dynamically, the Kupid can pull out the ebbs and flow of tracks with conviction, while also revealing subtler moments with a deft hand. They're able to bring out the drama of more challenging tunes, and while they may be small and nimble, we don't often feel as though the Kupid aren't immersing us in the music we feed them.

As we made clear in our review's verdict: "A great choice for small, modern music systems, the entertaining Dali Kupid speakers will win over many hearts". A nice way to put it.

Read our full Dali Kupid review

Best mid-price bookshelf speakers

Monitor Audio took a ground-up approach with the 50 7G, looking back at previous generations of the Bronze speakers to find the qualities that made them great before blending that DNA with a host of key refinements in a bid to elevate the company's entry-level speakers.

From the outside, they look the part. They're not that expensive, but the 50 7G look cool and classy, with a beautifully made and a sleek aesthetic that we find hugely appealing.

Inside, new Ceramic-Coated Aluminium Magnesium (C-CAM) drivers used in the Bronze series offer a better “piston-like movement” that helps reduce break-up issues. In the Bronze 50 7G, there's a a 25mm C-CAM gold dome tweeter that’s lighter, thinner and more rigid than before, combined with an updated UD (Uniform Dispersion) Waveguide II for pursuing a wider, more precise sound and improved time alignment.

It's all worked wonders. For a speaker at this price, the Bronze 7G are remarkably precise and controlled, offering a clear, fast and detailed sound that grabs you from the get-go. These are front-footed speakers, and they have no intention of being ignored.

The 50 7G deliver a full-scale sound that’s spacious and enveloping, with an adept handling of rhythmic snap and dynamic contrast. They are clearer, more detailed and more rhythmically talented than the B&W 607 S3, and that's not an easy benchmark to reach.

Some listeners might prefer a more relaxed presentation, but if you're onboard for what the Bronze 50 7G are offering, they're an immensely entertaining choice.

Read our full Monitor Audio Bronze 50 7G review

Best bookshelf speakers for audiophiles

These might be PMC's entry-level standmounts, but they sound anything but (and they're not exactly cheap, either). That's hardly surprising – they're measured and listened to alongside the firm's reference models, and feature the same 27mm soft dome tweeter and 13cm mid/bass driver taken from models further up the company’s line.

They also feature Laminair – the aerodynamic port which was first developed for the flagship QB-1 studio monitors. This smooths the passage of air exiting the speaker to minimise airflow noise and improve bass definition.

The design is pleasingly minimalist, though it lacks some of the high-end polish of PMC's pricier models. But sonically, they're stunning, boasting excellent detail, clarity and charisma.

The midrange is full of dynamic expression and solidity, and the bass digs deep without losing definition. Low frequencies have pace and punch to complement that impressive presence and depth, too.

As we said in our review: "Play Anohni And The Johnsons’ It’s My Fault from the collective’s latest album, and the Prodigy’s midrange talents come to the fore once more. There’s substance behind her vocal delivery, and a very honest rawness that conveys her grief and guilt around her complicity with how humanity has 'broke the earth.' Emotion pours out of her mouth and the PMCs do well to communicate it."

While the Prodigy 1’s talents in precision and organisation mean we would veer towards calling them ‘analytical’, the speakers aren’t informative at the expense of entertainment.

Systematic, yes, but anything but soulless.

Read our full PMC Prodigy 1 review

Best premium bookshelf speakers

In complete contrast to our statement in the intro that speakers should never be placed inside a bookshelf if you want them to sound their best, Epos has made a pair of speakers that are very much optimised to sound good when placed inside a bookshelf.

The conventional recommendation is to place speakers a few inches or centimetres away from a wall, but that's not always practical in your space. Epos has made it so that their small but brilliant ES-7N speakers sound evenly balanced when placed up against the wall or inside a bookshelf. You can flip a switch at the back of the speaker unit to tell the speakers where they are placed and they will change modes accordingly.

The speakers do sound their best out in the open on dedicated speaker stands, but it is impressive just how close to this performance they get when shoved inside a bookshelf unit (flick the switch down in this case).

There is a slight drop in clarity and stereo imaging, but it doesn't impact our enjoyment overall. In fact, even though these are small boxes that won't compete with larger designs – such as KEF's R3 Meta, which dig deeper into the bass and deliver a bigger, more expansive and dynamic sound – what these Epos speakers do so well with music gets us smiling with joy and our feet tapping as they deliver an incredibly capable performance.

As we said in our review: "The ES-7N are bold and confident performers that resolve high levels of detail and organise it in a cohesive and musical way. Play Kendrick Lamar’s Not Like Us and the Epos kick like a mule.

They sound taut and punchy with music such as this, delivering the song’s jumpy rhythm track in a wonderfully surefooted manner. There is plenty of drive here and the speakers are great at conveying the music’s varying momentum."

Voices are delivered with impassioned nuance and clarity, and bass notes are – for small cabinets – taut, solid and grippy. We love the similarly-priced Neat Petite Classic's fun, peppy presentation, but the Epos are even more precise and controlled when it comes to rhythmic agility.

They are just as considerate with more classical or intimate recordings, and they pair well with a variety of amplifier partners, from budget Rotels to premium Naims and beyond.

The Epos ES-7N are charming. They are small, hugely capable and surprisingly unfussy in use. That they recognise not everyone will be able to position their speakers perfectly and sound just as good when placed inside bookshelves is a rare talent that should be celebrated.

If your budget can stretch this high, we can't recommend these enough.

Read our full Epos ES-7N review

Best bookshelf speakers for large rooms

We think these Mission 770 speakers are right up there with the very best at this price, and one of the best ways to fill a large room with sound. Mission takes design inspiration from the original 770 speakers launched in the 1970s, but has improved and modernised every other element: from the cabinet design to the drivers and even new dedicated stands.

While the retro link will be the main attraction for some, for us that’s put in the shade by the speakers' excellent all-round performance. The 770 speakers have a range of sonic talents that set them apart from most rivals and earns them a warm recommendation.

