Latest from What Hi-Fi? AU in Fyne-audio

Dali Sonik 5 vs Fyne Audio F501E: which floorstanding speakers are best for you?

Ioan Hazell — Wed, 15 Jul 2026 14:43:47 +0000

Dali

Sonik 5

Drive units: 29mm soft-dome tweeter, 2 x 13cm pulp/wood-fibre mid/bass drivers

Ported: Yes (rear)

Bi-wire: No

Sensitivity (dB/w/m): 88dB

Impedance: 6 ohms

Dimensions (hwd): 82.6 × 16.2 × 27cm

Weight: 10.8kg

Finishes: x 4 (natural oak, white, walnut or black ash)

The Sonik 5’s compact size makes their crisp, punchy sound all the more surprising. While their bass doesn’t delve as deep as larger rivals, these speakers maintain a stable and expansive soundstage, boasting impressive textural detail to boot. As a space-conscious option in their price range, the Dali Sonik 5 take some beating.

Pros

Expressive dynamic performance
Unfussy nature
Unobtrusive appearance

Cons

The Fynes offer greater scale, authority and bass reach

Fyne Audio

F501E

Drive units: Isoflare array (25mm titanium compression dome/15cm multi-fibre mid/bass), 15cm multi-fibre bass

Ported: Yes (downward)

Bi-wire: Yes

Impedance: 8 ohms

Sensitivity: 90dB

Dimensions (hwd): 98.4 x 25 x 29.4cm

Weight: 18.9kg

Finishes: x 2 (black ash, walnut)

Somewhat bulkier than the Dalis, the Fyne F501E have no trouble justifying the space they take up. Talented sonic all-rounders, which we have found hard to dethrone within the price range, these speakers pair a taut, punchy low end with a crisp midrange and treble performance.

Pros

Cohesive, expressive and entertaining presentation
Taut and tuneful bass
Even dispersion characteristics
Solid build

Cons

Too big for some spaces
Lack the Dalis’ precision and insight

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

(Image credit: Future)

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

(Image credit: What Hi-Fi?)

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.

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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.

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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.

(Image credit: What Hi-Fi?)

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

(Image credit: Future)

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

Fyne Audio Cubitt 5

Ioan Hazell — Fri, 26 Jun 2026 14:17:59 +0000

Fyne Audio has impressed us before. Across the nine years that the company has been producing speakers, we have awarded five stars to varied products such as the high-end F701SP standmounts, the compact Vintage Five, and the F501E floorstanders, which are current What Hi-Fi? Award winners.

With the release of the entry-level F5E standmount speakers (tested at £399 / $699 / AU$895), Fyne’s proprietary IsoFlare technology only recently became available at a more affordable price. At that point, however, the company still hadn’t made an entrance into the growing market for active, Bluetooth-enabled stereo speakers.

Enter the Cubitt 5. With a good spread of connectivity options, Fyne’s first active speakers do an awful lot for their desk-friendly proportions. How will they measure up against more established rivals?

Price

Currently available at £549 / $749 / AU$1495, the Fyne Audio Cubitt 5 sit in between two strong five-star rivals.

Those are the smaller, Award-winning Ruark MR1 Mk3 (£399 / $579 / AU$899), which we praised for their punchy sound and good quality phono stage, and the larger KEF Coda W (£799 / $1000 / AU$1450), with their elegant build quality and excellent dynamic handling.

Build & design

(Image credit: What Hi-Fi?)

The first thing we notice about the 26cm-tall Cubitt 5 is their rather stylish design, featuring curved edges and a sleek chrome surround to the main driver. With a minimal, modern look and shoebox-sized dimensions, they make an unobtrusive addition to our test room.

We are also struck by how these speakers look just as comfortable on speaker stands as they do sitting on our desk.

Fyne Audio Cubitt 5 tech specs

(Image credit: Fyne Audio)

Bluetooth Yes (5.0)

Inputs HDMI ARC, optical, RCA line level, MM phono

Outputs Subwoofer

Power 120 watts per channel

Dimensions (hwd) 26 x 16.5 x 21.5cm

Weight 7.8kg (total)

Our test pair arrived in Olive Green, but the Cubitt 5 are also available in Midnight Black, Pearl Titanium, Pebble Grey and Arctic White finishes. Our pair look well finished and feel solidly constructed, with a reassuring but easily transportable weight of approximately 4kg per speaker.

Despite their robust and satisfyingly minimal design, we are somewhat disappointed to find that the speakers feature no onboard controls. Although the included remote is a handy addition while listening from a distance, in a desktop setting, where the speakers are close to hand, it becomes frustrating to have to find the remote every time we want to change source or volume.

In contrast to the sturdy speakers, the black plastic remote feels somewhat insubstantial, but nonetheless does its job well, allowing for easy switching between sources, volume adjustment and activating standby mode. In a thoughtful touch from Fyne, the remote can also be stored in a small metal holder attached to the back of the right speaker so you don’t lose it.

But let’s get into the nitty gritty. Taking a closer look at their fully active design, we find that each of the enclosures houses two 60W Class D amplifiers, one dedicated to each drive unit.

The speaker’s IsoFlare driver array sees a 19mm titanium dome tweeter mounted at the centre of a 12.5cm multi-fibre mid/bass unit to improve sound dispersion and integration between drivers. IsoFlare positions the drivers’ acoustic centres (the point at which the drive unit appears to generate sound) on the same axis, rather than above one another as they would be in a conventional design.

(Image credit: What Hi-Fi?)

As with Fyne’s other IsoFlare products, the mid/bass driver’s rubber surround exhibits the company’s patented fluting, which it claims damps down energy from the driver more effectively, reducing distortion and improving clarity. The speakers also employ a front-firing bass port to reinforce the low end.

Similar to active speakers such as the KEF Coda W, the Cubitt 5 feature one master speaker housing power connection, amplification, DAC and connections, with a wired connection to the other speaker. A 3m cable comes included in the box, but Fyne also offers a longer 8m version, which is available to purchase for £39.99 / €44.99 / $49.99.

Pleasingly, all inputs are clearly labelled, making the Cubitt 5 an accessible option for music fans of all technical abilities. On the front panel, however, we begin to feel that the minimalist design, which includes just a single LED that turns red during standby, doesn’t provide us with enough information.

Without any visual indication of volume, we found it all too easy to return from a break after listening at high levels, and get unexpectedly blasted away when we turn them back on. Similarly, when switching between sources, we would have liked some way of knowing which source was currently selected.

Features

(Image credit: What Hi-Fi?)

The Cubitt 5 are equipped for wireless playback via Bluetooth 5.0, which supports the standard AAC and higher-quality aptX HD codecs.

In terms of wired connections, the speakers house stereo RCA analogue inputs, an optical input that handles hi-res files up to 24-bit/96kHz PCM, and an HDMI eARC input for hooking up to a television, and an integrated moving magnet phono stage for use with a record player.

Our first pair of test speakers had issues with clipping when using the analogue RCA inputs. Fyne sent us another sample though, which performed without a hitch – so we’ll give these speakers the benefit of the doubt.

We find that the Cubitt 5’s Bluetooth connection works well with both our Macbook and smartphone, entering pairing mode easily with one click of the remote and maintaining a stable connection throughout testing. The speakers remember their last connection, so you can pick up where you left off when switching between devices.

Further reflecting their versatile design, the built-in moving magnet phono stage means these speakers can be connected to a turntable without the need for any extra boxes – ideal for vinyl enthusiasts with limited space. A phono ground output is also included on the primary speaker’s rear panel.

For those wanting to extend the speakers’ already impressively controlled and punchy bass, a subwoofer output is also available.

Unlike some of their rivals, the Cubitt 5 do not offer any kind of tonal equalisation or the option of a control app. Fortunately, though, the speakers are sufficiently well balanced and simple to use that these omissions don’t feel like a major issue.

Sound

(Image credit: What Hi-Fi?)

The Fyne Cubitt 5 sound best placed against our listening room’s rear wall, mounted on speaker stands. It is worth noting, however, that they also cope remarkably well on a desktop, resisting both low-frequency blurring and excessive desk vibration better than most rivals.

Across every input, the speakers deliver an impressively taut sound, with a vibrant, airy top end. Bass performance is at once impactful and satisfyingly neat, considering the constraints of their size.

We are immediately impressed by their textural fidelity, with the acoustic guitars of Adrienne Lenker’s Sadness As A Gift showcasing their animated and vivid presentation.

Equally propulsive and contextually sensitive, the Cubitt 5’s rhythmic drive is nothing short of impressive for their price. When listening to Fcukers’ I Like It Like That, we are immediately struck by the manner in which powerful hits of synthesised sub bass drive the song relentlessly forward without ever compromising the gossamer quality of the lead vocals.

Notably, the Cubitt 5 hold their own at high volume, staying composed even when pushed hard.

The Cubitt 5’s soundstage is impressively stable. Listening to David Bowie’s Blackstar, we note the speakers’ precise stereo presentation, with instruments sitting firmly in their places across the left/right axis.

Moving the speakers further apart, we find they are capable of significant width before any central holes begin to appear in the stereo image. With an unexaggerated sense of depth, the Cubitt 5 allow Lazarus’s smooth, layered drums to sit comfortably behind Bowie’s pained vocal.

(Image credit: What Hi-Fi?)

Moving further away from the speakers, we find they retain a satisfying sense of spatial reality, even as we walk around the room.

Dynamically, the Cubitt 5 are highly responsive. Listening to Talk Talk’s The Rainbow, transitions between delicate piano chords and the brash roar of a distorted harmonica are reproduced with equivalent ease. Similarly, large jumps in volume during Radiohead’s Palo Alto are delivered with an impact that seems to sit comfortably within the speakers’ ability.

The Cubitt 5’s MM phono stage sounds pleasantly detailed and energetic when we tried it with the Rega Planar 3 RS Edition, and will be fine for most users. However, if vinyl is your main source, we think it would be worth upgrading to a standalone phono stage for an extra touch of dynamic sensitivity.

An additional word of caution: we do note that the Cubitt 5 produce a slightly higher level of hiss than their rivals, which is apparent when no music is playing, but which isn’t, ultimately, loud enough to bother us during playback.

Compared to the smaller Ruark MR1 Mk3, we feel that the Cubitt 5 offer superior bass handling in terms of agility and grip, and a more faithful, if slightly less energetic, sound signature.

With a responsibly vivacious presentation, these speakers provide an honourable, if not entirely threatening, challenge to more expensive active designs such as the KEF Coda W. However, given the price difference between the two, we are happy to accept any compromises.

Verdict

(Image credit: What Hi-Fi?)

With the Cubitt 5, Fyne Audio is an accomplished addition to the growing market for active speakers with Bluetooth. Their compact proportions, ease of use and feature set make them an ideal addition to a home audio set-up, especially if you have limited space.

While we would have liked to see on-board controls and a visual volume display included, these speakers nonetheless deliver an enjoyable and immersive listening experience for the price.

Review published: 26th June 2026

SCORES

Sound 5
Build 5
Features 4

MORE:

Read our Ruark MR1 Mk3 review

Also consider the step-up KEF Coda W active speakers

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Fyne Audio steps into the active speaker market with the KEF-rivalling Cubitt 5

harry.mckerrell@futurenet.com (Harry McKerrell) — Fri, 15 May 2026 10:23:15 +0000

Fyne Audio is branching into new territory with its first active speakers, the Cubitt 5, which aims to connect "a whole new generation of music lovers through audiophile sound."

The Glasgow-based hi-fi brand has been on an admirable run with its ample stable of passive loudspeakers, including Award-winning F501E floorstanders, but now it is turning its attention to a younger, more convenience-hungry audience with the Cubitt 5.

Similar to the KEF Coda W active speakers, the Cubitt 5 features amplification, power and connections housed in bookshelf speakers, with Bluetooth on the menu for easy streaming from your smartphone.

At the heart of the new speakers is Fyne's latest 12.5cm IsoFlare point-source driver, designed to produce "precise stereo imaging and natural, room-filling sound". That IsoFlare unit is complemented by 'FyneFlute' surround technology, which aims to reduce unwanted colouration and improve overall clarity by reducing the extent to which energy is reflected back down the driver cone.

(Image credit: Fyne Audio)

Alongside Bluetooth, the Cubitt 5 boasts a built-in phono stage for connecting turntables, as well as analogue RCA and optical connections. HDMI eARC is on board for plugging in a TV, while a subwoofer out means you can add some extra bass to your setup.

High-resolution files up to 24-bit/96kHz are supported over optical, while the Bluetooth aptX HD codec is supported.

According to Fyne, the Cubitt 5 has been designed to integrate seamlessly into modern living spaces. Each speaker cabinet features Fyne's high-density construction with internal bracing for reduced vibration, alongside a front-firing bass port which allows the speakers to be placed close to a back wall.

According to Fyne Audio's MD Anji Sosna: "The Cubitt 5 is the culmination of two years research and development into how we can best bring a whole new generation of music lovers into enjoying high fidelity music reproduction at home. Most of all, it had to distil Fyne’s extensive audio engineering pedigree and sound quality into truly class-leading performance".

Available in five finishes – Midnight Black, Pearl Titanium, Olive Green, Pebble Grey or Arctic White – the Fyne Audio Cubitt 5 will be on sale from June 2026, priced at £549 / €649 / $749. That makes them a more competitive option than the five-star KEF Coda W (£799 / $1000 / AU$1450) – stay tuned for our full review in the coming weeks.

MORE:

Read the Fyne F5E review

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

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Sony's new Xperia phone is finally here – and it retains one key AV feature

robyn.quick@futurenet.com (Robyn Quick) — Wed, 13 May 2026 02:00:00 +0000

Sony's latest AV-focused flagship smartphone is here: meet the Sony Xperia 1 VIII.

It’s good news for audio fans as, like the brand's previous offering, the Sony Xperia 1 VIII includes a 3.5mm headphone jack, which is quite a rarity in smartphones and claims to "support high-quality audio using wired headphones."

It has enlisted the help of the firm's Walkman division once again to boost audio quality on this new handset.

Sony has also improved the full-stage stereo speakers, which the brand says will produce deeper bass and extended high frequencies.

The new smartphone's 6.5-inch, Full HD+ (1080 x 2340) OLED display has been tuned by Bravia, and it features a 120Hz dynamic refresh rate too.

It can also automatically adjust the brightness and colour of the display according to the environment, with Sony claiming it delivers a “bright display even under sunlight”.

If you are looking at the VIII and VII editions side by side, then the immediate difference is in the camera design. Instead of having the camera lenses in a vertical line as with its predecessor, the new Xperia model features a raised camera square containing three lenses.

There are plenty of AI features packed into Sony’s latest release, including an AI camera assistant which “suggests creative expressions based on the scene recognised”. If you don’t want artificial intelligence poking around with your photography, however, there is the option to switch it off.

(Image credit: Sony)

The brand is also implementing a new ORE-inspired design, which has a textured feel like rough stone. This comes in Graphite Black, Iolite Silver, Garnet Red and Native Gold colour finishes.

In terms of chipset, owners of the Xperia VIII will be looking at the Snapdragon 8 Elite processor (backed up by 12GB of RAM and 256GB of storage). If you choose the Gold edition, which is available in select countries in-store, then you have the option of upgrading to 16GB RAM and up to 1TB of storage.

Sony also claims you can get two days of battery life from the phone, thanks to the 5000mAh battery.

The new model is launching at the same price as its predecessor in the UK, setting you back £1399 for the 256GB version and £1849 for the 1TB Gold version. When we had the Sony Xperia 1 VII in our test room, we were impressed by its detailed audio and balanced picture. Its limited HDR format and frustrating operating system quirks held it back from true greatness, but it still received a four-star rating overall.

The previous Sony phone was outshone by the five-star Samsung Galaxy S25 Ultra, so it will be intriguing to see how the new model compares.

MORE:

Here is our review of the Sony Xperia 1 VII

Check out the best smartphones we have tested

I will keep playing music through my phone's speakers for this very simple reason

Elipson's active bookshelf speakers feature HDMI ARC and phono stage for a "high performance audio solution"

kashfia.kabir@futurenet.com (Kashfia Kabir) — Tue, 17 Mar 2026 16:41:37 +0000

If you're in the market for a pair of active Bluetooth speakers with ample connectivity, then you're in luck, as French hi-fi brand Elipson has put its hat into this particular ring.

Elipson's Prestige Facet II 6 Active BT is a pair of active bookshelf speakers sporting Bluetooth connectivity alongside HDMI ARC and a moving magnet phono stage. The new active model joins Elipson's Prestige Facet II loudspeaker range that launched last year with 10 models, from floorstanders to Dolby Atmos speakers.

The Prestige Facet II 6 Active BT has a 25mm tweeter and a 12.7cm (5-inch) mid/bass driver and features 50 watts of Class D amplification per channel, with a completely redesigned crossover. The aim is to deliver a "complete, high performance audio solution that is easy to integrate in a workspace, a living room or any multimedia environment."

(Image credit: Elipson)

Bluetooth 5.3 is on board with support for the aptX HD codec for easy streaming from mobile devices. Physical connections include RCA line level, optical and coaxial inputs, and an HDMI ARC input for using the speakers with your TV. Elipson says the Prestige Facet II 6 Active BT speakers could "replace a soundbar for users seeking an elegant and high performance stereo solution."

The aforementioned moving magnet phono stage means you can directly plug your turntable into the active speakers without the need for extra amplifier boxes. Additionally, a USB-C audio input supports playback of hi-res 24-bit/192kHz files directly from your laptop, offering a "wider soundstage, reduced background noise and enhanced dynamics."

There is also a subwoofer output if you want even more bass extension, and each pair comes with a remote control. The speakers will be available in three finishes: black matt, white matt, and black matt/walnut.

(Image credit: Elipson)

The Elipson speakers will be available at the end of March and will cost £599 per pair.

That's a fair bit pricier than some of the best active/powered desktop models we've tested recently, which include the Award-winning Ruark MR1 Mk3 (£399) and the five-star Onkyo GX-30ARC (£299-£339), both of which offer Bluetooth, USB-C and built-in phono stages of good quality, while the Onkyo also has an HDMI ARC input.

Compared to these rivals, Elipson's active speakers are also a fair bit bigger at 29.8 x 17.6 x 22.3cm, more like 'normal' bookshelf speakers – which could potentially be good news for their sound performance.

MORE:

Best active speakers 2026: our experts pick the top pairs with integrated amplifiers

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Burson’s new premium head-fi range is built to shine a spotlight on your headphones’ sonic talents

harry.mckerrell@futurenet.com (Harry McKerrell) — Tue, 10 Mar 2026 13:25:16 +0000

Australian hi-fi brand Burson Audio has unveiled its new Stellar series of compact Class A desktop components.

The new series currently consists of the Conductor Stellar, which acts as a DAC as well as a Class A headphone amp and desktop preamplifier, alongside the Soloist Stellar headphone amplifier and preamp.

Both members of the new Stellar range are built to power a wide range of headphones, from in-ear monitors to more demanding planar magnetic models, with each featuring a dedicated ultra-low-noise amplification stage in order to reveal “exceptional micro-detail and realism” no matter the headphones used.

Both models pack 8 watts of Class A power, designed to deliver “outstanding resolution, dynamic contrast, and clarity”. For both, each channel is powered by four optimised Onsemi MJE15032 transistors in a bid to bring out the “control and musicality” of the new range.

(Image credit: Burson Audio)

At its core, the more costly and versatile Conductor Stellar features an ESS9039PRO DAC chip in pursuit of “exceptional resolution and dynamic range”.

The Conductor offers balanced XLR and RCA inputs and a USB-C input alongside 6.35mm and 3.5mm outputs, as well as XLR and RCA outputs and a subwoofer out. The Soloist, meanwhile, features balanced XLR, 6.35mm and 3.5mm headphone ports alongside XLR and RCA outputs and a sub out.

The new unit is capable of handling PCM files up to 32-bit/768kHz alongside native DSD512, while wireless connectivity comes via Bluetooth 5.0 with support for the high-quality LDAC and aptX HD codecs for wire-free streaming up to 24-bit/96kHz.

The Burson Audio Conductor Stellar is available now, priced £2000 / $1800 / €1900 / AU$2800. The Soloist Stellar is also out now, and will set you back £1700 / $1500 / €1600 / AU$2600.

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The iconic Rega Planar 3 turntable and an Award-winning CD player are at the heart of this awesome hi-fi system

Jonathan Evans — Mon, 09 Mar 2026 09:00:00 +0000

We’re getting into serious hi-fi territory here. This set-up, of four superb products, proves you don’t have to spend really silly money on getting stunning stereo ability.

For just over three grand (in the UK, that is; those in US and Australia will be paying a bit more), you are getting here a system that will give you many years of service playing your vinyl and digital discs. And, of course, there is always the scope to upgrade, should you feel the need, adding (say) a music streamer to the party.

That might not be needed for a while though, as the CD player here has the ability to handle hi-res files as well, so there’s plenty of variety available here straight out of the box.

The system

Turntable: Rega Planar 3/Nd3 – £840 / $1395 / AU$1799
CD player: Arcam CD5 – £699 / $770 / AU$1495
Integrated amplifier: Rega Brio Mk7 – £799 / $1095 / AU$1699
Floorstanding speakers: Fyne Audio F501E – £999 / $1299 / AU$1999
Total system price: £3337 / $4559 / AU$6992

Turntable: Rega Planar 3/Nd3

(Image credit: What Hi-Fi?)

Rega’s Planar 3 record deck has been around for as long as What Hi-Fi? – that is to say, it is now in its 50th year, having been launched back in 1976. In that time, of course, it has been tweaked, upgraded, improved, and lots of other words implying generally made better, on numerous occasions.

Probably the biggest evolution came a decade or so ago in 2016, but it was buffed again in 2024. The minimal but well made Planar 3 is now available in four finish options: black, white or red, all in gloss, and a light-oak finish. The big change last year, though, was the switch of cartridge from the Elys2 to the newer Nd3.

As we say in our most recent Planar 3 review: “The comparisons between the Nd3 and long-running Elys 2 don’t take long to make. As we work our way through Michael Jackson’s Bad set, The Boatman’s Call by Nick Cave and the Bad Seeds and Beethoven’s 9th Symphony, it becomes clear that the new cartridge is better in just about every area.” And the Elys 2 package had won plenty of Awards itself, remember.

“The Nd3 tells us more about the recording, rendering vocals and instrumental textures more convincingly. It has stronger dynamics too.”

So what we have is a package that improved on an already rival-beating forebear, and not for too much extra money either. No-brainer there, then.

CD player: Arcam CD5

(Image credit: What Hi-Fi?)

The turntable is joined here by Arcam’s new(ish – it came out in 2023) CD5 CD player. New kid it may be, but the CD5 has fast become a mid-price contender.

Connections have been kept frugal, with a single pair of RCA line level outputs and, on the digital side, one optical and one coaxial output apiece. Importantly, though, and as referenced above, you can also play music files (in FLAC, WAV, WMA, MP3 and AAC formats up to 24-bit/192kHz) if they are stored on a USB flash drive or hard disk, thanks to the USB-A input on the back panel.

It is a tremendously entertaining and talented performer with an engaging, punchy and muscular delivery. It’s a great big spread of sound that fills up a room easily, but never overwhelms, staying on the pleasant side of transparent and neutral. The CD5 offers an evenly balanced performance throughout: the treble bites but never makes us wince, while the muscular low end has a satisfying solidity that keeps us connected to every genre of music.

As we say in our review: “Most of all, it’s just fun to listen to. The CD5’s rich and likeable presentation delivers the essence of a song in the most entertaining way, while also ensuring it hits all the right hi-fi notes along the way.”

Integrated amplifier: Rega Brio Mk7

(Image credit: What Hi-Fi?)

The Rega Brio amplifier, like its stablemate turntable in this system, has been around for quite some time – in this case since 1991. Now in its Mk7 iteration, it (finally) acknowledges the world in which we’re living, and includes digital inputs for the first time (potential system-upgrade potential alert).

With the improvements to this version of the Brio, however, also came an increase in price – and we were somewhat concerned that it might not be able to compete as effectively in this higher price bracket. Clearly, we shouldn’t have worried.

Judged by those price standards, it is a hugely accomplished performer that puts clear air between itself and its predecessor. “As we compare the two, it doesn’t take long to appreciate the new amplifier’s greater insight, organisation and improved dynamic expression.

“The Brio Mk7 has a bold presentation, one that brims with confidence and substance… it is hard not to be impressed by the Brio’s taut, grounded, low-frequency performance and its ability to deliver dynamic contests with conviction. It has a firm grip of rhythms too, giving the music a solid foundation and a great sense of momentum.”

Floorstanding speakers: Fyne Audio F501E

(Image credit: What Hi-Fi?)

We needed speakers in this system to take advantage of all the musical strengths the sources and amplifier bring to the party, of course.

And Fyne Audio have absolutely pulled it out of the bag with the What Hi-Fi? floorstanding speaker Product of the Year winners, the F501E.

The big news for this impressive entry level floorstander is that Fyne’s trademark Isoflare driver array, where the tweeter sits in the throat of the mid/bass unit, has trickled down to this range for the first time.

General build quality is as solid and neat as expected at this level. However, these speakers are available only in a black-ash vinyl wrap. The lower production cost of having just a single finish is a part of the reason Fyne can achieve such an aggressive price for the F501E. And that, ladies and gentlemen, is a compromise that we – after hearing these superb floorstanders perform – are only too willing to make.

One of the advantages of a coaxial configuration such as the Isoflare array is that it disperses sound more consistently as we move off-axis. This trait pays dividends in the F501E’s focused and layered stereo imaging and the way its soundstage remains stable even when we move away from the (relatively wide) sweet spot.

“We like the sense of scale and are impressed with the low-end authority and punch they generate on demand,” we say in our review. “Bass is taut, tuneful and articulate by class standards. We push the volume levels northward to see how the F501E cope – they tick that box confidently at anything that passes for normal listening levels.

“These towers are a fun listen too, as a trip down memory lane with The Low End Theory from A Tribe Called Quest proves. The F501E are fluid and expressive. They track rhythms with determination while communicating changes in musical momentum in a natural and convincing manner.”

We sum up our review of the speakers thus: “The F501E is a talented all-rounder that has a range of sonic abilities that are hard to better at this price.” And really, that sentence could stand for each of the products in this impressive system.

The fact that, on top of that, they all gel together so remarkably well, means that this is a quartet that you just won’t be able to top at this price.

MORE:

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Yamaha C-5000/M-5000

ketan.bharadia@futurenet.com (Ketan Bharadia) — Mon, 02 Feb 2026 15:04:54 +0000

Yamaha is a difficult company to pigeonhole. It dominates the musical instruments market, manufacturing everything from grand pianos and electronic keyboards to guitars and trumpets. The brand is also rather good at making motorbikes, engines and jet skis.

In the world of domestic consumer electronics, Yamaha has spent recent decades focusing on the home cinema market, particularly AV amplifiers and soundbars, so much so that it is easy to forget the brand’s rich hi-fi heritage. The NS-1000 speakers of the 1970s are a highlight, as are the more recent, Award-winning YH-5000SE planar magnetic wired headphones, but there are so many others.

What does all of this have to do with the new high-end Yamaha C-5000/M-5000 preamp/stereo power amplifier combination we have on test here? To our way of thinking, any company so involved in music-making and the playback chain is ideally placed to make a no-compromise piece of hi-fi. Given Yamaha’s broad spread of expertise and the scale of the resources at its disposal, the prospect is enticing.

Features & connectivity

Yamaha C-5000 on wooden hi-fi rack in front of bookcase, rear of preamp showing connections (Image credit: What Hi-Fi?)

The C-5000 preamp (£8599 / £10,999 / AU$12,999) is a well-equipped unit, though perhaps more focused than we would have expected. This is a wholly analogue product, with plenty of connectivity and a serious moving magnet/moving coil phono stage.

We can’t imagine the C-5000 preamp getting caught short with its six line-level inputs that include two sets of stereo balanced XLRs. Even the phono stage offers balanced XLR connectivity to partner the conventional RCA option. Those expecting digital inputs or even Bluetooth are in for a disappointment; Yamaha has chosen a more purist route in a bid to optimise performance, which is fine by us.

Yamaha C-5000/M-5000 tech spec

(Image credit: Yamaha)

Type Preamp / power amp

Power 100W per channel

Phono stage? Yes (MM/MC): balanced XLR and single-ended RCA

Inputs C-5000: line level x 4, balanced XLR x 2, power amp in single-ended and balanced XLR / M-5000: balanced XLR and single-ended RCA

Outputs Line level, pre-out single-ended x 2, balanced XLR

Bluetooth? No

Headphone output? Yes (6.3mm)

Dimensions (hwd) 14.2 x 43 .5 x 45.1cm / 18 x 43.5 x 46.4 cm

Weight 19.1kg/26.9kg

In our experience, even the digital modules included in car money components often struggle to sound better than standalone units like Chord’s Qutest DAC (£1195 / $1625 / AU$2400), so we think Yamaha’s decision to exclude the digital circuit makes sense. Doing so also avoids any unwanted interactions spoiling the preamp’s analogue line-level performance.

The C-5000 has a trio of line-level outputs: two single-ended stereo pairs and a balanced XLR option. There is a 6.3mm headphone socket on the front, accompanied by a trim control that helps to compensate for different headphones with varying sensitivity. This is a thoughtful touch by the engineers that keeps the volume control operating across a usable range.

You will also find a subsonic filter switch on the front panel. This is useful for minimising any rumble or ultra-low frequency noise generated by the partnering record player that could cause your speaker’s woofer to move excessively. The waste of power and additional distortion associated with such cone movement is well worth avoiding. However, while this filter does as advertised, it also degrades the preamp’s transparency a little.

Other controls include tone adjustments that are subtle enough to be useful, preamp output attenuation to optimise use with third-party power amplifiers and a cartridge gain selector with loading options for moving coils.

(Image credit: What Hi-Fi?)

The M-5000 power amplifier (£8599 / £10,999 / AU$12,999) is a hefty 27kg beast that delivers 100 watts per channel into 8 ohms and doubles that output as impedance halves. We doubt there are many domestic speakers that it couldn’t drive to high volume levels.

Even so, flick the small toggle on the back panel and the M-5000 reconfigures into a bridged monobloc capable of pumping out 400 watts into 8 ohms. That should be plenty, even for those with large rooms.

Other switches on the M-5000’s back panel invert phase and govern whether the power amplifier goes into standby automatically or not. Inputs? It will come as no surprise that there are both single-ended and balanced input options.

Build & design

(Image credit: What Hi-Fi?)

Both of these products are immaculately made inside and out, as befits their high price tag. Their caseworks are made of beautifully finished slabs of aluminium, and each of the panel lines up perfectly. We love the flawless mirror finish on the gloss black wooden side cheeks and suspect that the company’s experience with its similarly furnished grand pianos pays dividends here.

These Yamaha products are truly tactile treats to use, with each switch and control working with precision and positivity. The nicely tapered volume dial even uses ball bearings to ensure smooth operation. The C-5000 preamp’s simple yet effective remote is nice enough to add to the feel-good factor.

Take a look inside the pre and power, and you will find that both designs are built around fully balanced circuits with a ‘floating’ ground, which means that any ground plane noise isn’t injected into the audio signal. Great care has been taken over the power supply arrangements to ensure that the sensitive audio boards get a stable and low-noise feed.

