It’s been a tricky few years for Onkyo.

Historically better known for its AV receivers, the Japanese company filed for bankruptcy back in 2022, but not before offloading its core home AV and hi-fi division to a joint venture between Premium Audio Company (the parent company of Klipsch, Integra, Magnat and others) and Sharp.

It teased a return at the end of 2024 before finally launching new hi-fi electronics and an affordable line of powered speakers at CES 2025.

That range of electronics was called ‘Icon’, and it’s the Onkyo Icon A-50 streaming amplifier that you see before you here.

It’s a strong choice of name – but can the level of performance on offer match it?

Price

Priced at £1199 / £1599 / AU$3299, the Onkyo lives in a space where there isn’t too much in the way of major rivals.

The one potential stumbling block to its success is a big one, though. It comes in the shape of the Ruark Audio R610 (£1199 / $1599 / AU$2299), a What Hi-Fi? Awards 2025 winner, no less.

This neat box of tricks offers similar functionality to the Onkyo and has a price tag which is comparable in both the UK and the US.

There is a bit of a gap in pricing when you look at the Australian market, but we think it’s the product most people are likely to compare it to.

Design & build

Once unboxed, first impressions are mixed. Onkyo has gone down the traditional full-width separates route for the Icon A-50 as opposed to the slightly more stylish and more modern design of the Ruark.

There’s certainly nothing wrong with 'traditional', and from a distance everything appears perfectly well-appointed – all the various controls, buttons and switches seem to be proportionate and in the right place.

Once it’s powered up, that sliver of orange LED on the volume control sharpens up the amp’s appearance nicely. It contrasts neatly with its black surround and matches the ladder of LEDs that arcs around the input selector. Each rung glows orange as you cycle through the various options until you arrive at your desired input.

However, your contact points feel a little, dare we say, cheap. The top of the chassis, despite having an attractive pattern of vents, doesn’t feel the most robust.

The power button, depending on how it’s pressed, can make a quite off-putting springy noise, while the volume control makes quite a substantial clicking noise around halfway up its travel.

We weren’t quite sure why the amp was doing this, so we reached out to Onkyo, who told us “to prevent the product temperature from becoming high, the power supply for the amplifier is designed to switch between two levels, low and high, depending on factors such as the volume value, internal temperature sensor, and speaker output level".

It’s a strange quirk and something that we haven’t come across on a product like this before. It’s also something that we did find distracting during testing.

The textured finish to the input selector feels nice to the touch, but the control’s actual movement is a little soft and not quite as precise as we’d like.

Add all the design and build elements together, and we’re left with a feeling that we’re not quite getting our money’s worth.

The supplied remote is a relatively ordinary plastic wand which contains all the basic buttons for changing input, volume and accessing the tone controls.

It does the job without too many complaints, although a couple of times, when controlling the volume, the dial seemed to briefly resist and even go in the opposite direction before rotating the desired way.

Features

Speaking of controls, you are encouraged to download Onkyo’s Controller app before you begin set-up.

Companion apps for anything streaming-related can be hit and miss in our experience, and the Onkyo’s isn’t without issue. There’s plenty of functionality built in, for sure, but it struggles to gloss over what is all too often a frustrating and buggy experience.

What should be a simple set-up process is hampered by an over-complicated and overly fussy menu system and an app that is generally slow and sluggish to respond.

Tidal Connect worked smoothly as you’d expect, but the Amazon Music implementation is sluggish and buggy. On one occasion, we are streaming music using the service through the Controller app and the icons for skipping tracks disappear from the screen on our iPhone 15 Plus.

Through the app, you can access the Onkyo’s basic Dirac Live room correction or the built-in Fidelity IQ calibration. Both of these can use the microphone, which comes with the amplifier and plugs into the corresponding socket on the front panel.

Depending on your room layout and characteristics, you might want to stick with how they calibrate the sound, but we preferred them both turned off. In our acoustically treated rooms, Dirac Live sounded a little lightweight, while the Fidelity IQ option seemed to change the balance and boost certain frequencies at the expense of others, resulting in an unbalanced sound.

Instead, we would suggest actually flicking the switch on the front of the A-50 to turn on Direct mode. With this mode engaged, your music won’t pass through the amp’s tone control circuit and instead travel on a slightly shorter signal path.

In our opinion, it makes a subtle, yet audible difference to the sound quality. Music sounds slightly cleaner and more transparent.

During testing, there were a couple of bugs that cropped up when experimenting with Dirac Live, Fidelity IQ, and Direct mode. On a couple of occasions, the amplifier went rogue and turned the bass up in the tone controls when switching between them. The Onkyo would also occasionally mute the sound when switching between Dirac Live and Fidelity IQ.

We actually found the best part of the control app to be the volume control. Tapping the button on your screen launches a pop-up volume dial, which you slide your thumb around. The dial’s action is nice and smooth, and the amp is quick to respond.

On the front of the amp is a 6.3mm headphone socket, and four LED indicators next to a ‘my input’ button, which you can use to assign a particular source and sound settings to a single preset.

Around the back are three analogue inputs, two optical digital inputs, one coaxial digital input, a USB-A input for an external storage device, an HDMI ARC socket and a phono input for the moving magnet/moving coil phono stage.

Bluetooth connectivity is also included, which allows you to not only beam music to the Onkyo from a smartphone or tablet, but also transmit Bluetooth audio to a pair of Bluetooth headphones for, say, some late-night, wireless listening. The amp is compatible with SBC, aptX and aptX HD codecs.

The networked A-50 can cater for virtually all your streaming needs with support for Spotify Connect, Tidal Connect, Qobuz Connect, Amazon Music and TuneIn internet radio. It also supports AirPlay, Chromecast and is Roon Ready.

Sound

The Icon A-50 is claimed to deliver 110W per channel (into 8 ohms) using Class A/B amplification. During testing, we have it hooked up to our reference bookshelf speakers, the Epos ES-7N, and the amplifier seems perfectly at home driving them.

We start with a track or two from our Naim Uniti Core server accessed through the controller app, and we like what we hear.

Playing Lady Gaga’s Starstruck, the A-50 puts its best foot forward. The track sounds punchy, weighty and piques our interest with a lively and spacious sound.

There’s plenty of scale and size to the soundstage, too – the Onkyo sounds bold and forthcoming, but doesn’t sound overpowering. It’s nicely measured in its approach.

Bass notes hit with weight and authority, but it’s not just about the amount of bass. There’s decent detail and texture there too, and the difference in intensity between each low-frequency blow is easy enough to distinguish.

We wheel out the five-star Ruark R610 for comparison, and although it sounds smaller scale and less open, you do get a much greater sense of focus and precision compared to the Onkyo.

The current What Hi-Fi? Award-winner sounds more sure of itself, displaying greater composure and also has the edge when communicating the rhythmic flow and dynamic shifts of the track.

We slow things down with George Michael’s Careless Whisper and the Onkyo’s large, expansive delivery comes to the fore once again. It’s nice to listen to and does a fine job of separating the various elements of the track.