They have so much finesse when it comes to delivering extended bass. We said in our review: "As we listen to Massive Attack’s Angel, it’s the articulate way these speakers render the bass notes that stick in the mind. They sound taut and agile, but also delicate in the way they paint bass textures and resolve low-level information."

There's plenty of punch and power, too. The speakers have a slightly forward balance, especially with the clear and expressive midrange, that sounds lively and engaging – but thankfully never too aggressive.

Songs are delivered with wide-ranging dynamics, impressive authority and scale. It’s a musically cohesive presentation that’s controlled and nicely organised. If you have a large space that needs a room-filling sound and you have the budget, these large speakers are worth an audition.

Read our full Mission 770 review

Best bookshelf speakers for tiny spaces

There are many for whom the Iota II are exactly what is required: tiny speakers that can be placed pretty much anywhere in cramped spaces to deliver a capable, hi-fi quality performance.

One Iota's footprint is barely bigger than a DVD case, but these speakers have no idea that they're supposed to behave like tiny speakers: they belt out an enthusiastic and dynamic performance that sounds far bigger and punchier than you'd expect from such small cabinet sizes.

As we said in our review: "Neat’s proven knack for keeping the rhythm of a song going with a tremendous amount of agility, enthusiasm and spark is present here. It’s what makes the Iota II sound so much fun. This is an entertaining pair that can keep apace with Gershwin’s nimble, jazzy piano in Rhapsody in Blue, the high-tension driving beats in Still Dre, and Sabrina Carpenter’s frothy, bubbly Espresso."

The Iota II feature the same cabinet size and ribbon tweeter as their 2012 originals, and now have a new mid/bass driver and revised crossover. The new generation only comes in black and white finishes – you won't find them in the colourful blue, red and yellow finishes as before.

Yes, that’s a lot of money to pay for rather plain, dinky boxes (£1095 / $1699 / AU$2000 per pair – the main reason they didn't get that fifth star), and their sonic flavour and lack of real bass depth won’t be for everyone. But they are designed to solve a particular niche problem, and do so with so much spirited performance that we don’t mind overlooking their limitations.

For those with super small spaces where the only place to put a speaker is perched on a windowsill, a desk, a bedside table and without any stands, these Neats work a treat. Their sound isn't compromised even when placed inside a bookshelf or on a desktop next to your laptop. And they're a joy to listen to.

If you can afford that price tag and have that exact niche to fill in your tiny space, these hugely fun Iota II might just win you over.

Read our full Neat Iota II review

Also consider

• Wharfedale Diamond 12.1: Despite being knocked off their perch as our best budget option, these former Award-winning speakers remain an incredibly attractive proposition. They're compact, well made and sound surprisingly sophisticated for speakers at this affordable price point.
• KEF LS50 Meta: Despite their rising price, the KEF LS50 Meta are truly remarkable speakers that sound cohesive, dynamic and detailed. Thanks to their innovative Metamaterial tech, they remain excellent performers and work with a wide range of partnering kit.
• Dali Spektor 2: These Dali speakers are a long-running favourite for their natural, nuanced way with voices, while fluid dynamics make them hugely appealing and entertaining to listen to. A great affordable bookshelf pair.
• Bowers & Wilkins 607 S3: The 607 S3 remain an outstanding buy thanks to their clean, refined and detailed sound that never leaves us feeling like we haven't been thoroughly entertained.
• PMC Prophecy 1: PMC’s astoundingly talented small speakers deliver a class-leading performance thanks to their class-leading precision and impressive stereo imaging. Just make sure you pair them with good quality partnering equipment...
• Neat Petite Classic: These Neat speakers are terrific fun, with their precise, agile rhythms and solid, detailed sound winning us over – even though the very small cabinet size won't allow for truly deep bass or large-scaled sound. If you're after premium speakers for a small space, consider the Classic's peppy energy as an alternative to the Epos ES-7N.
• KEF Q3 Meta: The KEF Q3 are mature and refined speakers, showcasing a composed and even-handed presentation at their mid-price level, and delivering plenty of scale for standmounters.
• Epos ES14N: You'll need a large space to accommodate these odd-looking large standmounters, but they are mighty impressive when it comes to analysis, organisation and control. A little more rhythmic drive wouldn't go amiss, but we're big fans of the stunning clarity and cohesion on offer.
• Acoustic Energy AE1 40th Anniversary: A reimagined version of AE1's first and iconic 1980s speaker, this pair captures much of the sonic magic of the original. While modern rivals will offer deeper bass and a more open and neutral sound, this AE1 is hugely engaging and entertaining with a characterful, "spellbinding" performance that still communicates the essence of music.

Bookshelf speakers coming soon

• Arcam Radia: Arcam's refreshed Radia amplifiers are an Award-winning success, and the brand has now launched a Radia series of loudspeakers to match the electronics. This new range features two standmount speakers and two floorstanding models, but note that they will only be available to buy in the UK/Europe markets. The range is on the premium side, with the smallest two-way bookshelf speaker starting from £1699 / €2000 per pair.
• ProAC Response DB1R: ProAc's brand new premium standmount speaker is set to build on the compact Response DB1 that originally launched around a decade ago, aiming to take its balanced, refined performance "to the next level" thanks to a new ribbon tweeter. Price starts at £2945 per pair.
• Wharfedale Diamond 12i: Wharfedale's updated Diamond 12i range features three pairs of standmount speakers (12.0i, 12.1i and 12.2i, starting at £199 / $399 per pair) with further refined designs, yet the affordable price tag that is synonymous with Diamond speakers remains. The Diamond range has won a whopping 14 What Hi-Fi? Awards since launching in 2020, so we're hoping the 12i range can live up to its legacy.
• Dali Sonik: Dali's upcoming Sonik range brings innovations from its high-end Kore, Epikore and Epicon ranges to a lower price point. This includes improved transducer design, advanced magnet technologies and tweaked cabinet engineering. The Sonik 1 (£449 / $900) and Sonik 3 (£599 / $1200) are the two pairs of bookshelf speakers included in this upcoming range.

How to choose the best bookshelf speakers

Bookshelf speakers tend to be fairly compact, but there are models that can be quite large.