The C-5000 preamp even uses dual mains transformers to avoid unwanted interaction between the two stereo channels. These transformers are encased in copper to control stray magnetic fields and reduce any mechanical vibrations. Yamaha has really pushed the boat out with the preamp’s circuit layout with mirror-imaged signal paths for the left and right channels to ensure identical routing, helping stereo imaging.

(Image credit: What Hi-Fi?)

Of course, we have to mention the M-5000 power amplifier’s huge VU meters. They may not be the last word in accuracy, given that their mechanical nature means they take a certain time to react to the signal, but they look lovely and add an extra touch of class to the visuals.

Any amplifier at this level positively demands a top-class partnering system. Our sources are Naim’s range-topping ND555/555 PS DR music streamer and the Technics SL-1000R record player. As for cartridges, we have our usual Kiseki Purpleheart to test out the C-5000’s moving coil performance and a Vertere Dark Sabre for moving magnet duties.

Speakers? The bulk of our testing sees us use the ATC SCM50, but we also spend a fair amount of time with Fyne’s rather talented F1-8 standmounters.

Sound

(Image credit: What Hi-Fi?)

Given their imposing size and hefty power output, we would expect this Yamaha duo to go big on scale, authority and dynamic reach, and it does. But those things aren’t the highlights of what turns out to be an impressively sophisticated and natural performance.

The biggest compliment we can give to this Yamaha combination is that, after a short time, we don’t even notice it in our system. We end up spending far more time thinking about our speaker choice or the quality of the recording than what the Yamaha amplifiers are doing. This pairing just goes about its business without drawing any undue attention, and if you think about it, that’s exactly what an amplifier should do.

This combo has the talent to deliver Beethoven’s Moonlight Sonata with all the finesse and subtlety it deserves. There is plenty of detail, of course, and all that information is organised with care. The result is that the piano at the core of the piece sounds as harmonically rich and natural as we’ve heard at this level.

We’ve already written the word ‘natural’ twice, and our thoughts keep coming back to just how unexaggerated and even-handed this amplifier pairing sounds. Low-level dynamic shifts are rendered with unusual fluidity and ease, while larger-scale changes in intensity are delivered with verve. Importantly, this never comes at the expense of control or composure.

Tonally, things are spot-on and as balanced as you like. As we work our way through our collection of classical and jazz recordings from Coltrane’s Love Supreme to Shostakovich’s dense Symphony No.10 through to Olafur Arnald’s Found Songs, we can’t help but be impressed by the C-5000/M-5000’s chameleon-like nature.

This duo can stretch the impression of scale and authority as the recording demands, sounding bold and powerful with the Shostakovich piece, offering impressive insight into the complex work, while rendering Found Songs with real intimacy. This amplifier is agile when the music demands, yet can produce a sound of breathtaking solidity and power when required.

(Image credit: What Hi-Fi?)

Stereo imaging is accomplished too, with a nicely layered soundstage and precisely located instruments. We are pleased with the stability on offer and the convincing sense of image depth.

Moving to other genres of music reinforces our opinion of the Yamaha’s admirably accommodating nature. Ice T’s O.G. Original Gangster comes through with plenty of rhythmic drive and a full dose of menace. His bold and aggressive vocal delivery cuts through the mix as it should, and bass lines are rendered with power, punch and precision.

Similarly, we have a great deal of fun listening to Quincy Jones’s The Dude set with its complex production, immaculate musicianship and vivid dynamics. This Yamaha pairing shows no favour and treats all types of music equally well.

Feed this Yamaha pairing a poor recording, and it won’t hide the flaws. This is a highly revealing performer after all, but provided you’ve partnered it with suitable care, it won’t go out of its way to highlight the recording’s shortcomings over the positives.

We’re pleased to report that the C-5000’s phono stage is good too. It is decently quiet and retains the refinement and insight we hear through the line stages. If vinyl were our main source, then we would still be tempted to add an outboard unit like Luxman’s excellent E-07 to optimise the results with records. But, if the record player is going to be an occasional listen for you, then the phono stage built into the C-5000 is more than good enough to satisfy.

Equally, we’re pleased with the sound we hear through the headphone output. We try both the Sony MDR-Z1R, as well as Yamaha’s own excellent YH-5000SE headphones, and enjoy the results. The sound out of the headphone socket is detailed, clean and crisp without losing any of the energy we so enjoy with speakers.

Verdict

(Image credit: What Hi-Fi?)

Yamaha may not be the first brand that comes to mind when we think of high-end amplification, but this C-5000/M-5000 pairing proves that it is capable of producing truly excellent products when it wants to.

If you are lucky enough to be able to buy at this level, this pairing is hard to beat when it comes to the blend of build, finish and performance. Take a listen. We’re sure you’ll be as impressed as we are.

Review published: 2nd February 2026

SCORES

Sound 5
Build 5
Features 5

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Fyne Audio F500E AV Pack 2

Lewis Empson — Wed, 28 Jan 2026 17:12:18 +0000

Fyne Audio made waves in our hi-fi testing room with its F501E floorstanding speakers, earning a coveted Product of the Year title in 2025. You can, therefore, imagine our excitement when Fyne revealed that it offers a full 5.1 surround sound system that features these speakers in the headlining spot.

However, as any concert-goer knows, a good headliner is even better when it's backed up by a talented support act, and with the Fyne Audio F5E scoring a still admirable, but not perfect, four stars recently, we do have some reservations about whether this system can rival the likes of the Award-winning KEF and Bowers & Wilkins systems.

And we can’t forget about the centre channel and subwoofer, as these components take two pairs of stereo speakers and make them into a fully fledged surround sound system, which Fyne is calling the F500E AV Pack 2. Yes, an AV Pack 1 exists, though it swaps the front speakers for an additional pair of F5E speakers.

With all that in mind, can Fyne Audio deliver a 5.1 system that ticks all of our boxes? Simply put, the F500E AV Pack 2 is certainly cinematic, but it’s also a little rough around the edges…

Price

Fyne Audio F500E AV Pack 2 speaker package on grey carpet in test room (Image credit: What Hi-Fi?)

Breaking that £2500 total price down, we have the F501E floorstanders for £999, the F5E surround speakers for £399, the F502E LCR centre speaker for £600, and the F3.10 subwoofer for £500.

At the time of writing, Peter Tyson is offering the speakers as a bundle, somewhat confusingly under the name 'Fyne Audio F501e 5.1 Speaker Package', but with a big discount that takes the all-in price down to £2249.

Other retailers may soon offer a bundle, too, and even those that don't might well be willing to match the Peter Tyson price if you ask nicely.

You’ll notice that we’re only including UK pricing here. That's because certain components – namely the centre channel and subwoofer – don’t seem to be available in the US and Australia.

Competition in this price range is surprisingly fierce. The Fyne Audio package is among Award-winning peers, including the Bowers & Wilkins 606/607 S3 speaker package, which we reviewed at £2496 but can now be found for around £1999.

KEF also sells its mighty Q Concerto Meta 5.1 package for £2549 at select retailers. While that is a step up in price, the performance increase may well justify the additional outlay, as we’ll find out later in this review.

Build

(Image credit: What Hi-Fi?)

If we had to distil our feelings towards the styling of the F501E system down to one word, it would be “functional”.

The floorstanding speakers that make up a predominant portion of this system look neat, and the black ash vinyl finish feels high-quality enough to the touch, but they don’t spark the same allure that the trendy KEF Q Concerto Meta speakers do in that Award-winning 5.1 system.

Fyne Audio F500E AV Pack 2

(Image credit: What Hi-Fi?)

Finishes x 1 (ash black)

Bi-wired? Yes

Fronts

Dimensions (hwd) 98 x 25 x 29cm

Weight 19kg

Surrounds

Dimensions (hwd) 27 x 17 x 23cm

Weight 3.9kg

Centre

Dimensions (hwd) 21 x 63 x 30cm

Weight 13.2kg

Sub

Dimensions (hwd) 34 x 41 x 39cm

Weight 16kg

You’ll also need to ensure you have ample space, as they measure in at a substantial 98 x 25 x 29cm (hwd).

Thankfully, the modest F5E bookshelf speakers are less demanding, as they only measure 27 x 17 x 23cm, though you will have to provide and factor in the space requirements for a pair of speaker stands, or you can wall-mount them if your space allows.

Furthermore, they’re wrapped in the same black ash vinyl, which looks smart enough, but doesn’t exude a luxurious feel, as is present with the similarly priced KEF and B&W packages.

This sentiment is most felt in the bulky F502E LCR centre speaker, which measures in at 25 x 68 x 25cm. It’s designed to be wall-mounted, and it features screw hooks on the back to support this, but the sheer size of it means that your TV or projector screen will have to be fairly high up to accommodate its height.

Also, we could not find any attachable rubber feet in the box to use this in a tabletop set-up. However, as the sound section of this review will reveal, that may be intentional.

The F3.10 subwoofer measures 34 x 41 x 39cm, and it’s wrapped in a matching black ash vinyl finish, which complements the rest of the components nicely.

Overall, the exposed screws, basic styling and mismatch of speaker sizes can make this system look somewhat slapdash, which is slightly disappointing when we look at Fyne Audio’s wider range of eye-catching hi-fi speakers.

Features

(Image credit: What Hi-Fi?)

Fyne Audio’s IsoFlare point source driver array is front and centre in this system, literally, and it’s also found in the surround speakers too.

This proprietary driver, in which the tweeter sits in the throat of the mid/bass unit, has previously been reserved for higher-end models within Fyne’s speaker ranges; however, it’s trickled down to the more affordable F501E and F5E stereo speakers, as well as the F502 LCR centre speaker.

The F501E speakers sport a 2.5-way design, with a downward-firing port that utilises the company’s BassTrax Tractrix diffuser technology, which aims to deliver more uniform bass dispersion around your listening space.

These floorstanders each sport a 15cm multi-fibre mid/bass driver with a 25mm titanium dome compression tweeter, paired with a 15cm multi-fibre bass driver.

The F5E, on the other hand, feature a 2-way design, with a 125mm IsoFlare, multi-fibre mid/bass driver, with a 19mm titanium dome compression tweeter. Much like their floorstanding counterparts, these bookshelf speakers also have a downward-firing port with Fyne Audio’s BassTrax Tractix diffuser.

The F502E LCR, on the other hand, sports a 2.5-way design with a 200mm IsoFlare multi-fibre mid/bass driver with a 25mm titanium dome compression tweeter, flanked by electromagnetically damped 20cm bass and 20cm ABR drivers.

Rounding things out with the F3.10 subwoofer, which pairs a 25cm woofer with 450W of amplification. Fyne has outfitted a down-firing low-turbulence port, which it says will deliver “consistent in-room performance”.

Sound

(Image credit: What Hi-Fi?)

The most important aspect of any home cinema speaker system is, of course, how it sounds. Considering that the F501E proved to be a hit in our hi-fi testing room, and the F5E also scored admirably, we have high hopes (and expectations) for the sonic capabilities of this system.

We’ve paired the F501E package with our reference Marantz Cinema 30 amplifier, alongside the Oppo UDP 203 4K Blu-ray player, which is sadly no longer on sale. We also have the KEF Q Concerto Meta 5.1, and Bowers & Wilkins 606/607 S3 speaker packages on hand as two Award-winning reference points to compare the Fyne system with.

Starting with Marvel’s Thunderbolts*, we immediately deduce that the main objective of this speaker system is to deliver a sound with immense cinematic scale. The sequence in which the group of anti-heroes escape a facility with the seemingly non-super-powered Bob is conveyed with a serious dose of punch, which heightens the excitement throughout.

As the thunderous score reaches its crescendo after a shocking revelation about Bob, we find it hard not to get drawn into the scene, thanks to the Fyne’s bold and dramatic dynamic shifts.

While scale is prioritised, we’re pleased to find that detail isn’t sacrificed as a result. The crispness and clarity of the F501E floorstanders are a huge benefit to the system as a whole, as details are captured throughout the scene with plenty of texture.

Switching to Blade Runner 2049 to assess the low-end capabilities of the subwoofer, we find the F3.10 to deliver weighty and agile bass that does a solid job of building tension in the infamous chapter two sequence.

Some fuzz does creep in during the deepest parts of the sequence, and it isn’t as taut or snappy as its rivals. Nevertheless, the Fyne subwoofer does a solid job of adding some low-end oomph to the system.

What's more, this system nails the “surround” aspect of “surround sound”. The cat and mouse chase sequence in No Time To Die, in which 007 has to evade a group of henchmen in 4x4s and on motorcycles, is presented in a way that puts us immediately into the centre of the action, with effects passing around our seating position and towards the surround speakers with solid accuracy and fluidity.

This does, however, bring us to the biggest drawback of the system. While the surround effect is convincing, we wouldn’t necessarily say that there is much cohesion when it comes to the sonic character of each component.

This is most felt with the centre speaker, which can sometimes feel at odds with the rest of the system. While the F501E floorstanders deliver quite a clean, clear and engaging sound, the F502E LCR can sound a bit softer and less defined.

We should note that this centre speaker seems to perform better when placed against a wall; however, even in the optimal position, we find that voices lack purity and can sound somewhat recessed.

The F5E surround speakers aren’t a perfect match either, meaning that we sometimes notice a slight sonic mismatch here, too.

This becomes more evident when we compare this system with the KEF and B&W alternatives, both of which feature stellar sonic cohesion across their respective components, and handle dialogue with detail and consideration in equal measures.

We find that both of these systems offer a more agile and precise sound, too, whereas the Fyne package continues to prioritise scale and cinematic punch at the expense of some dexterity.

That’s not necessarily a bad thing. The F500E package proves to be an exciting and engaging surround sound system throughout our testing, and we find ourselves appreciating the sheer magnitude of the sound this system produces. That being said, its Award-winning peers offer a bit more in terms of sonic subtlety.

Verdict

(Image credit: What Hi-Fi?)

The Fyne Audio F500E Pack 2 has many positive attributes, and it will appeal to anyone who favours big, punchy and broad cinematic sound. It can be fairly revealing thanks to the detailed and crisp F501E front speakers, but as good as these floorstanders are, we feel as though the rest of the system can let them down.

The F5E surrounds aren’t miles off, and they play a key role in delivering a truly impressive surround sound effect, but the centre channel is less appealing, thanks to its bulky frame and softer sonic characteristics.

Still, while the system as a whole falls short of true greatness, there's still much enjoyment to be found in its bold delivery.

SCORES

Sound 4
Build 4
Features 4

MORE:

Read our review of the Bowers & Wilkins 606/607 S3 Speaker Package

Also consider the KEF Q Concerto Meta 5.1 Speaker System

Read our Dali Oberon 5 5.1 Speaker Package review

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Fyne Audio F5E

James Cook — Mon, 19 Jan 2026 14:34:41 +0000

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

(Image credit: What Hi-Fi?)

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.

Fyne Audio F5E tech specs

(Image credit: Fyne Audio)

Type Standmount

Drive units 19mm titanium dome compression tweeter; 12.5cm IsoFlare multi-fibre mid/bassPorted? Yes

Bi-wire? No

Impedance 8 Ohms (nominal)

Sensitivity 87dB/W/m

Dimensions (hwd) 27 x 17.4 x 22.8cm

Weight (per unit) 3.9kg

Finishes x 1 (black ash)

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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

Superb hi-fi deal sees first major discount for Award-winning five-star floorstanders

andy.madden@futurenet.com (Andy Madden) — Tue, 13 Jan 2026 13:00:38 +0000

Here at What Hi-Fi? we love a good floorstanding speaker – especially those we rate at five stars and that are available with a tempting discount.

Which is exactly what we have here with Fyne Audio’s superb F501E towers. This model isn't only a five-star belter, though – it's also the holder of a 2025 What Hi-Fi? Product of the Year Award!

We deemed the Fynes ‘Best floorstanding speaker £500-£1000’, and the F501E are now showing their first ever discount of £100 over at Richer Sounds. This takes their price down from £999 to £899, a tasty 10% off.

The Award-winning Fyne Audio F501E floorstanders are class leaders at the money, and their amazing range of abilities makes them a joy to listen to. The only real drawback is that they’re available in only one finish (Black Ash).View Deal

The F501E might be part of Fyne Audio’s entry-level range of speakers, but they perform above and beyond their asking price.

In our Fyne Audio F501E review, we describe the speaker as being “a talented all-rounder that has a range of sonic abilities that are hard to better at this price.”

“We like the Fyne’s sense of scale and are impressed with the low-end authority and punch they generate on demand. Bass is taut, tuneful and articulate by class standards.”

Fyne Audio’s trademark Isoflare driver array, which features the tweeter positioned at the throat of the mid/bass unit, is typically reserved for its more expensive loudspeakers, but it’s present on this entry-level model.

And in our review, we praise its performance, saying, “Having the acoustic centres of the tweeter and mid/bass aligned helps with integration; the result is a crisp and forthright performance with vocals that captures nuances and subtle shifts in intensity superbly.”

Build quality is solid and neat, although some might be disappointed to learn they are available only in a single finish, Black Ash.

Thanks to their downward-firing port arrangement, these Fyne’s aren’t hugely fussy about positioning, although we found they performed best around 70cm or so out from the rear wall and well away from the sides of our test room.

In terms of partnering the speakers with suitable electronics, it goes without saying that a good-quality stereo amplifier will go a long way to extracting the very best performance from the F501E.

They will deliver the goods in modestly priced systems, yet have enough in reserve to handle a move up in quality should you be considering an electronics upgrade.

We tested them with Arcam’s A5 (50 watts per channel) and Naim Nait XS3 (70 watts per channel) to PMC’s Cor (95 watts per channel) amplifiers, and they performed without any problems.

If you want an epic floorstander at an attractive price, we heartily recommend you audition the Fyne Audio F501E and take advantage of this £100 saving at Richer Sounds.

MORE:

Our pick of the best floorstanding speakers you can buy for all budgets

Standmounts vs floorstanders: which speaker type should you buy?

Read our full Fyne Audio F501E review

In For Review: retro-inspired Quad amplifier, brand new 4K projector, and high-end Rega pre/power

kashfia.kabir@futurenet.com (Kashfia Kabir) — Mon, 12 Jan 2026 18:06:22 +0000

It's a brand new year! Happy new year to our readers, and we are here to brighten the January blues by giving you an insight into the hi-fi and home cinema products we have in for review this month.

While we try to clear away the festive-induced cobwebs and tackle 2026 with refreshed energy, there is no time to catch our breath when it comes to what's really important to us at What Hi-Fi? towers: reviews.

Previously on In For Review

A Rotel first, a Cambridge Audio streaming amp, and the Philips OLED910 – these are the 5 exciting products we have in for testing

Our listening rooms have already opened the doors to new products as we get back to work on our first week, and we have on the testing block products as varied as Rega's flagship pre/power amplifiers, high-end open-back headphones and a new contender in the premium 4K projector space.

Below is a small selection of the tantalising products we have in for testing this month. Get in touch with us via whathifi@futurenet.com if you have any questions about them, and we can endeavour to answer your query during testing.

Rega Mercury and Solis

(Image credit: Rega)

They're finally here. Rega's Mercury and Solis pre/power are the brand's new high-end flagship amplifiers, and they are finally in full production flow, after early concepts and units were teased and previewed at trade shows over the past year.

The pre/power duo costs £13,900 in total (approx. $21,000 / AU$29,000), and are, according to the brand, "the culmination of almost four decades of Rega electronics engineering experience in solid-state amplifier development". The engineers have obsessively worked on this new flagship, choosing components intentionally (even older DAC chips, for instance) to prioritise sound quality above all.

The preamp features line-level and balanced XLR inputs, coaxial and optical inputs, and USB type B, with the internal DAC supporting up to 24-bit/192kHz PCM and DSD64 file resolutions. The power amp outputs a claimed 168W per channel into 8 ohms – it may not be the flashiest product in terms of specs and design, but here's hoping that Rega can deliver where it really counts: pure audio performance and enjoyment.

We've got review samples of the Mercury/Solis in right now and are currently testing them – stay tuned for the full review in a few weeks.

Quad 3

(Image credit: What Hi-Fi?)

Here's another product we've been dying to get into our test rooms ever since we first laid eyes on it last year. The Quad 3 amplifier takes inspiration from the charming 33 / 303 pre/power amp duo and brings those gorgeous 1960s retro looks to an integrated design.

Underneath the hood, however, it's a thoroughly modern affair, with cutting-edge specs (advanced ESS Sabre DAC chip, extensive file compatibility, aptX Bluetooth, HDMI ARC) and the promise of a "detailed, expansive and expressive sound".

All that packed into a nifty compact design with that eye-catching LED display, for £1249 / €1895 / AU$2799, is certainly tempting. Now, if only we had that matching Quad 3CDT transport that was just announced before Christmas in too...

Yamaha YH-4000

(Image credit: Yamaha)

Yamaha's high-end YH-5000SE wired headphones were a revelation: they were a five-star stunner and winner of our Temptation Award in 2023 – truly, an impressive, hugely talented and insightful pair of audiophile open-backs.

Now, we have their latest premium headphones in for testing. The new YH-4000 open-back headphones follow the same design structure and magnesium body as the 5000SE, but with updated materials and technology. The orthodynamic (planar magnetic) drivers return, while there is a new mesh filter and brand new earpads specifically made for this model. The headphones are hand-assembled in Yamaha's Kakegawa factory, where their famed grand pianos are also made, and we hope the "uniquely responsive, natural and precise sound” lives up to the promise.

We also have the closed-back model, the Yamaha YH-C3000 ($1699), in for testing. The C3000 uses a new "armodynamic" driver and feature hand-crafted beech wood housings for the earcups – which promise lightweight build and natural sound.

Sharp RP-TT100

(Image credit: Sharp )

To quote our original news story: "This wasn't on our 2025 bingo card". TV/AV manufacturer Sharp surprised us with its first turntable in 20 years, with the RP-TT100 making its debut at the IFA showcase last year.

The RP-TT100 record player is fully automatic in use, with pause, reward, fast forward and repeat functions available at the push of buttons. There is even a USB-C port for digitising your records, while the deck itself features an aluminium platter and metal tonearm.

With built-in phono stage and Bluetooth streaming, Sharp is aiming to deliver all the modern requirements of a turntable for newbie vinyl fans.

The price is on the affordable side, too, costing a rather competitive £180 / €199, with availability in UK and Europe at the moment. Can it hold its own in the very crowded budget turntable market? We shall see.

Fyne F500E 5.1 speaker package

(Image credit: Fyne Audio)

Fyne Audio's F501E wowed us with their incredibly expressive, cohesive and entertaining performance at £999 per pair, beating out plenty of pricier alternatives and winning the overall Product of the Year gong for floorstanders at the What Hi-Fi? Awards 2025.

Naturally, a 5.1 surround sound package incorporating these talented speakers is our next step. This Fyne package consists of the F501E as the front left/right speakers, the smaller standmount F5E as the surround speakers, with the F502E centre and F3-10 subwoofer – all for £2249.

Can Fyne succeed in a home cinema setting the way it excelled on the stereo front? We are currently testing this 5.1 package, so you won't have long to find out in our full review.

Xgimi Horizon 20 Max

(Image credit: Xgimi)

We normally encounter Xgimi projectors at the portable end of the market, such as the cute and enjoyable Xgimi MoGo 4, but the Chinese brand is now aiming for the big boys.

Its new range of 4K projectors are aimed at "serious home theatre enthusiasts" and we have the flagship, the Horizon 20 Max, in for review. This RBG triple laser projector aims to deliver “immersive visuals even in daylight or high-ambient light environments”, and has a claimed 5700 ISO lumens of brightness and 20,000:1 contrast ratio. It also supports Dolby Vision, HDR10+ and IMAX Enhanced, while Google TV gives you plenty of smart app access.

Sound is provided by Harman Kardon, while gamers are promised low-latency modes and a 240Hz refresh rate. Priced at £2599, it goes up against fierce competition from the Award-winning Epson EH-LS9000 – we can't wait to see how the new Xgimi fares.

TCL C6K (Q6C)

(Image credit: TCL)

TCL had a terrific year at our What Hi-Fi? Awards 2025, picking up three wins for its C7K and C6KS TVs. Sandwiched between them is the C6K (or Q6C) range, and we have high hopes that this Mini LED TV lives up to such high expectations.

As part of TCL's 2025 TV range, the C6K stars from £799 for the 55-inch up to £3199 for the 98-incher. This Mini LED TV features comprehensive HDR support (same as those in the C7K), high refresh rates, and support for Dolby Atmos Flex Connect, which should give you greater flexibility for choosing and placing your home cinema speakers.

You get fewer dimming zones and lower max brightness of 1000 nits compared with the step-up C7K, and a 2.1-channel 40W Onkyo sound system, instead of the C7K's Bang & Olufsen version.

We praised the punchy brightness and contrast on TCL's C6Ks and C7K TVs as well as their very competitive prices last year, so here's hoping that the C6K model we have in for testing follows in its siblings footsteps.

MORE:

Hi-fi and luxury have always been intertwined, but is style as important as sonic substance?

The new LG C6 OLED TV features Primary RGB Tandem panel tech – there's just one problem…

Onkyo celebrates its 80th anniversary with all-new Muse streaming amplifiers

Fyne Audio’s affordable speakers aim to blend the delicacy of a standmount with the weight and scale of a floorstander

James Cook — Wed, 05 Nov 2025 15:10:17 +0000

Fyne Audio has made its entry-level F500E series more affordable with the launch of its latest floorstanders, the F55E.

The slim speakers are designed to bring a premium listening experience to small and medium-sized listening rooms. The Scottish manufacturer claims the F55E “delivers the refinement, delicacy and imaging precision of a small stand-mount speaker, but with the body, bass weight, and scale of a floorstander.”

Launched earlier this year, Fyne’s F500E series features the Award-winning F501E, terrific floorstanders which we praised for delivering outstanding value for money thanks to their cohesive, expressive and entertaining presentation at for around £999 / $1299 / AU$1999.

The newer, more affordable towers once again deploy Fyne's signature IsoFlare driver array, whereby where the tweeter sits in the throat of the mid/bass drive unit, with the F55E bringing together a 12.5cm multi-fibre mid-bass with a 19mm compression tweeter alongside a distinct 12.5cm bass driver.

(Image credit: Fyne Audio )

According to Fyne, this design “ensures that all frequencies radiate outward from precisely the same point in space, producing a perfectly time-aligned wavefront for pinpoint imaging and natural coherence across the frequency spectrum.”

Fyne’s BassTrax Tractrix diffuser system is also present, whereby the port fires directly onto an upward-facing cone which disperses low-end sound evenly through 360 degrees, resulting in “deep, articulate bass that integrates effortlessly with the room”.

These patented technologies are housed in slender, high-density MDF cabinets, internally braced and acoustically damped to reduce internal vibrations and create a cleaner, clearer sound.

Fyne has been on an impressive run with its floorstanding speakers of late, with the F501E and more premium F502S both earning What Hi-Fi? Awards this year, so we're hoping for the same levels of performance from the compact, affordable F55E.

The Fyne Audio F55E are available now in Black Oak, while the Walnut finish will be available in early 2026. They are priced at £900 / $1100 / AU$1695.

MORE:

We have tested the wireless headphones and turntable in the John Lewis Christmas ad – and they're both five-star stunners

Check out the eight spectacular tracks lighting up our test rooms this month

These are the best floorstanders you can buy

This tiny 'lantern' projector is seriously cheap and has surprisingly competitive specifications

robyn.quick@futurenet.com (Robyn Quick) — Mon, 20 Oct 2025 13:00:00 +0000

China-based brand Xgimi has launched its latest portable projector, the Vibe One, along with a new sub-brand.

The Vibe is being pitched as an affordable, portable option for people looking for a big screen movie watching experience that won't break the bank.

Apollo Zhong, chairman at Xgimi, comments: “With Vibe One, we’re giving users a product that’s simple, fun, and dependable, while still carrying the design DNA XGIMI is known for.”

Featuring auto-keystone and auto-focus, the 1080p projector’s stand can tilt up to 160 degrees making it, in theory, easy to setup on the fly.

It also has a compact design akin to a camping lantern with a carry handle on the top. The only slight concern is that the Vibe One only offers up to 1.2 hours video or four hours music playback according to the company. So, if you're looking to watch any of Martin Scorsese's library of work you'll need a battery pack or mains connection.

In terms of sound, there are two 3W speakers featuring Sound by JBL for “rich, room-filling audio” that doubles as a Bluetooth speaker. As you'd expect for a projector this class, Dolby Atmos is not included.

(Image credit: Xgimi)

The Vibe One uses Google TV with built-in Netflix support, plus the usual streaming suspects. That includes Amazon Prime Video, ITVX and Disney+.

It also includes eight Ambient Light Mode colours to help set a "vibe" when using it. You can get the projector in two different finishes: Cloud Ash and Blue Spark (featuring a yellow handle and blue base).

The projector will cost £219 in the UK and $269 in the US on 5 November, although for the latter there is a reduced early bird price of $199 if you pre-order.

Even compared to a similar model from the brand, the Xgimi MoGo 4, that is quite a low price and puts the Vibe One in the entry-level portable projector category.

When we reviewed the MoGo 4 (which launched at £509 / $499 / AU$1399), we rated it four stars for its punchy picture and easy-to-use design.

It certainly seems that Xgimi have continued its legacy with the compact build, but we will have to see how this cheaper projector fares when it comes to its picture.

MORE:

Here's our review of the Xgimi MoGo 4

These are the best portable projectors

And check out the best projectors right now

We've put together a terrific-sounding and thoroughly modern hi-fi system for streaming and vinyl

Jonathan Evans — Mon, 20 Oct 2025 07:00:00 +0000

You would be forgiven for thinking, looking at the products on this page, that we have taken one of our occasional nostalgic steps back in time. There is a very definite old-school look to this terrific streaming and vinyl system.

But the phrase “don’t judge a book by its cover” was really never more apt. Magnificently 1970s it may look, but the combination of products you see here is as excellent and up to date an offering as you will find at the beginning of the second quarter of the 21st century.

And that's not all: all of the products chosen for this system are fresh recipients of a 2025 What Hi-Fi? Award – so you know they are of great value and come highly recommended.

The system

Streaming amplifier: NAD C 3050 (with MDC2 BluOS-D module) – £1699 / $2199 / AU$3599
Turntable: Pro-Ject Debut Evo 2 (with upgrades) – £739 / $943 / AU$1617
Floorstanding speakers: Fyne Audio F501E – £999 / $1299 / AU$1999
Tablet: Apple iPad Air 13-inch (M3) – £799 / $799 / AU$1349
Total (without tablet): £3437 / $4441 / AU$7215
Total (with tablet): £4236 / $5240 / AU$8564

Streaming amplifier: NAD C 3050 (with MDC2 BluOS-D module)

(Image credit: What Hi-Fi?)

The NAD C 3050 is far more than just a nod to vintage hi-fi. While its mechanical power meters and walnut vinyl-covered casework evoke a bygone era, beneath the surface lies sophisticated engineering.

The real game-changer for our purposes, though, is the optional MDC2 BluOS-D streaming module. This clever piece of tech transforms the C 3050 amplifier into a versatile, just-add-speakers streaming system.

A senior member of the What Hi-FI? reviewing team liked the C 3050 streaming amplifier so much, indeed, that he was heard to say, “I was so surprised at how good it was.” High praise from a notoriously tough audience.