However, the vocal isn’t delivered with quite as much conviction or precision, nor does the saxophone sound as solid or dynamically dexterous as it is when heard through the Ruark.

Having said that, the A-50 still sounds balanced. There’s no sign of any brightness or hardness at the top end, and you certainly couldn’t accuse the Onkyo of delivering unruly and overly keen bass frequencies, either.

We play the same two tunes over Tidal Connect and Bluetooth, and the amplifier remains in character. Yes, the compressed Bluetooth versions sound just that, but the Onkyo maintains its broad, expansive personality.

Unfortunately, we can’t say the same for the phono stage. Connecting a Rega Planar 3 RS Edition and playing Lukas Graham’s Happy Home, and we are left feeling disappointed by the slightly flat and compressed sound that greets us.

Tonally, there’s nothing too off-putting, and it’s balanced and easy-going enough, but there’s a distinct lack of drive to the synthy bassline, and his normally expressive vocal sounds stunted.

The headphone output, by contrast, sounds tonally grey compared to what we hear from the amp’s speaker outputs. There’s a lack of natural warmth, and detail levels take a hit too.

Verdict

As you’ll have probably guessed by now, we aren’t as enamoured with the Onkyo Icon A-50 as we had hoped to be.

The large-scale, powerful sound it produces shows potential, and there are likeable elements to its sound quality, but it never really comes close to troubling the composure and dynamic finesse of the class-leader at this level.

Combine the questions over build with the buggy app, and the Onkyo feels like one of those products where it’s a good concept on paper, but, ultimately, the execution is lacking.

Review published: 9th June 2026

SCORES

• Sound 3
• Features 3
• Build 3

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

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

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

Price

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

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

Design and build

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

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

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

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

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

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

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

Features

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

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

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

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

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

Sound

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

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

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

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

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

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

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

Initial verdict

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

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

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

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It has been five years since Cambridge Audio introduced its Evo range of all-in-one streaming amplifiers, the Evo 75 and Evo 150.

Then, in June 2025, it announced the updated Evo 150 SE, which introduced a higher-quality ESS SABRE ES9018k2m DAC and Hypex NCOREx amplifier module, improvements to the signal path and a refined output stage.

Now, at High End Vienna, Cambridge Audio has upped the ante with a new, more powerful model, the Evo 300 (£3499/€3999/$3999).

As you can probably guess from the model name, the new streaming amplifier boasts 300W of Hypex NCOREx Class D power per channel.

And decoding comes courtesy of a new ESS Sabre ES9038Q2M DAC, which supports up to 32-bit/768kHz PCM and DSD512.

Streaming comes via Cambridge Audio’s excellent StreamMagic platform, which provides support for Spotify Connect, TIDAL Connect, Amazon Music, Deezer, Qobuz Connect, Roon Ready, UPnP and Internet Radio. The amp also supports AirPlay 2 and is Roon Ready.

The Evo 300 also includes RCA and balanced XLR inputs, HDMI eARC connectivity, Bluetooth 5.4 (including aptX HD) and a built-in moving-magnet phono stage for a compatible turntable.

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

On the front of the unit is a 7.8-inch colour screen, which allows you to switch between views that show VU meters, a clock or album artwork. Evo 300 also features interchangeable side panels, should you want to tweak its appearance.

Under the aluminium chassis, you’ll find a dual-mono layout, a balanced pre-amplifier stage, switch-mode power supply and “high-precision analogue volume controls for each channel”.

We were huge fans of the Evo 75 and Evo 150, both of which received five stars from our test team, with the Evo 150 SE picking up a solid four-star rating. We can’t wait to see how the Evo 300 performs.

Also at High End Vienna, Cambridge Audio has unveiled a special “Midnight” black version of its Evo One all-in-one system. It features the same electronics and 14-driver array, but the new finish offers an aesthetic alternative to the real walnut veneer of the original. Pricing remains the same at £1299/€1499/$1799.

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

Read our Cambridge Audio 150 review

And our Cambridge Audio Evo 150 SE review

Our pick of the best hi-fi systems for every budget

We are big fans of Ruark Audio's R610 streaming amplifier. Indeed, its vintage-inspired design and smooth, dynamic sound nabbed it a 2025 What Hi-Fi? Award win.

Ruark has now launched a bigger brother, the R710. It builds upon the excellent R610 (£1199 / $1599 / AU$2299) by adding more power and, due to popular demand, an integrated CD player.

Seeing that CDs are having a revival, the team at Ruark (who are “lifelong vinyl and CD fans”) have incorporated a CD drive into the R710 music system, with the slot-loading mechanism cleverly hidden amongst the wooden slats adorning the front of the unit. Ruark calls CDs “the last tangible music format” and believes that CDs can offer “superior sound over streaming”.

That doesn’t mean Ruark has completely ignored the most dominant way we listen to music these days; there are ample network-streaming features included in the R710. Popular music streaming services such as Tidal Connect, Qobuz Connect, Spotify Connect are available alongside AirPlay, Google Cast, Bluetooth aptX HD, and internet radio.

You can also stream hi-res audio files from a connected NAS drive or via USB, with up to 32-bit/192kHz PCM file resolution supported.

As with the R610, the R710 features Class D amplification, but the power output has been beefed up considerably, to 200W per channel. In comparison, the R610 features 75W per channel. The more powerful R710 unit features a custom switch-mode power supply, and Ruark has also taken care with the layout of the internal circuit, from using audio-grade components to keeping signal paths short and direct.

The R710 is also bigger than the R610’s compact footprint, and features a larger 6.8-inch full-colour display screen to show off album artwork, track info and input selection.

Around the back, you’ll find a good complement of digital and analogue connections, including RCA line level, optical, USB-C, and an HDMI eARC input to use it with a TV. Continuing the love for physical media, there is a built-in moving-magnet phono stage so you can directly connect a turntable.

Effectively, you can play music from pretty much any source and in any popular format you have (bar DSD) through the R710.

The R710’s cabinet design remains visually consistent with the R610 and the rest of the 100 Series, and features the brand’s iconic and tactile RotoDial controller embedded on top of the unit, with a matching Bluetooth remote.

The R710 aims to combine “analogue charm with digital convenience”, with Ruark having designed the more powerful streaming amp for both serious listeners and “anyone who wants their home to sound extraordinary”. Its gorgeous lifestyle-friendly looks are a bonus, too.

The Ruark R710 will be available in fused walnut veneer or satin charcoal lacquer finishes, and is available to buy later in this year for £2199 / €2699.

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Read our Ruark Audio R610 review

Ruark resurrects Talisman-R floorstanders for "people who care about their home as much as their music"

All the latest news from the High End Vienna 2026 show

Tannoy teases exclusive limited-edition speakers to mark its 100th anniversary

Onkyo originally teased the Muse Y-50 Network Integrated Amplifier Anniversary Edition back in January at CES, but we didn’t know the full model name at the time (nor how much of a mouthful it would be) or the pricing.

The new unit is inspired by the Onkyo Integra M-588 amplifier from the early 1990s, which had real-wood walnut side panels and illuminated meters. The Y-50 gets Bordeaux walnut side panels and an aluminium front panel finished in champagne gold.