Some bookshelf speakers demand a bit more space in order to perform at their best, or are deeper than they are wide, for instance – so you need to decide what size and set-up you plan to have them in. Will these speakers have to fit into small corners on a desk or have plenty of space in your listening room?

Make sure you check the manufacturer's recommendations and speaker dimensions before buying, to ensure they will fit in the space you've marked out for them at home.

Our recommendation is that all of these speakers will benefit from being placed on a dedicated pair of speaker stands. But this isn't always practical for everyone, so speakers that perform well placed close to a wall or corner are recommended.

Budget and size are the biggest considerations. Whether your stereo speakers will be in your living room, home office or bedroom, it's crucial to see what fits your space – and what you can afford. Are you after a small, affordable pair that can go into the corner of your room? Are you after a large pair of bookshelf speakers, or have an extensive budget for premium standmounters?

Whatever the case, remember to also factor in speaker cables and the demands/sonic characteristics of the rest of your hi-fi system. If you want even more options, check out our guide to the best hi-fi speakers we recommend.

As far as sound quality goes, it's definitely important to find a great-sounding pair of speakers for the price level, but how your speakers sound is naturally tied to what you're using to drive them. If you are able to demo a pair before committing to buying, we would recommend this to see how the speakers work in your room and system.

Building a hi-fi setup can quickly become complicated when there are thousands of different products out there, so if that's what you're doing, check out our ultimate guide to building the perfect hi-fi system.

How we test bookshelf speakers

At What Hi-Fi? we have state-of-the-art testing facilities where, as a team of audio experts, we review hundreds of products every year, including one of the most prolific hi-fi products of all – bookshelf speakers.

We judge products on a performance-per-pound basis, so during our testing we always compare products to similarly priced class leaders to help us settle on a star rating for the review and the order for these five-star performers in these buying guides.

So when, for example, a new pair of £1000/$1000 bookshelf speakers arrives in our test rooms, we listen to it against the similarly priced KEF LS50 Meta and PMC Prodigy 1 on this list to see how it fares against those class leaders.

We often review bookshelf speakers by using them in at least two systems – our high-end reference system, to reveal the best they can sound when fed the most accurate signals, and a more price-comparable one to see how they perform in real-world scenarios with realistic partnering equipment.

Our choice of test music is varied, too, to see how speakers sound when playing a variety of different genres and styles of music. Here's our selection of the best songs to test speakers – but any track you love listening to will do, of course.

We also review as a team to ensure there is no personal bias, so every review has more than one person involved in the testing and listening. Whether we're reviewing a set of bookshelf speakers that cost a few hundred pounds or a fair few thousand, our review philosophy doesn't change, and you can be sure that any five-star speakers (and particularly What Hi-Fi? Award-winning ones) will offer up a fantastic performance for the price.

As a rule, no input from PR companies or sales teams is taken into account during reviews, maintaining What Hi-Fi?'s decades-long reputation for delivering honest, unbiased critical feedback.

You can read more about how we test and review products on What Hi-Fi? here.

F.A.Q

Recent updates

• March 2026: Added the Arcam Radia loudspeaker range and ProAc Response DB1R to our 'coming soon' section. Added the five-star Acoustic Energy AE1 40th Anniversary to the 'also consider' section.
• January 2026: The Award-winning Dali Kupid is now our recommended pick for the best budget bookshelf speaker, while the Also Consider and Coming Soon sections have been updated.
• October 2025: The Acoustic Energy AE300 Mk2, Dali Kupid and Monitor Audio 50 7G are recently reviewed five-star speakers that have all entered the main list.
• July 2025: Created a new category and entry for the Neat Iota II as our "best for tiny spaces" recommendation, and updated the Also Consider and Coming Soon sections.
• May 2025: Updated the Also Consider and Coming Soon sections with new speaker models.
• March 2025: Added more information to our "how to choose" and "how we test" sections. Added new entries to our "coming soon" section.
• January 2025: Added a new "coming soon" section that highlights new speakers announced and ones that we will be reviewing in the coming months.
• November 2024: Wharfedale Diamond 12.1 and Epos ES-7N have been added to the main list following their 2024 What Hi-Fi? Award wins. More options added to Also Consider section.
• August 2024: Added the five-star Monitor Audio Studio 89 to the Also Consider section.
• June 2024: Added an 'Also consider' section to offer more alternative buying options.
• January 2024: FAQ section added to help buyers in their decision to buy bookshelf speakers.
• November 2023: What Hi-Fi? Award winners labelled following the announcement of the 2023 What Hi-Fi? Awards Best Buys and Product of the Years.

Here at What Hi-Fi?, the arrival of a new pair of AKG Y-series headphones is usually a cause for celebration. The latest addition to the range, the AKG Y400, are closed-back on-ear wireless headphones, and while positive words about the range won’t come as a great surprise to those familiar with the line, will it be fives across the board for this model too?

Comfort

The new Y400 are slightly smaller than the previous and rather splendid Y500, but aside from that, things feel reassuringly familiar when we first handle AKG’s newest arrival. However, much has changed too.

There’s a 36mm driver in each earpiece here, which is smaller than the 40mm drivers in the previous model. The newer Y400's closed-back circular earcups are smaller too, and very much on-ear – they rest on, but do not entirely cover your shell-likes.

The Y400 earcups rotate to lie flat and fold up inside the headband for transport, making them even more portable than the older model. They are well-cushioned and, because the extension point is situated lower on the new, thinner headband, the clamping force on the Y400 isn’t too tight and is easy to adjust.

In terms of controls, it’s a familiar set-up, apart from a new USB-C charging port on the left earcup. This sits between the 3.5mm jack (there’s a supplied cable, complete with in-line mic) and play/pause button, which is below the useful volume slider. On the right earcup, there is a power switch and a dedicated Ambient Aware button.

If the Y500 felt demure compared to the funky Y50BT model they superseded, the black version of the Y400 headphones we have on review here is even subtler. There are few accents, just the small white branding on the earcups and a new brushed metal arc across the top of the headband.

The build is durable, light, comfortable, finished in cool metal and resoundingly classy. And if you prefer a splash of colour, the Y400s are available in shimmery pink, green, blue and goldish-yellow finishes.