In its base form, the C 3050 is a well-equipped amplifier, boasting a moving-magnet phono stage, two-way Bluetooth (aptX HD), coaxial and optical digital inputs, and a robust 100 watts per channel output into both 4-ohm and 8-ohm speaker loads. The inclusion of an HDMI eARC input further enhances its integration into modern AV setups.

That’s all satisfying enough on its own. Adding the MDC2 BluOS-D module, though, significantly expands its options. This module, built on the stable BluOS platform, allows the C 3050 to stream music files from a home network, access internet radio, and connect to popular streaming services.

And the C 3050 is a high achiever, delivering a clear, spacious, and expressive presentation. It excels with vocal-based music, offering superb midrange clarity and fluidity, and capturing the texture and tone of voices with heartfelt passion. It demonstrates impressive dynamic prowess with more demanding pieces, too, conveying power and authority with a muscular, rich, and punchy low-end.

The soundstaging is expansive and focused, remaining stable even during complex musical passages. The built-in DAC and phono stage are equally commendable, providing agile, informative, and dynamically interesting sound.

The great thing about the BluOS module is that, despite the fact that Bluesound introduced the technology such a long time ago, it continues to develop and refine it – and users of the unit will only benefit from that input over the coming years of ownership.

Read our full NAD C 3050 (with MDC2 BluOS-D module) review

Turntable: Pro-Ject Debut Evo 2 (with upgrades)

(Image credit: What Hi-Fi?)

The turntable we have selected for this system has also had some extras added to it – extras that take a good design and elevate it to something really quite special.

For the Pro-Ject Debut Evo 2 is available to buy with some optional upgrades. And, of those, by swapping out the standard power supply for the High Power it 2 fully grounded power supply and replacing the base sub platter with the Alu Sub-Platter, we have found that you can deliver a significant jump up in the Evo 2's overall performance. Adding those two modifications increases the Evo 2's price to £739 / $943 / AU$1617, but we think it's well worth the investment.

With these amendments to the set-up, the Debut Evo 2 finds itself nestling rather nicely between two of its great rivals – Rega’s mighty Planar 2 and the step-up Planar 3.

Indeed, the High Power it 2 power supply could be the best £25 / $45 / AU$99 you ever spend on a turntable. It offers greater solidity and depth to the Evo 2's sound, but without compromising that delicate fluidity we like so much. Voices have more conviction, dynamic swings are more subtle and dramatic, and you even get a snappier sense of timing.

To move things up the scale even more, swapping the Evo 2's standard sub-platter for the Alu Sub-Platter is a terrific upgrade. It adds a satisfying amount of muscle, scale and authority to the Evo 2's sound – attributes we felt were somewhat lacking in our initial test. There is greater power and subtler detail unearthed, the soundstage is more spacious, and the dynamics are improved even further.

Orchestral instruments have greater weight and heft behind them, while the quieter moments are more dramatic and cleaner-sounding. This aluminium sub-platter fundamentally improves everything the deck does; it is a pricey upgrade at £115 / $199 / AU$219, but it means you don’t have to level up to a new turntable if you want a performance upgrade.

Read our full Pro-Ject Debut Evo 2 review

Floorstanding speakers: Fyne Audio F501E

(Image credit: What Hi-Fi?)

To complete this old-school looking yet thoroughly modern system, we present the ideal match as far as speakers go.

The Fyne Audio F501E floorstanders are aggressively priced, offering exceptional value for money by incorporating flagship driver technologies into an entry-level range.

The F501E features Fyne’s trademark IsoFlare driver array, where a 25mm titanium compression dome tweeter sits within the throat of a 15cm multi-fibre mid/bass unit. This coaxial configuration ensures consistent sound dispersion, leading to focused and layered stereo imaging that remains stable even when the listener moves off-axis.

A dedicated 15cm multi-fibre bass unit, rolling in below 250Hz, is tuned by a downward-firing Basstrax port arrangement, which disperses bass evenly through 360 degrees, making the speakers less fussy than many about room placement.

These towers are a fun listen too, fluid and expressive in their delivery. They track rhythms with determination while communicating changes in musical momentum in a natural and convincing manner. Having the acoustic centres of the tweeter and mid/bass aligned helps with integration; the result is a crisp and forthright performance, with vocals that capture nuances and subtle shifts in intensity superbly.

As we say in our review, “Through the test process, we cover large swathes of our music collection from Dvořàk’s New World Symphony and John Coltrane’s legendary Giant Steps set to Hit Me Hard And Soft by Billie Eilish, and the Fynes never miss a beat. They have the sophistication and muscularity to convey the majesty of a full-blown orchestra yet can still convey the intimacy of Eilish’s Wildflower superbly."

Read our full Fyne Audio F501E review

Tablet: Apple iPad Air 13-inch (M3)

(Image credit: What Hi-Fi?)

The last piece of our system is not a vital component. And it clearly is the only piece of tech here that actually would stand out in a ’70s living room. But you are going to need something to steer the digital part of this system to the music.

A smartphone would, of course, do the trick. But, for ease of use and a sense of occasion when settling down to do some proper listening – rather than simply having something on in the background – we find an Apple iPad, with its greater screen real estate and impressive accessibility, is our preferred form of remote control. It’s a brilliant piece of tech, and will allow access to the digital music files and streaming services you own.

Which iPad you opt for – whether it's the larger iPad Pro or the newer, thinner iPad Air – any model will do the job as the control centre for your music library.

And, of course, if you want to take yourself back in time 50 years (or at least appear to the outside world), you can simply hide the iPad under a handy cushion, stick on a record, and sink back into the music. Bliss.

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

MORE:

These are the 7 scarily good tunes we've been using for testing this month

Our guide to the best turntables you can buy

What Hi-Fi? Awards 2025 winners revealed!

Best floorstanding speakers 2025

alastair.stevenson@futurenet.com (Alastair Stevenson) — Tue, 14 Oct 2025 10:24:14 +0000

Best floorstanding speaker £500-£1000

Fyne Audio F501E

Read the full review here

Great value and capable of delivering an expressive entertaining sound, Fyne's F501E are a new Award-winner for 2025

Best floorstanding speaker under £500

Wharfedale Diamond 12.3

Read the full review here

For yet another year the Wharfedale Diamond 12.3 are the best floorstanders you'll find for less than £500

Best floorstanding speaker £1000-£2000

PMC Prodigy 5

Read the full review here

The PMC remain a winner for another year, offering music fans a refined sound that is yet to be beaten

Best floorstanding speaker £2000-£3000

Fyne Audio F502S

Read the full review here

With an expert handling of dynamics and a cohesive, balanced sound these are the best floorstanders you will find at this price

Best floorstanding speaker over £3000

ProAc D20R

Read the full review here

Beautifully made and as musical as they come, the ProAc D20R are our new recommended floorstanders at over £3000

These are the best floorstanding speakers we've reviewed

Level up your home cinema with this incredible deal on an Award-winning Marantz AV receiver

Lewis Empson — Tue, 16 Sep 2025 10:20:32 +0000

Marantz struck gold when it launched the Cinema 30, a premium Dolby Atmos-touting AVR that looks as good as it sounds.

While we acknowledged in our full review that it is a pricey piece of home cinema equipment, we couldn't resist its smooth, rich, and powerful cinematic sound, which is why it found its way onto our best AV receivers list and earned a coveted What Hi-Fi? Award.

Thankfully, our sticking point regarding the price of this home cinema amp has been addressed, as it's just seen a major discount at Peter Tyson, which drops the price from £3999 to £3499.

The Marnatz Cinema 30 is a premium piece of home cinema equipment that impresses at every turn. Its stylish build, faultless feature set and hugely impactful cinematic sound make it an impressive AVR on all fronts, and this £500 saving is the icing on the cake. View Deal

We deemed the Cinema 30 to be an AVR of "rare ability", due to its sensational cinematic sound. Rich, punchy, dynamic, detailed; this AVR has it all, and it's the perfect amplifier to take your home cinema to the next level if you've been thinking of upgrading.

With 11 channels of amplification and a claimed 140W of power when two channels are driven, the Cinema 30 can easily drive a 7.2.2 channel Dolby Atmos system. DTS:X and Auro-3D are also on board, and you can easily configure and calibrate your system with the included Audyssey microphone.

And it's the perfect hub for all of your connected devices, thanks to its seven HDMI 2.1 inputs, all of which support up to 4K/120Hz or 8K/60Hz with VRR, ALLM and QMS. HDR is also supported in all of the major formats, including Dolby Vision, HDR10+, HDR10 and HLG.

Wireless streaming is also a key component of this AVR, with a wide range of services supported. Spotify Connect, Tidal Connect, Apple AirPlay 2, Amazon Music HD, and HEOS are all available, allowing you to beam music directly to the amplifier from a smartphone or tablet.

We also have to give Marantz credit for how this AVR looks. Available in two finishes – Black and Silver Gold – the Cinema 30 is a handsome piece of home cinema kit, with Marantz's iconic circular display up front and sleek accent lighting which accentuates the textured metal finish; this AVR is easily the best-looking home cinema amplifier that we've tested.

Having all of these features and good looks to match is all well and good, but sound performance is paramount. Thankfully, the Cinema 30 delivers a smooth and refined sound that can balance huge scale and control without breaking a sweat.

This AVR has earned its spot as our reference amplifier in our AV testing room, which should serve as a testament to its performance. I've been using it to test the capabilities of the latest speaker packages from Fyne and KEF, so keep your eyes peeled for reviews of those 5.1 speaker systems coming soon.

The on-screen setup menus and easy calibration have made this process refreshingly simple, and its reference-worthy sound has ensured that these speakers are performing at their very best.

If you've been considering an AVR upgrade for your home cinema setup, the Marantz Cinema 30 is simply the best around. While it costs quite a lot more than our current pick for the best AV receiver – that being the Sony TA-AN1000 – its stellar sound (and looks) make it a worthy consideration if you have extra cash to spend.

This deal at Peter Tyson will, of course, soften the blow to your wallet, and we assure you that you won't regret the purchase once you hear it in action.

MORE:

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Fyne Audio's five-star towers have smashed down the door of our best floorstanders guide

harry.mckerrell@futurenet.com (Harry McKerrell) — Wed, 27 Aug 2025 11:40:52 +0000

The world of floorstanders is, as you can imagine, a hotly contested arena, and our list of the best floorstanding speakers across all budgets is an evolving, curated guide for music fans looking to fill their room with big, entertaining sound.

There are plenty of new contenders, and it takes truly great-sounding and great-value speakers to make it to the main list, which sees competition from brands such as PMC, Bowers & Wilkins, Wharfedale and Q Acoustics, to mention but a few.

This year, we've had a number of floorstanders pass through our test rooms: Sonus Faber Sonetto V G2 (£5995 / $6499 / AU$11,995) and the Revival Audio Sprint 4 (£1790 / $1990 / AU$3300) have charmed us without quite making it onto our main list of recommendations, while the long-running, five-star ProAc D20R (£3825 / $6500 / AU$9600) are accomplished enough to have made their way into our 'also consider' section.

The new Fyne Audio F502S floorstanders that we've just tested (priced at £2300 / $2800 / AU$3000 per pair), however, cannot be ignored.

At this premium price level, they are hugely talented and offer such great overall value, that we had to include them in our main list – we highly recommend them as the best floorstanding speakers for large rooms on both our US and UK best floorstander guides.

Fyne-ally, a worthy opponent!

That Isoflare design really works a treat. (Image credit: What Hi-Fi?)

The Fyne Audio F502S are not small speakers. Place them side by side with their price-comparable Neat Mystique Classic rivals (a word on them below), and the former will positively dwarf the latter to an almost comical extent. These are big towers, and they need an appropriately large space to accommodate them.

If you do have the space to let them fully flourish, the results are mesmerising. Rarely have we heard a pair of floorstanders at this price that can do so much so well, with the F502S offering a perfect balance of authority, scale, refinement and entertainment.

They're powerful, poised and impressively detailed, yes, but never do we find them boring or lacking in expressiveness. Their proprietary Isoflare point source driver design is a big bonus, too, giving the sizeable towers outstanding sonic integration and making them more flexible about positioning in the process.

To quote from our review, the Fyne Audio F502S "are are like your favourite school teacher or most inspiring university lecturer: authoritative and competent, yes, but personable, engaging and genuinely approachable".

They bring us closer to the emotional heart of our music, too. As we wrote at the time, the F502S have palpable authority and scale, but their "ability to bring out the emotional beats beneath the surface really knocks us sideways".

We're struck by how good Fyne's heavyweight towers are. If you are specifically after a large pair of excellent all-rounders to fill a large listening room, these premium floorstanders are our top recommendation to do the job.

A small word on the Neat Mystique Classic

Small size but lots of fun... (Image credit: What Hi-Fi?)

We'd be remiss if we didn't mention the also recently reviewed Neat Mystique Classic floorstanders making it into our 'also consider' section. At £2475 / $3699 / AU$5400, these towers are swimming in the same sorts of waters as their Fyne counterparts, however they are a vastly different proposition.

These are designed for smaller rooms, and have a small footprint and slim profile. But they punch well above their weight when it comes to performance, and also gain a five-star review.

As our verdict stated, the Neat Mystique Classic are "immensely charming floorstanding speakers. Compact, snappy and relentlessly entertaining – we’re completely sold". They're small and not that luxurious to look at, but they can produce a surprisingly broad, enveloping sound despite their diminutive cabinet sizes.

Plus, they're just very, very charming. With a snappy, light-footed character and excellent low-level dynamic reproduction despite their physical limitations, not to mention a very nicely controlled lower end, they're floorstanders that, while small, like to go big on fun.

The Neats are a strong addition to our best floorstanding speakers list and prove you don't have to invest in large-sized speakers to get great sound. Worth considering if the F502S are too big for your more modest listening space.

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Fyne Audio F502S

harry.mckerrell@futurenet.com (Harry McKerrell) — Tue, 26 Aug 2025 11:46:34 +0000

Fyne Audio is enjoying, to borrow some classic football parlance, an enviable purple patch at the moment. From top to bottom, the Scotland-based hi-fi brand is producing some exceptional loudspeakers, from the recently reviewed F701SP standmounts to the aggressively priced F501E floorstanders.

Fyne unveiled its latest F500S range of loudspeakers at the Bristol Hi-Fi Show back in February, promising a "significant audio and aesthetic upgrade" over the previous generation F502.

Placed a step above the brand’s entry-level F500E Series, the new range – fronted by the large F502S floorstanders – aims to make noticeable sonic strides without a huge increase in price.

Build & design

(Image credit: What Hi-Fi?)

The Fyne Audio F502S are a big old pair of speakers. For this kind of money, you can get your hands on the very petite Neat Mystique Classic or the slimline (and cheaper) PMC Prodigy 5, but the F502S towers dwarf those competitors so that, side by side, they look like giants in the land of Lilliput.

Fyne Audio F502S tech specs

(Image credit: Fyne Audio)

Type Floorstander

Drive Units 25mm magnesium dome tweeter, 20cm IsoFlare mid/bass, 20cm bass

Ported? Yes (downward firing)

Bi-wire? Yes

Nominal Impedance 8 ohms

Sensitivity 91 dB/w/m

Dimensions (hwd) 111.2 x 30 x 38.2cm

Weight (each) 28.5kg

Finishes x 3 (Black Oak, Natural Walnut, Piano Gloss Black)

These sturdy speakers measure in at 111 x 30 x 38cm (hwd) when placed on their metal plinths, so you will need a reasonably capacious listening space to accommodate them.

Big doesn't have to mean ugly, of course. Our test pair look smooth and shiny when daubed in their piano-grade black gloss finish, and while there are few fancy embellishments to speak of, there’s very little that distracts the eye in a negative sense.

Maybe the pickiest of picky people might have a problem with the slightly industrial look of the metal driver surrounds, but they’d have to be very fussy to care.

Internally, Fyne is sticking with what works. The substantial towers feature a 25mm magnesium dome tweeter alongside a 20cm mid/bass driver and a 20cm bass driver. That 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.

(Image credit: What Hi-Fi?)

Fyne wants to take its patented driver tech to the next level with its latest range, with the F502S including a neodymium high-frequency magnet with a vented rear chamber to minimise resonance, as well as a 25mm magnesium high-frequency diaphragm selected for its damping properties.

Each tweeter's waveguide has a unique geometry to avoid internal reflections, helping to improve dispersion over the previous generation F500 in pursuit of enhanced stereo imaging and improved overall sonic performance.

The brand’s ‘BassTrax’ diffuser system, meanwhile, aims to deliver bass more uniformly and make the speakers less sensitive to their position in a given space. You’ll also find sturdy speaker terminals at the rear base of the towers, and they are suitable for bi-wiring.

Compatibility

(Image credit: What Hi-Fi?)

Our testing begins hooked up to our reference Naim ND555/555 PS DR music streamer and Burmester 088/911 MKIII pre/power amplifier, a big-money combination with which the F502S certainly sound comfortable.

That said, switching to the more price-appropriate Naim Nait XS 3 amp (£2499 / $3999) just adds an extra layer of pep and punch to the F502S’s sound, and we feel that this is exactly the sort of pairing they’d be most suited to. That said, if you wanted to go with a cheaper amp, the accommodating Arcam A15 (£1099 / $999) is a smart alternative.

The F502S are big speakers, but we don’t find them particularly fussy about placement. In our larger test room, they sound best placed roughly 70cm from our back wall, angled in slightly so that they cross behind our listening position to give us the optimal mix of having a stable stereo image and solid low-end reproduction.

Sound

(Image credit: What Hi-Fi?)

That Isoflare driver technology is once again at the heart of the F502S, an established design which aims to have all the speakers’ sonic frequencies sounding as though they are coming from the same place, seeking more consistent dispersion, better time alignment and more seamless musical integration.

As we’ve heard many times before, the tech just works so incredibly well. Stand anywhere in relation to the substantial towers and you’ll receive a remarkably consistent sonic signature. With so many speakers, voices or that central image can collapse when you move off-centre, but the F502S are remarkably unfussy when it comes to your given listening position.

The resulting sonic integration, meanwhile, is outstanding. The speakers don’t sound as though each frequency is sitting on top of the other in a messy pile, nor do they make the bass, mid and treble sound overly pulled apart or abstracted.

Everything works together seamlessly to create a wonderfully cohesive, well-integrated presentation as that lovely Isoflare tech works its magic. As you’d expect given their size, the F502S produce a good deal of bass, but they have the restraint and agility to keep their lower end taut and remarkably well-controlled.

Maybe you lose just a hint of sweetness in the upper ranges – every design has its tradeoffs, after all – but that’s never enough to dampen our considerable affections for what is, as we listen more and more, another excellent specimen rolling off the Fyne production line.

Important as they are, terms such as “sonic integration” and “improved time alignment” may not be setting your heart all aflutter, but trust us, the F520S are by no means all tech and no trousers.

Quite the opposite. Take their handling of Hans Zimmer’s The Battle from the ever-beloved Gladiator soundtrack, a 10-minute epic we tend to bring out whenever we really want to test what a pair of speakers can do.

The F502S barely break a sweat from the first minute until the last, communicating every subtle dynamic shift and instrumental detail with ease, bringing the music to life with a rendition that blends mournful melancholy with a tangible sense of rousing triumph.

The Fyne are like your favourite school teacher or most inspiring university lecturer: authoritative and competent, yes, but personable, engaging and genuinely approachable.

(Image credit: What Hi-Fi?)

Max Richter’s solemn Never Goodbye provides an equally fitting showcase for what these remarkably talented floorstanders can do. The F502S have the nous and nuance to provide the track’s opening piano and strings with the subtle delicacy they require, switching gears as the piece grows and swells to create a powerfully rich, resonant reproduction that fully brings out the music’s haunting resonance.

The authority and scale are palpable, but it’s the Fynes’ ability to bring out the emotional beats beneath the surface that really knocks us sideways.

No matter your music’s volume, the speakers retain their precision, balance and subtlety – crank up the dial and they’ll thrill you, but keep your listening low and the Fynes’ essential character still shines through with remarkable integrity.

In fact, it doesn’t matter what genre or recording we play, we’re incapable of catching these floorstanders out. Whether it’s the snappy rhythm of Muse’s Panic Station, the orchestral swells of Kate Bush’s Cloudbusting or the emotional tear jerking of Lady Gaga’s Shallow, the F502S can do it all.

Verdict

(Image credit: What Hi-Fi?)

These premium F502S towers continue a rather remarkable hot streak.

Fyne set out to bring exceptional sound-per-pound value with its new F500S line, and if the entertaining, dynamic and musical presentation of the outstanding F502S floorstanders is anything to go by, it’s done just that.

Review published: 26th August 2025

SCORES

Sound 5
Build 5
Compatibility 4

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These rival floorstanders have impressed us in our test rooms – but for entirely different reasons

harry.mckerrell@futurenet.com (Harry McKerrell) — Fri, 15 Aug 2025 09:48:56 +0000

Things that cost the same generally are the same, right? Buy a £5 coffee from Starbucks and it’ll probably be pretty similar to the same-price alternative you’ll find at Costa or Café Nero.

A meal deal sandwich is broadly similar no matter which supermarket you patronise (M&S’s weird birthday cake monstrosities notwithstanding), while a £50 electric razor is probably going to do a similar job in a similar way, no matter the manufacturer.

Speakers, however, can be rather different in this regard. Size and shape, let alone performance, don’t always perfectly correspond to price, meaning you’ll often find rivals competing in the same price tranche despite looking and sounding entirely different.

Just take the Fyne Audio F502S (£2300 / $2800 / AU$3000) and Neat Mystique Classic (£2475 / $3699 / AU$5400) floorstanders, both pairs of which have been gracing our test rooms of late. Reviews, of course, will follow in the coming weeks.

Both will set you back a similar price, especially in the UK, yet place them side by side and you might as well be comparing Peter Crouch with Miriam Margolyes. Okay, for our non-UK-based readers, LeBron James and Danny DeVito.

The size difference is naturally what hits you first. It’s such a disparity that it raises a genuine chuckle every time we see the towers placed side by side, as though the Fyne Towers are the responsible parents ushering their Neat offspring off to school. It’s adorable!

The F502S are over 111.2cm tall. The Mystique Classic, by contrast, clock in at just 78cm. Making comparisons between this striking height disparity and any such disparities noticeable within our own What Hi-Fi? team, incidentally, has become a sackable offence.

That makes, naturally, these apparent rivals into very different propositions. For a start, their respective use-cases are hugely dictated by their differing sizes – you can pick up and carry a Neat tower almost in one hand, while the F502S are, unless you’re a seasoned strongman, a two-person job.

The Mystique Classic are very easy to manoeuvre. (Image credit: What Hi-Fi?)

If you live in a top-floor flat, then, the F502S might simply be off the table, as pure logistics may make it troublesome to get them to where you want in the first place (although elevators are usually an option). Even if you can get them to where you want them to be, you’ve then got to consider whether the F502S are suitable for your space.

A massive set of floorstanders isn’t really viable for most customers in communal buildings or compact living spaces, as you’re in danger either of ticking off the neighbours or not giving your precious towers sufficient room to breathe and excel.

The Mystique, meanwhile, are small, light and easy to position, and while they’re not too fussy about back-wall placement, you do need to take care with the distance between the speakers to ensure you get a good central stereo image.

This said, part of the benefit to the Fyne’s design – in particular, their use of the IsoFlare driver array which aims to have all the speakers’ sonic frequencies sounding like they're coming from the same place – is that they aren’t too fussy about your given listening spot if your room happens to be large enough.

Stand anywhere in relation to the speakers and you’ll receive a remarkably stable reproduction – that IsoFlare tech really does work wonders in this regard.

Aesthetics play a part, too. Size aside, the Fyne towers do look like the more luxurious choice. The shiny veneered finish of our piano black test samples is an enchanting addition, contrasting with the rather basic, almost matte veneer of the Fyne towers.

For shunting unobtrusively to the back of a room, the Mystique are perfect, but as a showpiece, they’re not exactly eye-catching.

Then, as is always the case with hi-fi speakers, comes the matter of compatibility. We’re not dealing with two super-fussy rivals, but it’s worth noting that the Mystique sounded far more comfortable when paired with a Naim amp (the Nait XS 3) and Naim cables.

The F502S, on the other hand, seem comfortable with anything from an Arcam A15 (£1099 / $999) up to our high-end Burmester 088/911 MKIII reference system.

The key factor, of course, is the sound of our head-to-head contenders, and it won’t surprise you to know that, without giving the game away, they do things very differently. These are both excellent examples of what a floorstander at this price can be, albeit for rather pleasingly different reasons.

The F502S are comprehensive all rounders. (Image credit: What Hi-Fi?)

The Fyne, for example, are built to deliver a satisfying blend of authority, scale and musicality, and while you’ll have to wait for our forthcoming review to get the full lowdown, they’re impressive all-rounders. Good at low and high volumes and hugely capable no matter the genre you feed them, they’re true crowd-pleasers.

The Mystique, on the other hand, broadly emulate the characteristics of their Neat Petite Classic standmount siblings.

They’re fun and nimble, with a sweet midrange reproduction and a bass signature that, while less authoritative than the F502S, is remarkably taut and controlled. They’re niche, yes, but for pep and pizzazz, they’re immensely hard to look past.

The lesson here, of course, is simple: be sure to look beyond pure price. Speakers are less akin to supermarket sandwiches or overpriced coffee; instead, they’re like dog breeds, running shoes or even different types of cars.

In the same way you can buy a Labrador or a Rottweiler for £2000, you’re not getting the same thing. Or, let’s say you do get the same breed, one Labrador can be entirely distinct from the other, even for the same money.

This is the real pleasure, and indeed the danger, of hi-fi, and a warning to do proper research before leaping in and simply buying something because it’s the ‘right’ sort of price.

Price is merely the first hurdle. You then need to make those key considerations – compatibility, sound, styling – as well as more basic but oft-overlooked criteria such as space, logistics, how and where you'll listen and even your ownership timeframe.

The Mystique Classic, for example, may thrill you in the short term, but with a longer term view, would you be happier with the more rounded, accessible approach of the F502S? Don't get us wrong, we're keen on the Neat towers, but these are simply the questions you should be asking when investing in hi-fi.

If nothing else, these excellent contenders teach us a valuable lesson: the Fyne Audio F502S and Neat Mystique Classic may swim in the same price circles, but the way they actually look, sound and perform are utterly distinct.

Roughly £2500 is a lot of money: make sure you’re spending it on something you actually want.

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This hidden hi-fi danger can ruin the sound from your stereo speakers – here’s how to avoid it

andy.madden@futurenet.com (Andy Madden) — Thu, 14 Aug 2025 15:15:41 +0000

When it comes to getting the best sound from a pair of stereo speakers and enjoying them as the engineer intended, various factors can make a difference to the quality of your listening experience.

A lot of the hi-fi advice you’ll read will centre around a speaker’s positioning in relation to where you sit.

How far should they be from your seating position? Should they be toed in for the optimum stereo image? And, if so, by how much? Should they be used in open space or up close to a wall?

Reach for the manual and there’s a good chance you’ll be told the answers to some, if not all, of these questions.

But there could also be another key piece of information among those pages, which could make a big difference to how you enjoy their sound. And it’s one you might not have thought about before. Speaker height.

The highs and lows of speaker set-up

(Image credit: What Hi-Fi?)

As well as where you’re sitting, have you ever thought about how you’re sitting and what you’re sitting on? Upright in a chair, slouched on a couch or horizontal on a chaise longue – all of these positions will affect what you actually hear from your speakers.

Now, all speakers are designed to be listened to at a specific height. Typically, this is with your ears at somewhere around tweeter height to just below. This is where the drive units have been designed to work together best and the position where they will sound the most tonally balanced.

In an ideal world, of course, there would be one driver producing all frequencies, but that’s not possible without introducing numerous compromises at both frequency extremes. Instead, most speaker designs use multiple drivers placed above one other on a front baffle.

Because each driver has its own acoustic centre and they aren’t lined up (an acoustic centre is the point in space from where sound waves appear to originate), the distance from the acoustic centre of each driver to the listener must be the same to get the most balanced and cohesive sound possible.

Any movement on the vertical listening axis alters your distance from the drivers (in the same way it does on the horizontal), so it follows that if you sit above or below a speaker’s sweet spot, you’ll get an unbalanced sound.

Spot the symptoms

(Image credit: What Hi-Fi?)

So how can you tell if the sound is being affected because you’re not sitting at the right height? Check your instruction manual; but, roughly, your ears need to be at tweeter height or between the tweeter and mid/bass driver, depending on the speaker design.

Generally speaking, if you sit too high, your speakers will sound thinner and brighter, with a key symptom being a hollow-sounding midrange.

If you are sitting too low, they can sound lifeless and display less energy in the higher frequencies.

One thing that brought this back to my attention was a recent experience with the Neat Mystique Classic, a petite and short (we’re talking just 78cm tall) pair of floorstanders that we have in for review.

During testing, some experimentation was required – we were sitting a little high, so they needed angling up slightly to give us a fuller, better-balanced tonal and a more focused stereo image.

Now, some speaker manufacturers have tried to tackle the problem head-on. Fyne Audio and KEF, use Isoflare and Uni-Q technology, respectively, and have designed drive units which combine a tweeter inside a mid/bass unit in a way that matches up their acoustic centres better.

Such designs are more even in the way they disperse sound, and so are less fussy about listener positioning. They maintain their tonal balance more easily than speakers that rely on aligning multiple separate, stacked driver units.

All about the angles

Up close with KEF's uni-Q driver (Image credit: What Hi-Fi?)

If you think there might be an issue with your speakers' positioning, you could always experiment by placing them on shorter or taller stands, or tilting them up or down, depending on how you are sitting.

It could be as simple as tweaking the spikes on the front or back of your speaker (or speaker stands) to get the desired effect. A couple of degrees of tilt can make a big difference, so don’t think you have to hit crazy angles to hear a change in balance.

In your search for the best sound from your speakers, you will probably dedicate time to moving your speakers around your room and experimenting with distances and angles; but don’t forget that how you listen could be having an equally big impact on what reaches your ears too.

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Fyne hi-fi speakers, new Sony wireless headphones, a top LG OLED TV and more earn five-stars

alastair.stevenson@futurenet.com (Alastair Stevenson) — Fri, 06 Jun 2025 07:00:00 +0000

It’s the first Friday of the month, which means it’s time for a fresh entry into our regular Pick of the Month column.

In it, our team of hi-fi and home cinema experts once again detail all the latest products to impress them enough to earn five-star ratings in the past month.

And while we had a wealth of new hardware pass through our viewing and listening rooms in May, only five impressed us enough to make the cut for this month’s column.

Here is what you need to know about them.

Fyne Audio F701SP

(Image credit: What Hi-Fi?)

The 701SP are the “special edition” version of the base Fyne Audio F701 standmount speakers we reviewed and gave five stars to all the way back in 2021.

At first glance you would be forgiven for wondering what Fyne’s done to justify the SP edition’s extra letters and higher price tag, as they feature the same cabinet design.

But, if you delve a little deeper, you’ll find they are completely different beasts, with Fyne’s engineers having completely redesigned the F701SP’s internals.