The special-edition Y-50 gets a 5.46-inch colour LCD display which can be used to show track information, access settings and also display analogue-style VU meters.

You can take control of the Y-50 through Onkyo’s Controller app, and it also comes with proprietary room-calibration software specifically developed for the Muse series.

Amplification is 250 watts of Class D power (into 4-ohms), and connectivity options include analogue RCA, coaxial digital, HDMI ARC, ethernet, wi-fi, and a moving-magnet/moving-coil compatible phono stage.

Streaming support extends to Spotify Connect, TIDAL Connect, Qobuz Connect, AirPlay 2, Google Cast, and Qplay.

Onkyo’s Creator GX-30ARC and GX-10DB Powered Monitor Anniversary Limited Edition speakers bring (as well as another mouthful) a new industrial design to two models which are already on the market.

We gave the GX-30ARC five stars when we tested them back in January, so you already know they are among the best desktop speakers around.

The revamped design for the anniversary edition includes tweaked proportions, dark silver trim rings, textured black baffles, a Bordeaux walnut finish, and black, angled stands. The new look has been inspired by Onkyo D-200 Liverpool monitors, which the company introduced back in 1987.

As with the standard versions, which launched at the start of 2026, these models still use Class D amplification and include features such as Bluetooth 5.3, a USB-C input, an optical digital input, a phono input and a subwoofer pre-out. The more expensive GX-30ARC also boast HDMI ARC connectivity.

Pricing will be $1699 for the Muse Y-50 Anniversary Edition, $399 for the GX-30ARC and $299 for the GX-10DB when they all go on sale in August.

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Read our full Onkyo GX-30ARC review

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The separates approach has held sway in the world of high-end hi-fi from the very beginning. That is perfectly understandable, given the idea that each component only has one job to do, and so can be optimised for that task. Such logic is undeniable. When you are charging huge sums of money for a premium product, every last degree of performance matters, after all.

But we’ve noticed a change in recent years. Manufacturers are getting better at integrating functionality without compromising the sound, particularly in the digital space. Esoteric’s new N-05XE streaming preamplifier is a prime example of that trend.

This beautifully made unit combines network streaming, digital-to-analogue conversion and a preamplifier in one neat, albeit chunky box. Any house-proud hi-fi enthusiast will appreciate the reduction in interconnects, mains cables and required rack space a product like this brings. Just add a power amp with passive speakers or, even better, a pair of actives, and you have a minimalist but well-featured system that (potentially) can still match the best at the price.

Design & features

The N-05XE seems like an ideal front-end for such a set-up. It is well equipped, sporting a streaming section that ticks almost all the boxes. This Esoteric will play any music file available on your home network, but has to be hardwired via an Ethernet cable or optical using an SFP port. wi-fi connectivity, while undeniably convenient, is not on the menu on stability and performance grounds.

We have no complaints about file compatibility. It is excellent. This Esoteric is happy to play high-res recordings up to 32-bit/768kHz PCM and DSD 22.5MHz. We can’t imagine anyone getting caught short with this player. Embedded streaming services include the Connect versions of Tidal, Qobuz and Spotify, and the N-05XE is certified as Roon Ready.

This streaming preamp’s digital section is a little out of the ordinary. Rather than use off-the-shelf DAC chips for the N-05XE’s digital module, the engineers decided on an in-house solution based around an FPGA (Field Programmable Gate Array); a powerful processor programmed with the company’s own software instructions. This converter section is a multi-level Delta Sigma design based around discrete components to optimise performance.

Should the upgrade bug strike, which we suspect may take a while, it is possible to add an outboard 10MHz clock to the N-05XE. Esoteric’s own G-05 clock costs £5500 / $5800 / AU$9000, so it's a serious investment. We have heard such things make a notable improvement, so it is worth a listen.

For a streaming preamp to be successful, the analogue side of things has to be as capable as the digital. Esoteric’s engineers haven’t cut corners with the N-05XE’s analogue preamp section. It is a dual-mono, fully-balanced design with a sophisticated power supply arrangement that even goes as far as delivering a dedicated feed to the volume control circuit. Great care has been taken to ensure that the preamp performs consistently, whether driving a power amplifier, the line output or the headphone socket.

That headphone output is no afterthought. Esoteric has taken things seriously here, developing a new dual-mono parallel single-ended amplifier module. The aim was not only to improve the sound but also to ensure good drive characteristics across a broad spectrum of headphone types. There is a choice of a conventional 6.3mm socket or a 4-pin XLR output on the front panel. The headphone amplifier is rated at a healthy 1200mW per channel into a 32-ohm load, which should be enough in most cases.

The company has worked hard to ensure that the N-05XE can slot easily into a wide range of systems. There is a good choice of digital connections on the rear panel (USB Type B, coax x 2, optical x 2 and AES/EBU) alongside a USB Type A for playback of stored music. In addition, there is a USB Type C socket on the front to connect either a flash drive or a digital source such as a computer or personal music player.

Bluetooth 4.2 is included too. While it isn’t the best sounding connection option as far as sound quality goes, compatibility with higher-quality aptX and LDAC codecs means the results are still more than acceptable. We like that Esoteric has included this wireless functionality, as there are times when the convenience trumps the need for absolute performance

On the analogue side, there are two line-level inputs (stereo RCA and XLR), where the XLR can be configured for conventional balanced use or running Esoteric’s proprietary ES-Link system.

ES-Link is a current-based transmission method (rather than voltage-based, as is conventional), and is claimed to be less sensitive to the impedance characteristics of whatever it is connected to, so improving sound quality. The choice of single-ended RCA, balanced XLR and ESL-A is mirrored on the analogue output side of things

Build

Esoteric has built an enviable reputation for excellent build and engineering, and rightly so. We are happy to report that the N-05XE lives up to those traditions. Its casework is immaculately made and finished, feeling reassuringly solid. Finish options? The N-05XE is available in both black and silver.

The large volume dial spins on ball bearings, so its rotation is as smooth as you like, while every switch and button works with precision, and feels like it will last a generation. We even like the small, double-sided metal remote. It is logically laid out and easy to use.

Esoteric’s engineers are clearly happy to defy convention when they think it is justified. In this case, the N-05XE’s top panel floats loose rather than being attached solidly. It is essentially free to move a millimetre or so and rattles when we tap it.

During development, it was found that mounting the lid loosely in this way lends an increased openness to the product’s sound. Similarly, you will notice that the unit’s feet move around when you take it out of the box. These feet are of a surprisingly complex design, featuring an internal spike-and-base arrangement claimed to disperse mechanical vibrations.

In day-to-day use, a network streamer lives or dies by the quality of its partnering app. Esoteric’s Sound Stream app is a solid effort that proves stable in use. It has the usual range of features, but isn’t quite as slick and intuitive as the best we’ve come across. The layout can look rather cluttered, though we get used to things relatively quickly.

A product at this level deserves a top-class partnering system. We slot the N-05XE into our reference set-up, using it first with our Burmester 088/911 MKIII pre/power driving ATC SCM50 speakers, and then bypassing the preamp and plugging directly into the power.