Build

AKG’s Ambient Aware feature is present again here, and it works well. When activated, a tone is issued and playback is subdued. External noise seeps into our ears, making us aware of our surroundings, such as dogs in the park and passing cars.

The wearer-detection feature, which pauses playback when you remove the headphones from your ears, has been improved and is far more reliable on the Y400 than on older AKG models. This neat battery-saving perk can be switched off by long-pressing the Ambient Aware and play/pause buttons on the earcups simultaneously for five seconds, but we’re not sure why you’d want to.

Bluetooth has been updated to 5.0 status in the Y400 (rather than 4.2 in the Y500) and pairing is effortless and the wireless connection never falters during call-handling or while listening to music. The play/pause button on the left earcup can also be pressed twice to access Bixby or Siri voice assistants.

There’s no app support for the AKG Y400 and therefore no scope for EQ alterations. Active noise cancellation isn’t a feature either, but at this affordable price-point, we wouldn’t necessarily expect such costly extras.

One minor disappointment on the spec-sheet is the battery life, which at a claimed 20 hours, is down from the more impressive 33 hours of the Y500. Of course, this should still outlast even the longest journeys, and the good news is that juicing up from completely empty takes just two hours, rather than two and a half.

Sound

We start listening to the Y400 and immediately note that there’s much to like. Despite any reservations we may have regarding the smaller drivers and earcups, it’s an open, layered and zealous presentation. We listen to Bruce Springsteen’s My Hometown and the drums, woodwind and tambourine are pleasingly spacious and three-dimensional, timing nicely around the Boss’s textured and central vocal.

Switching to Viper Woman by Bitchin’ Hour, we are treated to the deft and precise handling of Leonie Wilson’s soulful high belt alongside Beth Chapell’s persistent thunder crack and rumbling stormcloud of drums. It’s an energetic and cohesive mix, with each musical passage given the room to be impactful.

We nod our heads throughout Eric Clapton’s Cocaine as Slowhand’s guitar is driven into our ears with determination and drive across the frequencies, and his lyrics come in centrally with detail and sensitivity. Switching to the Y500 for comparison, we hear marginally greater separation and an extra ounce of sonic detail from the newer model. Considering those Y500 headphones gained a five-star review, that’s no small feat.

We play Stormzy’s Vossi Bop to hear how the AKGs traverse its bass-heavy grime riffs. There’s impeccable timing throughout and the headphones deliver bass weight and power in spades. It's zealous to the point that some might prefer a slightly leaner listen, but in our eyes (and at this level) the Y400 get the balance just about right.

Verdict

These Y400s represent a top budget wireless buy. They’re supremely comfortable and portable, well built, and have an energetic, expansive sound that sets a new standard at this level.

Despite a reduction in size from the company’s previous on-ears, the cheaper Y400 don’t represent a step down in terms of sound. If that 20 hours of battery life is acceptable, this is a hugely talented and thoroughly recommendable pair of on-ear headphones.

SCORES

• Sound 5
• Comfort 5
• Build 5

MORE:

Our round-up of the best wireless headphones you can buy

Read our AKG Y500 Wireless review

Read our AKG Y50BT review

LG already makes rollable TVs, and now it's working on a rollable phone. The company briefly teased the device – officially known as the LG Rollable – during its virtual CES 2021 event, where it also introduced its innovative 2021 TV lineup.

The footage (below) shows a smartphone with a display that expands sideways to create a tablet-like device. The phone's screen smoothly expands into a larger one by rolling out from the opposite edge (02:07). LG wraps up the CES broadcast with another glimpse of the Rollable – this time closing slowly (28:27).

LG revealed its development of a rollable handset back in September, but the new teaser video confirms the name of the device and gives the first clear front-view of the snazzy, bezel-busting display in action.

LG is yet to share any information about the device aside from that it comes with a “unique resizable screen” and is part of the company's Explorer Project, which aims to provide an exploratory look at what the future of technology may bring.

LG's not the only firm working on a rollable phone, mind. The LG Rollable bears a striking resemblance to TCL's rollable concept phone, also on display at CES 2021. The TCL version is driven by a small motor that can be trigged using gesture controls.

According to TCL, "the portable 6.7-inch AMOLED Rollable Display... can be extended from 6.7-inches to 7.8-inches with a simple tap of the finger". LG hasn't confirmed whether its device will feature a similar control mechanism.

In other 'rollable' news, LG has confirmed a brand-new rollable OLED TV – the R1 Rollable – detailed in our breakdown of the LG 2021 TV line-up.

MORE:

CES 2021: all the news and highlights from the first all-digital CES

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Check out the best TVs money can buy

These wireless noise-cancelling headphones came to us from Altronics, the 44-year-old Perth supplier which still produces the chunky great mail-order catalogue which graced the shelves of every electronics hobbyist back in the 1980s. Altronics has also now moved online, of course, offering 9000+ products with everything from tiny parts to full consumer products, many of which appear a bargain.

Take these wireless noise-cancelling headphones, for instance. They're listed on Altronics site simply as the C9021A, although they are identified there and on the packaging as being the ANC7S by Ausdom, a company founded in California, with manufacturing and assembly in Shenzen, China.

Their price is just AU$139, making them far more affordable than premium noise-cancellers like the others in the market today. The question, then, is how much of that experience they can bring, and how much is lost in the compromises required to hit the wallet-friendly price.

• Best wireless earbuds in Australia for 2020: budget and premium in-ears

Design

The Ausdoms certainly feel light, weighing in at 216g, and while this may reflect lower quality componentry, it also keeps them light on the head during wear. The main headshells are plastic, the over-ear cushions a comfy and soft fake leather tucked into a red ring, and the outer surfaces are slightly pliant and covered in a cloth layer patterned with light reflecting zigzags, as is the headband. 

The headband is steel with plastic ratchets, though we found its maximum extension only just enough to get the headshells low enough for the biggest of our testers’ heads. They pivot flat for storage, although lack the extra hinge to fold inward to the foetal position. The Ausdoms come with a soft cloth bag and minimal packaging, a sensible place to save the pennies.