These include massive tweaks to Isoflare hardware, which places a 25mm horn-loaded magnesium dome compression tweeter at the centre of a 20cm multi-fibre paper mid/bass cone.

This along with other adjustments elsewhere let them deliver stellar audio when matched with price appropriate, powerful enough equipment during our checks. Hence our reviewers’ five star rating and glowing verdict:

“We remain great fans of the base model, but if your system is capable enough to reveal the sonic improvements the SP-spec provides, then for us, the decision is a no-brainer. Life is short and the extra buzz you’ll get from the upgraded model is worth every single penny.”

Five stars

Read our full Fyne Audio F701SP review

Sony WH-1000XM6

(Image credit: What Hi-Fi?)

The Sony WH-1000XM6 are the latest over-ear headphones from Sony and a direct successor to the older Sony WH-1000XM5 that have been a staple sight in our best wireless headphones guide for many moons.

This makes them a fairly big deal, and meant our team of reviewers had high expectations from the set when they arrived in our listening rooms last month.

Thankfully, after thorough testing, we can confirm our hopes for the headphones have been met, with the new XM6 coming with a wealth of hardware upgrades and offering excellent audio.

Technical highlights include the introduction of a hinge mechanism that makes them much more travel friendly, higher clamping force for a more snug fit and implementation of newly designed drivers and HD Noise Cancelling Processor QN3 chipset.

This all adds up to make them an easy five star recommendation and one of the best wireless headphones you’ll find right now. Hence our glowing verdict:

“It feels like the Sony WH-1000XM6 have been a long time coming, and we are pleased to tell you they have been well worth the wait. They’re the best-sounding flagship pair we’ve heard from Sony to date, which is no mean feat.”

Five stars

Read our full Sony WH-1000XM6 review

Apple iPhone 16e

(Image credit: What Hi-Fi?)

The iPhone 16e is the latest “affordable” iPhone from Apple. While we’re not completely convinced that £599 / $599 / AU$999 makes it “cheap” by any stretch of the imagination, having thoroughly put it through its paces we can confidently say it’s an excellent smartphone for music and movie fans.

During our checks, while we found it to be not quite as sharp as the full-fat iPhone 16 Pro, the 6.1-inch OLED screen offered an immersive, exciting small-screen viewing experience. Support for all the common HDR formats and decent max brightness levels make movie content look particularly impressive by phone standards.

But, most importantly it continues Apple handsets’ track record for offering solid audio quality. Paired with wireless sets and cabled cans (via a USB-C adapter), the iPhone offered brilliantly punchy audio with suitably energetic, but accurate, rhythmic drive.

Hence our five-star rating and verdict:

“The iPhone 16e is a very different proposition to Apple’s SE phones of old. This is a phone that delivers most of the iPhone 16 ownership experience, particularly where picture and sound quality are concerned, for a healthy chunk of change less.”

Five stars

Read our full Apple iPhone 16e review

LG G5 (OLED65G5)

(Image credit: What Hi-Fi? / Netflix (Drive to Survive))

We technically first reviewed the LG G5 in April and at the time it fell just short of making it into Pick of the Month thanks to a huge bug that made streamed Dolby Vision content close to unwatchable.

Thankfully a few weeks on, LG has released a fix for the bug via an over-the-air update and, having re-reviewed the OLED TV, we can confirm it works.

That’s why we updated our review awarding the LG G5 a five-star rating in May, earning it a place in this month’s column.

The update means the LG G5 is now one of the best premium OLED TVs on the market.

The main highlight is its cutting edge, fourth-generation OLED panel, which not only contributes to its radically improved maximum brightness levels, but also lets the G5 deliver much better colour volume during low light scenes.

Add to this its flawless gaming specifications, which include four HDMI 2.1 inputs that let current generation consoles and PCs run at full speed, and solid app support, and it becomes an easy recommendation.

Hence our reviewers’ glowing updated verdict:

“Now that an early Dolby Vision issue has been fixed, we can be almost entirely effusive in our praise of the G5: this is a stunning set and a leap forward for OLED TV technology.”

Five stars

Read our full LG G5 (OLED65G5) review

Hisense PL2

(Image credit: What Hi-Fi?)

The Hisense PL2 is the successor to the Hisense PL1 – a multiple year What Hi-Fi? Award-winner and staple entry in our best projectors guide for the past year.

And while, like the Fyne speakers at the top of this list, it looks all but identical to its predecessor, under the hood Hisense has made a number of key upgrades to the PL2.

These include raising its peak brightness from 2100 to 2700 ANSI Lumens – a figure that puts its just shy of matching the more premium Hisense PX3 Pro, just above it in the firm’s UST range.

The maximum projection size has also been increased from 120-inches up to 150-inches, letting it offer an even larger home cinema experience.

Add to this its solid HDR standard support, robust app library (which includes popular UK catchup services, BBC iPlayer and the ilk) and it becomes an easy recommendation for any UST buyer who primarily wants to watch movies.

As we say in our verdict:

“Hisense’s focus on delivering a balanced picture that accepts the shortcomings inherent to a UST lets the PL2 offer a consistent, controlled picture that never distracts from what’s playing on screen.

“This, plus its competitive price and advanced features help the PL2 punch well above its weight and make it an easy recommendation for any movie fan on the hunt for a UST projector.”

Our only word of caution is for gamers: the PX3 Pro is better as, despite having HDMI 2.1 inputs, the PL2 can’t run games at frame rates above 60fps in 4K.

Five stars

Read our full Hisense PL2 review

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Five-star hi-fi speakers, a deep dive on OLED’s new rival, good news for movie fans and more

alastair.stevenson@futurenet.com (Alastair Stevenson) — Mon, 02 Jun 2025 07:00:00 +0000

Happy Monday, and welcome to the latest entry into our Rewind hi-fi and home cinema news digest.

For those of us short on time, our team of experts has created a handy summary of all the important hi-fi and home cinema news to break over the past seven days.

It was another hectic time for the What Hi-Fi? team with a new pair of hi-fi speakers impressing our reviewers enough to earn a five-star rating, as well as a surprising bit of good news for home cinema fans from Sony.

Here’s what you need to know.

Fyne’s new standmounts expertly blend of insight and expression

(Image credit: What Hi-Fi?)

The Fyne Audio F701SP is an interesting pair of stereo speakers. The idea behind them is to take the five-star F701 standmount speaker’s cabinet as a base and then give the company’s engineers free rein on everything else.

The result? Based on our experience, after putting them through their paces in our listening rooms over the past week, a fantastic set of speakers that will delight hi-fi fans.

The tweaks Fyne has made to the speakers’ Isoflare hardware, which places a 25mm horn-loaded magnesium dome compression tweeter at the centre of a 20cm multi-fibre paper mid/bass cone, along with other adjustments elsewhere lets them deliver excellent audio when matched well.

Paired with appropriately refined, price-compatible hardware, the speakers deliver a fast, agile and articulate performance with stellar detail and expressive dynamics. Hence our five-star rating and conclusion:

“The F701SP speakers deliver a blend of insight and expression that’s hard to beat for the money.”

Read our full Fyne Audio F701SP review

Surprise! Sony projectors are back on sale

(Image credit: What Hi-Fi?)

Earlier this year Sony was forced to take a number of its five-star projectors off sale – much to the dismay of our editor (me).

Though the reason was never made explicit, it was believed to be due to sanctions hitting part of the supply chain that made sourcing components nigh impossible.

But this week we had some good news, with the brand confirming all the impacted models will go back on sale.

These include the Award-winning VPL-XW5000ES, Bravia Projector 8 and Bravia Projector 9.

Read the full story: Sony officially resumes projector sales in Europe, and it's even bringing a new model to the market

The next Apple TV is shaping up to be a very different beast

(Image credit: What Hi-Fi?)

Apple’s WWDC (Worldwide Developer Conference) is fast approaching and we have seen a steady stream of rumours suggesting it will feature more than a few big changes to its current home cinema and audio platforms.

The strongest to break came from Bloomberg's Mark Gurman. The serial Apple leaker reported that sources familiar with the matter have confirmed the Apple TV platform will be getting its biggest user-interface overhaul ever.

Read the full story: Apple TV 4K owners should prepare for a major software upgrade, according to this report

We did a technical deep dive on OLED’s latest rival

(Image credit: Sony)

We got our first glimpse of RGB Mini LED at the Consumer Electronics Show (CES 2025) in January.

Since then, a number of big name brands, including Sony, Hisense, Samsung and TCL, have confirmed plans to use the technology in their TVs. All those brands have since shown off demonstration / prototype units with the hardware in place over the past five months.

This is a big deal: all the companies are pitching the new technology as “the next big thing” in home cinema, and a rival to OLED as the panel of choice for peak performance.

With our TV and AV editor, Tom Parsons, and senior staff writer, Lewis Empson, both having seen the tech at separate preview events, and walking away impressed, we are already taking these boasts very seriously.

Which is why we took a technical deep dive, to explain how RGB Mini LED works, last week.

Read the full story: RGB Mini LED: all you need to know about the TV panel tech that could defeat OLED

MORE:

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Our picks of the best OLED TVs

We rate the the best projectors we have reviewed

Fyne Audio F701SP

ketan.bharadia@futurenet.com (Ketan Bharadia) — Wed, 28 May 2025 12:25:21 +0000

Fyne Audio’s ‘Special Production’ models have been a huge success for the Scottish speaker specialist. The idea behind them is simple yet so alluring. Take a well-performing standard product, in this case the excellent F701 standmounter, keep the basic cabinet but let the engineers loose on everything else with a view to maximising performance and improving cosmetics.

Also, bump the price up accordingly; in the case of the Fyne Audio F701SP we're reviewing here, the difference between the two versions is around £1500 / $2200.

Build & design

(Image credit: What Hi-Fi?)

At a casual glance, most people would be hard pushed to notice that the new Fyne F701SP features an upgraded driver array. It is now the very same Isoflare assembly that we so enjoyed when we tested the company’s excellent high-end F1-8 standmount (£7499 / $10,499).

In the case of these standmount speakers, Isoflare positions a 25mm horn-loaded magnesium dome compression tweeter at the centre of a 20cm multi-fibre paper mid/bass cone. This arrangement offers all sorts of benefits over traditional separated drive unit configurations, from more consistent dispersion characteristics to improved time alignment and integration. KEF has remained faithful to its similar Uni-Q arrangement for the same reasons.

Why don’t more manufacturers follow the coaxial driver approach, if it’s so good? That probably comes down to cost, together with big challenges regarding mechanical, acoustic and magnetic interactions between the two drivers. The engineers at Fyne and KEF have worked hard over decades to minimise the negatives and each company has made their take on the arrangement work extremely well. This task isn’t an easy thing for others to emulate.

(Image credit: What Hi-Fi?)

But Fyne’s engineering skills aren’t just limited to the Isoflare configuration, as there are numerous examples of the company’s interesting ideas.

The mid/bass unit’s surround has indents all the way around (called ‘FyneFlute) to damp down any cone resonances more effectively, and the unit’s low frequency performance is tuned by the brand’s ‘BassTrax’ system.

This is essentially a downward-facing port that fires onto a specially shaped upward-facing cone, which converts the port’s output into a 360-degree wave front. This kind of dispersion at bass frequencies is claimed to make the speakers less fussy about their exact positioning in the listening room, and in our experience, does just that.

Fyne Audio F701SP tech specs

(Image credit: Fyne Audio)

Type Two-way standmounts

Drive units Isoflare array with 25mm horn-loaded magnesium dome compression tweeter and 25cm multi-fibre paper mid/bass

Ported? Yes (downward with 360-degree dispersion)

Bi-wire? Yes

Impedance 8 ohms

Sensitivity 90dB

Dimensions (hwd) 46.5 x 27.8 x 39.3 cm

Weight 14kg

Finishes Natural walnut, piano gloss in walnut, white or black

The F701SP speaker has an improved and re-tuned crossover compared to the standard model, and is packed with better quality components. It is a fairly minimalist design that uses a 2nd order filter for the mid/bass and a shallow 1st order for the tweeter. This crossover network is cryogenically treated to remove internal stresses within the components, which makes a notable improvement to overall transparency in our experience.

Elsewhere, the internal wiring is upgraded to Neotech high-purity copper and the crossover is mounted onto fibreboard panels to reduce the amount of vibrations that feed into the circuit.

What of the cabinet? It essentially remains the same rigid, well-built birch ply enclosure as the base product, though the hefty precision-machined aluminium plinth is upgraded to improve the performance of the ‘BassTrax’ system.

The SP variant adds a natural walnut finish to the standard model’s choice of piano gloss options (white, back and walnut). Look around the back and you will find a quartet of rather tasty WBT 0703 multi-way binding posts rather than the standard F701’s less flashy terminals.

The company continues to offer the option of earthing the speakers, and while the addition of yet another cable doesn’t do much for listening room neatness, the improvements we hear in transparency, refinement and resolution are clear, if subtle.

Compatibility

(Image credit: What Hi-Fi?)

Admittedly, you need to use a top-class system to really hear the improvements. Our sources are Naim’s ND555/555 PS DR music streamer and the Technics SL-1000R record player partnered with Kiseki’s Purpleheart MC cartridge. As for amplification, we have our usual Burmester 088/911MkIII and PMC Cor integrated to hand. Our benchmark speakers are ATC’s SCM50, the ES-14N from Epos and Fyne’s own F1-8 standmounters.

With a claimed sensitivity of 90dB/W/m and a nominal impedance of 8 ohms, these should be an easy load for any decent price-compatible amplifier, bar some of the left-field, single-figure power output valve-driven designs still on the market.

The performance of any standmounter is reliant on the quality of its support, and these Fynes are no different. While it is tempting to skimp in this area, to do so would defeat the point of buying a product at this level. We used Fyne Audio’s FS08 stands, which at £1099 / $1750 aren’t cheap but do the job well. We would consider the stands an essential part of the package and budget accordingly.

The F701SP proves relatively unfussy when it comes to positioning. In our 3 x 7 x 5m (hwd) test room, they sound best around 80cm out from the wall and well away from the sides. Move the speakers much closer to the wall behind them and the speaker’s low bass becomes a little stodgy, but not by much compared to most rivals.

Our bigger issues with such a placement are the flattening of the soundstage and loss of overall transparency. We angle them towards the main listening position, so that the tweeters are aimed at either side of our shoulders, to optimise the stereo focus.

It is well worth experimenting with the distance between the speakers to solidify the results.

Sound

(Image credit: What Hi-Fi?)

Get it all right and you should end up with a beautifully precise soundstage that is as crisp, layered and expansive as they come at this level. The sound floats free of the speaker’s enclosures, which strongly suggests that the care Fyne’s engineers have taken to reduce the cabinet’s resonances has worked. The benefits of the Isoflare arrangement come to the fore with the stereo imaging’s stability as we move around the room.

As we listen to Tchaikovsky’s Swan Lake, we can’t help but be impressed by the Fynes’ enthusiasm. These speakers sound confident and have the composure to stand firm when the music gets demanding. Large-scale dynamic contrasts are rendered with heft, while lower-level shifts come through with the finesse they deserve.

Resolution of detail is excellent, with the speakers delivering plenty of insight while having the control to organise the piece’s various musical strands in a cohesive and musical way.

Tonally, the F701SP are pleasingly even. They aren’t the kind of standmounters that have you looking around the room for a hidden subwoofer, but the low frequencies they do produce are taut and tuneful. The payoff for not chasing bass quantity is that the lows generated here sound precise, subtle and nicely textured.

The F701SP’s innate transparency means that they won’t let a less-than-perfect recording or partnering system hide, but equally, their top-end has enough in the way of refinement to not make a meal of things when fed a poor quality signal.

(Image credit: What Hi-Fi?)

These standmounters’ nicely judged balance means that they work well across a wide range of musical genres. Their front-footed handling of rhythmic drive and dynamics means that they sound right at home when asked to play Michael Jackson’s Dangerous set. On the opening track, Jam, they sound comfortable with all the crashing percussion and hard-charging beats.

Jackson’s aggressive delivery comes through with passion intact and is easy to follow despite the dense musical backdrop, thanks to top-class clarity and separation of detail. The overall result is wonderfully involving, and yes, fun.

We compare the F701SP to its pricier sibling, the F1-8, and can confirm that it offers much of the performance of the senior model. It doesn’t challenge the hierarchy though, with the F1-8 delivering a little more authority, image scale and a greater sense of subtlety.

We suspect the pricier model’s slightly larger internal cabinet volume (27.8l vs 24.4l) and more elaborate cabinet construction pay dividends in these areas.

Verdict

(Image credit: What Hi-Fi?)

Still, as we work our way through our music library, it is hard to come to any other conclusion than Fyne Audio has come up with yet another great set of speakers in the F701SP. We remain great fans of the base model, but if your system is capable enough to reveal the sonic improvements the SP-spec provides, then for us, the decision is a no-brainer.

Life is short and the extra buzz you’ll get from the upgraded model is worth every single penny.

Review published: 28th May 2025

SCORES

Sound 5
Build 5
Compatibility 4

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The 11 most exciting hi-fi products we saw at High End Munich 2025

harry.mckerrell@futurenet.com (Harry McKerrell) — Mon, 19 May 2025 06:00:20 +0000

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

What Hi-Fi?

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

What Hi-Fi?

Cyrus Audio

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

What Hi-Fi?

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

What Hi-Fi?

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

What Hi-Fi?

Fyne Audio

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

What Hi-Fi?

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

What Hi-Fi?

Mark Levinson

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

What Hi-Fi?

Dali

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

What Hi-Fi?

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)

What Hi-Fi?

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

What Hi-Fi?

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

Fyne Audio's high-end floorstanders aim to replicate the experience of a live performance in your living room

harry.mckerrell@futurenet.com (Harry McKerrell) — Mon, 12 May 2025 15:48:06 +0000

Fyne Audio has announced the latest pair of high-end speakers to get the "Special Production" treatment, the F704SP. Joining the F701SP, F702SP and F703SP models, the F704SP is positioned as the lead model in Fyne's latest F700SP range of speakers.

The new floorstanders will debut at the High End Munich Show this week (officially May 15th to May 18th), promising to combine the power of the original F704 speakers with innovations drawn from the brand's even more high-end, flagship F1 Series.

Designed 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 Fyne’s 75mm titanium dome tweeter, as well as a separate 30cm multi-fibre bass driver that takes care of the lower frequencies.

Central to the F704SP's sonic profile is an upgraded crossover network which incorporates premium components such as high-grade polypropylene capacitors and military-grade film resistors. According to Fyne, these advances "dramatically reduce compression effects and elevate detail resolution, enabling listeners to experience a richer, more lifelike musical performance".

(Image credit: Fyne Audio)

Further, Fyne has also used cryogenic treatment on the complete crossover assembly in a bid to relax material stresses in components, maximising signal transparency and leading to improved sonic fidelity. Advanced wiring, meanwhile, teases "exceptional clarity" and efficiency, while gold-plated terminals aim to deliver "impeccable connectivity for premium audio systems".

Moving outside, the new speakers' cabinets are made using high-density European birch plywood bolstered by extensive internal bracing, leading to "unsurpassed rigidity" and less noise interference. The enclosure also incorporates Fyne's twin cavity loading system in which a downward-firing port is paired with Fyne Audio’s bespoke 'BassTrax' diffuser system to deliver a 360-degree wavefront, resulting in a broader sonic dispersion.

The new Fyne speakers are available in piano gloss black, gloss white and gloss walnut finishes, as well as a new walnut veneer. The Fyne F704SP will make their debut at this year's High End Munich showcase, priced at £20,000 / $26,000 / €24,000.

MORE:

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These are the best floorstanding speakers around

High End Munich preview: what to expect from the upcoming hi-fi show

New issue of What Hi-Fi? out now: brilliant bargain soundbars, sensational stereo amplifiers and more

chris.burke@futurenet.com (Chris Burke) — Fri, 09 May 2025 13:19:53 +0000

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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!

(Image credit: What Hi-Fi?)

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

Fyne Audio ousts Q Acoustics as our new favourite sub-£1000 floorstanding speakers

harry.mckerrell@futurenet.com (Harry McKerrell) — Fri, 28 Feb 2025 13:04:02 +0000

It's a tough market out there. As soon as we think we've found a product that will be sitting pretty in a given area for the foreseeable future, along comes a new challenger keen to oust it from its place. Our list of the best floorstanding speakers is often in flux, as brands are constantly vying to have their finest contenders reaching the highest heights and earning a coveted spot on our esteemed rundown. It's a fertile market, too – just think of the myriad brands worthy of consideration: Bowers & Wilkins, KEF, PMC, Acoustic Energy, ATC, Focal, Wharfedale, Quad, Mission, Wilson Benesch, Spendor...we could be here for a while.

The point is, there's plenty of competition to be found, meaning that standards are high and, crucially, it's a big deal when a new pair manages to muscle its way into the pantheon. To do so, you've got to be built well and have the compatibility and flexibility to accommodate a suitable array of partnering equipment, but most importantly, you've got to be able to walk the sonic walk. Thankfully, that's not a problem for our outstanding newbies...

Sound that's more than just "Fyne"

That Isoflare array is working wonders for Fyne Audio. (Image credit: What Hi-Fi?)

The Fyne Audio F501E have elbowed the Q Acoustics 5040 out of our list of the best floorstanding speakers, dropping the latter into our also consider section. That's not something we necessarily envisioned happening so soon – we reviewed the 5040 in 2024, lavishing upon them not only a five-star review but a coveted What Hi-Fi? Award in the process. These are serious performers, offering insight, dynamic expression and superb clarity in spades, so we were quietly assuming that they might be sitting pretty for quite a while.

Lesson learned: never make assumptions in this ever-changing hi-fi world. Tested at pretty much exactly the same price tag of £999 in the UK, the Fyne Audio F501E vowed to deliver the most exceptional sound-per-sound performance you could find for under a grand. Like the costlier PMC Prodigy 5 we gushed over last year, the F501E are aggressively priced, only offering one rather plain black finish to keep production costs down and maintain that sub-£1000 price tag.

Instead, the F501E are all about performance, and what a performance it is. Equipped with the Scotland-based company's signature Isoflare driver array in which the tweeter sits in the throat of the mid/bass unit and improves sonic dispersion, the F051E are a masterclass at delivering a great sound at a reasonable price.

As we stated in our review, "The F501E are talented all-rounders that have a range of sonic abilities that are hard to better at this price. Partner them with a bit of care and we think you’ll be as impressed with them as we are." From their cohesion and expression to their taut and tuneful bass, we feel that they leave the immensely capable 5040 somewhat in the shade, and that's not something said lightly.

We know we're in danger of falling into the same trap of complacency as we did with the Q Acoustics, but we're struggling to think of how the Fyne towers could be toppled anytime soon. The gauntlet has been laid down at this mid-range level – let's see if anyone is willing to take up the challenge.

A small word on ProAc

We've (finally) reviewed the ProAc D20R...and we're glad we did. (Image credit: What Hi-Fi?)

While they didn't quite make the cut to be included in our main list of the best floorstanding speakers, we'd be remiss if we didn't give a small mention to the recently-reviewed ProAc D20R. A more costly proposition at £3825 / $6500 / AU$9600, the D20R are five-star floorstanders that sit proudly in our guide's also consider section, and boy have they earned their place.

Okay, the D20R aren't the newest speakers on the planet – they launched back in 2014 – but we have to get through a lot of products from across the hi-fi and headphones gamut. We're glad we finally got hold of a pair of the D20R, though, because they are, to quote from our review, "charmers of the highest order".

Beautifully made and with a sonic character that appeals as much to the heart as it does to the head, they're a nuanced and expressive set of floorstanders that we could have enjoyed for days on end. If you're after something a little more premium than the Fyne towers above, the ProAc are capable of giving the high-end Spendor A7 speakers a run for their money.

Two different pairs of speakers have arrived, in one form or another, onto our list of the market's best floorstanders. While the models they either replace or contend with are now far from redundant, we'd urge you to investigate their charms further – you may just discover your new favourite pair of fantastic floorstanders.

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Rewind: Rega’s latest amp, a treat from Neat, surprise iPhone 16e launch and more

alastair.stevenson@futurenet.com (Alastair Stevenson) — Mon, 24 Feb 2025 08:00:00 +0000

Welcome to the latest entry into our weekly Rewind hi-fi and home cinema news digest, where we detail the top stories to break over the past seven days.

Last week was a particularly busy one as not only did our team of experts have to contend with a surprise Apple launch, they also spent the weekend covering the Bristol Hi-Fi Show 2025, where we saw a wealth of new products launch.

Here’s what you need to know.

There were loads of new speakers at the Bristol Hi-Fi Show

(Image credit: Future)

The Bristol Hi-Fi Show is a staple entry in most audio fans’ calendar and this year’s expo was a great example why. As well as showing off the latest wares from over 150 audio brands, it also saw numerous new products launch. Reporting live at the show our audio team trawled the showroom floor having a look and listen at as many of them as they could and found seven in particular that caught their eye.

Read the full story: The 7 best speakers we saw at the Bristol Hi-Fi Show 2025 – Ruark Audio, Wharfedale and more

Rega has a new amp

(Image credit: What Hi-Fi?)

While most of the “new” products at Bristol were speakers, Rega bucked the trend unveiling its seventh generation Brio amp at the show.

The amp is particularly interesting for a couple of reasons. First because it comes from Rega Research, which has a very strong track record in the space, based on our decades of testing. Second, because it’s the first entry to the line with a DAC.

Read the full story: Rega reveals 7th generation Brio amplifier – and this time it has a DAC!

Fyne unveiled new mid-range speakers

(Image credit: What Hi-Fi?)

Fresh off the back of our five star review of its Fyne Audio F501E, Fyne Audio unveiled its new mid-range F500S speakers last week.

We haven’t had a chance to listen to the new F500S yet, but Fyne claims they are a "significant audio and aesthetic upgrade" over the established F500 Series and on paper there’s a lot of evidence to back this up.

The speakers feature the firm’s IsoFlare driver technology. This is a cool feature we’ve seen before that aims to improve stereo imaging with a custom design where the bass/midrange driver shares a common centre with the speaker’s high-frequency unit.

Read the full story: Fyne Audio's mid-range F500S speakers aim for serious increases in sonic performance, not price

Neat’s latest speakers are outright dinky

(Image credit: What Hi-Fi?)

Last week Neat launched its new Neat Iota II speakers. Why are they interesting? Because they are outright tiny, measuring in at just 13cm tall, 20cm wide and 16.5cm deep. Despite this Neat’s loaded them with some impressive hardware that it promises will let them deliver room filling, hi-fi grade audio, even in incredibly tight spaces.

Read the full story: Neat Iota II are ultra-tiny speakers with big ambitions and are ideal for small spaces

Optoma’s new UST projector is an interesting beast

(Image credit: Optoma)

Optoma last week unveiled its new Photon Go ultra short throw projector. Though UST is a bit of a vogue category at the moment the Go is interesting as it features one key bit of tech we haven’t seen in many rivals: a battery. This, plus its small dimensions and light weight could make it an ideal option for movie fans on the hunt for a portable projector they can use on the go when travelling or even camping.

Read the full story: Optoma's new on-the-go projector is set to be one of the cheaper USTs on the market

Surprise! There’s a new cheap(ish) iPhone

(Image credit: Apple)

Last week Apple unveiled its new iPhone 16e. The device was originally expected to be called the iPhone SE 4, and is at first glance a refreshed version of the iPhone 14, with the only major additions being a new Apple Intelligence (AI) ready A18 chipset and OLED screen. Despite this, considering how much we liked the iPhone 14 and iPhone 16’s audio when we tested them, it could still be a very solid option for serious music fans that want a phone that can double as a proper portable music player.

Read the full story: Apple officially unveils the affordable iPhone 16e complete with an OLED display and Dolby Atmos support

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Fyne Audio's mid-range F500S speakers aim for serious increases in sonic performance, not price

harry.mckerrell@futurenet.com (Harry McKerrell) — Fri, 21 Feb 2025 16:00:00 +0000

Fyne Audio has unveiled its new F500S Series of loudspeakers at the Bristol Hi-Fi Show. Teased as a "significant audio and aesthetic upgrade" over the established F500 Series and positioned a step above the entry-level F500E Series, the new step-up series strives for serious sonic gains without an increase in overall price. The F500S Series features five distinct speakers: the standmount F5S and F500S speakers, the F501S and F502S floorstanders, as well as a mountable LCR unit named the F500S.

Striving to deliver exceptional sound-per-pound value, the F500S line once again sees the Scottish audio brand using its proprietary IsoFlare driver technology wherein the bass/midrange driver shares a common centre with the high-frequency unit for improved stereo imaging. It's the same tech as found in the recently-reviewed Fyne Audio F501E – given our hearty five-star assessment, it worked pretty well in a more affordable model.

Fyne is looking to take its integration of the Isoflare drive design to new heights with its latest range. This approach includes a neodymium high-frequency magnet with a vented rear chamber to minimise resonance, as well as a 25mm magnesium high-frequency diaphragm selected for its damping properties. Each driver's waveguide has a unique geometry to avoid internal reflections, helping to improve dispersion over the previous generation F500 for further enhanced stereo imaging and improved sonic performance.

(Image credit: Fyne Audio)

Each driver's low-frequency section uses a multifibre cone, chosen for its "natural sound and predictable characteristics". The section is terminated with a 'FyneFlute' roll surround which aims to facilitate a clean transient response, while the brand's 'BassTrax' diffuser system helps to deliver bass more uniformly while helping to diminish each speaker's sensitivity to room positioning.

The new speakers use high-rigidity MDF cabinets which can be finished either in real wood veneers or piano-grade gloss paint, with each unit boasting bi-wirable speaker binding posts, stabilising plinths and magnetic rear grille storage for the floorstanding units.

The Fyne Audio F500S Series will be available in Spring 2025, but if you're heading down to the Bristol Hi-Fi Show this weekend, you'll be able to get a first-hand taste of the new range. Prices are as follows:

- F5S standmounts: £600 / $800 / €700
- F500S standmounts: £800 / $1000 / €950
- F501S floorstanders: £1700 / $2250 €2000
- F502S floorstanders: £2300 / $3000 / €2800
- F500S LCR: £500 / $650 / €600

MORE:

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Fyne Audio F501E

ketan.bharadia@futurenet.com (Ketan Bharadia) — Tue, 18 Feb 2025 14:30:45 +0000

Fyne Audio has been astonishingly aggressive with the pricing of its new F501E floorstanders. They are part of the new F500E entry-level range, which in effect replaces the established and much-liked budget F300 series. We all know the price of just about everything has gone up massively in recent years, so it is refreshing to find that this latest 501 model retails for less than the original did back in 2018. That first version is currently still on sale for around £1700 / $2875.

It is fair to acknowledge that the older floorstander was aimed at a more premium part of the market when introduced. It is wrapped in a lovely real wood finish, rather than the black ash vinyl of the new one, and has classier cosmetic detailing. But, we still find it impressive that this new ‘E’ model can boast the same range of in-house technologies at such a saving.

Design

(Image credit: What Hi-Fi?)

The big news here is that Fyne’s trademark Isoflare driver array, where the tweeter sits in the throat of the mid/bass unit, has trickled down to its entry range for the first time. In this case, it is a 25mm titanium compression dome tweeter partnered with a 15cm multi-fibre mid/bass unit with the crossover point set at a relatively low 1.7kHz.