Our main streamer comparison is with Naim’s pricier ND 555/555 PS DR, but we also have recent experience with price rivals such as Moon’s 681, Linn’s Selekt DSM Edition Hub and Naim’s NSS 333.

Sound

If you love to tweak, you are in luck. In line with most modern digital products, the Esoteric N-05XE allows the user to switch between various upsampling and filter settings.

We spend a good few days experimenting with the various options, and settle on the highest rate (512) for the Delta Sigma Modulator operating frequency and the RDOT option (a slow roll-off design with some clever processing) for the digital filter. But note, the differences between the various settings are subtle at best. The choice comes down to taste and partnering system as much as any obvious superiority.

If you like an extrovert, end-of-the-seat presentation, then this or any other Esoteric product isn’t for you. In our experience, the company’s sonic signature is all about precision, refinement and delicacy. It is a cultured sound that’s impressively clean, combining class-leading detail resolution with a degree of understatement that takes time to appreciate. Once you get used to it, most alternatives seem a little uncouth in comparison.

Stream a demanding classical piece such as Stravinsky’s The Rite of Spring, and the N-05XE’s composure is welcome. It takes a frantic piece of music and lays it all out effortlessly for the listener. Each instrumental strand is easy to track, and nothing gets lost as the composition becomes ever more difficult. Instruments are carefully rendered, with the texture and shape of notes presented with care.

Tonally, this Esoteric is as balanced as they come, with no particular part of the frequency range gaining undue prominence. The highs are sweet without sacrificing too much in the way of bite, while the top-to-bottom balance remains beautifully cohesive and nicely judged. The presentation doesn’t have the architectural solidity of our reference Naim, but it remains clean and stable.

The N-05XE’s stereo imaging is excellent. The product’s dual-mono configuration obviously pays dividends here, with a broad and spacious soundstage populated by crisply focused instruments. Everything is locked in position and doesn’t blur as the music becomes more demanding. We’re particularly pleased with the way that the N-05XE renders soundstage depth, giving the recording a wonderfully three-dimensional feel.

It is pleasing to note that this Esoteric is equally as talented when used as a DAC. We use a variety of sources from our MacBook Pro (loaded with Audirvana music-playing software and plenty of high-res music files) and Naim’s ND 555 streamer serving as a digital source to an iPhone 14 Pro Max to test Bluetooth.

The N-05XE does well. It has a highly-resolving DAC module and equally talented analogue output stage, which combine to deliver whatever the recording requires. Rosalía’s Berghain comes through with dynamic intensity and rhythmic momentum intact. We marvel at the music’s drama and the Esoteric’s ability to communicate the singer’s emotion while still delivering a high degree of clarity and control.

We switch between various file types from 24-bit/192kHz Beethoven recordings to Stevie Wonder’s Innervisions on DSD, and the N-05XE copes with ease. There is no hint of unwanted hesitation or noise. It gets on with the job without fuss.

Bluetooth pairing is swift, and we have no issues with stability. The sound quality via this input is obviously limited compared to the other options, but it is perfectly fine for casual listening.

It is also pleasing to note that the Esoteric’s analogue inputs sound good too. Such a talent isn’t a given with digital-based components, but it means that the N-05XE is perfectly capable of working well with both analogue and digital sources.

The story is just as positive with headphones. We try Yamaha’s magnetic planar YH-5000SE, Austrian Audio’s open-back The Composer and Focal’s closed-back Stellia, and all work well. The N-05XE drives every headphone with ease, delivering a balanced and detailed sound that is neutral enough to put the spotlight on the headphones rather than the source component.

Verdict

Convenience and the high-end aren’t usually comfortable bedfellows, but this Esoteric proves it is possible to combine the two in a neat, easy-to-use package.

The N-05XE is a hugely capable product that compromises very little compared to more purist options. If you are looking for a top-class sound and don’t want the clutter of conventional high-end separates, this Esoteric is a great place to start.

Review published: 3rd June 2026

SCORES

• Sound 5
• Build 5
• Features 5

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

**Winner: Cambridge Audio Evo 150 SE**

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

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

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

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

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

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

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

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

**Winner: Draw**

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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British audio manufacturer Leak has announced its first-ever dedicated music streamer, the TruStream.

Following Leak's return to the audio world in 2020 with the likes of the Stereo 130 amp and CDT CD transport, the established brand is now turning its attention to modern music streaming with its debut network player.

At the heart of the new player is an ESS Sabre ES9038Q2M DAC chip, complemented by ESS's HyperStream II architecture and 'Time Domain Jitter Eliminator' technologies for reducing timing inaccuracies and improving sonic fidelity. The TruStream also makes use of a post-DAC active filter circuit designed to "unlock the potential of the (DAC's) performance and dynamic range".

Leak's debutante uses Silent Angel's dedicated streaming platform, the same as you'll find in the recently revealed half-width Mission 778S network player.

In terms of hi-res audio, the TruStream supports PCM files up to 32-bit/768kHz alongside DSD512. Tidal Connect, Qobuz Connect, Spotify Connect, AirPlay 2 and TuneIn radio are all on the menu, as is Silent Angel’s own Internet Radio platform. It's also UPnP/DLNA compliant for connecting to your home network, and is Roon Ready.

For physical connection, the vintage-looking music streamer offers a USB-C audio input and twin USB-A ports. Optical and coaxial outputs cater for the digital side, while balanced XLR and single-ended RCA outputs are supplied on the analogue end. If you want to get up close and personal, a 6.5mm headphone port has you covered.

The TruStream sports a vintage "mid-century" look, blending a walnut wood-veneered cabinet alongside an aluminium chassis.

The Leak TruStream network player will be available from April, priced at £999 / €1199 / $1495 / AU$2199.

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Hi-fi enthusiasts have traditionally shied away from multi-function components, and for good reason. While such products may be convenient and reduce clutter, there is usually a large price to pay in terms of performance compared to separates alternatives.

However, we’ve noticed that things have been changing over the last few years. Manufacturers are definitely becoming better at integrating multiple functionality into a single chassis, while still achieving good sound quality.

When it comes to the premium audio space, we think Moon has gone further along that path than most. Its Neo Ace from 2016 was a great building block, but for us, the new Moon 371 streaming amplifier takes a significant step forward into a world where ‘all-in-one’ doesn’t mean obvious sonic compromise.

This is the first product in Moon’s new Compass Collection, but perhaps even more importantly, the 371 introduces a much-evolved form of the company’s clever power supply technology, MHP (Moon Hybrid Power). But more on that later.

Features & connectivity

It’s fair to say that the Moon 371 is a thoroughly modern take on what a premium streaming amplifier should be. That smart and relatively slim casework houses Class A/B amplification, a moving magnet/moving coil phono stage, digital-to-analogue conversion circuitry and a streaming module. You simply need to add speakers to create a neat system.

Though the sleek visuals don’t really hint at it, this is a surprisingly powerful unit that is claimed to deliver 100 watts per channel into an 8-ohm load, and twice that as impedance halves.