Controls are simple headshell buttons, straightforward to interpret — an on-off power switch, volume/skip buttons, and an on/off slider for noise-cancelling. There’s no variability available for the noise-cancelling, nor any ‘ambient passthrough’ mode, as is now the norm on premium models. Nor is there any ability to personalise their response via an EQ profile, and no smart extras like a button to invoke your phone’s voice assistant, or auto-pause when you remove the headphones. 

We can’t say we much missed these extras, and indeed there’s something to be said for keeping it simple. The one easy early mistake is to turn off the noise-cancelling switch when you mean to power them down. But you quickly get used to that.

They charge via a micro-USB socket on the left headshell, and on power up there’s a lo-fi voice prompt to welcome you as the Ausdoms autoconnect to the last paired device, or on first use go straight into pairing mode. Their connection to our phone stayed strong throughout use.

Audio and features

Sound quality varies significantly when you turn noise-cancelling on. Without NC, they can sound a bit brash, their upper frequencies bright, the midrange leaving vocals in a boxy acoustic, and the bass underplayed. The opening twin basses on Lou Reed’s Walk On The Wild Side had none of their real resonance and depth, while Lou himself suffered a sibilant boxy vocal. 

On a less acoustic mix like Tyler, The Creator’s Earfquake the synths sounded fine and fizzy, but the massive descending bass notes lost their lowest octave entirely, and again the vocal was strangely boxed in tone.

Flick the NC switch on and the tone is drastically softened, the mid and highs flattened down so that the bass regains something closer to its rightful position, though there’s a sense of compression and a general muffling of the overall openness. 

The NC mode we found a reasonable listen over the rumble of a daily commute; it doesn’t assault your ears, and the music can make it through. The noise-cancelling circuit itself is actually rather noisy, with a light hiss as soon as you throw the switch, not that you’ll hear this if you’re in the noisy environments where the circuit is required.

Its effect is nowhere near class-leading, but it successfully reduces the lower frequencies of background rumble or aircraft drone, giving a quieter bed for your listening.

You can connect a cable should the quoted 12 hours of battery life fail you, but this is one pair of headphones where we won’t say that a better quality is delivered by cable; there’s more level available, certainly, but the sound was brighter still, and discouraged us from turning it up. The sound profile seems to have been optimised for Bluetooth use, and sensibly so, since that’s how they’ll be used the vast majority of the time.

Final verdict

So we found the sound not satisfying enough for a full recommendation here. As a commuting headphone, or to get you through the long-haul, they’ll do the job and deliver tunes or in-flight entertainment against a noise-reduced background. But they don’t deliver well-balanced music in quieter environments, so we wouldn’t recommend them for extended home or office use; you could get a far better sound for this money by going for non-NC from the major brands. 

• Best wireless noise-cancelling headphones 2020

The Audio Pro A26 powered speakers are the first standmounters the Swedish company has added to its popular multi-room range. Alongside the A36 floorstanders released at the same time, they break new ground as the first dedicated stereo pair in the series.

Armed with an impressive array of connectivity, including an HDMI ARC input to turn them into speakers for TV sound, the A26s are positioned as an all-round sound system for the living room.

They are fitted with the latest low latency Bluetooth codec, Spotify Connect, the Audio Pro app featuring all the major music services and networked streaming abilities. On paper, at least, the A26s have more or less everything you could wish for.

Build

The A26s are a design departure from the Addon range, which has featured the same, koala-like face for years. The new aesthetic is not terribly exciting, though.

The charcoal covers feature a metal Audio Pro logo but, apart from that, there are only smooth surfaces. Remove their grilles and our black review sample looks rather plain on the eye, though the alternative, white finish has a more classily Scandinavian look.

The two drive units are also black. On top is the 25mm textile dome tweeter with the 11.4cm woofer on the bottom. Inside one of the rear-ported boxes is a pair of 75W Class D amplifiers – one drives the master speaker and the other is for its passive partner. The two speakers are connected by an included speaker cable. 

Connectivity includes Bluetooth 5.0 aptX, optical, HDMI ARC and an analogue aux. There’s also an RCA subwoofer connection in case you'd like to add some extra bass.

Audio Pro makes a set of dedicated wall brackets that costs a fairly reasonable £29 per pair. The A26s work best when placed close to the wall, so these brackets should help the speakers deliver something approaching their optimum sound.

Compatibility

You can leverage all the wireless potential of the A26s through the Audio Pro Control app, which integrates the likes of Tidal, iHeartRadio, Napster, Qobuz and Deezer in one place. You can play any locally stored audio files, including podcasts, through the app as well. The A26 speakers also work with Spotify Connect.

The Audio Pro app itself is a little rudimentary compared to some, but also fairly well thought out. It's responsive and not over-complicated, which is important if you’re using the A26 as part of a larger Audio Pro multi-room set-up.

There is a straightforward EQ control in the form of bass and treble sliders, although these are generally best left flat. There’s also an audio virtualiser mode to help create a soundstage especially for movie-watching and a night mode to enhance dialogue clarity while keeping the main volume and bass as low as possible.

You won’t find all of those options on the dedicated remote control, though. This pleasing aluminium zapper offers volume, input selection and playback controls, but these won’t necessarily work for every single source device. For example, it doesn’t skip tracks when plugged into our laptop playing FLAC files through VLC.

Sound

We start with Mozart’s Violin Concerto No.3 In G Major, K.216, and get an immediate feel for the space and scale that this two-speaker solution offers. There’s an impression of openness with a soundstage that’s broad enough to deliver a strong sense of the orchestra. 

The audio is still centred on where the speakers sit, but there’s enough to get a clear idea of positioning of the first violin in the foreground and the rest of the string section behind and to the right. 

The dynamics are decent, if not inspirational. The sound doesn’t drop down to a deep silence but there’s a clear difference in the scale between the first violin fiddling away to the tune compared to the rest of the strings bowing out the bed of music in the background.

We play something a little faster with Radio Free Europe by R.E.M on FLAC, played hard wired to the A26s, and we’re immediately impressed with the size of the sound for such little speakers. The kick drum is like a heartbeat thumping through the track from first to last. 