The mid/bass driver’s rubber surround exhibits the same fluting as seen on the company’s more upmarket products; this shape is claimed to terminate the cone more effectively, reducing distortion and improving clarity.

(Image credit: What Hi-Fi?)

The F501E is a 2 1/2 way design where the lower 15cm multi-fibre driver, a dedicated bass unit that rolls in below 250Hz, is tuned by a downward firing port arrangement called Basstrax. Here, the port fires onto an upward-facing cone that disperses the sound evenly through 360 degrees. Look just above the plinth and you will see the bass vents on all sides of the cabinet. That even spread of bass is claimed to make the speakers less fussy about room placement, and that proves to be the case. Even so, our samples still sound best around 70cm out from the rear wall and well away from the sides in our 3 x 7 x 5m (hwd) test room.

General build quality is as solid and neat as expected at this level. However, these speakers are only available in a black ash vinyl wrap. The lower production cost of only having a single finish is a part of the reason Fyne can achieve such an aggressive price for the F501E. The finish itself is decent, but to our eyes looks a little drab next to classier price rivals such as the Q Acoustics 5040/5050 duo.

Compatibility

(Image credit: What Hi-Fi?)

Speakers at this level have a difficult balancing act to perform. They should be unfussy enough to sound decent with modestly-priced systems but still have enough sonic stretch to show improvements when the partnering electronics are upgraded. The Fynes’ sensitivity is rated at 90dB/W/m and their nominal impedance is claimed to be an entirely conventional 8 ohms. We try 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) without issue. For performance benchmarking, we have the Award-winning Q Acoustics 5050 towers on hand, alongside KEF’s similarly-priced LS50 Meta standmounters, and for a broader context, PMC’s more expensive Prodigy 5.

Fyne Audio F501E tech specs

(Image credit: Fyne Audio)

Type Floorstanders

Drive units Isoflare array (25mm titanium compression dome/15cm multi-fibre mid/bass), 15cm multi-fibre bass

Ported? Yes (downward)

Bi-wire? Yes

Impedance 8 ohms

Sensitivity 90dB

Dimensions (hwd) 98.4 x 25 x 29.4cm

Weight 18.9kg

Finishes x 1 (black ash)

It doesn’t take long to realise that the F501E are hugely capable. They do the basics well by offering good insight and delivering decently balanced tonality. Our experience of Fyne’s more affordable models, capable as they have been, is that they haven’t always had the most refined treble. But, we’re pleased to note that the F501E does a pleasing job in this respect. It avoids edge and undue harshness at higher frequencies, even when provoked by less-than-perfect recordings. This is a huge plus for those who choose their music on merit rather than recording quality.

That doesn’t give the user a free pass on using capable partnering equipment, though. While these towers don’t necessarily force a spotlight on any sonic flaws upstream, like any capable speaker they will only shine when fed a good-quality signal.

Sound

(Image credit: What Hi-Fi?)

Given such a signal, their dynamics are strong and delivered with natural fluidity. As we listen to Hans Zimmer’s Interstellar OST it is hard not to be impressed by the clarity on offer and the Fynes’ ability to organise the mass of instrumentation on Cornfield Chase. These floorstanders stay composed when the production becomes dense and deliver the music’s growing intensity, as it reaches the end, with conviction.

We like the Fyne’s sense of scale and are impressed with the low-end authority and punch they generate on demand. Bass is taut, tuneful and articulate by class standards. We push the volume levels northward to see how the F501E cope – they tick that box confidently at anything that passes for normal listening levels.

These towers are a fun listen too, as a trip down memory lane with The Low End Theory from A Tribe Called Quest proves. The F501E are fluid and expressive. They track rhythms with determination while communicating changes in musical momentum in a natural and convincing manner. Having the acoustic centres of the tweeter and mid/bass aligned helps with integration; the result is a crisp and 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.

Through the test process, we cover large swathes of our music collection from Dvorak’s New World Symphony and John Coltrane’s legendary Giant Steps set to Hit Me Hard And Soft by Billie Eilish, and the Fynes never miss a beat. They have the sophistication and muscularity to convey the majesty of a full-blown orchestra yet can still convey the intimacy of Eilish’s Wildflower superbly.

Verdict

(Image credit: Fyne Audio)

If you can put up with the less-than-inspiring finish then there is very little to dislike here. The F501E is a talented all-rounder that has a range of sonic abilities that are hard to better at this price. Partner these floorstanders with a bit of care and we think you’ll be as impressed with them as we are.

First reviewed: February 2025

SCORES

Sound 5
Build 4
Compatibility 4

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2024's Mini LED TV experiment failed – all hail OLED

alastair.stevenson@futurenet.com (Alastair Stevenson) — Sun, 22 Dec 2024 09:00:00 +0000

If you found a time machine and travelled back to December 2023, you’d see a tired shell of a professional 'shiny things chaser' (me) penning an end of year feature detailing why 2024 could be the year Mini LED takes on OLED.

At the time there was a good reason for that. Sony had indicated it would be moving to prioritise Mini LED sets in its top-end line, alongside OLED models. A fact then demonstrated in the new year when it unveiled its 2024 flagship, the Bravia 9, which uses a Mini LED, not QD-OLED panel.

Samsung had also jumped on the bandwagon, telling investors in its final earnings call for the year that it would be betting on giant Mini LED and 8K TVs in 2024. Hisense and TCL then announced similar plans – though with those two it was no great surprise, as both have been throwing shade at OLED for years.

But now, with 2024 in the rearview mirror and myself and theWhat Hi-Fi? team having once again sacrificed our retinas, and short term sanity, testing every flagship TV we could get our hands on over the past 12 months, you may justifiably be wondering: did the gamble pay off?

The short answer is no, it did not.

If you run through our reviews of some of 2024’s top-end Mini LED TV heavy-hitters, which includes the Sony Bravia 9, Hisense U8N, Samsung QN95D and more, you’ll notice a common theme: they all scored four stars.

Conversely, their main OLED rivals, including the flagship LG G4, Panasonic Z95A and Samsung S95D, as well as step-down LG C4, Sony Bravia 8 and Philips OLED809, all got five stars.

If you were to ask for a detailed breakdown as to why, the answer would vary slightly depending on the exact Mini LED and OLED sets we were talking about. But ultimately the answer would boil down to a simple point: the OLED sets offered better picture quality, holistically.

Whether it was the wonderful, pixel perfect light control we saw on the Bravia 8, the stellar, authentic colour reproduction of the Z95A or wonderfully sharp and punchy performance of the C4, the OLEDs performed better.

(Image credit: What Hi-Fi?)

Just to prove my point, here’s a quick smorgasbord of direct quotes saying as much from our reviewers, starting with the Bravia 9:

“For most people, we simply feel that the cheaper Bravia 8 OLED is the better option thanks to its improved skin tones, more consistent handling of colours, better three-dimensional depth and sharper details.”

And the Hisense U8:

“If you can stretch to invest a few hundred more you can grab an LG C4, which offers easier set-up, deeper blacks, pixel level contrast control, an equally good app ecosystem and better gaming features. This means that for now the U8N is a good, but not perfect, option for any premium TV buyer.”

And finally, the Samsung QN95D:

“Unfortunately, a handful of factors hold it back from true greatness: distracting visual oddities and a middling sound system are frustrating, and the blooming effect found in particularly dark scenes is very disappointing. There is also the S95D, which lurks uncomfortably close on price and with its glorious QD-OLED panel produces a deeper, richer and more cinematic picture overall.”

Does that mean Mini LED is bad? No. To be clear, all we’re saying here is that it still can’t compete in the top end of the market on TVs that cost as much as an OLED.

In the mid-range part of the market we’ve seen plenty of strong Mini LED performers that offer exceptional value for money. Our 2024 Award-winner, the TCL 85C805K is clear evidence of that. While its picture isn’t on a par with an OLED’s, its lower price means it’s still a fantastic option, especially for people on a budget – remember we always review with performance-per-pound/dollar in mind.

The new Mini LEDs are also a step forward for the technology, delivering uniformly better performance than their predecessors, so there is still hope for the technology – but 2024 wasn't its time. Which is why I’m going to end this feature with some borrowed words from our home cinema editor, Tom Parsons, in our Bravia 9 review, which accurately sums up our feelings on Mini LED in general.

“We're certainly not writing off Sony's new Mini LED backlighting system, as a second-generation version could be truly brilliant but, at this point, its strengths – impressive though they are – don't quite outweigh its compromises.”

MORE:

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Netflix has just released the gory sequel to this “inventive and captivating” horror movie

Becky Roberts — Wed, 02 Oct 2024 08:00:23 +0000

Hang on to your Jack-o'-lanterns, horror fiends; Halloween month is here and Netflix has today served up one of the year’s most anticipated horror sequels for your Friday fright night.

In March 2020 – yep, that memorable month – Netflix blessed its catalogue with a Spanish dystopian horror that became a regular fixture in its global ‘Top 10’ list over the following weeks – no doubt popularised, in part, due to its close-to-home social commentary during that difficult lockdown period for humanity. It was a bleak and disgusting yet captivating watch that combined political and social-economic allegory with human gluttony – and was not one for an empty (or for that matter, very full) stomach. Put your guess in the hat?

It was The Platform, ladies and gentlemen. The movie has a current Rotten Tomatoes score of 81 per cent, with its Critic Consensus describing it as “ an inventive and captivating dystopian thriller”. The Guardian called it a “gruesomely effective Spanish fable”, while The New York Times heralded it as “a gnarly mash-up of midnight movie and social commentary”.

The sequel has just landed on Netflix to put you royally off your weekend takeaway, and the few early reviews just published at the time of writing indicate that it is just as stomach-churning as the trailer (below) suggests. So what can we expect?

Holding a big, gleaming mirror up to our society, The Platform centred around a “Vertical Self-Management Center" and its prisoners, who are placed on a different level of the tower block per month and are fed only via a single platform that descends a buffet feast of food down to each level, where it stops for only two minutes. If the food has all been finished by the time it reaches your level, tough luck – you better hope you’re on a higher level next month. Chaos, extreme egotism and trickery ensue, as well as a fair share of murder, cannibalism and falling to one’s death.

The Platform 2 sticks to the ingeniously simple concept: food descends, hungry people eat, others go hungry. Only this time, a ‘law’ states that each resident chooses a dish that others cannot touch, to ensure everyone gets fed. If the trailer is anything to go by, this seemingly ‘fairer’ rule only dials up the ‘hangry’ chaos to eleven as the individual and double-team victories of the original escalate into multi-level revolutions in this sequel. Honestly, it looks promisingly bonkers and, as you might imagine, gory as hell. The fact that the same director (Galder Gaztelu-Urrutia) and writers (David Desola and Pedro Rivero) are behind it again gives us faith that, while it won’t be as conceptually fresh, it could well reach new levels of darkness.

Tee it up!

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BenQ GS50

whathifi@futurenet.com (What Hi-Fi?) — Wed, 28 Aug 2024 07:40:18 +0000

Forget ‘sun’s out, guns out’. Our idea of celebrating the occasional glimmer of summer is to finally emerge squinting and blinking from our home cinema and hi-fi caves with some way of continuing to enjoy our AV hobby tucked under our arms.

Cue the BenQ GS50. This portable projector is not only designed to easily be moved between different mates’ houses for each new sporting event, but can even be used outside, in your back garden, say, or while camping in the great outdoors. Why tell scary stories around the campfire when you can watch a scary film instead?

Price

(Image credit: What Hi-Fi?)

The BenQ GS50’s £699 / $699 / AU$1450 asking price looks quite high for a portable projector. It’s more expensive, for instance, than the recently reviewed Nebula Mars 3 Air. It’s the same price, too, as the Samsung The Freestyle portable projector, with its distinctive barrel-in-a-rotating-cradle design and versatile usage scenarios.

So while it’s not completely ‘out there’ in pricing terms, the GS50 will certainly have to deliver the performance goods to justify its money against such potent competition.

Design

(Image credit: What Hi-Fi?)

The BenQ GS50 starts to justify its price in fine style with its design. For starters, it’s fantastically well-built. There’s real heft to it when you pick it up by the strap attached to its left-hand side, and the bodywork feels rugged and solid on every side. In fact, the GS50 is double protected by a 1mm-thick Thermoplastic polyurethane (TPU) inner layer and drop-proof outer resin, which BenQ says means it could survive being dropped from a height of 70cm (more than two feet in old money). Very handy for klutzes like us.

It’s also protected with splash-proof film to the IPX2 standard, meaning it can withstand light splashes, and it incorporates channels into its left and right sides to help liquids run away from the projector’s important bits. BenQ’s website even shows a photo of the projector operating in what appears to be a bit of mizzly rain.

BenQ GS50 tech specs

(Image credit: What Hi-Fi?)

Projector type DLP LED

Processing Auto set-up, CinematicColor technology

Screen size 30-100 inches

Native resolution 1080p

Input lag with 60Hz 22ms

HDR support HDR10, HLG

Dimensions 15 x 19 x 15cm

Weight 3.9kg

The GS50’s extremely distinctive combination of cream-coloured main bodywork, mid-green sides, orange hexagonal speaker port covers and deep tan carry strap also gives the projector an outdoorsy, natural feel a million miles from the usual dull black or white boxes most projectors are housed in.

Power and volume buttons are provided on the GS50’s top edge, while connections – a rear-mounted DC input and side-mounted AV ports – are all placed under removable rubberised covers to support the projector’s splash-proof rating. The connections comprise an HDMI 2.0 port, a type A USB port for USB readers, a USB-C supporting DisplayPort Alt Mode and power delivery, and a 3.5mm audio line out.

The GS50 ships with a mid-sized remote control boasting a crisp white finish and large, clearly-labelled buttons. There’s no backlighting for the buttons, but then we guess BenQ sees the GS50 being used in lighter environments than most projectors tend to be.

Features

(Image credit: What Hi-Fi?)

Tucked inside the GS50’s compact but rugged form is a Full HD DLP optical system illuminated by LED lighting capable of delivering a lifespan of 30,000 hours and up to 500 lumens of brightness. This is a high brightness claim for such a portable projector – 25 per cent higher, in fact, than the brightness claimed for the already punchy Anker Nebula Mars 3 Air.

Despite being brighter than the Mars 3 Air, the GS50 is rated by BenQ as only being able to comfortably support a 100-inch maximum image size. This seems to us like simply a healthy bit of common sense from BenQ’s specifications department, though, as in reality the Nebula Mars 3 Air looks too dull for comfort once you push it past 90 inches or so, despite its 120-inch maximum image size claim.

While the GS50 only carries a Full HD DLP engine, it can actually take in 4K sources. This might sound a bit pointless, but actually it downscales 4K sources well enough to make them look arguably a bit crisper and cleaner than native HD images tend to.

There’s also support for the HDR10 and HLG HDR formats, with BenQ joining the recently tested Anker portable projector in claiming support for 90 per cent of the DCI P3 HDR colour spectrum.

Projectors truly focused on portability should be easy to set up, and the GS50 doesn’t let us down. A simple drop-down foot under the front edge lets you angle the projector’s image to where you want it to appear, while auto focus and auto keystone correction ensure the picture’s sides are perpendicular and the image looks sharp without you having to get involved with any manual intervention. There’s even an ambient sensor that enables the GS50 to adjust its pictures in response to the amount of ambient light around – which is, of course, particularly handy for a projector capable of working outside.

(Image credit: What Hi-Fi?)

Truly portable projectors, especially those with an eye on outdoor use, also need to be able to work without mains power. The GS50 has this covered, too, with a built-in battery claimed to deliver up to 150 minutes of video playback, or 360 minutes of music playback if you fancy using the projector as a portable speaker.

This potential use is backed up by an unusually powerful-sounding speaker array of two 5W drivers and a 10W bass woofer. What’s more, the way the cabinet is designed allows the GS50’s sound to emerge across a 270-degree spread, and there’s even a built-in DSP chip that’s claimed to optimise playback of different music genres.

The GS50 supports Bluetooth (4.2), wi-fi, Miracast and both Airplay and Chromecast, making it easy to mirror or stream content from phones and tablets. You can also control the projector via your phone or tablet courtesy of the BenQ Smart Control app.

There’s no support over the GS50’s HDMI input, though, for advanced gaming features such as 4K/120Hz or VRR. What’s more, our initial measurements of the GS50’s input lag hit a disappointing 90ms+, which is way more than the 22ms BenQ claims in the GS50’s specifications. Eventually, after much discussion with BenQ, it turns out that the GS50 can hit 22ms of lag, but only if you’re running firmware v01.00.17.00 or newer, have the projector’s Keystone and Corner Fit correction features both set to zero, and are feeding the projector an exact 1920x1080 signal.

The GS50 ships with an Android TV dongle included in the box, giving you most of the streaming apps we’ve come to expect from the Android TV platform. There’s support for Google Assistant voice control, too, via a mic in the remote controls.

Netflix isn’t present as standard, though, since the streamer hasn’t officially certified an app for BenQ/Android TV use. Also, while Disney+ and Apple TV+ both recognise the projector as HDR capable, the Prime Video app does not. As ever with Android TV, moreover, there’s no sign of the BBC iPlayer, All4 or Freeview Play apps popular with UK households.

If you’re thinking, finally, that the GS50 sounds like a potentially great option for the kids to use, you might be pleased to know that as well as being drop-proof from child-carrying heights, the projector can be set to turn off its light if an approaching object – such as an inquisitive child – gets within 30cm of the lens.

Picture

(Image credit: What Hi-Fi?)

While there are some good things about the GS50’s pictures, there are a couple of pretty major issues that ultimately prove hard to see past. Let’s deal with these first.

The main one is that the GS50’s black levels with high dynamic range content are really quite poor. Dark HDR scenes sometimes look so washed out with low-contrast greyness, in fact, that it actually becomes impossible to see what’s happening. When Georgie heads into the cellar near the start of It, for instance, you literally can’t see anything but greyness during the very darkest shots. The suspense becomes more to do with when you might actually be able to see any picture information again rather than what’s actually going on in the film.

It doesn’t help the HDR black level situation, either, that the overwhelming greyness features a slight red tone, taking the projector even further away from the neutral black hues you should be seeing.

The other big problem is some freakishly bad motion handling if you’re watching a 24p movie – regardless of whether it’s via the GS50’s built-in apps or external sources. Camera pans or objects moving across the scene cause a really unnatural, distracting, staccato juddering effect, almost as if you’re playing a video game on a higher frame rate setting than your PC is capable of handling properly. This is obviously at its most distracting with action movies but, honestly, it makes even kitchen sink dramas look awkward at times. And we weren’t able to find any processing or other settings that dealt with this problem.

Even 60Hz frame rates don’t look quite right on the GS50; there’s still a slightly uneven, processed feel to objects moving across the screen.

The BenQ GS50’s main strength is its brightness by portable projector standards. This is something of a double-edged sword given that it doubtless contributes to the projector’s issues with handling dark scenes, but bright HDR content unquestionably looks punchy, bold and richly saturated. More like HDR, in fact, than it does on the Anker Nebula Mars Air 3. It’s just a shame that the GS50 can only handle the bright end of the HDR light spectrum, showing precious little interest in the dark end.

The GS50’s brightness also, crucially, helps it punch through ambient light more successfully than most portable projector rivals. In fact, this is – as you might expect of a projector that clearly pushes its ‘outdoor’ potential – by far the GS50’s most appealing performance trait. We’re not sure any projector will ever outgun bright sunlight, but in the more overcast conditions or long dusks of the typical British summer, or the more controllable ambient light levels you get in typical living rooms, colours retain fuller saturation and subtle details remain more visible, at least in bright scenes, via the GS50 than they do on pretty much any other portable projector we can think of.

The GS50 doesn’t suffer with DLP’s rainbow effect as much as we’d feared such a bright portable projector might, either, and it should be stressed that the sort of relatively bright conditions to which BenQ sees the GS50 as ideally suited disguise the worst of the projector’s black level limitations. However, the GS50’s lack of any real native contrast does mean that the Anker Nebula Mars 3 Air can still look more dynamic, if not all-round brighter, in moderately bright conditions due to its much better native contrast.

The GS50 also impresses with its sharpness. HD and especially 4K sources look detailed, textured and crisp, without exaggerated noise, grain or edge enhancement. This sharpness, together with the reasonably high brightness, means it can drive a bigger image without that image becoming too dull than most portable projectors can. Up to 100 inches, we’d say, in a fairly dark environment, before the image starts to look too soft or dull.

Finally, as with many affordable or portable projectors, the GS50 works slightly better as an SDR projector than an HDR one. Its SDR pictures still look slightly brighter than SDR pictures do on most portable projectors, but at the same time, its dark scenes look slightly more convincing. Though still not enough to become really satisfying in any remotely dark environment.

Sound

(Image credit: What Hi-Fi?)

The GS50’s sound is actually much more flexible than its pictures, in that it proves just about as usable for music as it is for movies.

For starters, its genuine stereo configuration, with drivers firing out of its left and right sides, helps its sound enjoy both a better sense of separation and a larger soundstage than we often hear with projectors, especially portable ones. If you’re using the projector inside, the sound fills the space in front of you really quite effectively, making the soundstage feel in scale with the large visuals. Outside, the power and throw distance of the sound means it retains clarity and impact within a larger seating ‘hemisphere’ before the sound is lost in the wind.

The GS50's scale, but also control, of audio enables it to craft even complex film soundtracks into effective layers of sound, as well as create a quite sophisticated sense of three-dimensional space where a mix contains enough subtle detail to make such a defined sense of space possible.

Aside from the occasional really deep male voice sounding a bit dense and ‘soupy’, vocals delivered via the GS50 actually sound nicely rounded and convincing – as if they’re being delivered by actual humans rather than some computer-generated voice box. The rounded tone carries across the whole of the GS50's sound, in fact, ensuring that it doesn’t start to feel harsh or thin even when a film soundtrack is pushing it hard.

There’s even a reasonable amount of bass to be heard rumbling along beneath the main action, giving action scenes more heft, impact and authenticity than the vast majority of other portable projectors manage.

This GS50’s bass shifts from drones and rumbles to punchy and well-timed bass lines for music playback too, joining the impressive stereo separation and some surprisingly clean, convincing and well-positioned vocals in making music quite easy to listen to. We’re not suggesting that the GS50’s music performance is a rival for a good dedicated portable speaker. Especially a good £699 / $699 / A$1450 dedicated portable speaker. But it’s more credible than the music we’ve heard from any other portable projector to date.

There are a couple of niggles, of course. One is that in carefully locking dialogue at the heart of its soundstage, the GS50 can leave dialogue sounding a little too trapped in the projector, rather than throwing it forward so that it seems to be coming from the onscreen action. Also, the mostly impressive bass performance can push a bit too hard at times, causing mild distortions with the most extreme movie bass moments. These are both minor issues by projector audio standards, though.

Verdict

(Image credit: What Hi-Fi?)

The GS50 is attractively and robustly designed, and it produces much better sound than most portable projectors. Also, in the specific outdoor environments that they’ve clearly been tuned for, the GS50’s pictures do hold up a little better than those of most portable projectors. The GS50’s inability to adapt its images satisfactorily to interior viewing, though, especially in any remotely darkened room environment, makes it more of a one-trick pony than we suspect many of our readers might like it to be – especially given the premium price and, particularly in the UK, how rarely they’ll likely be able to enjoy its one trick, thanks to the Great British weather…

SCORES

Picture 2
Sound 4
Features 4

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Rewind: High End hi-fi highlights from Sonus Faber, Q Acoustics, Astell & Kern and more

alastair.stevenson@futurenet.com (Alastair Stevenson) — Mon, 13 May 2024 07:00:10 +0000

Last week was the High End Munich show in Germany where numerous big-name brands unveiled a wealth of cool looking hi-fi. Thankfully our team was on the ground reporting live from the event making it quick and easy for us to create this week’s Rewind news summary!

But pay careful attention: while most of the headlines may have focused on hi-fi, there were also a few big developments in the world of home cinema over the past seven days.

Here’s what you need to know.

Q Acoustics resurrects its 3000 series

(Image credit: What Hi-Fi?)

Q Acoustics has a strong track record creating top value home cinema and hi-fi speaker packages. This was showcased a mere week ago when we awarded the Q Acoustics 5050 floorstanders five stars and specifically highlighted their stellar value for money as a reason. We were happy to see Q Acoustics unveil its step down new 3000c series of speakers, which are even cheaper, at Munich as a result.

Read the full story: Q Acoustics 3000c is the entry-level speaker range we've been waiting six years for

TCL proves itself to be a performance-per-pound champ

(Image credit: What Hi-Fi?)

Last week we delivered our definitive verdict on the TCL 85C805K. While it’s hard to describe it as “cheap”, our testing showed the giant 85-inch, Mini LED set is stellar value and actually outperforms many of the more expensive sets this size we have reviewed recently. Highlights include great contrast and an incredibly high maximum brightness. This, plus its strong HDR performance and wealth of gaming features, make it an easy recommendation.

Read our full TCL 85C805K review

WiiM levels up its hardware

(Image credit: WiiM)

Last week one of our readers' favourite affordable hi-fi brands, WiiM, lifted the lid on two new products. Specifically, it showed off new upgraded versions of its WiiM Ultra streamer and WiiM Amp Pro at Munich High End. The new streamer is interesting as it a colour touchscreen input alongside new hardware upgrades, including a new DAC. Meanwhile, the WiiM Ultra is a tweaked version of the original we reviewed last year with minor cosmetic and hardware changes, which were apparently based on customer feedback.

Read the full story: WiiM Ultra and WiiM Amp Pro are updated, versatile, multi-tasking streaming units

Tannoy brings back a 1950s hi-fi classic

(Image credit: Tannoy)

Iconic, and newly resurrected, hi-fi brand Tannoy showed of a new line of Autograph 12 speakers. This is a classic product line which the firm originally launched in 1954. The speakers have a retro look but include new internal hardware headlined by an updated version of the 12-inch drive unit used on the original. We haven’t had a chance to listen to the speakers yet, but they certainly piqued our team’s interest at the High End show based on looks and pedigree alone.

Read the full story: Tannoy Autograph 12 speakers pay tribute to iconic driver 70 years after the originals

Fyne Audio launches a new tweeter

(Image credit: Fyne Audio)

Fyne launched its new SuperTrax tweeter alongside a dedicated new cable at Munich. The tweeter is set to make its debut on the Scottish audio powerhouse’s new Vintage Classic Gold SP floorstanding speakers. It is being billed by Fyne as a revolutionary step in its ongoing quest to deliver audio “exactly as the artist intended”.

Astell & Kern’s latest portable player looks set to take the fight to Sony

(Image credit: Astell & Kern)

On top of all the speaker reveals, Astell & Kern used Munich as the launch pad for its new Activo P1 player. The new unit is part of Astell and Kern’s subsidiary brand, Activo, and a direct successor to the CT10 portable music player. We didn’t get a chance to try it at the show, but, based on its specification, it looks set to take on the equally affordable Sony NW-A306 which we reviewed last year.

Read the full story: Astell & Kern takes on the Sony Walkman with all-new Activo brand and P1 player

Sonus Faber launches some “entry level” speakers

(Image credit: Sonus Faber)

Rounding out the speaker news for this week’s Rewind column, Sonus Faber launched its Sonetto G2 speakers at Munich. It is pitching them as entry level, but we have put that statement in quotation marks – for us, the new speakers’ £1150 starting price means they are still a little premium to justify that label. That aside, the speakers look very interesting, with the line-up including two standmount speakers, three floorstanders, a centre channel and a wall-mounted speaker. Each will include the brand's flagship driver technology which makes them a pretty enticing proposition, and one that we would love to check out in our test rooms when they come out later this year.

Read the full story: Sonus Faber brings flagship driver technology to stylish Sonetto G2 speakers

Did we mention High End Munich?

(Image credit: What Hi-Fi?)

If you have made it this far and still haven’t quenched your thirst for knowledge, you can get a longer breakdown of all the news from High End Munich in our show guide!

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Final's new flagship D7000 planar magnetic headphones promise to bring the bass

Verity Burns — Wed, 08 May 2024 10:32:52 +0000

After spending some time developing its range of wireless headphones, Final has returned its attentions to its high-end roots and announced a new addition to its flagship planar magnetic headphones.

The D7000 sit alongside the D8000 and D8000 Pro Edition as a flagship product, and feature a lightweight machined aluminium-magnesium alloy for their housing, Final’s proprietary driver technology, as well as a newly improved Air Film Damping System (AFDS), for greater efficiency and deeper bass.

With conventional planar magnetic headphones, the driver unit is normally designed to limit the lowest bass frequency produced, to prevent the diaphragm from coming into contact with the magnet when playback volume is high.

In the D7000, the AFDS helps to solve this problem, and can lower the frequency of the bass tones that the driver can reproduce without distortion.

(Image credit: Final)

This creates a uniquely rich and smooth sound signature that sets the D7000 apart from other D-series models, delivering all the delicate high frequencies that you’d expect from planar-magnetic cans, but with the powerful, open and low frequencies of dynamic drivers.

This is only helped further by Final’s newly developed open-type earpads, which use a unique Washi material – a type of Japanese paper that promises durability, air permeability and moisture control, as well as antibacterial properties.

Such a breathable material helps to further enhance the bass capability of the D7000 AFDS driver, by helping to further nurture a natural openness to its sound.

Final has also developed its new pinna-aligned diffuser for the D7000, to help combat the effect that varying shapes and sizes of the human ear has to sound. The diffuser shape was created after many rounds of simulations and hearing experiments, and aims keep the sound of the headphones consistent for everyone.

The Final D7000 come with a pretty hefty lockable carry case and a three-metre detachable fibre optic cable with 6.3mm headphone socket. They are available now for £2,999 / $3,499.

MORE:

Read our pick of the best audiophile headphones

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Wired vs wireless headphones: which are best for you?

What are open earbuds? How do the headphones work and are they worth it?

andy.madden@futurenet.com (Andy Madden) — Wed, 01 May 2024 16:29:48 +0000

If you’ve been keeping an eye on headphone trends over the past year, you’ll have noticed something afoot in the world of in-ear headphones.

Everyone is familiar with the traditional in-ear design, right? Where a driver in each earbud fires music through a tube, directly into your ear canal and down to your eardrum.

Well, in recent months a handful of manufacturers have revisited the drawing board and launched a new style of earphone that’s being referred to as an ‘open earbud’. Like a lot of modern in-ears, they tend to be wireless, but with some key differences regarding design and fit. We’ll cover all of them in this article together with the pros and cons to help you decide if open earbuds are actually worth considering.

How do open earbuds work?

The Huawei FreeClip (top) and Sony LinkBuds (bottom) - note the Sony's distinctive ring driver. (Image credit: What Hi-Fi?)

As previously mentioned, the in-ear headphones we’ve come to know and love tend to place a driver in an enclosure which fires sound through a funnel and into your ear canal. Normally, attached to the end of the funnel is a silicone or memory foam ‘tip’ designed to create a seal, thus isolating the wearer from outside noise and stopping sound from leaking out.

Open earbuds on the other hand don’t burrow into your ear canal. They have neither a funnel nor a surround – they’re not designed to create a seal. Instead, they sit in proximity of the opening to your ear canal.

We’ve tested three pairs of open earbuds in recent months, and the driver design has varied for each one. For example, Sony uses a ring driver for its WF-L900 Linkbuds that sits just behind your tragus. The Huawei FreeClip’s ‘acoustic ball’ sits in your concha, as does the tip of the Bose Ultra Open Earbuds.