That ability to double power output with a halving of impedance is rare among amplifiers, and pretty much unheard of among those that also stream. In practical terms, that means the 371 is likely to drive pretty much any speakers you like to high volume levels.

Beyond muscle, what we have is a well-equipped unit. The 371 packs Moon’s latest MiND 2 streaming platform, which means it plays music files from any server or storage on your home network, as well as providing access to streaming services such as Spotify, Qobuz, Tidal (all in Connect form), internet radio and more. It also features AirPlay and is Roon Ready.

Streaming file compatibility is good, with up to 32-bit/384kHz PCM and DSD256 files on the menu. This should be more than enough to cover most people’s needs.

Physical connectivity is generous, and includes balanced and single-ended analogue inputs, two coaxial, one optical, USB-C for attached storage, and HDMI ARC. There is also a 6.3mm headphone socket on the front panel and a preamp-out on the rear.

Interestingly, the HDMI isn’t specified as eARC. When quizzed about this, Moon claims that the advantages of eARC don’t really translate into a stereo product like the 371.

Fans of vinyl records haven’t been ignored. This streaming amplifier has a switchable moving magnet/moving coil phono stage built in. The switching is done via the on-board set-up menus. The moving-magnet gain is set at 40dB, and 60dB for moving-coil cartridges. These are fairly typical values for such inputs and should work well for most partnering cartridges.

Build

Moon’s designers have taken the opportunity to update the company’s distinctive look, and to our eyes it works. This product instantly dates some of the older products in the company’s portfolio, while retaining all the elegance and curves that are part and parcel of Moon’s DNA. Finish options are either black or the company’s distinctive two-tone look.

The large 17cm front-panel colour display is crisp and easy to see from a distance. It helps that the text font increases in size as the volume level changes, making it easy to read from the other side of the room, even in low light conditions.

The 371’s build is well made. In the metal, the unit feels solid and is beautifully finished. We particularly like the newly designed heatsink on each side, a design that manages to look discreet and elegant while losing nothing in terms of efficiency.

Design & engineering

Take a look inside the elegant casework, and you will find a neat and clean circuit layout. This streaming amplifier features two of Moon’s signature technologies, MHP (Moon Hybrid Power) and MDCA (Moon Distortion Cancelling Amplifier).

We have come across MHP before (it was used in the 681 network streamer we reviewed back in early 2024), and it combines elements of a switch-mode design with those of a traditional linear power supply. However, in the 371 streaming amp, its use marks a major landmark in the technology’s development.

Up until now, an MHP supply has only been used in the company’s streamers and digital-to-analogue converters, components that have fairly consistent and relatively low power requirements.

This is certainly not the case with an amplifier, which has to work from whisper quiet to party levels, while driving a pair of speakers (with their demanding and inconsistent electrical loads). Moon’s engineers have put around two years of development into bringing the new MHP design to the market.

The claims for this new generation of MHP over conventional switch-mode or linear power supply designs are improved stability, low noise and reduced vulnerability to mains supply issues. Moon is really proud of this development, so don’t be surprised to see it spread to future amplifier products.

MDCA is a clever amplifier circuit design that reduces distortion to very low levels by comparing the input signal to the output and correcting any errors.

While that description makes it sound like a conventional feedback circuit, the configuration is cleverer than that, and our experience with the 371 shows plenty of benefits.

A high-end streaming amplifier such as this Moon deserves good-quality speakers. Most of our testing is done using ATC’s SCM50 monitors and Epos’s ES-14N standmounters, though we also try it with the new Acoustic Energy AE1 40th Anniversary edition and the Award-winning PMC Prophecy 1. We’re pleased to report that the 371 performs admirably and consistently with all of them.

Sound

Moon’s sonic DNA is based around refinement and fluidity. Its products don’t remind us of valve-based equipment or anything like that, but they invariably seem to deliver a clean, smooth balance that’s hard to dislike.

It’s a spacious and uncluttered sound that is packed with detail and organised with care. These are ideal characteristics to allow Holst’s Mars (streamed from our Naim NAS) to shine.

The 371 captures the menace of this Holst composition beautifully, delivering the piece with the authority and muscle it deserves. Dynamic shifts come through with force, yet there is never a sense that the Moon is working hard. There is a stress-free ease about this product’s presentation that is easy to like, particularly as it still communicates the energy and excitement in the music well.

Refinement levels stay high even when we push volume levels northward, and there is little sign of edge or undue hardness when we do so. We note that the 371’s casework remains at reasonable temperatures even when the amplifier is forced to work hard, which speaks well of the internal heat management

The 371 paints a broad and deep soundstage, locating instruments with impressive precision and stability. As the music builds, we are impressed with the Moon’s composure and its ability to keep a firm grip on the various instrumental strands while still allowing the music to flow organically.

Detail levels are great, giving the sense that the Moon is communicating every last piece of information in the recording. This feeling remains in place when we switch to Prince's Diamonds And Pearls set on Tidal.

Here, the 371 reinforces our positivity by proving impressively cohesive when playing Gett Off. This song can easily sound messy, but the Moon isn’t having any of that. It renders the song with attitude and drive intact. The mass of instrumentation is arranged with care and underpinned by a firm understanding of rhythmic drive.

Gett Off’s chunky bassline comes through with weight and power, yet remains surprisingly articulate. The 371’s presentation is superbly balanced, where no part of the frequency range gets undue attention.

We can’t help but be pleased by the midrange clarity on offer and the way this unit conveys the texture and sass of Prince’s distinctive vocals well.

We like what the 371 does, irrespective of the input chosen. The company has shown itself to be skilled at DAC designs in the past, and that carries through here. The 371’s digital inputs retain everything we admire from the streaming section, from balanced tonality to the surprising degree of insight. The internal DAC switches between a 24-bit/192kHz recording of Shostakovich’s Symphony No.4 to Aimee Mann’s Lost In Space on DSD without issue.

The phono stage is good too. We feed it with our reference Technics SL-1000R with either the Kiseki Purpleheart moving coil cartridge or Vertere’s Dark Sabre moving magnet, and it works well with both. The circuit is quiet and hum-free while delivering a decent dose of transparency and balance.

If vinyl were our main source, we would still consider a dedicated outboard unit such as Cyrus’ 40 PPA or Vertere’s Phono-1 MkII L, but for occasional users or those that simply don’t want to add the clutter of another box, the 371’s phono stage works well enough.

We’re more enthusiastic about the 371’s headphone output. It sounds clear, clean and composed whether we connect the lively Grado RS1x or the technically accomplished though analytical Austrian Audio The Composer headphones. There is plenty of drive and a good range of adjustment on the volume control.

Verdict

Moon has done a great job with the 371 streaming amplifier. It is a neat and stylish package that ticks all the boxes as far as features go, while being a pleasure to use. Add the excellent sound quality into the equation, and it becomes a proper alternative to the best streamer/amplifier separates combinations on the market.

Style, build and ease of use without sonic compromise? The Moon 371 shows it is possible.