It’s not a long way off a room-filling performance and certainly enough to feel the bass in our bodies. However, it’s a soft-edged sound, missing the precision to convey a good sense of the pulse of the music.

There’s a reasonable tonal balance to the track. Michael Stipe’s voice is clear and there’s plenty of detail including the wangling guitar that drops in and out of the song.

Right at the top, there are plenty of sounds from the metal parts of the drum kit but they’re not sounds we particularly enjoy. The treble notes are unsophisticated and the tweeter sounds too messy. The hi-hats, the snares and the cymbals are hard to differentiate, which rather spoils the pleasure of Bill Berry’s work.

What really kills the track, though, is its lack of rhythmic drive. The A26s struggle to create a definite onset and end of notes to mete out a sharp, clear sense of purpose to every strum or percussive hit.

Combined with the less than stellar dynamic ability and soft bass, it makes for a murky and disappointing climax to the track. That becomes quite hard on the ears when listening to a whole album of songs with attack. 

We take it down a gear with Respect by Aretha Franklin and the speakers respond well to this less complicated recording. The track is simple and staccato enough to hold a better sense of purpose. It’s enjoyable enough and there’s an even balance of the guitar with the lead and backing vocals. All the same, the feel of the song isn’t quite translated.

There’s not enough expression in the midrange for us to appreciate anything like the depth and desire of Franklin’s demands of her lover. Not even the normally dripping rich ‘oohs’ of the backing singers carry much nuance.

Verdict

These Audio Pros aren’t a bad pair of wireless speakers – they are easy to set up; they can work for both your music and your TV sound; and they are capable of working in a multi-room set-up. They support just about every kind of input and you can use pretty much any music streaming service with them.

The trouble is that they just don’t sound that great. If a pair of speakers doesn’t make you excited about listening to music, they have fallen short in their primary purpose.

If you’re already heavily invested in the Audio Pro ecosystem, you might wish to try them out, but we’d advise you to spend your money elsewhere and buy something more musically talented, such as the Ruark Audio MR1 Mk2s.

SCORES

• Sound 3
• Compatibility 5
• Build 5

MORE:

Best wireless speakers 2020

Best hi-fi speakers 2020

Read our Ruark Audio MR1 Mk2 review

How do you like your headphones? Eye-wateringly expensive and built using more than 40 years of electrostatic design expertise? Showcasing German precision engineering and minimalist design? You're in luck.

High-end audio specialist, T+A, has decided now is the time to launch its first ever pair of headphones, the T+A Solitaire P, and the company's first headphone amplifier/DAC, the T+A HA 200.

Previously concerning itself with amplifiers, DACs and speakers costing four figures and up, T+A is promising a new level of headphone performance from its planar-magnetostatic headphones and Class-A design headphone amplifier.

Joining the company's Solitaire speakers, an anniversary edition pair of which went on sale for £46,000 last year, the Solitaire P headphones use an ultra-lightweight membrane, which covers the whole area of the ear cup and is positioned between the planar magnetostatic drive system. 

The entire surface area of the membrane is driven in this design, with T+A promising a spacious, airy feel. Aircraft-grade aluminium and "the softest leather" aim to apply a finish befitting of the word premium. 

The T+A Solitaire P headphones will be available in March 2020, priced at £4800 (€4800, $6400). 

The HA 200 headphone amplifier and DAC sees the company in more familiar territory (we've previously enjoyed the T+A PA 3000 HV and T+A DAC 8). It uses the company's proprietary T+A True 1 Bit DAC, capable of handling up to 32-bit/768 kHz PCM and DSD1024. 

There are three headphone outputs, each of which can be fine-tuned according to the headphones. Using the company’s HV analogue technology, previously reserved for its flagship range of high-end audio components, the HA 200 has a high-quality power supply with two separate toroidal power transformers to separate the analogue and digital circuits.  

The HA 200 has some eight inputs, with twin optical and coaxial digital inputs, plus AES/EBU and BNC options, and balanced and unbalanced analogue connections. There's also the option to add an HDMI board with twin inputs and an ARC output.

The T+A HA 200 is due on sale in April, costing £6600 (€6600, $8900).

MORE: 

T+A DAC 8 review

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See all our T+A news and reviews

A lot has happened in the multi-room market since the Sonos Play:1 last entered our test rooms in 2013. Amid the rise of the smart watch and smart TV, smartphones breaking the 7in-screen barrier and the anti-climax of Google Glass, the multi-room market has exploded to astronomical levels, with almost every Tom, Dick and Harry looking to ruffle Sonos’ feathers.

So it may raise an eyebrow to learn that what hasn’t changed is the Play:1’s distinctive charm – you still won’t regret finding a spot for one (or five) in your home.

Sonos brought its entry-level price down with the Play:1 a few years ago, and then added the smart Sonos One to the portfolio, but this little speaker may still be the best bet for many people wanting to get into the world of Sonos.

• Best Sonos deals

Set-up

While it’s the same old rounded speaker, software tweaks have brought improved sound, as well as Trueplay technology and even more streaming services, features that are crucial to Sonos staying at the top of the streaming game.

It’s as comprehensive a list as you could hope for, with the likes of Tidal, Spotify, Pandora, Deezer, Qobuz, Google Play Music and Amazon Music, plus TuneIn Radio for access to thousands of internet radio stations, all integrated into the Sonos Controller app. Of course, it also plucks songs stored on your local network from, say, a NAS drive.

It's designed to be used purely as part of the Sonos system, so the Play:1 still lacks any physical connections for hard-wiring external devices. Bluetooth is still absent too, which is a mark against Sonos. We’d like at least one offline option for when your network’s a bit dodgy.

Build

While arguably looking a little outdated stood next to the more recently redesigned Play:5, the Play:1's solid, sleek design stands the test of time.

It comes in black or white, though only on the chassis’ top and bottom bands does colour come into it - what really defines the Play:1’s look is its smart wraparound steel grille.

Sound

The Play:1's sound is just as weighty and solid as we remember, with plenty of power and punch for a small speaker. It’s hearty enough to get stuck into meaty drums but, at the same time disciplined enough to keep complex rhythms on a tight leash.