The Sonys probably sit closest to your ear canal without diving inside and they’re wedged in place with the aid of a small wing tip attached to the main body of the earbud. Without any surrounds to create a seal or tips to help secure them in place, Bose and Huawei have both opted for a clip design where a band wraps around the back of your ear under tension to the other half of the clip and helps to clamp the earbuds in place.

The Huawei and Bose have deliberately been designed to look more like a fashion accessory than a standard pair of headphones. Bose, for example, has been quick to take advantage of this and partner with fashion brand Kith for a limited run of Ultra Open Earbuds.

What are the advantages of open earbuds?

(Image credit: What Hi-Fi?)

The most obvious advantage of open earbuds is that they’re an alternative for those who don’t like the fit of normal in-ear headphones. Some might find the fact they don’t burrow in very appealing and there’s a good chance these users will find open earbuds more comfortable and relaxing, especially over long periods.

There are health benefits too – it’s a broadly held opinion that traditional earbuds aren’t particularly hygienic because they can push ear wax and other debris into your ear canal. Open earbuds don’t have this problem, and the lack of a seal can also reduce conditions that might promote bacterial growth and ear infections.

Health experts have linked listening to loud noise for long periods to hearing loss and in-ear headphones are generally believed to contribute to this more than over-ears. Because open earbuds don’t block the entrance to your ear canal and don’t fire music directly at your eardrum, this could help reduce the possibility of hearing damage.

Open earbuds also reduce what is often referred to as the ‘stethoscope’ effect. This is the amplified noise generated when you catch an earbud sitting in your ear canal - similar to the cable noise you hear transmitted through wired in-ear headphones.

If you want to hear more of your surroundings, e.g. if you’re out running and need to be aware of what’s happening around you, then open earbuds are likely to help. Of course, it’s all relative to the volume you’re listening at – the louder you play your music, the less of an advantage the design becomes.

What are the disadvantages of open earbuds?

The Bose Ultra Open earbuds wrap around the back of your ear and are clamped in place by a battery cylinder. (Image credit: What Hi-Fi?)

Conversely, the fact open earbuds can let in more noise could also be seen as a disadvantage, e.g. if you’re using them in a noisy gym and want to cut out the grunting and other people's terrible Spotify playlists. In this case, you might prefer a pair of noise-cancelling earbuds. ANC earbuds are also likely to offer a transparency mode so you at least have the option of letting ambient noise through if required.

The design of open earbuds means that positioning matters more than with normal in-ears. Because they sit outside your ear canal, dispersion needs to be controlled so you don’t lose any sonic information on its way to your eardrum. If the buds use a clip design, for example, they need to sit securely and not move around when you do.

How do they sound? Open earbuds vs normal earbuds

(Image credit: What Hi-Fi?)

In our experience, open earbuds generally tend to sound, erm, more open and airy than normal in-ears. Music boasts a greater sense of spaciousness because the seal has been removed. The fact they’re not wedged in your ears also allows them to sound a little less intense, which some users might prefer.

The flipside is that open earbuds struggle to match traditional in-ears for clarity, punch and dynamism. In-ears sit closer to your eardrum and can drive the space between the tip and eardrum harder, giving sound extra solidity and reinforcement, especially in the lower frequencies. Open designs have to work a lot harder because they are positioned further away from your ear canal. To their credit, though, the Bose Ultra Open Earbuds did manage to deliver surprisingly solid weighty bass during testing.

Are open earbuds worth it? If you don't get along with the fit of normal wireless earbuds, then we can see the appeal. At the time of writing, we've found they can't quite match the very best wireless earbuds sonically, but Bose and Sony do have models that sound good enough to warrant a closer look.

How do open earbuds differ from bone-conduction headphones?

(Image credit: Shokz)

Open earbuds are a very different proposition to bone-conduction headphones. While the former still channel audio in the direction of the opening of your ear canal and into your inner ear, the latter transmit audio signals as vibrations through your upper cheek or jaw bone. They are transmitted directly to your cochlea via your temporal bone, bypassing your eardrum completely.

The design allows you to be much more aware of your surroundings, as there’s nothing positioned near the entrance to your ear. But, because your eardrum doesn’t get involved in processing any audio signals, there are layers of information that will be missed and sound quality, in our experience at least, is extremely compromised.

Are open earbuds here to stay?

Rumour has it Sony is already working on a second-generation pair of LinkBuds which might even include noise-cancelling – which would be a first. And, we were mightily impressed by the Bose Ultra Open Earbuds, given they were a first attempt, and they show that there could be some real potential there to push on with improvements for a second-generation model if Bose carries on down this path.

As with all new product genres, it really depends on whether the design takes off and if there’s enough demand from the public. While the design going completely mainstream might seem a little way off at the moment, we wouldn’t be surprised to see a handful of other manufacturers launch products in this category.

MORE:

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Warning: just because a TV is great at one size doesn't mean it will be at another

tom.parsons@futurenet.com (Tom Parsons) — Mon, 25 Mar 2024 17:53:37 +0000

A lot of people (and even some TV-reviewing publications) believe, or at least assume, that TVs scale up and down in size without there being a change in quality. For example, you might read a review of a great 55-inch TV and figure that the 43-inch version must be just as good. Unfortunately, this simply isn’t the case.

The Amazon Fire TV Omni QLED is just the latest evidence of this. We initially reviewed it as a 65-inch model and were impressed by its value for money but found a couple of flaws that held it back from a five-star rating. Those flaws were a little less pronounced on the 50-inch version we tested next, so we felt that one was worthy of all five stars.

But then it was the turn of the 43-inch model, and things took a turn for the worse. For this version, Amazon removed a key feature of the larger models – local dimming – and this has an overwhelmingly negative effect, particularly as the company doesn’t appear to have compensated appropriately for this downgrade.

In fairness to Amazon, it does note this difference relatively clearly on the product page. You probably need to know a thing or two about TVs in order to grasp the terms involved (our local dimming explainer should come in handy there), but it’s not as if Amazon is trying to pull the wool over anyone’s eyes.

Of course, there's something inherently confusing about selling two TVs under the same name despite there being fundamental differences in the specs, but this is a really common occurrence in the TV industry and the Omni QLED is far from the most egregious example.

Backlit TVs are the biggest offenders

(Image credit: What Hi-Fi? / Netflix, Life On Our Planet)

Backlit TVs, whether sold as 'LED', 'QNED', 'QLED' or simply 'LCD', are particularly susceptible to size variability. For starters, it’s common for some sizes of a TV to feature a VA panel while others use IPS, which fundamentally impacts picture quality. Most brands these days also buy panels for their TVs from other manufacturers, and it’s not uncommon for them to source panels in one size from one manufacturer and in other sizes from another. In other words, you could buy a 43-inch TV with a VA panel made by one supplier, and a 55-inch TV with the same name that features an IPS panel manufactured by a completely different company.

Then there are, of course, those specification differences. Even if all of the different sizes of a TV do feature local dimming, for example, it’s unlikely they will all have the same number of dimming zones. And if they did, the larger models would be less effective than the smaller ones as each dimming zone would be responsible for handling the light for a larger portion of the screen.

Even if a TV does appear on paper to be simply a larger or smaller version of another TV, there is still no guarantee of performance consistency. Take the Samsung CU8000, for example – the 55-inch version is a solid, four-star set, while the 43-inch model has, to quote our review, ‘the messiest backlight system we’ve seen in ages’.

There are things to look out for with OLEDs, too

(Image credit: What Hi-Fi? / Netflix, Animal)

OLED TVs are much more consistent across different sizes for several reasons, some of which might be quite obvious. The first is that each pixel is represented by a self-emissive OLED, so there are no dimming zones to contend with. The second is that in almost all cases, an OLED TV will feature across all sizes either panels from LG Display or Samsung Display.

However, there are exceptions here too. The LG G3 OLED, for example, features MLA technology in most sizes, but not the 83-inch and 97-inch versions, which consequently go less bright than their smaller siblings. Samsung also got into hot water last year by launching an 83-inch version of its S90C model that went without the QD-OLED technology of its smaller siblings – it used a 'standard' WOLED panel instead. It’s currently in even hotter water on account of reports that it is this year going to launch QD-OLED and WOLED versions of the same TV at the same size, but that’s another story altogether.

Even when things are going broadly as they should in OLED TV land, there are differences to be aware of, most notably that 42-inch and 48-inch versions of an OLED TV aren’t able to hit the same peak brightness as the versions that are 55 inches and larger.

Still, our current approach with OLEDs, which is the result of years of experience in testing various models at a range of sizes, is to consider 42-inch and 48-inch models independently, and 55-inch, 65-inch and 77-inch models together. That stance is of course under constant review, though.

It is also worth saying that sound quality also changes with size, even when comparing a 55-inch version of a model with the 65-inch variant. Generally, you can expect a slightly weightier delivery from a larger TV, as there’s usually a little more casework for the drivers to breathe. That isn’t always the case, as some models have the same speaker casework regardless of their screen size, but even then you can find that differences emerge from, among other things, the need for the drivers to push sound around a wider panel.

Broadly speaking, though, we’re talking fairly fine margins where sound is concerned, in that a TV that sounds rubbish at 55 inches is highly unlikely to sound good at 65 inches. Seeing as most TVs sound pretty poor anyway, we don’t feel this aspect is worth getting too hung up on. Of course, the audio quality of a 42-inch TV will be entirely different from that of a 65-inch model with the same name, but that’s another reason for us reviewing those sizes separately.

In summary, you really must not assume that a TV that looks good at one size will look just as good at another, particularly if it’s a backlit model, and particularly if there’s a large difference in size. We always flag in our reviews the specific size that was tested, and while consistency tends to be typically good from 55 inches up to 75/77 inches, anything beyond that is a bit of a shot in the dark.

MORE:

Take the guesswork out and check out the best 43-inch TVs, the best 50-inch TVs, and the best 55-inch TVs

Here's everything you need to know about IPS and VA panel technology

The best home cinema kit made by British hi-fi brands

tom.parsons@futurenet.com (Tom Parsons) — Fri, 08 Mar 2024 17:21:48 +0000

Yes, I’m well aware that it’s British Hi-Fi Week, but as What Hi-Fi?’s TV & AV Editor, I couldn’t resist cramming some home cinema action into our coverage.

It should come as no real surprise that the British brands responsible for some of the best hi-fi speakers in the world are also purveyors of quality surround packages, but did you know that one of the best AV receivers that money can buy is also from a British company? You do now. Or, more accurately, you will once you’ve scrolled down to read this round-up of the best home cinema products made by British hi-fi brands.

Wharfedale Diamond 12.3 HCP – £1299 / $2025 / AU$4122

(Image credit: Future)

Wharfedale has generally shown more commitment than most of its hi-fi peers to home cinema speaker systems, and the results speak for themselves: the brand took home three speaker-package gongs at the most recent What Hi-Fi? Awards alone.

Also by Wharfedale

If money and/or space are tight, take a look at the also-Award-winning Wharfedale Diamond 12.1 HCP, which swaps the Diamond 12.3 floorstanders for a second pair of 12.1 standmounters. The Wharfedale DX-3 HCP, meanwhile, is cheaper and even more compact. If, on the other hand, you have lots of space and a bigger budget, do check out the Wharfedale Evo 4.4 5.1 pack.

Of those Award-winners, it’s the Diamond 12.3 HCP that we are flagging here. Using excellent stereo speakers in a surround package is no guarantee of success, but it certainly helps, and this package features two excellent pairs: the five-star Diamond 12.1 and Award-winning Diamond 12.3.

In a surround package such as this, the centre and subwoofer often feel like an afterthought. Not here, though, as the 12.C centre and SW-10 sub more than play their part, delivering clarity and tuneful weight respectively. All told, this is a classy and composed system with detail and dynamics for days, and it’s unbeatable at this price.

Read the full Wharfedale Diamond 12.3 HCP review

Bowers & Wilkins 606 & 607 S3 speaker package – £2496 / $3799 / AU$3947

(Image credit: What Hi-Fi?)

Like the Wharfedale package above, this B&W package features two pairs of excellent stereo speakers. As the name suggests, the stereo speakers in question are the 606 S3 and 607 S3, both of which are current Award-winners that we love for their clarity, detail, spaciousness and all-round entertainment value.

Also by B&W

As well as producing its own speakers and headphones, Bowers & Wilkins produces the sound systems for other products, including many Philips TVs. The OLED908 is the most recent result of this collaboration – and it’s one of the best-sounding TVs you can currently buy.

Thankfully, these music maestros are not let down by the HTM6 S3 centre or ASW608 sub with which they are partnered in this system, and that translates to an awesome movie experience.

In fact, in our review, we wrote that ‘we find ourselves grasping at straws when it comes to finding things to complain about, as the Bowers & Wilkins 606 and 607 S3 Surround Speaker Package is nothing short of spectacular in the sonic department’. You can’t get much higher praise than that.

Read the full Bowers & Wilkins 606 & 607 S3 speaker package review

Arcam AVR31 – £5799 / $5250 / AU$11,495

(Image credit: Future)

AV amplifier land has been dominated by Denon for years now, but Arcam has recently proved that there is room for a sound-first, features-second AVR at the most premium end of the market.

Also by Arcam

If you want a sound-first AVR and can’t stretch to the AVR31, the ‘entry-level’ (by Arcam’s standards) AVR5 should be right up your alley.

Not that the AVR31 is exactly a slouch in the features department: it’s got umpteen HDMI 2.1 ins and outs, support for every sound format you are ever likely to need (and many you never will) and one of the best DACs in the business. Some people, though, will be put off the AVR31 because it has only seven channels of amplification, so going full Atmos requires the addition of extra amplifiers. You can buy a Denon AVR with more amplified channels than the Arcam for about a fifth of the price.

But it’s not the number of channels that matters, it’s the way you use them, as Arcam would almost certainly never say, and the AVR31’s premium credentials are made crystal clear through its sound, which combines delicacy and power like Blade Runner’s Roy Batty.

Read the full Arcam AVR31 review

Fyne Audio F8SP AV – £10,999 / $14,999 / AU$24,000

(Image credit: Future)

We’ve said it before and we’ll say it again; the centre is arguably the most important speaker in a surround system. Yet, time and again, speaker manufacturers bundle their big, brilliant floorstanders with a weedy, undernourished centre that makes dialogue hard to decipher and robs the overall system of its cohesion.

That’s not something that you have to worry about with the Fyne F8SP AV package, though. Its F57SP-8 centre speaker is a beast that has clearly been carefully designed and tuned to be a perfect match to the gloriously imposing, five-star-rated F502SP speakers.

“The front three full-range speakers are almost disarming in their precision and speed, adding a tangible layer of excitement to action sequences and making nearly every sudden move in horror films unbearably unnerving,” we said in our review.

The F501SP floorstanders used as surrounds don’t quite match the other speakers tonally, so we would consider upgrading these to another pair of F502SPs if you have the money and space. The twin subwoofers aren’t the very best in class either, so you might want to consider specifying a non-Fyne alternative (or two!) there as well. Even as it comes, though, the F8SP is an incredibly entertaining speaker package.

Read the full Fyne Audio F8SP AV review

Q Acoustics 5040 5.1 Home Cinema – £2475 / $3595 / AU$5199

(Image credit: Q Acoustics)

Q Acoustics is such a fixture of the British hi-fi scene that it’s easy to forget that the brand has only been in existence since 2006. Over the past 19 years, it has shown a real dedication to producing seriously good surround sound packages that feature its seriously good stereo speakers, and the 5040 5.1 Home Cinema is just the latest of those.

Also by Q Acoustics

If the looks and sonic approach of the 5040 system appeal but your budget won’t stretch that far, take a look at the 3050i 5.1 Cinema Pack. The 3010i Cinema Pack, meanwhile, is even more affordable and features two pairs of standmounters, so is more compact than the floorstander-based systems.

The Award-winning stereo speakers in question are the Q Acoustics 5040s that give this package its name. They feature as the front-left and -right speakers, with a pair of 5010s as surrounds, a 5090 centre and QB12 subwoofer.

Despite the use of different speakers throughout, the system produces a really cohesive sound that’s also packed with energy, detail and dynamism. The soft, modern look of the speakers will appeal to those for whom the straight edges and wood finishes of traditional hi-fi don’t appeal.

Read the full Q Acoustics 5040 5.1 Home Cinema review

12 of the best songs by The Beatles to test your hi-fi system

Simon Lucas — Mon, 04 Mar 2024 09:44:53 +0000

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

MORE:

Check out the best British rock songs to test your system

Prefer Pink Floyd? Here are our favourite Pink Floyd songs

12 of the best Muse tracks to test your headphones or hi-fi system

FiiO's pocket-sized DAC could take your iPhone 15's music to the next level

harry.mckerrell@futurenet.com (Harry McKerrell) — Mon, 25 Sep 2023 15:25:13 +0000

The release of the FiiO KA13 couldn't have come at a better time. Promising to be a compact yet powerful portable USB DAC for your headphones, the KA13 comes with a USB-C to USB-C cable so that you can plug it directly into the newly converted iPhone 15 without the need for any further adapters.

It's pretty titchy, too. Much like the five-star iFi Go Link that we reviewed earlier this year or the ever-excellent AudioQuest DragonFly Cobalt, the FiiO's latest is designed to be a pocket-sized (just 56.3 x 22 x 10.5mm) powerhouse that gives your music a boost wherever you go. Utilising dual 32-bit DACs, the KA13 provides support for up to 32-bit/384kHz as well as native DSD256 hi-resolution files.

It may be small, but you're still treated to a decent range of connectivity options thanks to the inclusion of both single-ended (3.5 mm) and balanced (4.4 mm) headphone outputs. The included USB-C to USB-C cable hooks you up directly to the new iPhone 15 if you're lucky enough to have nabbed one already, but there are also USB-C to Lightning and USB-C to USB-A adaptor cables included to keep all parties happy.

The KA13 is compatible with plenty of sources, too, with FiiO boasting that its new model will work with Android, iOS, and PCs. If you're not keen on using it merely as a portable booster for your mobile sources, the KA13 comes with a 'Desktop Mode' to bolster its power output to up to 550mW if the need arises.

(Image credit: FiiO)

The diminutive DAC is available with a black or silver sleek metallic chassis, both of which feature an ambient light window which changes colour to demonstrate the quality of the audio file being played, a similar system used by the even tinier iFi Go Link. The KA13 works with the FiiO Control app for Android and iOS.

It's not the only release coming courtesy of FiiO. The Chinese audio brand also announced the arrival of a desktop DAC/amplifier, the K11, which promises multiple inputs (including USB Type C, Optical and Coaxial) alongside support for 32-bit/384kHz and native DSD 256 hi-res.

Both models will be available from October 2023. The KA13 portable USB DAC will be priced at £69 / $79, while the K11 desktop DAC/amplifier will set you back £119 / $129 (further prices pending).

MORE:

Read our AudioQuest DragonFly Cobalt review

And our iFi Go Link review, too.

Best DACs: USB, desktop and portable digital-to-analogue converters

Pick of the Month: Bowers & Wilkins and Q Acoustics deliver a trio of hi-fi treats

alastair.stevenson@futurenet.com (Alastair Stevenson) — Sun, 03 Sep 2023 08:00:16 +0000

August is over and that means yet another instalment of What Hi-Fi?’s Pick of the Month, where we celebrate the best-performing products to pass through our testing rooms over the past 30 days.

Most of us may have been relaxing by the pool with a pina colada in hand after making our summer “Escape” from the office – see what we did there – but our team of reviewers has been locked up in our test rooms putting everything from top end amps to affordable network streamers through their paces.

In that time we’ve had a number of great products earn top marks, with everything from new speakers from industry legend Bowers & Wilkins to affordable over-ears from Sony earning perfect scores.

Without further delay here are the team from What Hi-Fi?’s recommended products for August 2023.

(Image credit: What Hi-Fi?)

Bowers & Wilkins 606 S3

The first of two Bowers & Wilkins speakers to earn a place in this month’s Pick of the Month. The 606 S3 is the larger sibling to the 607 S3 just below in this list.

Sitting in the firm’s entry-level range the standmount speakers are excellent bang for your buck based on our testing. Taking them out of their box we were immediately smitten with their wonderfully clean, almost minimalist, two-way vented design, which features a 25mm dome tweeter and a 16.5cm cone.

Powering them up in our listening rooms, while we found they can be a little fussy with partnering equipment, they deliver great audio with wonderful clarity and detail across most genres.

This led our testers to conclude:

“With improvements throughout, these admirable 606 S3s are pleasingly large-scaled, spacious, and refined performers for the money.”

In fact, our only real criticism was that they aren’t quite as good value, in certain areas, as their smaller sibling, which we tested alongside them.

Score: 5/5

Read our Bowers & Wilkins 606 S3 review

(Image credit: What Hi-Fi?)

Bowers & Wilkins 607 S3

The 607 S3 are among some of the best standmounted speakers to pass through our listening rooms in quite some time, with one of our particularly hard to impress reviewers going so far as to call them a “delight” during testing.

The smaller sibling to the 606, they have the same two-way configuration and design as the 607s, to the point you may struggle to tell them apart from photos alone.

Putting them through their paces in our test room they delivered a wonderful performance, across a multitude of genres. Whether it was Alt-J’s Breezeblocks, Bruce Springsteen’s Terry’s Song or John Williams’ Jurassic Park theme they delivered a punchy, dynamic and lively sound.

This led our reviewers to conclude:

“What we really enjoy about these new 607 S3 speakers is that they clearly know how to have fun, and they want you to have fun while listening to them. The best compliment we can give them is that we end up listening to every track in full through the 607 S3, with no skipping.”

Score: 5/5

Read our Bowers & Wilkins 607 S3 review

(Image credit: What Hi-Fi?)

Q Acoustics 5040

The Q Acoustics 5040 are the middle child in the firm’s current portfolio, sitting between the budget 3000 models and the more premium Concept range.

At first glance, they feature the company’s standard design, pairing a twin mid/bass driver with a tweeter in the middle. What makes them different from older Q-Accoustics is that the mid/bass drivers have a new “Continuous Curved Cone” design.

We tested the speakers with our reference Naim ND555/555 PS DR music streamer and Burmester 088/911 MKIII amplifier before moving on to check how they performed with the more expensive Naim’s Nait XS3 and Cambridge’s CXA81. In all instances, for the money, they delivered excellent sonic performance.

Among a variety of genres, our testers were particularly impressed with their clarity and expressive dynamics, which made for a toe-tappingly fun listening experience.

This led them to conclude:

“When partnered with care they deliver a wonderfully expressive and insightful performance that’s class-leading at this level.”

Score: 5/5

Read our Q Acoustics 5040 review

(Image credit: What Hi-Fi?)

Atacama Elite ECO 24 Reference

The catchily named Atacama Elite ECO 24 Reference are the latest equipment racks to pass through our test rooms.

Though they’re probably too expensive for most people, putting them through their paces we found they completely deliver in the two core areas we expect from racks: looking nice and offering stable support for our hi-fi kit.

This led our reviewers to conclude:

“Paying £300 per module is a pricey sum. If you have a budget hi-fi system, you’ll likely be more than happy with your products placed on general furniture like a table or sideboard.

“But if each unit in your system costs upwards of £1000, then it can be worth investing in a specialist equipment rack that is designed to eke the ultimate best out of your products’ performance (and can even be an alternative way of updating your system’s sound without replacing individual kit).”

Score: 5/5

Read our Atacama Elite ECO 24 Reference review

(Image credit: What Hi-Fi?)

dCS Lina DAC

The dCS Lina DAC is being marketed as a network DAC but when we got it into our test rooms we found its advanced capabilities make it more akin to a full-fat music streamer.

Though they cost £12,500 / $13,650 / AU$22,000 the Lina DAC is actually one of the most affordable entry points into dCS' portfolio. The Lina DAC retains the company's stellar build quality and stays true to its “honesty first” approach, aiming to offer an authentic, “as the artist recorded it” performance.

Running it through our reference system, which included a Burmester 088/911 MkIII pre/power combination which we paired with ATC SCM 50 speakers or Wilson Benesch’s A.C.T. 3Zero floorstanders, in all instances we were blown away by its performance, with our reviewers going so far as to conclude:

“It may be entry-level in dCS’s world but the Lina DAC still serves up a huge portion of the company’s magic.”

Score: 5/5

Read our dCS Lina DAC review

(Image credit: What Hi-Fi?)

Sony WH-CH520

The Sony WH-CH520 are an entry-level set of over-ear wireless headphones from the company behind our current recommended flagship set, the WH-1000XM5. Retailing for a modest £49 / $59 / AU$79, they’re also the cheapest item on this list by a country mile.

During our listening checks, while they undeniably feel a little plasticky and could do with a little more dynamism, at this price there’s nothing better. For the money you get an affordable set of wireless over-ears with surprisingly balanced audio, great battery life and an intuitive control app.

This led our testers to describe them as being “compromised in the least compromising” way and conclude:

“You can’t really expect the Earth when you’re paying pennies less than £50 for a pair of headphones. What’s remarkable about the Sony WH-CH520 is how little compromise they demand of you, both in terms of audio performance and ergonomics. They’re a little bit of a bargain.”

Score: 5/5

Read our Sony WH-CH520 review

(Image credit: What Hi-Fi?)

Fyne Audio Vintage Classic X

The Audio Vintage Classic X made an impression on our testers the moment they took them out of the box. Featuring an unashamedly retro, giant design they look like they’ve been time-warped direct from the 1970s – which is no bad thing in our mind.

Despite their old-school stylings, they have some fairly impressive hardware under the hood, featuring Fyne’s Isoflare point source driver array. This is an atypical approach where the tweeter, in this case a 75mm titanium dome compression design, sits in the throat of the 25cm multi-fibre mid/bass unit.

We tested the speakers with a variety of hardware including a Naim ND555/555 PS DR music streamer and the Technics SL-1000R record player as well as our standard Burmester 088/911 MkIII combination.

The results were impressive. Though they’re undeniably characterful and not the purest performer to pass through our test rooms recently, in all our checks they offered expressive dynamics and a wonderfully articulate presentation.

This led our testers to conclude:

“While the Classic X’s appearance is sure to split opinion, there is no denying their stonking performance. They are easily one of the most sonically talented floorstanders we have heard at the price.”

Score: 5/5

Read our Fyne Audio Vintage Classic X review

(Image credit: Future)

T+A Solitaire T

We’ll admit £1200 / $1600 / AU$2160 is a lot of money, even by our standards, for a pair of wireless over-ear headphones. But if you have the cash, and want the best performance possible, we’d thoroughly recommend checking out the T+A Solitaire T.

German firm T+A has one simple justification for their price, the atypical acoustic construction. The headphones feature a new 42mm dynamic transducer made of a wood fibre plastic mixture that’s paired with a custom pressure chamber system. The latter features sound guides and filters designed to improve frequency response and bass reproduction.

Putting them through our standard suite of listening tests our reviewers were seriously impressed. Playing everything from hard rock and metal tracks to smooth synthwave the headphones deliver a neutral, accurate sound with a purity missing on many of the competing sets we review, including the equally pricey, but older Mark Levinson No.5909.

This led our testers to conclude:

“They cost hundreds more than most people would ever dream of paying for headphones, wired or wireless, but for those who prioritise convenience and sound quality equally, and have the budget to spend big, the T+A Solitaire T nail that balance without compromise and are the most convincing wired/wireless hybrids we’ve come across. For now, they’re in a league of their own.”

Score: 5/5

Read our T+A Solitaire T review

MORE:

These are the best wireless headphones money can buy

Check out our picks of the best floorstanding speakers

We list the best bookshelf speakers we've tried and tested

BenQ GV31 Sound+Image

Jez Ford — Tue, 29 Aug 2023 22:04:30 +0000

There was a good deal of déjà vu for us when reviewing BenQ’s new GV31 portable and battery-powered projector. It’s around two years since we applauded the company’s GV30, with its near-circular and cleverly functional design.

Now here is the GV31, which looks, physically, to be identical.

But some things have changed – so much so, indeed, that the GV30 will remain in the market alongside the GV31, which is now the higher model.

So what’s changed, improved or updated? And does the GV31 thereby merit its higher price?

(Image credit: BenQ/JF)

What's the same?

Sound+Image mag review

(Image credit: Future)

This review originally appeared in Sound+Image magazine, Australian sister publication to What Hi-Fi?. Click here for more information on Sound+Image, including digital editions and details on how you can subscribe. Read What Hi-Fi?'s global, star-rated BenQ GV31 review.

From the outside, you really wouldn’t know this wasn’t a GV30 unless you closely studied the socketry. And that’s no bad thing, because the GV30 was a radical projector design, yet very successful in its goals.

The most obvious element is the circular design, and the way this allows the GV31, like its predecessor, to slot into its little magnetic base tray and then be revolved to shine out at whatever angle you’d like.

This may be up or down a bit, to get the image just where you want it on your screen or wall, or it might be rotated a full 90 degrees to point up at the ceiling, so you can enjoy your home entertainment when lying horizontal, most likely in bed, but potentially teenagers enjoying a slumber party with Taylor Swift videos playing on the ceiling.

The GV31 is further assisted in this versatility by having a rechargeable battery inside, so it doesn’t need mains power all the time. When fully charged it can give something like three hours of battery juice, so you could play your movie onto a screen in the garden, or on the walls of a family tent out in the bush. And if the little magnetic tray doesn’t let you revolve the projector to the right position, there’s a little screw mount underneath which will fix it onto a tripod.

If you have Wi-Fi access, you can make use of the Android TV dongle which comes with the GV31. You slide off one whole side of the GV31 to install it in place neatly, with a little mini-USB power connector to hook up on one side and an awaiting mini HDMI socket protruding at the other.

(Image credit: BenQ)

This is not, as with some rivals, a third-party dongle with its own quirks and its own remote control. BenQ has its own in-house media stick, now in its second generation, called the ‘QS02 Certified Android TV Dongle’. In addition to endless Android apps for streaming video and music, this allows multi-platform wireless casting from Android and iOS devices, or from Mac, Windows and Chromebook computers. To stream anything you’ll obviously need a network connection, but even out in that tent in the bush you might enjoy such streaming by tethering the projector’s Wi-Fi connection to a hotspot from your phone, assuming you at least have a video-worthy mobile signal.

Besides streaming you can plug sources into the GV31; it has the same HDMI 1.4 input as its predecessor, in addition to that internal mini-HDMI slot for the QS02 dongle.

All this streaming of pictures isn’t much use without a sound system, so the GV31 has one built in. The speakers, and indeed the input section, are among the things that have changed since the GV30 arrived two years ago, so let’s move on to the new bits, and how they might justify the not-particularly-large price difference.

(Image credit: BenQ)

What's changed?

Given the GV31 is launching at the same £585/AU$999 price as the GV30 (which is currently discounted to £520/$849, so still worthy of consideration), you might not expect too expansive an upgrade here. But in fact the changes are significant.

Greatest among them is the resolution. The main limitation on the GV30 was perhaps its panel resolution, which was 1280 × 720 pixels. While images remained enjoyably smooth, the limited resolution made it inadvisable to employ tricks such as keystone adjustment to get the picture rectangular, because these things remap the pixels and so reduce the effective resolution. When you don’t have high resolution to begin with, the results can be noticeable.