Review published: 2nd March 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Nagra's Compact Series has a new member. The Compact Player is the latest entrant to Nagra's club of smaller, more affordable devices, and combines the network audio architecture of the Nagra Streamer with a DAC stage. Hence it can be connected to an integrated amplifier, power amp or active speakers for a complete audio setup.

It might be smaller and cheaper than some of Nagra's devices, but at £6000 / AU$9,495(around $8000) it's still not exactly cheap.

But then Nagra doesn't really ‘do’ cheap. Its proprietary technologies, such as its unique clock generator and power regulation, feature to elevate the sonic performance.

Nagra hopes this will set the Compact Player apart from the many – much cheaper – streamers already available. We are promised Nagra’s signature sound, a presentation which is described as “fluid and unforced, harmonically complete, and spatially precise”. This should result in “stable imaging, natural decay and an organic continuity” that closely replicates a live performance.

Like most streamers, it supports Tidal Connect, Qobuz Connect and Spotify Connect, alongside vTuner and AirPlay 2. Local playback is possible via UPnP/DLNA and USB.

It is also certified Roon Ready, and is compatible with the mConnect and Audirvāna music playback platforms.

Manufactured in Romanel-sur-Lausanne, Switzerland, it has a case machined from a solid aluminium billet, giving it a pleasingly demure, minimalist look. It's also upgradeable – the standard external power supply can be added to with Nagra's Compact PSU, or the Compact VFS isolation platform.

Nagra positions the Compact Player as a gateway to the company’s ecosystem. You might want to start saving…

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There is always a sense of familiarity at the annual Bristol Hi-Fi Show, with brands and industry faces we have seen for years, sometimes decades, in a landscape where – even as new products and technologies usher in – some things never change.

It's no secret that the popularity of traditional separates hi-fi – while still going strong in our circles – has diminished in recent times. New players (Sonos, Apple and the like) have come onto the scene to challenge what a modern music system should look like. Especially for those looking at the affordable end of the market.

WiiM is one such new player. Its products have disrupted the hi-fi industry in the past handful of years with their compact, modern-looking, Apple-like designs. They are packed with features and cost considerably less than any of their rivals.

And these products sound good, too. The Pro Plus music streamer is a multiple What Hi-Fi? Award winner; the WiiM Ultra is a solid five-star product that holds a firm place in our best music streamers guide; and the Amp Pro and Amp Ultra streaming amplifiers are highly recommended for those trying to create a do-it-all music system in small spaces for sensible money.

Many hi-fi brands have taken notice of WiiM's meteoric rise in popularity and its game-changing offerings, with some even proposing that their new products – the budget Dali Kupid bookshelf speakers, for example – be used with WiiM's compact products.

No one, however, has directly taken on WiiM at its own game. Yes, streaming products are more abundant than before and they're getting less costly (Cambridge's MXN10 and Bluesound's Node Icon are great examples), but they are still a way off from WiiM's truly compact and affordable fare.

Until now. Surprisingly, it is another fairly young, budget-leaning brand that has decided to aim directly for WiiM and its range of products. Majority has been around a short while, and it too has built a reputation for undercutting its rivals by a considerable margin with its array of über-affordable products.

At the Bristol Hi-Fi Show 2026, just a few floors down from the WiiM demo room, Majority teased a brand new range of compact hi-fi streaming products that will be coming out later this year, comprising the Link Mini, the Link Pro and the Link Amp Pro. They will feature Wi-Fi 6, Bluetooth LE Audio, AirPlay 2, Spotify Lossless and Tidal Connect.

It's not hard to make direct comparisons with WiiM's range. The Link Mini is similar to the WiiM Mini (£89), designed to bring network powers to any old system; the Link Pro streamer presumably goes toe to toe with the WiiM Pro Plus (£219); the Link Pro Amp is a streaming amplifier in a similar vein to the WiiM Amp Pro (£399).

Granted, these are early development prototypes, and the full specifications and details aren't finalised yet, but we do know that Majority's Link Pro and Link Pro Amp will feature an HDMI ARC input and a display screen, and that the streaming amp claims to have 300W of amplification power.

What's of note already, though, is the prices set out for the trio. They look to be a good £30 to £150 less than the WiiMs: the Link Mini is £49.95; the Link Pro is £199.95; the Link Pro Amp is £249.95. That's quite punchy. WiiM has made a name for itself for undercutting its competitors; Majority even more so. Whether the final Majority Link streaming products – in terms of design, specification, app interface and performance – can rival the very slick WiiM range remains to be seen.

We often hear the refrain “where is all the affordable hi-fi?” – and it’s true that really affordable kit feels few and far between these days when costs are constantly rising. But this area of the market could be hotting up, as more emerging rivals take on the likes of WiiM.

It's interesting to note, though, that in a showcase full of hi-fi products – from brand new, tech-laden launches, exciting sequels and boundary-pushing engineering, from brands with stellar performance records – the products taking on the upstart WiiM are from yet another upstart budget brand.

How will it pan out? We can't wait to find out.

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

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

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

Price

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

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

Features & connectivity

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

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

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

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

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

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

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

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

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

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

Build & design

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

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

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

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

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

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

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

Sound

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

Review published: 18th February 2026

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

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

Also consider the Arcam SA35

Best hi-fi systems 2026: CD, vinyl and streaming music players for the home

Aurender has been in the streaming game longer than most, and that experience shines through in the A1000. There is an impressive maturity about this product from its build to the stutter-free way it operates. Best of all, it sounds good enough to make that hefty price tag seem entirely reasonable.

Build & features

The basic template of a music streamer is pretty much set at this point, and the Aurender A1000 meets all expectations while adding its own twist. It will pull music files from any storage on your home network or attached to its rear-panel USB Type A socket, play internet radio, feature Connect versions of Tidal, Spotify and Qobuz, as well as offer a range of digital inputs.

It is a compact unit that’s around a third narrower than typical 43cm-wide components. We have no complaints about the build; the Aurender’s aluminium casework feels rigid and nicely finished. There is a slick professionalism about the way this product feels and works that inspires confidence.

The front panel full-colour display is relatively large at 6.9in, and makes it easy to navigate around the A1000’s various settings. Of course, most people will use the dedicated app to make changes, but it is still nice to have confirmation of actions from the unit itself.

The front panel is a cleanly designed piece of work and contains just the basics as far as controls go. The back panel is more interesting, packing in the usual range of USB Type B, coaxial and optical digital inputs alongside the increasingly common HDMI ARC that helps to integrate your hi-fi with your television.

There is a pair of USB Type A sockets, one for sound output and the other as a connection for external storage. As would be expected, this Aurender will connect wirelessly or wired to your home network.

Bluetooth is also on the menu, in aptX HD form. While this wireless connection will never be our first choice where sound quality is concerned, it is well worth having for convenience reasons, even though the inclusion of Apple AirPlay and Google Cast means that there are alternatives which can be used instead.

Remember that twist we mentioned? Take a look at Aurender’s website and you will find the A1000 listed under Analogue Music Servers, and that’s because it has a slot for a 2.5-inch HDD or SSD drive of up to 8TB. That’s plenty of capacity, even for those with large high-res music libraries.