Vocals sail over the top with stark clarity and dynamic expression – the Play:1 throwing them into the limelight – and there are acres of space and scale in the presentation for them to fill.

Either side of the midrange, control isn’t lacking, its bass tight and punchy, the treble detailed and refined. It’s an open, clean and balanced listen and one that’s just as happy pumping out Bloc Party as Joni Mitchell.

Only too keen to show that rhythmic fidelity isn’t left trailing, its agile, athletic posture keeps up with the sprightly keyboard cadence in Manfred Mann’s Earth Band’s cover of Blinded by the Light, the cymbal-tapping galloping precisely and punctually alongside.

It’s an enthusiastic rendition that isn’t short of attack, and you can tell Sonos had only one thing in mind when engineering its sonic character: fun. And who can argue with that?

Verdict

If you thought time would have aged the Play:1, think again. It remains a great-sounding wireless speaker, and a decent passage into multi-room for those on a tight budget. 

Other rivals have emerged, and the Audio Pro Addon C3 is a worthy alternative, but if you're set on Sonos, the Play:1 is still a great bet.

MORE: 

Best smart speakers

The best Sonos alternatives

Sonos: everything you need to know

When we reviewed the AKG Y50BTs back in 2015, we were just as impressed by the superb wireless on-ears as by their wired AKG Y50 counterparts. “What you have here is a rare example of headphones that are equally excellent across audio performance, features, design and build quality,” we said.

Three years on and the Y50BT’s successor, the AKG Y500 Wireless, ups the game once more, thanks to a smarter design and a hugely listenable sound.

Design and build

The new Y500s remain on-ear designs, with a cushioned, adjustable headphone band and memory foam ear cups.

Gone is the large-lettered branding on the brightly coloured earcups; instead, the new Y500s come in shimmery green, blue, pink and black metallic finishes that look appealing.

The AKG logo is much smaller and subtler, and a much smarter design than before. The mix of aluminium and plastic leave the Y500s feeling sturdy yet lightweight, and the polished metal edges around the ear cups give the cans a touch of class.

The earcups themselves are soft, but clamp down on your ears a bit too tightly for our liking. It’s possible that they will loosen off over time and use. It’s not so bad that we want to take them off, but it’s something to keep in mind if you wear glasses. You can also fold up the headphones flat, bundling them up small enough to fit into your bag or a large pocket.

• AKG Y50BT review

Features

The controls under each ear cup have been redesigned, too. The power switch has a small blue LED to indicate when the Y500s are switched on and Bluetooth-connected to your smartphone. Subtle beeps indicate when your headphones are paired.

There’s also a button for AKG’s ‘Ambient Aware’ feature, which makes you aware of your surroundings while keeping your headphones on, so you don’t get run over in traffic or miss that train announcement. It works effectively, with music subdued and outside noise seeping in naturally.

On the other earcup, there’s a small button for playing and pausing music (double-tapping it summons your smartphone’s voice assistant) and a neat volume switch that you slide up or down. The controls are responsive, and it takes mere seconds to get used to these controls.

With a standard 3.5mm-ended cable included in the box, and a simple in-line remote for controlling playback, there’s the option to go wired. The Y500s can be charged via the supplied microUSB and battery life is a claimed 33 hours. That’s a big jump up from the previous Y50BT’s 20-hour lifespan – we didn’t need to charge the Y500s up during our week of testing.

Another extra feature is that the Y500s automatically pause music when you take them off. Put them back on, and music starts playing again. It’s a neat feature when it works, but we find it a bit hit and miss.

Sound

What’s clear right from the start is that AKG has opted for a more refined and grown-up sound with the Y500 Wireless headphones. There’s plenty of detail here, and every bit of it is composed and clear.

We play PJ Harvey’s Good Fortune and are met with a bold, solid delivery in a pleasingly spacious presentation. There’s ample heft and punch to the low end, edges of notes are crisply laid out, and her raw vocals are projected with excellent clarity. The Y500s go comfortably loud, too – they never sound rowdy or unruly even when pushed to high volumes. If you want headphones that you can just put on, listen to and enjoy with minimum fuss, these are ideal.

Taut basslines and a confident handling of timing make Massive Attack’s Angels an enjoyable, if not overly demanding, listen, and the Y500s’ silky, crowd-pleasing character make them a more long-lasting listen – they’ll keep you bopping along to songs for hours.

AKG has opted for a more composed and polished presentation that sacrifices a touch of its previous dramatic and energetic flair, but that doesn’t mean these cans aren’t an exciting, involving proposition.

The Y500 Wirelesses are a bit more reined in than their predecessors in the way they handle subtle dynamics and rhythms, but they are well put together, with a level of clarity and organisation you won’t get in rival Bluetooth headphones of this kind and price.

Verdict

Juggling good sound quality, clever features, durable build quality and attractive design in equal measure is no mean feat, but AKG pulls it off while making it look easy.

The Y500 Wireless headphones are hugely appealing to use and listen to – you won’t find a similar wireless headphone experience that wraps every element together so neatly at this price.

SCORES

• Sound 5
• Comfort 5
• Build 5

MORE:

AKG unveils four new wireless headphones at IFA 2018

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See all our AKG reviews

If a projector is a bridge between the big-screen spectacle of the cinema, and the comfortable familiarity of the home, then Epson’s EH-TW6700 straddles the gap perfectly.

Features

The spec sheet for the EH-TW6700 is roughly in line with what we’ve seen from other Epson products at this price.

It has a 1080p chip with a 16:9 aspect ratio, a brightness of 3000 lumens, and a claimed contrast ratio of 70,000:1.

It will give you a 100in image from 3m away, whether that is in 2D or 3D, with a maximum image size of 300in.

Build

Calibrating the picture, the EH-TW6700 is certainly easy to use. The remote control is simply laid out, with easily identifiable buttons for changing inputs, although we would prefer it to be backlit too.

On the top of the projector you have a couple of dials to control the height and direction of the image, as well as navigational and power buttons, while on the back are the inputs: two HDMI ports, one USB, one VGA, as well as a 3.5mm output to connect some speakers.