So the upgrade to 1920 x 1080 resolution on the GV31 is to be welcomed. Sure, that’s still only a quarter of 4K resolution, but we’re often telling people not to underestimate 2K Full-HD. Only the very best of our Australian broadcast TV reaches 2K, while all normal Blu-rays are 2K, and can look fantastic. Only premium streaming services go up to 4K, and it’s compressed when streaming anyway.

BenQ’s QS02 is compatible with such 4K streams, as this dongle is also used in higher BenQ products which use flipping DLP mirrors to use the extra information. But here the panel is 2K anyway, so the 4K compatibility will be down-ressed for projection anyway. We note it’s still a little pico-sized DLP chip, rather than the 0.47 or 0.65-inch panels BenQ uses in bigger projectors, but the increase from 720p on the earlier model is still significant, especially if you’ll need keystone in play.

We didn’t think this higher-res panel had made the GV31 any bigger, but comparing the listed dimensions it does seem to be just a few centimetres larger in each dimension, and a little bit heavier as well.

Part of the extra weight may come from the expanded sound system, which now has a couple of passive radiators as well as a woofer to support the two tweeter/mids; these allow stereo sound (though only really if you’re in line with the projector’s throw), and the passive radiators promise a larger sound than from the GV30. (And far larger than the third of BenQ’s circular projectors, the significantly smaller little £299/$549 GV11, which has just 480p resolution and a single 5W speaker.)

In addition to the radiators there’s now a customised EQ sound mode to add to the five preset sound modes available. Getting the sound right will be useful because the only option you have for an external sound system is the GV31’s analogue stereo minijack output; there’s no optical digital audio out, and no ARC available from the GV31’s HDMI input.

Another of the changes comes from the QS02 stick – it now works with Netflix. Most projector companies are still suffering from Netflix not providing projector-compatible apps. Nobody has ever quite explained to us why this should be hard), but the Optoma projector we reviewed last issue: no Netflix. Xgimi’s projectors: still no Netflix.We don’t know how BenQ has secured this, unless it’s a product of getting their dongle onto AndroidTV 12, rather than ATV11, but BenQ’s QS02 here runs Netflix with no problems, in addition to everything else (and it is pretty much everything) available from the Google play store. We imagine that’s a significant barrier at retail now overcome.

The connectivity changes we mentioned are mainly the addition of a USB-A socket alongside the USB-C socket which is on the GV30; both USBs can play media, while the USB-C works with DisplayPort and can provide a wider range of PD (power delivery) to external equipment than was previously possible, so allowing, for example, higher-speed charging.

And the final upgrade is the battery, now a 5800mAh unit, up from 4800mAh on the GV30, and promising at least an extra half hour of streaming video playback, so the GV31 won’t crap out just before you reach the end of, say, Oppenheimer’s full three-hour run-time.

Other portable projector recommendations for 2023

(Image credit: BenQ/JF)

Performance

BenQ GV31E specifications

(Image credit: BenQ/JF)

Projection system: DLP (0.23-inch Pico DMD)

Brightness: 300 ANSI lumens

Resolution: 1920x1080

Stated contrast ratio: 100,000:1 FOFO

Light source: LED (20,000 hours normal; 30,000 hours eco)

Throw ratio: 1.2

Zoom ratio: fixed

Image size: 30-inch to 120-inch

Input lag: 45ms (1080p/60)

Connections: HDMI 1.4, mini-HDMI & USB power (hidden dongle), USB-A, USB-C, minijack audio out

Battery: 5800mAh (approx 3 hours video)

Dimensions (whd): 131 x 203 x 191mm

Weight: 1.7kg

As with its predecessor, one of the GV31’s greatest assets is how it automatically adjusts both the screen size and the focus. No sooner have you revolved the projector body to your desired orientation than a sensor next to the GV31’s small lens delivers auto focus and auto vertical keystone (with up to 40 degrees correction either way).

If you have this set to automatic in the projector’s menus, this will leap into action whenever the GV31 senses a change in position. A circular BenQ-branded target appears in the centre of the image, the projector does its thing, and the picture is autofocused and auto-squared to within the limits available. On-screen messages indicate how you can easily switch to manual correction and focusing if preferred, and of course the less keystone you can use, the less pixels you’re surrendering.

It’s hard to overemphasise how easy this process makes the GV31 to use. Other than this your main positioning choice is distance: the lens and zoom are fixed, so your screen size will be governed entirely by distance to the screen, and about 2.5 metres away will get you a 100-inch diagonal screen. Two metres gets you around 75 inches.

The only thing it doesn’t do automatically is horizontal keystone correction, so keep the GV31 on-axis with the screen. The rest is then taken care of by the automatic systems – square up, focus up, ready to play.

This makes it very easy to, for example, bring the projector closer to compensate for reduced brightness if there’s ambient light to combat. One thing that hasn’t changed in the GV31 is its image brightness: the LED light source delivers the same 300 ANSI lumens, and that proved enough to deliver a bright enough image in a fully darkened room with perhaps one masked light left on for utility. In these situations you could appreciate BenQ’s abilities with colours; this projector delivers some 98% of the Rec.709 colour space; they don’t bounce and scream off the screen like a modern high-nit television (full-on full-off contrast ratio here is quoted at 100,000-to-1), but there was accuracy and contrast enough to deliver a properly enjoyable cinematic image.

For a large screen, however, any ambient light quickly washes the picture quality away. BenQ does offer picture modes to compensate, now with both ‘bright’ and ‘daytime’ settings – the first of these raises brightness but delivers a rather green caste to everything, while the ‘daytime’ setting is better for colour though greys down the blacks so that there is a lack of depth to images; neither option achieves accuracy along with the required brightness.

Those using a proper screen, especially with ambient light rejection, will get the best of what’s available, but we suspect that a projector like this, with its battery power and auto setup, is more likely than most to be used in ad hoc set-ups using projection onto whatever wall space is available. In such circumstances you’ll have the choice of waiting until at least dusk to enjoy a decent image, or bringing the projector in closer to enjoy a smaller but brighter screen size.

As for the effect of the autokeystone correction – that reassignment of pixels which potentially reduces sharpness and resolution – the extra resolution really assists here, and it allowed text to remain notably cleaner and sharper than we’d seen from the GV30. It’s very obvious and useful on menus and subtitles.

We were also impressed with the smoothness of images, given that the projector’s menus include no specific motion settings, and that by default the QS02 dongle is locked to 60Hz output. Yet even with 50Hz shows like Gardening Australia we witnessed no apparent juddering from frame-rate conversion.

Besides, pedants can relax: the QS02 dongle’s settings allow you to switch its output to 1080p/50Hz or 1080p/23.976Hz, so if you did encounter such judder, you could stop it that way (these settings are under Device Preferences/Display & Sound/Screen Resolution/Display Mode).

There is both Chromecast and AirPlay screen sharing available; we tried the AirPlay, which (following a little video BenQ provides online) involved simply opening an Android app called ‘Wireless Projection for iOS’ and then looking for the QS02 under our Mac’s screen sharing dropdown. Indeed we could see the QS02 without starting the app, but the connection only succeeds when the app is running. Results were good for resolution and the connection held solid if a little scrappy on motion. (Curiously a later audio-only AirPlay stream from an iPhone to the projector suffered far more glitches than this video connection.)

Significantly better results are achieved by plugging a source into the unit’s HDMI; with an AppleTV 4K and later a UHD Blu-ray player attached, image quality hit its maximum sharpness and clarity, even though the projector doesn’t handle HDR information and restricted the AppleTV to a 1080p output. We enjoyed several episodes of Ashoka this way from Disney+, the images clear, the off-white spaceship walls bright and cinematic, light sabres in searing red, and the whole experience properly involving on the big screen.

(Image credit: BenQ)

Sound & control

We were also able to enjoy Ashoka with a big spatial sound, since we had a pair of HomePods tied to the AppleTV, and later were even able to plug up a full surround system playing from the second HDMI output of the Blu-ray player. Such sound made a huge difference to the enjoyment of a movie on the big screen.

But we know that most people will use the GV31’s built-in sound system, which comprises twin tweeters, a shared woofer and those new passive radiators. The output of these is limited both in position (it may well be coming from behind you) and in size of presentation. Even with the additional bass radiators this is not a soundtrack which comes close to matching bigscreen projection images. The best attempt comes when you select the ‘Cinema Extra Bass’ sound setting; this will certainly serve a movie audibly in a small space without overly offending, if not much more.

You can also use it for playing music, though it was a fairly boxy sound even after adjusting the custom user setting to our best preference. In comparative terms, we’d say that a good £99/AU$150 Bluetooth speaker will equal or exceed the sonic performance available here, which for music should be considered a casual listening option only, and for movies we'd say to be adequate for a portable unit.

After all, we should note this to be true of all such built-in sound systems for projectors, other than those on the much larger and front-positioned ultra-short-throw variety. Making sound is not what projectors are really for, and the results offered are invariably compromised.

On the other hand we can praise BenQ’s remote control, because it is excellent in combining all dongle and projector features in one friendly wand, and we also like that it gives no real estate away to sponsored buttons for specific streaming services, as has become common. We much prefer additional useful function buttons, which here include separate settings keys for projector settings and dongle settings, plus instant access to focusing and keystone adjustments, and to picture modes and sound modes; all these make on-the-fly changes rather easier than on rivals where you’ll be hunting through several layers of on-screen menus.

The remote even has a backlight, which pops on to illuminate the keys for a mere second of time by default when you press something. You can also instruct it not to illuminate at all.

There’s a microphone in the remote, activated by a microphone key; this invokes Google Assistant, and can change volume, pause and play (though it’s quicker to use the transport controls) and much more, though beware any complex commands during a movie, as Google Assistant is likely to throw you somewhere else. We asked “Who is on screen now?”, to see if it could do the actor ID thing available on some media servers, and it instead exited the Netflix stream to show us a collection of YouTube videos. But otherwise this mike button can access anything if which Google Assistant is capable.

(Image credit: BenQ)

Verdict

The GV31 continues BenQ’s innovative circular projector design with great success, and the particular value here is that the GV31 raises the resolution to 1920 x 1080 over the 1280 x 720 of the previous (and still current) GV30, even though their RRPs are both currently listed as the same, at least in Australia, although the GV30 is now discounted by AU$150.

We reckon the GV31’s higher resolution, its upgraded dongle (now with Netflix) and other improvements make the higher model a no-brainer preference. If you like this form factor to get your home entertainment rolling, and to do so with the easiest of set-ups and the maximum in versatility, BenQ’s GV31 takes the whole proposition to a significantly higher level.

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

Showcase! - world-class Australian home theatres & smart homes

That Was Then... Rotel RA820BX (1984)

ketan.bharadia@futurenet.com (Ketan Bharadia) — Fri, 20 Jan 2023 09:04:59 +0000

The Eighties were a glorious time for budget integrated amplifiers. Sales (and the resultant profits) were huge, leading manufacturers to fight tooth and nail for a larger piece of the pie. The great news for buyers was an escalation in sonic ability that hasn’t been repeated since. The RA820BX we have here, kindly loaned to us by Rotel UK, is an excellent example of the kind of product made at the time.

However, our story doesn’t start with Rotel at all. It begins with a small, then London-based company called New Acoustic Dimension, better known as NAD. In the late Seventies, NAD launched the now legendary 3020 integrated amplifier. This was an unassuming thing with basic features and a fairly flimsy build. The amplifier was unexceptional in most regards apart from the fact that it was affordable, and sounded great. How affordable? Looking back through What Hi-Fi?’s archives we find that it sold for a modest £71 in 1979.

The 3020 was designed to drive real speaker loads rather than just produce great figures in lab tests, and managed to deliver a blend of warmth, boldness and musicality that impresses even today. It took the market by storm but it wasn’t long before every rival manufacturer had its own contender.

Most fell short of the performance standards set by the NAD. Rotel’s original RA820 was one that didn’t. It mirrored NAD’s no-frills approach but added a more substantial build quality and a tauter, analytical sound. History shows that the RA820 succeeded brilliantly, and in the process established Rotel as a major force in the market.

(Image credit: Future)

But, this was a time when no manufacturer could stand still and bask, so within a short few years that original RA820 spawned the more purist RA820B and then the RA820BX we have here. At each step the signal path was made a little cleaner, its features reconsidered (tone controls and speaker switching went early on) and component quality improved. The move to improved internal components was particularly significant in the jump from the RA820B to the BX model. There are numerous changes from better quality capacitors and uprated output transistors to improved internal cabling. The removal of the rather grotty spring speaker terminals for proper 4mm binding posts was also welcome.

Rotel continued to develop the RA820 amplifier along purist lines for a few more years after, until the market demand switched to wanting improved flexibility and features. The company duly obliged while trying to maintain high performance levels. Regular amplifier award wins through the 1990s and 2000s shows that to be the case.

(Image credit: Future)

How does the Rotel RA820BX perform by today’s standards? Surprisingly well, we think. This amplifier cost £130 (around $157 / AU$228) when it was introduced in 1984, which puts it anywhere between £390 (around $472 / AU$684) and £535 (around $647 / AU$938) in today’s terms (depending on which online inflation calculator we use). That price puts it firmly in Rega io territory, and the comparison is fascinating.

Surprisingly, given the passing of almost four decades, there is little difference in specification between RA820BX and the five-star Rega io. Both are simple stereo amplifiers with relatively low power outputs; the Rotel is rated at 25 watts per channel into 8 ohms while the Rega takes that up to 30 watts per side – a marginal difference at best. Connectivity is basic with just two line level inputs, a moving magnet phono stage and a headphone output in either case. The io gains an extra point for having remote control operation but doesn’t have the Rotel’s balance control. Overall though, these features should be adequate in the context of the systems these amplifiers are likely to find themselves.

There is little in it when it comes to build quality. Both are solid, though the Rega’s extensive use of plastic makes it feel cheaper. The Rotel also has an advantage in terms of control feel, with both the volume dial and front panel switches operating with more precision than the io’s counterparts.

(Image credit: Future)

We try both integrated amps with a range of products from our reference set-up of Naim ND555/555 PS DR music streamer, Technics SL-1000R record player with Vertere Sabre MM cartridge, and ATC SCM 50 speakers right through to a Rega Planar 3 turntable and Wharfedale Diamond 12.1 standmounters. It is interesting to note that the Rotel could well have been partnered with an early generation Planar 3 turntable and Diamond speakers when it was originally introduced.

(Image credit: Future)

How does the Rotel RA820BX sound today? It remains a fine amplifier. Once given a few days to settle, its presentation changes from being slightly opaque and dynamically constricted to something far more expressive. Even by today’s standards, this feels like a crisp and precise performer. It is fast and punchy, rendering the sound with a sense of openness that’s hugely appealing. We listen to a range of music, from Hans Zimmer’s Interstellar OST to Bob Marley’s Catch a Fire set, and the Rotel copes admirably. We’re struck by its pleasing levels of resolution and the ability to track a multitude of instrumental strands without sounding confused. Or at least it does so right until the point where you push it too hard, then a bit of muddle sets in and dynamics get a little squashed.

Tonally, the Rotel is impressively even. It doesn’t set out to flavour the sound to make it more exciting, rather preferring to take a more balanced and even-handed approach to things. This is something of a family trait that continues in the company’s products to this day. We really like the clarity of the midrange and the quite lovely fluidity the amplifier displays in this region. The top-end is crisp and relatively clean, though falls short of being truly sweet.

We’re pleased to report that the built-in phono stage is a good one. It is reasonably quiet and loses little to the line stages when it comes to overall transparency and balance. Given that vinyl was still the major source of the day this is something we had hoped for. We have great fun listening to the likes of Nick Cave’s The Boatman’s Call and Four Tet’s There Is Love In You – the Rotel gliding between genres with ease.

(Image credit: Future)

The comparison to Rega’s io is interesting. Regardless of input, the newer amplifier sounds considerably more muscular despite having a claimed power output that’s only marginally higher. Bass notes are deeper and delivered with more authority, which helps to give the overall presentation a richness and solidity that the Rotel just can’t match. The RA820BX sounds lean and lacking in natural warmth in comparison. The io is also better at rendering instrumental textures and dynamic nuances; the qualities vital in communicating the emotion and energy in music.

That isn’t the end of the story though. The little Rega doesn’t get everything its own way, with the Rotel sounding more energetic and spacious. The RA820BX’s leaner balance gives it a sense of articulation and that makes the Rega seem a little pedestrian in the way it goes about things. You’ll need to take more care in speaker matching with the Rotel to make the best of it, though.

(Image credit: Future)

Overall the Rega io takes it, but not by the margin we would have expected. Given that we’ve seen used samples of the RA820BX available for as little as £60 (around $73 / AU$105) we’ve got to admit we’re mighty tempted to buy one. It is great value provided you get a good one.

MORE:

Read the full Rega io review

Here's our pick of the best stereo amplifiers you can buy now

Want more retro tech? Read our retrospectives on the A&R Cambridge A60 and NAD 3020

The best 19 stereo amplifiers of What Hi-Fi?'s lifetime

This high-end home cinema system of your dreams is packed with Award winners

Jonathan Evans — Sat, 31 Dec 2022 00:02:29 +0000

We at What Hi-Fi? love not only reviewing products but also putting compatible ones together to make exceptional systems. As might be apparent from the mind-boggling price of this particular system here, here we have taken the principle of the 'standard' AV set-up and ramped it up to 11.

This is not an AV system for the faint-hearted, obviously; but if you have the money to devote to it, and the space to accommodate it, this is getting very close to home cinema heaven.

The system

Projector: Sony VPL-XW7000ES (£14,999 / $27,999 / AU$25,499)
AV receiver: Arcam AVR31 (£4999 / $5250 / AU$11,495)
Blu-ray player: Panasonic DP-UB9000 (£999 / $1399 / AU$1479)
Speaker package: Fyne Audio F8SP AV (£10,999, $14,999 / AU$24,000)
Total: £31,996 / $49,647 / AU$62,473

Sony VPL-XW7000ES projector

(Image credit: Future)

Now, when you are spending the price of a decent car, and half of this considerable budget alone on a projector, you have the right to be going in with extremely high hopes. And, of course, the Sony VPL-XW7000ES delivers in spades. It’s almost relentlessly good; mesmerising. We go so far as to say, in our full review, that it is even capable of surpassing the typical ‘real’ cinema experience. So much do we love it, in fact, that for 2022 we created a whole new category in our Awards for it – we haven’t had such a high-priced category for a projector before this. Suffice to say then, it’s really rather good.

Arcam AVR31 AV receiver

(Image credit: Future)

And in this set-up, we feel an obligation to marry that stunning picture provider with equipment to do the image justice.

The heavy lifting for the sound is carried out by Arcam’s impressive AVR31, the sibling to the Award-winning JBL Synthesis SDR-35. We have plumped for the Arcam here both because it is now around £1000 cheaper than the JBL, and also because it has HDMI 2.1 sockets. While not of direct use in this system (the projector isn’t compatible with 2.1), this does make things nicely future-proofed; and it would be perfectly acceptable in our eyes to supplement this set-up with a large-screen TV – the LG OLED65C2 springs to mind – in which case those sockets will certainly come into their own.

This amplifier puts in a lustrous performance with a clean, controlled clarity and a delicacy that we come across only rarely. Don’t let that observation fool you into thinking that there is no power here; far from it. The AVR31 can pack a real punch.

Fyne Audio F8SP AV speaker package

(Image credit: Future)

And it works beautifully with a speaker package that is a newcomer to these pages. The Fyne Audio F8SP AV is incredibly entertaining for both movies and music – obviously, as it is here. What really stands out for us though, and what goes a long way to winning it a place in this set-up, is its centre speaker. These can often seem like an afterthought for some manufacturers; here, it is a notable system strength. Fyne has clearly worked hard on the integration of sound across the front three speakers. It is seamless, with a broad soundstage, tremendous dynamic range and scale that is enveloping and engaging.

Panasonic DP-UB9000 4K Blu-ray player

(Image credit: Future)

Talking of enveloping and engaging, once again, in our full-on surround-sound system, we can justify going with a disc player, rather than relying solely on streaming for our 4K video and multi-channel audio.

The obvious Blu-ray player to go for in this upmarket set-up is the Panasonic DP-UB9000. This bomb-proof box is remarkable, with a picture that blows us away. It is a focused, high-performance machine that holds its own pretty much anywhere.

System verdict

It would be remiss of us, though, in a home cinema system from 2023, not to consider streaming options for this set-up. And, while we have not yet, at
the time of writing, had the newest Apple TV 4K in for review, we are confident, loving its predecessor as we do, that this little box of 4K, Dolby Atmos and HDR tricks will perform sterling service in a home cinema anybody should be proud to show off.

MORE:

Our pick of the best projectors we've tested

20 of the best film scenes to test surround sound

19 of the best film scenes to test picture quality

Bose QuietComfort Earbuds II

whathifi@futurenet.com (What Hi-Fi?) — Wed, 19 Oct 2022 09:53:51 +0000

Despite once dominating the noise-cancelling headphones market, Bose hasn’t quite had things all its own way in recent years. Rivals such as Apple, Sennheiser and Sony have all encroached onto turf that has historically been Bose’s stomping ground.

Also, noise-cancelling technology has trickled down to much more affordable price points and consumers are getting more for their money. This could make life quite difficult for Bose’s premium noise-cancelling earbuds.

The Bose QuietComfort Earbuds II claim to offer amazing never-before-experienced levels of active noise-cancelling (ANC), but they are also one of the most expensive pairs of wireless earbuds we’ve ever tested. There really isn’t going to be any room for error if they want to be considered among the best-in-class, especially with the new Sony WF-1000XM5 knocking at their door, so let’s see if they can deliver.

Before we delve in, however, it is worth noting that Bose has, somewhat surprisingly considering the QC Earbuds II's relatively short lifespan, recently announced sequels called the Bose QuietComfort Ultra Earbuds that bring spatial audio to the table. The verdict is out on this brand-new pair, but the Earbuds II here will likely remain on shelves for some time to come.

Price

(Image credit: Bose)

The Bose QuietComfort Earbuds II were the company’s flagship wireless earbuds and therefore have a price tag to match. They cost £280 / $299 / AU$429 when they launched in September 2022, but can now often be picked up for slightly less. This still places them firmly at the premium end of the market.

Their closest rivals include the new Sony WF-1000XM5 (£259 / $299 / AU$419), the now outgoing Sony WF-1000XM4 which launched at £250 / $280 / AU$450 back in June 2021 but are available for much less now, and the Apple AirPods Pro 2 (£249 / AU$399 / $249). The new QuietComfort Ultra Earbuds cost £299 / $299.

Design

(Image credit: Future)

The Bose QuietComfort Earbuds II follow on from the hugely successful (and five-star) Bose QuietComfort Earbuds which launched back in 2020. And there’s been a big design shake-up for the new pair.

They’re around a third smaller than the original QC Earbuds. But we’re pleased to report comfort levels, in our eyes at least, haven't been affected. Our review team found them more comfortable than the bulkier Sony XM4 and a tad bit more secure than the newer, smaller Sony XM5 model.

The new ear tips are very soft, pliable and don’t burrow in like some rivals, while the new ‘stability bands’ (which replace the old rubber wings) provide plenty of grip without irritating over long listens. With the original QuietComfort Earbuds, the ear tips and wings were all one piece and took a little more manipulating to get into place.

Bose QuietComfort Earbuds II tech specs

(Image credit: Bose)

Bluetooth version 5.3

Codec support SBC, AAC

Noise-cancelling Yes

Battery life 6 hours (BT + ANC), 24 hours (including charging case)

Finishes Triple Black, Soapstone, Midnight Blue, Eclipse Grey.

Weight 6.2g (each)

Now they’ve been split in two so you can adjust them individually. You do only get three sizes of ear tips and three stability bands (both small, medium and large) as standard, which seems a little mean, but we still manage to get a great fit. Bose has done an excellent job of refining and updating the design into a more discreet package. Not sure if the fit is quite right? You can run an ear tip fit test from the Bose Music app which will let you know if your seals are compromised.

Not only are the new QuietComfort Earbuds smaller than the originals, the new design now incorporates more of a distinctive stem which also hosts touch controls. We found they take a bit of time to get used to, especially when it comes to swiping up and down to change the volume.

The first couple of goes, we just succeeded in tapping them to pause the music. However, refining our technique to include brushing the small ridge at the top of the stem seemed to make things more consistent. The usual combination of single, double and triple taps for basic controls is consistent enough, as is the tap and hold required for cycling through your shortcuts, whether they’re different noise-cancelling modes or the voice assistant on your smartphone.

There are now four finishes available to buy: Triple Black, Soapstone, Midnight Blue and Eclipse Grey.

Features

(Image credit: Bose)

Every time the earbuds are taken out of their case and placed in your ear, you’ll hear a short sweeping tone. This isn’t just confirmation they’re powered up – it’s actually a test tone for Bose's CustomTune sound calibration tech. When the sound is made, a mic inside each earbud measures your ear canal’s acoustic response. The audio and ANC performance is then altered to suit and is also continuously tweaked in the background as the headphones monitor what’s happening around you.

Bose claims a battery life of up to six hours, with three extra charges coming courtesy of the charging case. It can fully juice the QC Earbuds II in one hour, with a 20-minute charge delivering around two hours of playtime. The case charges by USB but we’re slightly surprised to report that there’s no wireless charging such as is offered by close rivals and some cheaper models too. Elsewhere, the Bose earbuds offer Bluetooth 5.3 capability and an IPX4 rating for water and sweat resistance.

One feature missing that we’d have loved to see here is multipoint connectivity – this allows you to be connected to two Bluetooth sources simultaneously and can help to improve the overall user experience. It’s a feature we see more in over-ear designs, but it would be nice to see it make a regular appearance in wireless in-ear headphones, especially premium pairs. There’s also still no support for high-quality wireless audio codecs such as LDAC or aptX HD, which is oddly on par with the AirPods Pro 2 (but lacking behind rivals like Sony XM5).

The Bose Music app is definitely worth firing up, though, to get a guided tour of all the features of the QC Earbuds II. You’ll also need to head here to customise the touch controls and add any noise-cancelling presets that you want to be able to access on the fly. You can have four lined up at any one time and can customise their labels and the intensity of noise-cancelling, depending on what activity you’ll be doing.

6 sound settings you shouldn’t ignore on the Bose QuietComfort Earbuds II

(Image credit: Future)

Bose doesn’t mince its words over the ANC prowess of the QuietComfort Earbuds II, claiming it’s “the world’s best noise cancellation from any headphone – banded or in-ear”. A bold claim, we think you’ll agree.

There are four microphones in each earbud – one on the inside and three on the outside. They “sense, measure and send unwanted noise to a proprietary electronic chip loaded with an exclusive algorithm”. The chip produces a signal to cancel out the noise in “less than a fraction of a millisecond”.

And our verdict? It’s good. Really good. And easily up there with the best we’ve ever heard from any premium wireless earbuds. We take them for a spin in a crowded pub and, whether it’s the loud conversations on the table next to us or background music being pumped out of ceiling speakers, the noise doesn’t even get a look in with the Bose. If you’re a frequent flier who doesn’t want to take big, bulky over-ears away with you but want excellent noise-cancelling, then the QC Earbuds II could be worth a space in your carry-on luggage.

The Bose's ‘Aware’ listening mode really impresses too. It’s automatically one of your shortcuts which can be accessed by pressing and holding one of the stems. The setting allows you to hear your music and surroundings simultaneously – think of it as a transparency mode that other noise-cancelling headphones also offer. For the QC Earbuds II, it includes what Bose calls its ActiveSense technology, which can automatically adjust the amount of ANC so your music isn’t drowned out by particularly loud noises.

And it’s fascinating to hear it in action. We try it out in the pub and it’s impressive how much control the earbuds can exert on outside noise while still allowing you to get the general essence of the track in your ears. It sounds much more natural and balanced than when you try to achieve similar results with lesser ANC earbuds.

(Image credit: Future)

If you want to chat, Auto Transparency allows you to take out an earbud and hold a conversation. The ANC level of the other bud drops to its lowest level so things don’t sound unbalanced when you’re trying to speak. It’s not a deal-breaking feature but a neat touch nevertheless.

Call quality is fine for general day-to-day use, but we wouldn’t call the Bose best-in-class. During testing, our voice came through relatively clear in normal conditions, although we struggled to be heard over big gusts of wind. We found the Sony WF-1000XM5 did a slightly better job of quieting background noise when the outdoor levels of noise really picked up. If call quality is a major concern, then in our experience you’re going to get better audio from a pair of noise-cancelling over-ear headphones.

Sound

(Image credit: Future)

We’d be disappointed if Bose had upped the price, its noise-cancelling and not upped its audio game. Thankfully, the good news continues. The earbuds ooze sophistication and refinement and deliver everything you’d expect from a pair of expensive wireless earbuds.

They’re wonderfully balanced and don’t impose their own character on the music. You can just slip them in, press play on your favourite tunes and let them get on with the job of playing music. Similar to the fit, you’re just not aware of their presence. No aspect of their performance sticks out – highs don’t sound brash or bright nor do low frequencies sound leaden-footed or laggy.

We start our testing with some classic noughties hip-hop in the shape of Eminem’s Stan. Even the opening seconds of rainfall in the background showcase the Bose’s excellent handling of subtle detail and texture. The rain sounds convincing and helps create the mood and platform for Eminem’s expressive (and slightly disturbing) vocals. It gels effortlessly with the crystal clear strings and the deep, dynamic bassline that prods and probes through to the track’s dramatic ending. The earbuds plot the song's deliberate, lagging rhythm with ease.

We switch to Beethoven’s Symphony No.5 In C Minor and the Bose earbuds deliver a spritely performance. The strings are painted with an impressive level of detail as they drive the track along. You feel you can almost touch the instruments, such is the Bose’s ability to bring textures and subtle nuances to life. There’s impressive speed and agility on display too, which, when combined with the earbuds’ dynamic abilities, just makes for a dramatic and captivating performance.

It's an interesting comparison against the new Sony XM5 flagship buds, which offer a more analytical presentation compared to Bose's fuller, more dynamic and fun presentation. The XM5 are the go-to if next-level attention to detail and breathtaking clarity are your priorities, though.

Verdict

(Image credit: Future)

Bose’s flagship wireless earbuds were never going to be cheap, but the question was whether they’d be competitive in an area of the market where rivals have never been more capable. The fact that the company has not only managed to implement a successful redesign, but also push the envelope for noise-cancelling and sound quality in such a highly competitive category simultaneously is truly impressive.

If funds allow, the Bose QuietComfort Earbuds II deserve to be heard. That is, unless their successors, the new QuietComfort Ultra Earbuds, take things to an even higher level. Bose certainly seems to be operating at the peak of its premium wireless earbud powers.

SCORES

Sound 5
Features 4
Comfort 5

MORE:

Read our Sony WF-1000XM5 review

Also consider the Sennheiser Momentum True Wireless 3

Sony WF-1000XM5 vs Bose QuietComfort Earbuds II: which premium pair should you buy?

Best noise-cancelling headphones: the best ANC headphones for every budget

Best speakers 2026: budget to premium models tested by our expert reviewers

kashfia.kabir@futurenet.com (Kashfia Kabir) — Wed, 12 Oct 2022 13:49:48 +0000

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

The Acoustic Energy AE300 MK2 are mature, refined speakers with outstanding clarity and control.What Hi-Fi?