Our review sample didn’t come with a drive fitted, but it is a neat solution for those who want to simplify their music storage solution. In case you are wondering why it’s listed under ‘Analogue’, it’s because the A1000 has a built-in digital-to-analogue module, and the company also makes a range of servers that don’t (and so require an outboard DAC to make a sound).

The A1000’s digital circuitry packs an AKM 4490REQ dual-mono DAC chip and quad 2.0 GHz ARM Cortex A55 processing unit, which gives it great file compatibility of up to 32-bit/768kHz PCM and DSD512. We think that should be more than enough for most people’s music collections.

The user experience of any hi-fi music streamer is almost entirely reliant on the quality of the partnering control app. Aurender’s experience in the field is obvious, with the app proving to be slick and stable. It’s not all roses though, with the layout appearing a little cluttered and fussy. A bit of tidying up would be welcome.

Sound

A product at this level demands a quality partnering system, so we use our reference Burmester 088/911MkIII amplifier and ATC SCM50 speakers for the bulk of our test sessions. We also feed the Aurender’s analogue output into the PMC Cor integrated amplifier, driving a pair of Epos ES14N speakers, to hear how it fits into a different flavour of system.

The A1000 turns out to be a pleasingly balanced and insightful performer. One that sounds comfortable in both systems we tried. It isn’t a particularly characterful unit, and, just to be clear, that’s a good thing, being tonally balanced and unusually even-handed in the way it deals with the various genres of music.

Listen to a grand symphony, such as Shostakovich’s 10th, and the Aurender responds with all the scale, authority and control the music demands. The dense instrumentation is handled well, with the music’s various strands nicely separated while never losing the cohesion necessary for emotional impact.

Detail resolution is good; the A1000 renders the acoustic space around the musicians properly, as well as capturing the distinctive textures of the various instruments well.

It has the transparency to allow the characteristics of the recording to shine through rather than painting the sound with its own flavour, as some do. That’s a quality we really admire, but it’s also fair to say that it plays things a little safe, too.

While the music’s dramatic dynamic shifts are delivered in a composed way, we can’t help but feel that the Aurender keeps the handbrake on just a bit. Alternatives such as the Cyrus 40 ST, Audiolab 9000N and the Naim NSC 222 deliver music with more verve and drama.

The result is that music such as this Shostakovich symphony or Nirvana’s Nevermind album doesn’t quite hit home with the emotional impact it should. That strain of restraint doesn’t stop us from enjoying everything the Aurender does, though it is the prime reason that this streamer doesn’t get the full five stars from us.

As we work our way through our music collection, taking in Stevie Wonder’s Innervisions on DSD, Michael Jackson’s Off The Wall (24-bit/96kHz) and The Unthanks’ Mount The Air set (16-bit/44.1kHz), it is easy to admire the Aurender’s broad spread of abilities. Its clear but organic-sounding midrange allows the likes of The Unthanks and Wonder to come through with expression and passion intact.

There is an impressive sense of organisation that gives this streamer the ability to play complicated pieces of music without ever sounding like it is struggling. That is a great talent to have.

The A1000 has pleasing rhythmic ability too. While not quite as joyous-sounding as the aforementioned Cyrus and Naim, it still brews a storm with the likes of Jackson’s Don’t Stop Til You Get Enough charging along full throttle. Basslines hit hard and true, and come barrelling out of our speakers with a good amount of enthusiasm.

We’re pleased to report that this Aurender continues to impress through its digital inputs. We feed in the digital outputs from our reference Naim ND555/555 PS DR music streamer, as well as our Apple MacBook Pro (loaded with Audirvana music playing software and plenty of high-res music files), and find that the A1000’s DAC module is a good one. It sounds detailed, balanced and musical, regardless of the music we play.

We’re equally positive about the Aurender’s performance with Bluetooth. While obviously limited in outright transparency when compared to the same recording played back from our NAS, or directly with Tidal Connect, Bluetooth from our iPhone 14 Pro still sounds entertaining and holds our attention.

Verdict

The Aurender A1000 is a solid all-around performer that has the bonus of being able to store your music files, all in one neat box. It is well-made and easy to use. Most importantly, despite our complaint about the lack of verve, it remains a pleasure to listen to.

Anyone looking for such a versatile music streamer at this level should seriously consider this capable unit.

Review published: 27th January 2026

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Cyrus 40 ST

Also consider the Audiolab 9000N

Read our Naim NSC222 review

Best music streamers: top network audio players tested by our experts

If you’re going to name your flagship product after one of the most iconic luxury cars of all time, you’d better make sure it’s ready to live up to its prestigious title.

It’s not the first time iFi has used the word “Phantom” in one of its products – the British brand attached the same moniker to its iFi iCan Phantom headphone amplifier a few years back.

iFi has freely admitted that the name of its new flagship Phantom hi-res music streamer, which also functions as a DAC, preamplifier and headphone amplifier, is directly inspired by the the legendary Rolls Royce of the same name, hoping to infuse some of their latest offering’s DNA with that same blend of style, sophistication and performance in celebration of “quintessential British engineering”.

At £4495 / $4495 per piece, you’d hope so.

We were keen to see if the Phantom could live up to its name, heading to iFi's exclusive launch event at Tower Bridge, London, to take the Phantom flagbearer for a test drive.

Under the hood

Externally, it’s a chic yet unassuming little thing. The iFi is narrower than most standard laptops, with a two-tier design through which the main inputs and connections are housed on the darker plinth and the controls and screen sit above. Speaking of controls, a right-hand rotary dial handles volume, whereas a left-hand counterpart lets you access settings, inputs and the like.

The high-end Phantom has come into this world charged with quite the roster of tasks it must ably perform, acting not only as a preamplifier and music streamer but also as a dedicated headphone amplifier and standalone DAC.

To meet this heady array of tasks, the decidedly compact unit boasts more than 7000 megawatts of power, a healthy array of connectivity options – including coaxial inputs, balanced XLR and RCA outputs and a series of headphone ports including 4-pin balanced, 3-pin balanced, 4.4 balanced and 3.5mm – to meet the demands required of a do-it-all (or nearly all) system.

Flagship technology comes with the flagship territory, with the Phantom boasting JVC Kenwood K2 and K2HD information processing tech for upsampling file rates digitally, as well as four interleaved Burr Brown DSD1793 DAC chips capable of handling files up to DSD2048 (with remastering) and PCM 32-bit/768kHz.

Rather niftily, the new unit also offers a choice of two distinct output topologies – one Class A solid state and one tube-based – depending on your preference. They are accessible via a small toggle mounted on the Phantom’s fascia.

Taking it for a test drive

There are a number of ways to listen to iFi's latest, with our demonstration at the launch event giving us the chance to sample a small handful.

Proceedings kick off with the Phantom acting as a preamplifier and music streamer to a pair of PMC twenty5.24i floorstanders, during which it provides a sharp, snappy rendition of Pharrell Williams’ Come Get It Bae before ably downshifting to showcase its smoother side via MC Jones and Maevy’s jazzy So Glad.