That 3.5mm output is probably going to be useful, as more often than not you’re going to want some extra audio working in combination with the projector.

While it does come with an in-built stereo loudspeaker, for casual use, it doesn’t have a particularly detailed, dynamic or refined sound.

While it’s adequate for those without a sound system, if you want to take a decent step into home cinema you’ll want to pair the projector with a good AV amplifier and speakers.

MORE: Best projectors

Picture

After setting up the EH-TW6700 – opting for the ‘Cinema’ mode – we tweak the contrast, brightness, and colour saturation levels to suit our testing room.

We put the Auto Iris on Normal, switch on Epson’s ‘Super White’ to temper any overexposed whites, and put Frame Interpolation on Low to adequately reduce motion judder without making movements look too processed.

Turning up the Epson’s noise reduction is also recommended, to remove some of the noise in Blu-ray and DVD images.

However, the downside is that it can reduce fine detail, so it’s worth checking your picture at each increment when using it.

Once it has been calibrated, the results are pretty satisfying.

Kicking off our test with high-action blockbuster Captain America: The Winter Soldier, the EH-TW6700 can track the superhuman leaps and punches of Steve Rogers smoothly and naturally.

Later, when Rogers is talking to Alexander Pierce, there’s a palpable depth between Pierce and the walls and ornaments behind him – the EH-TW6700 conveys a crisp, sharp picture without exaggeration.

Going off-world for Avatar, there’s no doubt that the alien planet Pandora’s lush plant-life and brightly-coloured animals are displayed boldly and with a clear sense of vibrancy.

Epson says this projector is capable of up to just over one billion colours, and we can well believe it.

You also get quite a detailed image, although there is more that could be done.

The surreal exploration of Davy Jones’ locker in Pirates of the Caribbean: At World’s End renders each of Jack Sparrow’s freckles and the wisps in his unruly beard during the close-ups, but the EH-TW6700 does lack a level of subtlety at the ends of the spectrum.

MORE: 10 of the best Blu-ray films to test your system

The translucent woodsprite in Avatar, which floats in the air like a jellyfish, comes across as lacking in texture. The projector finds it difficult to reveal the nuances in the CGI creature.

Similarly, it’s tougher making out the outlines of objects, or differentiating between a black outfit and the background, during dark scenes.

Upscaling could be a little more sophisticated too, when using DVDs. Watching Morgan, the felt on Morgan's hoodie as she is interrogated, or the fabric of the scientist’s jacket, isn’t quite as subtle as we’d like.

Verdict

But on the whole, Epson is known for putting out high-quality projectors and its latest addition is no exception to this rule.

The EH-TW6700 is rich, relatively detailed, and happy to handle even motion-heavy movies. If you’re looking to get a cinema experience into your living room, this projector is a good place to start.

See all our Epson reviews

Chord says the MKII model produces less distortion than its predecessor, for “even greater transparency and fidelity”, and has cleaner power delivery thanks to various improvements to capacitance. Other improvements include enhanced isolation on the mains transformer to help reduce interference.

MORE: Chord Electronics SPM 1050 review

The SPM 1050 MKII again uses Chord’s low-distortion amplifier circuitry with four proprietary lateral-structure dual-die MOSFETs per channel, meaning there’s eight in total. Chord says this configuration means the MKII can drive “even the most demanding loudspeaker with clarity and precision”.

Connections include balanced XLR and RCA phono inputs alongside two pairs of loudspeaker outputs. A single power button adorns the front and two LEDs show the power and relay functions. The casing has been machined from aircraft-grade aluminium which has sonic benefits such as dampening unwanted vibrations.

The SPM 1050MKII also features Chord’s proprietary 2KW high-frequency switch-mode power supply, which can found on all of the company’s amps. The power supply delivers instantaneous power from both power rails simultaneously, which Chord says gives the “perfect balance and dynamic precision for music”.

A bank of energy storage capacitors are ‘recharged’ many thousands of times a second by the power supply, which means the amplifier has huge reserves of power to hand allowing it to react “effortlessly to any signal”.

We were big fans of the original SPM 1050, awarding it five stars in 2007, so we have high hopes for the MKII version.

The Chord Electronics SPM 1050 MKII is available now in black or silver finishes, priced £4950.

MORE: Chord Electronics teases TToby partnering amp for Hugo TT

Sometimes it’s okay to make assumptions. SoundMAGIC’s E10S were crowned champion of in-ears up to £50 at the 2014 What Hi-Fi? Awards.

Surely, then, it follows that the E50S, ten notes dearer, ought be even better.

Build

Physically, they are not left wanting. The design – available in metallic grey, red or gold – is sleek and practical (the twisted cable stops them tangling and reduces noise).

In case you were wondering, the ‘S’ stands for smartphone, meaning it comes with a canny inline mic that, thanks to an A/B switch, works with both Apple and Android devices.

Understanding that a good fit is fundamental to the performance of an in-ear headphone, SoundMAGIC provides eight options of bud – including a pair made from Comply memory foam, like a mattress for your ears.

MORE: Best in-ear headphones 2015

Sound

There is no sleeping, however. Open with The Roots’ Get Busy and immediately you find the build quality is reflected in the sound.

You almost feel for the drums as the kit pounds through the thick coating of grime laid down by the synths; the E50S capture the deep bass from the kick, the stab and bleed of the snare and crash of the cymbals, stretching the arrangement to make it sound at once full and gaping.

That balance simply lets the aggression in the vocal come through naturally, tracking the sharp attack on each syllable.

Attempt something more texturally and dynamically complex, such as Explosions In The Sky’s The Birth and Death of the Day, and the results are equally impressive.

The opening chords are sparse and beckoning, the ritardando timing perfect, leaving you to anticipate the burst of the opening melody which splits like a chasm. The piece feels alive as it soars, gallops, then softly passes away.

Verdict

There is little to quibble about with the E50S; they are perhaps a little less expressive than Klipsch’s Reference R6i, but not enough to be a let down.

The difference is small, and if that extra fiver overstretches your budget, a fine alternative.

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