What Hi-Fi?

1. Acoustic Energy AE300 MK2

What Hi-Fi? Award winner. Understated but immensely capable standmount speakers.

Unfussy and nicely balanced nature

Lovely integration between the drivers

Good level of detail and controlled bass

Solid build and smart finish

Tough competition

Matte finish shows up finger marks

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

Cute, affordable speakers that are very easy to fall in love with.What Hi-Fi?

What Hi-Fi?

2. Dali Kupid

What Hi-Fi? Award winner. Small speakers with a lot of personality

Lively, entertaining and rhythmically agile

Dynamic, detailed and punchy sound

Compact, appealing design

Flexible positioning

Build quality feels quite “budget” compared with traditional rivals

Low sensitivity rating

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

What Hi-Fi?

Wharfedale

3. Wharfedale Diamond 12.3i

The updated 12.3i floorstanders deliver a potent mix of performance and value at this affordable price.

A more exciting and dramatic listen than before

Greater bass authority and punch

Good build and finish

Affordable price

Fussier about the partnering system and room placement than before

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

Terrific floorstanders with the sonic talents to put most rivals in the shadeWhat Hi-Fi?

What Hi-Fi?

Fyne Audio

4. Fyne Audio F501E

What Hi-Fi? Award winner. Terrific floorstanders that are good enough to upset the established class leaders.

Cohesive, expressive and entertaining presentation

Taut and tuneful bass

Even dispersion characteristics

Solid build quality

Excellent value for money

Only available in one finish

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

Immensely capable speakers with a fun, flexible nature.What Hi-Fi?

What Hi-Fi?

5. Epos ES-7N

What Hi-Fi? Award winner. Small box, flexible nature and a huge talent – the best premium small speakers we've heard.

Clear, forthright and expressive sound

Fine dynamics and rhythmic drive

Flexible nature

Can be positioned inside a bookshelf

Nothing special in the styling department

You'll need larger speakers if you want deeper bass and bigger spread of sound

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

The Prodigy 5 are wonderfully talented performers with a keen sense of musicality.What Hi-Fi?

What Hi-Fi?

6. PMC Prodigy 5

What Hi-Fi? Award winner. PMC’s slimline floorstanders deliver a sonic masterclass.

Gorgeous, refined sound

Great value for money

Unfussy about placement

Inevitable aesthetic sacrifices

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 are nicely made speakers, but it's their sonic talents that set them apart from the pack. What Hi-Fi?

What Hi-Fi?

7. PMC Prophecy 1

What Hi-Fi? Award winner. Wonderful performers that are far more capable than their compact dimensions might suggest

Articulate and insightful performance

Impressive bass clarity

Dedicated stands included in price

Big and wide by current standards

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 have all the bases covered thanks to their powerful, agile sound.What Hi-Fi?

What Hi-Fi?

8. PMC Prophecy 7

Remarkably clear, informative speakers with class-leading sonic integration.

Exceptional clarity and resolution

Seamless integration between the drive units

Impressive bass performance for size

Classy build and finish

Presentation lacks the authority of similarly priced but larger rivals

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

Big, bold and beautiful to listen to, the F502S are truly special speakers.What Hi-Fi?

What Hi-Fi?

Big, bold and beautiful to listen to, the F502S are special speakers What Hi-Fi?

What Hi-Fi?

9. Fyne Audio F502S

What Hi-Fi? Award winner. Imposing towers that offer a masterful blend of power and poise

Stunning insight and precision

Expressive sound

Compact size and unfussy nature

Need careful system matching to sound their best

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

(Image credit: What Hi-Fi?)

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

(Image credit: What Hi-Fi?)

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

Are bookshelf speakers better than floorstanders?

The short answer is: it depends. For the long answer, you might want to peruse our standmounts vs floorstanders article, where we go into more detail about the differences between the two types of speakers, and the advantages (and disadvantages) of each.

A lot will depend on the size of your room. Floorstanding speakers typically need more space to breathe in, while bookshelf (or standmount) speakers can be placed in smaller rooms or surfaces.

Of course, if you'll be using speaker stands with your bookshelf speakers, you'll need ample space for these too. Loudness levels are another consideration: if you have a large living room, will compact bookshelf speakers be able to fill the space satisfyingly? Floorstanders' large cabinet volume will tend to deliver a bigger scale of sound – it really depends on what your sonic tastes and home system's needs are.

If you'll be using your speakers for movies as well as music, or simply favour lots of deep bass, then a larger cabinet is the way to go. If the only place to put your speakers is on your desk or you'll be sitting close to your speakers, you'll want small bookshelf units.

Just bear in mind that the quantity of bass doesn't necessarily equate to better quality of bass, and how a speaker is engineered to deliver the best balance and quality of sound differs from model to model, and should be taken into consideration before buying.

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

Google's new Pixel Tablet will launch in 2023 with its own charging speaker dock

Lewis Empson — Thu, 06 Oct 2022 15:48:49 +0000

As part of the Pixel 7-centric Made By Google Event, we got our first look at the Google Pixel Tablet. Teased back in May 2022 during the I/O event, Google's illusive tablet has flown under the radar as of late... until now.

Google's latest stab at an Android-based tablet is backed by its new Tensor G2 in-house processor and features a rounded, minimalist design. Google has equipped the tab with stylus and split screen support, with the hopes of catering to all; from those wanting an entertainment device to those after a productivity machine.

It's easy to underestimate the Pixel tablet as on the surface it doesn't look particularly special by tablet standards, however, it has a trick up its sleeve that can change its functionality completely. The Pixel Tablet can be magnetically attached to a wireless speaker dock that transforms the tablet into a smart display device.

It's reminiscent of the Nest Hub 2nd Generation and gives the Pixel Tablet the ability to become a smart photo frame, or can be used to prop the tablet up for comfortable viewing while charging at the same time.

A versatile gimmick like this may bring enough merit for Google's tablet to thrive, although it might be too early to tell quite yet. Google's tablet debut was more of a tease than a full-on reveal, with no details on the display or audio capabilities of the Pixel Tablet, or even whether the dock will be bundled with the Pixel Tablet or have to be bought separately. But with a vague launch date of 2023, there's still plenty of time for Google to unveil more about its mysterious tablet.

MORE:

Need a tablet now? Here are the best tablets for movies and TV

Here's everything you need to know about the Pixel 7 and 7 Pro

Google Pixel 7 vs iPhone 14: which is better?

Our favourite Google-based phones - the best Android phones for movies and TV

Aurender A30

Australian Hi-Fi — Thu, 11 Aug 2022 06:41:42 +0000

Aus Hi-Fi mag review

(Image credit: Future)

This review and test originally appeared in Australian Hi-Fi magazine, one of What Hi-Fi?’s sister titles from Down Under. Click here for more information about Australian Hi-Fi, including links to buy individual digital editions and details on how best to subscribe.

Simplicity is the ultimate sophistication. I know that Leonardo da Vinci (whose words those were) was a visionary, but even I was amazed that he had already imagined a product such as the Aurender A30 music server way back in 1493.

In the modern age where state-of-the-art high fidelity reproduction requires that you carefully choose and buy multiple components, work out how best you should connect them, and then work out how to operate everything, Aurender’s A30 is a breath of fresh air.

It is just so simple to operate, despite its complexity and the fact that it’s the Swiss Army knife of music playback devices. The A30 will simplify your music playback experience. Put one in your system and you won’t need your CD player, you won’t need your computer, you won’t need your NAS drive, and you won’t need your streamer.

The Aurender A30 does it all – at least it will so long as you have an internet connection and a home network. Then all you’ll need to do is connect its Ethernet socket to your home network and its analogue line outputs to your amplifier after which it will do the rest. Oh, I almost forgot… you’re also going to need an up-to-date Android or Apple device, preferably tablet-sized.

And if that all sounds impressive, just wait until you switch the Aurender on. I don’t think I have ever been as impressed by a front panel display as I was by the A30’s! First, it’s absolutely huge. You’ll have no difficulty reading either it or the album artwork that is displayed on it, even if you’re across the other side of the room.

Second, it’s wonderfully technicoloured, with reds, blues, greens and silvers. Last, but far from least, there’s a huge 3D render of a volume control in the centre of the display which turns, just like a real one. You just can’t fail to be impressed by that! Indeed you’ll likely be blown away by it: it’s a bit like being in a science fiction movie.

If I were to have any niggle at all about switching the A30 on, it’s how long it takes, which is about one minute and thirty seconds give or take a second or two.

(Image credit: Aurender)

Equipment

The biggest challenge for anyone who has decided to take the plunge and store their music digitally is getting their music off the physical format it’s currently stored on (CD, SACD, LP, or whatever) and onto a hard disc (or whatever type of storage you prefer). I can tell you from bitter experience that it’s dauntingly difficult and totally time-consuming – unless you pay someone to do it for you, in which case it’s just plain expensive! But not if you own this machine.

This is because, unlike most other high-end music servers, the A30 not only has its own CD ripper built in but can also be used in conjunction with a Nimbie autoloader (more about this in a moment). So to get your CD collection onto a hard drive (and by this I mean the 10 Terabyte hard drive inside the A30), all you have to do is push a CD (or SACD) into the slot on the A30’s front panel. That’s it! After a few minutes, the disc will reappear, so you can remove it and store it away somewhere remote, because you’ll never need it again, except for copyright reasons. The music on it is now stored, catalogued and itemised – with album artwork added – and ready for instant playback at the push of a button. I said it was easy!

But what if, like me, you have thousands of CDs? That’s where the Acronova Nimbie USB 3.0 CD/DVD autoloader comes in. Connect one to the Aurender A30 and you can load up to 100 CDs into the Nimbie and walk away. All 100 discs will be loaded onto the Aurender A30’s hard drive automatically, without any further intervention from you. I said it was easy!

Well, it may be easy, but it’s not exactly cheap, because the Acronova Nimbie is priced just shy of two big ones. Maybe the local Australian Aurender distributor will come up with some system whereby you can rent one from your dealer for the time it takes to rip your collection. If you have already ripped your collection, but you are unhappy with how it’s stored, it’s child’s play to transfer it to the A30’s internal HDD, to enable super-quick access. If your music is stored on a NAS, you’ll have to do this anyway, because the A30 has limited functionality if it has to access music files that are stored on NAS. For example, although it can play music that you have stored on NAS, it can’t search or sort songs that are stored there.

Despite Aurender specifically warning owners “Don’t Trust the Hard Drive!” the A30 does not provide a native way of backing up the music, images and metadata you have stored on the A30’s own hard drive. Says Aurender: “A specific ‘backup’ feature has not been implemented with Aurender music servers at this time.”

(Image credit: Aurender)

Instead, the company specifically says: “Do not consider your Aurender the ‘Master’ copy of your precious music library! Rather, maintain a separate master copy and consider your Aurender as a secondary backup copy. It is important to back up your music collection periodically to a separate memory device.”

This is not to say you can’t back-up files stored on the A30 – you can, but it’s not as easy as it should be. It also means you essentially have to maintain two different music libraries, which makes it a pain whenever you want to add new music, because it then needs to be added to both libraries, rather than just the one.

Once you have loaded the A30 with your music collection, you can use the tiny remote control Aurender supplies to control playback, which is a definite ‘plus’ for the A30, because it means there’s no need to constantly fire up your tablet. Doing so will, however, require you to have good eyesight, because the identifiers for the buttons on the remote are engraved in aluminium, rather than screen-printed, and the lack of contrast makes them difficult to see. If you do use your tablet, you’ll be interacting with Aurender’s tried and tested ‘Conductor’ software, which is now in its ‘V3’ incarnation and is simply superb.

However, if you want to change the metadata that the A30 will have created automatically, you’ll need to use a separate app, ‘A30 Manager’ to do this, but on the plus side, it means you don’t have to use a computer to do it, as you normally would. I am not sure why A30 Manager isn’t integrated into the Conductor app, but it appears it will be so integrated sometime later this year. Even the A30 manager app only became available on the Android platform late last year.

As for the app itself, it’s fast and slick and allows you to order your library/ies by song, artist, album, genre, composer, file type or pretty much any other way you want to do it, select single tracks or entire albums (or playlists) for immediate playback, or instead add them to the end of a queue so that play starts after the existing songs in that queue have been played. You can edit artwork, but I think the coolest feature is that you can use your phone's camera to snap the CD or LP and then use that photo instead of whatever the app automatically locates on the internet.

Importantly, you can create and store playlists for specific applications. I have a ‘Late Night’ playlist that contains only quiet tracks, a ‘Dinner Party’ playlist for background music when I have friends over and a ‘Maudlin’ playlist that contains only sad songs (don’t ask!).

There are also icons so you can easily access the Spotify, Tidal and Qobuz streaming services. Which is probably a good time to mention that the Aurender A30 includes full decoding for MQA.

(Image credit: Aurender)

As I said in the introduction, unlike many server/streamer components – including all the other models made by Aurender itself – the Aurender A30 has analogue audio outputs, so there is no need for an external DAC. The DAC inside the A30 is AKM’s flagship AK4498 ‘Velvet Sound’ silicon, which is a dual-mono device that in addition to handling PCM up to 32-bit/768kHz can also handle DSD up to 256 DoP and native DSD up to 512. The circuit includes an FPGA-based data re-clocking system that Aurender says reduces jitter to below 100-femtoseconds. Power to the DAC section is completely discrete and fully linear, with voltages sourced from its own toroidal power transformer.

The AK 4498 comes standard with switchable filters and unlike some manufacturers, Aurender allows you to access these, so you can choose between linear phase filters (Sharp and Slow Roll-Off), minimum phase filters (Short Delay/Sharp Roll-Off and Short Delay/Slow Roll-Off), a hybrid type (Low Dispersion/Short Delay) and two NOS types (Super Slow Roll-Off 1 and 2).

Which filter should you use? The ‘best’ filter really depends on your own hearing – what you’re sensitive to and what you’re not – as well as the genre of music you’re playing (because filters that work well for classical music tend not to work so well with hip-hop, for example). You can’t break anything by experimenting with the filters, so feel free to knock yourself out doing so.

Installation

I have to say that this is the first time I have ever reviewed a product that did not have an Owner’s Manual. There is brief ‘Quickstart Guide’ but it is not specific for the A30; it covers other Aurender products as well, such as the ACS10, ACS, N10, W20, N100C, A100 and so on, the result of which is that it’s rather complex and confusing.

Aurender says an Owner’s Manual is available to download from its site, but that ‘Web Manual’ link did not take me to an A30 Owner’s Manual, nor could I locate one on Aurender’s website at the time of writing, though it may well be there by now.

The website does have links to a series of YouTube tutorials, plus a few ‘How To’ guides, but they are software-related, not specific to the A30 and do not address hardware issues. By way of example, it was only when my devices would not connect that I discovered I needed 64-bit systems running “iPad iOS 9.3 or later, iPad 2 or later or Android Version 7 (Nougat) or later”.

Aurender’s web support (via email) is very quick if you are in the same time zone as the support team, which could be in either Korea (where Aurender is based) or in the USA, but if you’re ‘out-of-zone’, as we are here in Australia, answers can be a long time coming. Aurender’s new Australian distributor, Synergy Audio Visual, which was appointed late in 2021, says we Aussies will get lots of prompt local support, both from dealers and also direct from Synergy itself.

One thing the QuickStart Guide did have was a warning saying: “If the A30 is not turned off or rebooted correctly, this could cause serious damage to the unit’s hardware.” I assumed this was a McDonald’s (‘Coffee might be hot’) warning inserted by Aurender’s lawyers but since the manual devotes a full multi-coloured (red and black) page to it, they may mean what they say.

Contradictorily, Aurender also just as specifically elsewhere states that the uninterruptible power supply inside the A30 will power down the unit safely in the event of a black-out, while still having a bob each way by phrasing it: “The super-capacitor power cache acts as an uninterruptible power supply. In case of any sudden power failures, the Aurender A30 will power itself down safely. Even so, proper shutdown procedure should be observed to turn off your A30 whenever possible.”

(Image credit: Aurender)

Performance

I have to say that my playback experience from the Aurender A30 was fast and flawless and totally satisfying, not least because even though all the files are stored on a standard 10TB 3.5-inch HDD, they are not played from it. Instead, after you have selected the music you want to play, those files are transferred to a 480GB solid-state memory cache so they’re played from memory, not from disk. The advantage here is not merely speed, it is also that once the music you want has been cached, the hard drive spins down and goes into a ‘sleep’ mode which means it creates no noise at all (electrical or acoustic), while at the same time minimising wear and tear on the drive itself.

I did experience one little hiccup when I first started, which was that I could only get the A30 to play a single track at a time. This turned out to be all my own fault as, with all my fiddling around when working through all the control options, I’d accidentally put it into its ‘Single Play’ mode. This strange mode was developed, says Aurender, “by request from some of our dealers and exhibitors so that they can say a few words to introduce the next track before it starts playing in a live demo.”

It was easy to switch back to ‘normal’ mode once I discovered why it was happening. However, since I am mentioning this, I should also mention that you can also invoke a ‘Critical Listening’ mode’, which disconnects the CD-ripper’s power supply, turns off the supply to the front panel (meaning it will cease to function) and will also terminate as many background functions as are able to be terminated in order to guarantee the lowest noise floor possible.

When you are playing back music, you can control the volume using the Conductor V3 App, the infra-red remote, or directly from the front panel of the A30 itself. I can’t begin to tell you how wonderful having a dedicated remote control is, mostly if you want to turn the volume down quickly for any reason. It’s just so fast compared to any other method. Yes, the front panel control is fast too, but you have to factor in the time taken to walk over to the unit, plus there’s the fact that I didn’t much care for the ‘feel’ of the front panel’s rotary control.

There are three ways of accessing the Aurender A30’s dedicated in-built headphone amplifier – via a 4-pin XLR socket or 4.4mm phone socket (both balanced outputs) or via a 6.35mm unbalanced phone jack. When Aurender says the headphone amplifier is ‘dedicated’ it really means it – it’s even powered by its own toroidal transformer.

Figuring that many owners would indeed be using one or more of the headphone jacks, this became my first experience of listening to the A30 and it was wholly satisfying. While most of my listening was done using the unbalanced output I was able to briefly listen to the XLR output and in that session, I was unable to distinguish any sonic differences between the two at all – they were equally good.

(Image credit: Aurender)

And by ‘good’ I really mean exceptional. You will not need to use an external headphone amplifier if you own an A30.

I was, however, a little flummoxed that I could not use any of the headphone outputs at the same time I was using the analogue output. It appears that it’s one or the other, but not both. I would usually have checked in the Owners’ Manual to see if there was a way to do it but…

The music delivered to the analogue outputs of the Aurender A30 was equally good, no matter whether I was sourcing it from the internal hard drive (via the SSD) or by inputting digital signals into the relevant rear-panel sockets. I occasionally experienced a loss of sync between tracks when using the coaxial digital input, but it wasn’t an issue and may have been due to my particular set-up.

The sound of Sarah Mary Chadwick’s rather out-of-tune piano on her latest album, Me and Ennui are Friends, Baby, was delivered perfectly by the A30, and if a component can do that, it can do anything! Just listen to those discordant sounds and the grunge of the lower strings. But the A30 also delivered her distinctive Kiwi/Aussie accent to perfection, as well as the raw authenticity of her vocal delivery (not to mention the raw authenticity of her lyrics!). At Your Leisure describes her sexual encounters in quite some detail, for example. However, if you’re already an SMC fan, she’s not quite as explicit here as on her previous albums.

On Every Loser Needs a Mother, Chadwick is singing about herself. The slower tempo and the sustained piano block chords spread right across the keyboard let me continue to marvel at the A30’s clarity and precision. On I Was Much Better At Being Young Than You Are (I just love her song titles!), we get some added echo to her voice, which is mostly recorded dry, and I got to hear how the A30 handled this perfectly as well. As the song closes, I listened for those elusive tell-tale background sounds... and they were there!

I checked the bass delivery of the A30 with my current favourite ‘morning’ album, Lake Street Dive's Obviously. Once the atmospheric jazz groove that kicks off opening track Hypotheticals fades away and singer Rachel Price references the album title with her vocal ‘Obviously… we’re at the beginning of something’, you’ll hear from the delivery of the bass and the drums that the A30s can really kick it so far as deepest bass is concerned.

On Same Old News, you can hear the double-bass of Bridget Kearney so clearly it’s easy to admire her beautiful tone, as well as the tightness of her interactions with Mike Calabrese on drums.

Listen, too, to the depth of the bass on Being a Woman, as well as the extended drums. I could go on, but I’d prefer you to audition the A30 with this album yourself. If this is ‘yacht rock’, I am totally on board!

For high-frequency evaluation, I turned to my current favourite late-night spinner, Pharoah Sanders’ album Promises, with Sam Shepherd (Floating Points) and the London Symphony Orchestra, which is nine 'Movements’ of ethereal aural bliss, all underpinned by the sound of Sanders’ incredible saxophone, proving that neither his tone nor his fluid technique have dimmed at all since his days with Coltrane.

Sparse, wide-ranging and gloriously spacious, the sax, the violins, the glockenspiels, the celeste, the acoustic itself… all were perfectly rendered by the Aurender A30.

Verdict

Aurender promotes its A30 with the tagline “a marriage of performance and convenience” and says that it “provides everything one needs to create, store, manage, edit and play hi-res file content in one compact audio source component.” Although, as I discovered, you will need to add a few other ‘bits n’ bobs’ – most of which you will likely already own – Aurender’s claim is close enough to the truth that I am prepared to hand them a hall pass, simply because the A30 does what it does so brilliantly well… and also because I so absolutely adore that front panel!

Bose Noise Cancelling Headphones 700

whathifi@futurenet.com (What Hi-Fi?) — Wed, 06 Jul 2022 05:38:41 +0000

Few kinds of products come with a reputation quite like Bose headphones. The Noise Cancelling 700 arrived in 2019 as the latest pair, following a two-decade-long line of Bose QuietComfort noise-cancelling over-ear headphones that for much of that time have set the benchmark in the category.

The 700 broke away from the QuietComfort range, though, inaugurating a premium series from the company that it said represented ‘the biggest leap forward in headphones since the iconic QuietComfort’. That series was due to be expanded by the addition of two true wireless earbuds also shunning the QuietComfort name, however these additions never materialised and – guess what – Bose's newest headphones and earbuds do carry on the QuietComfort lineage.

One of these brand-new pairs is a higher-priced successor to the Noise Cancelling Headphones 700 called the Bose QuietComfort Ultra, but the 700 will undoubtedly be available to buy for some time to come – and likely at a cheaper price. So, four years after their arrival, do they still make our list of the best Bluetooth headphones?

Price

When the Bose 700 launched in 2019, they were some of the priciest pairs of wireless noise-cancelling over-ear headphones we had tested at £350 / $399 / AU$599. Considering you can get models thrice the price nowadays shows just how far wireless headphones performance has come in the past four years.

Thankfully, and unsurprisingly considering their age, you can now pick up the Bose Noise Cancelling Headphones 700 for much less – around £270 / $349 / AU$370. During Amazon Prime Day and Black Friday sales events, you can expect that to dip below the £200 / $300 / AU$350 mark.

That compares favourably to the current class leaders in the field – the £350 / $350 / AU$550 Sony WH-1000XM5 – though you would want to bag the Boses at their lowest-ever prices for them to be worth choosing over the newer competition. Even then, they would be tough to wholeheartedly back considering the similar, also discounted price of the previous (better-sounding) Sony WH-1000XM4. As for the brand-new QuietComfort Ultra, the verdict is out on them until we properly test them, but priced at £449 / $429 they belong in the next price league anyway.

Build

Despite their age, the Bose 700 still look modern next to their more contemporary peers. (Image credit: Bose)

The rather unwieldy name of Bose’s new headphones might not roll off the tongue, but it reflects the company’s focus on noise-cancelling technology, which Bose has worked to improve in order to stay at the front of the pack in that department.

The 700 use a new noise-cancelling system with everything from new acoustics to new digital signal processing – all running off Bose’s own NC chip. It features an eight-microphone system (six to cancel noise, two for voice pick-up) and 11 increments (from 0-10) of noise-cancellation intensity to choose from, allowing you to transition from full isolation to full transparency.

Zero doesn’t actually turn noise-cancelling off, but instead is a light veil that allows you to hear your environment, while ‘10’ represents the most extreme level of sound blocking.

Bose Noise Cancelling Headphones 700 tech specs

(Image credit: Bose)

Design style Over-ear

Bluetooth version 5.0

Noise cancellation Yes

Battery life 20 hours

Voice control support Yes

Touch controls Yes

Weight 254g

Our reviews of Bose QuietComfort over-ear models (including that of the 2022-launched QC45) consistently mention their almost suction-like, anechoic chamber-comparable isolation, but the effect feels more sophisticated here, even when transitioning from off to 10.

We find levels eight, nine and 10 best for blocking out the noise of the daily commute, although background noise is satisfyingly dampened with six activated. But whichever level we use, in whatever environment, the isolating effect is as good as we’ve experienced in a pair of headphones.

The incremental system works, although we find ourselves skipping two levels at a time to hear notable progress between steps. You can scroll through levels in the companion Bose Music App, or use the app to set three levels as presets. Out of the box, these are preset at zero, five and 10.

If the zero level doesn’t allow you to hear enough of your surroundings for quick interruptions, such as a station announcement, the helpful Conversation Mode can save you taking the headphones off your head. Activated by holding a button, it allows surrounding noise in, including voices.

The work hasn’t just gone into ensuring your music listening is noise-free, but also into guaranteeing your voice and video calls are as intelligible as possible. The 700 use a ‘beamform-array’ of mics that work to isolate speech and suppress everything else, while a ‘rejection-array’ acts as a second line of defence for tracking and blocking any remaining sound. The microphone design is adaptive, so it automatically adjusts to your changing environment.

We’re impressed by the call quality – even standing next to roadworks, you can feel the noise-cancelling in action. The drilling on pavement and the sound of traffic are barely noticeable, and we don’t feel the need to shout above it – it sounds more like we’re in a room than on a noisy roadside.

In our original testing, we switch to the Award-winning Sony WH-1000XM3 (which have since been bettered by the newer WH-1000XM4 and latest WH-1000XM5), and that disruptive background noise is much more apparent, our voice notably lost amongst it. The only downside of a noise-cancelling system this advanced is its impact on battery life, which is 20 hours here – short of the 30 hours promised by the aforementioned Sony WH-1000X models.

The Bose 700 still have one of the most effective ANC systems we have come across in a pair of over-ear headphones. (Image credit: Future)

The 700 bring the aesthetic up to date, with a strikingly modern design that, visually, is more than a match for the latest models from rivals such as Sony, Sennheiser and B&W. Available in black or the silver finish of our review sample, the 700 are largely a one-piece structure that, unlike the QuietComfort 45, is free of visible hinges.

The stainless steel headband is beautifully integrated into the earcups, with its bottom acting as a slider for the cups to move up and down. The chamfered, shimmer-finished cups are adorned with the Bose logo, the microphone holes and three function buttons (noise-cancelling, power/pairing and voice control) between them.

The button layout is pleasingly sparse, partly due to the touch controls – a first for Bose – on the right ear cup; tap it twice for play/pause and answer calls, swipe your finger up/down for volume change; and swipe to the side to skip tracks. Hold the Bose logo for a battery level reading, and press it for one second during an incoming call to decline it.

It only takes a couple of days to learn the various touch and button actions, although one obvious drawback is their sensitivity. On occasion, the play/pause double-tap functions don’t work the first time, and any slight touch accidentally triggers the headphones’ actions. While this issue isn’t exclusive to Bose, the app could also do with increased stability – every so often, it takes ages to acknowledge the Bluetooth connection with our phone, or fails altogether.

For a hands-free experience, there’s built-in voice control. The 700 support Amazon Alexa and Google Assistant, and either can be activated with a press of the bottom button on the right earcup. With Google Assistant, you can ask the 700 to play specific songs, albums and artists on supported apps (such as Spotify), read out and reply to messages and notifications, ask questions or even sing happy birthday.

Comfort

Like nearly all wireless headphones these days, the Bose 700 charge over USB-C. (Image credit: Bose)

The slender build and minimalist styling get a thumbs up for aesthetics, and comfort too – their secure grip is just the right balance between loose and vice-like. Weighing just 254g, they don’t exert too much pressure on the appropriate headband cushioning.

But the slim profile means the 700 don’t feel as well-built as some rival pairs, such as the B&W Px7 S2 and Sony WH-1000XM5. And we’d keep the supplied carry case handy, too – the Bose’s earcup sliders ended up a little scratched after sharing a bag with an Apple MacBook Air, so we’d recommend taking good care of your not-insignificantly priced purchase.

The case is no thicker than your average paperback book, and the 700 fit comfortably inside once the cups are folded flat – they don’t collapse inwards like their siblings, due to their hinge-free form.

Sound

Their bold, clear and upfront sound profile remains likeable, even if they have been leapfrogged by newer rivals. (Image credit: Bose)

The 700 mirror their siblings’ familiar sonic character – bold, clear and upfront. Bose claims the sound quality is comparable to the QC35 II (the QC45's predecessors from 2017), and we’d agree. But the company hasn’t taken the same giant steps to advance the audio performance over its previous efforts as it has with the noise-cancellation and design.

We play everything from Maribou State’s downbeat electronica to Purple Mountains’ giddy indie All My Happiness Is Gone, and the stunning clarity and directness of the 700’s delivery are consistently impressive.

Synthesizers chirp and chime away with candour and sweetness, and as the denser mixes follow, the Boses ensure everything is rightfully heard, producing a fast, spirited listen that plays into the hands of popular music.

The neutral-to-lean character is at odds with the rich balance of its greatest rivals, the aforementioned Sony XM series models, and you don’t quite get the depth of bass to complement the agility and punch present at the low frequencies. The Sonys are the Bose’s sonic polar opposite, opting for more openness and full-bodiedness over agility and absolute clarity.

Play Weyes Blood’s Picture Me Better through the 700, and while Natalie Laura Mering’s vocal is there right between your ears with all the assertiveness we’d expect from Bose’s unwavering character, the Sony WH-1000XM3’s broader landscape is coloured with more detail. There’s more delicacy and subtlety to the vocal. As the violin piece in Nearer To Thee comes into play, the Sony scuppers greater texture and makes more of a meal of the atmospheric dynamic shifts.

Considering the Sony XM3 now have two better-sounding successors in the XM4 and latest, class-leading XM5, the Bose 700, like the QC45, are now some way behind best-in-class in the sound department.

Verdict

Bose has made great headway with its noise-cancellation, call quality and aesthetic design from previous (QC35 II and older) QuietComfort models – all areas in which the 700 are pretty much top of the game.

But at this price, the sound quality also needs to be more or less peerless, and Bose’s ageing Noise Cancelling Headphones 700 fall short here in the face of newer and more sophisticated competition. It is little wonder they are on their way out to make way for the more premium QuietComfort Ultra, then.

SCORES

Sound 4
Comfort 5
Build 4

MORE:

Read our Sony WH-1000XM5 review

Sony WH-1000XM5 vs Bose Noise Cancelling Headphones 700: which are best?

Read our Bose QuietComfort 45 review

Our pick of the best wireless headphones

And the best noise-cancelling headphones you can buy