That premium combination conjures, to our ears, a wide soundstage with the aid of the PMC towers, as the various sprinkles of texture and detail on So Glad flit gracefully across that expansive, full-bodied canvas.

Detail levels appear impressive, though as is always the case with tests such as these, it's worth considering how much of the work is being done by the speakers as much as the source feeding them.

The bulk of our personal listening is done via wired headphones, with iFi generously setting up a further four Phantoms, each attached to a different set of high-end cans, including the Sennheiser HD800, the Sennheiser HD 820 and the Final D8000 DC Pro Edition, with a companion iPad playing Tidal as our streaming source.

Naturally, the sound produced depends somewhat on which headphones we select – the Sennheiser HD800, for instance, have a sharper, cleaner profile than the smoother, richer Finals.

That said, it isn't hard to discern the particular characteristics of the Phantom itself shining through to our ears as we work our way from headphone to headphone and from track to track.

Playing Radiohead’s 15 Step, for instance, reveals what appears to be a clear, detailed and spacious sound, with the Phantom showcasing plenty of detail and sketching out the leading edges of notes with a precise hand. Switching to the unit’s tube setting elicits a fuller, warmer sound, yet not to the expense of all that lovely textural insight.

The Phantom once again seems to paint upon an open soundstage, granting tracks an airy, cinematic feel, to the extent that you’d be forgiven for thinking that background vocals flitting across 15 Steps’ tightly orchestrated composition were in fact emanating from somewhere outside of the headphones' enclosure, as though somebody was playing the same track in a neighbouring room.

iFi’s flagship debutante further hints at its seamless feeling of fluidity during our demo period. Tracks such as Soundgarden’s Black Hole Sun and Nick Cave’s Night Raid seem to flow easily and naturally as instruments move across that generous soundstage. The Phantom appears to be strong at granting the impression of genuine musical interplay, of instruments being played organically rather than reproduced in a stilted or mechanical fashion.

Rhythmically, the new flagship streamer gives a good impression of sounding precise and punchy, especially when operating in its solid-state amplification mode, all while offering what appears at first listen to be a healthy distinction between small scale dynamic fluctuations.

There are certain tracks we'd have relished the chance to test these facets further – a bit of Hans Zimmer or Ludwig Goransson, perhaps – but we're working with the limits of the tunes we've been provided with for our demo.

We find that iFi's midrange production lends clarity to key vocal performances, yet we’d have liked more time to discern whether the streamer-cum-DAC is able fully to communicate the quirks and emotions underpinning some of our favourite performances.

This feels like a detailed and precise performer, in our first impressions, but does it sometimes stray into the realm of the overly analytical? More testing time would undoubtedly be required to really get to grips with what the new Phantom is capable of.

While our demo time was relatively short, it was capable of leaving an enduring impression. Do-it-all products such as these can often struggle to make good on their myriad promises, yet we heard a strong indication that the Phantom could be as comfortable powering your favourite headphones as slotting into a high-end hi-fi system.

Any firm conclusions would require more dedicated testing in our listening rooms, but it's hard to deny that iFi has produced something interesting for potential users who have money to spend and want a powerful, versatile means of upgrading their home listening setup.

MORE:

Read our recent WiiM Amp Ultra review

Speaker stands are far more important than you might think

Best music streamers: top network audio players tested by our experts

Want a small, neatly styled streaming hi-fi system that won’t break the bank? The WiiM Amp Ultra could well be the answer, given its competitive pricing, slick appearance and compact dimensions. Add some quality small speakers and this stylish streaming amplifier has the potential to be the ideal set-up for many.

WiiM has been throwing rocks into the affordable hi-fi pond for a few years now, and has been successful enough to make us, and the market as a whole, reconsider what can be achieved at lower price points.

The Amp Ultra on test here is the premium option in WiiM’s trio of streaming amplifier offerings, packing in a capable streaming module, sensible connectivity and surprisingly muscular 100-watts per channel output into that compact chassis.

While the Ultra is certainly the best performing of the three, the move to a higher price (the step-down Amp Pro costs £399 / $379 / AU$699) means that we also have to be more demanding as to what we expect from the product.

Build

Our first impressions are entirely positive. We can’t believe that WiiM has managed to produce such a sophisticated package for what is still a relatively low price. The Amp Ultra is a superbly finished unit that puts us in mind of Apple’s products, which is some compliment. It makes price rivals like the Bluesound Powernode Edge look pretty basic.

The Amp Ultra’s unibody aluminium casework is shared with WiiM’s excellent standalone Ultra streamer (£349 / $329 / AU$599) and is none the worse for that. There are two finish options, the Space Gray of our review sample, and Silver.

On the front, you will find a crisp and responsive 3.5-inch touchscreen display adjacent to a multi-functional rotary control that feels reassuringly positive in use. That rotary dial governs the volume level, play/pause and various set-up functions.

Of course, most people will just use the partnering WiiM Home app to control the unit, and by general standards, it is good. We have no complaints about its layout, stability or responsiveness, and we are up and running in minutes.

If you don’t want to use the app, there is always the rather nice metal remote. It is a simple design that is intuitive to use. This handset is rechargeable and puts the cheap plastic offerings served up by most of the industry to shame.

Features & connections

While WiiM doesn’t go to extremes when it comes to sonic adjustability, it still offers RoomFit room calibration, numerous EQ presets and a parametric equaliser. Our test rooms are acoustically treated and well behaved, so the RoomFit system, which makes use of your phone/tablet’s microphone, proves a bit of a mixed bag.

It improves certain aspects of the sound, such as tonal evenness and bass weight, but also robs the presentation of a little agility. However, we can still see it proving useful in less-than-perfect surroundings.

The WiiM Amp Ultra’s streaming section is as well-equipped as we’ve come to expect. It will access music files from across your home network and play internet radio. All the usual streaming services are present; you have Connect versions of Spotify, Tidal and Qobuz among the myriad of choices. Google Cast is included, but AirPlay isn’t. For users of Apple products, this could be a big miss.

There is also a USB Type A port on the back panel to access stored music, and if switched from the app, it will deliver a digital feed to drive an external DAC. Adding an external DAC to an all-in-one electronics package like this doesn’t make sense to us.

The highly rated ESS ES9039Q2M Sabre DAC chip sits at the heart of the WiiM’s digital module. The company claims file compatibility of up to 24-bit/192kHz PCM, but our sample also plays DSD files, albeit converting them to PCM in the process.

Two-way Bluetooth is on the menu, so you can use your phone or computer as a source or swap to another source and send the sound out to a pair of suitable headphones. Bluetooth pairing to our iPhone 14 Pro Max (running the latest iOS 26.2 software) or a pair of Mark Levinson No.5909 headphones is swift and seamless.

As for physical connectivity, there is an HDMI ARC to make integration into an AV system easier, an optical input, a single stereo RCA input and a subwoofer output. We would have liked another analogue input for those that have, say, both a CD player and a record player, though the latter will also need an outboard phonostage.

And there is no physical headphone output, which is a shame for those who own wired designs.

Design & compatibility

Given the unit’s price, compact dimensions and lack of external heatsinking, we’re impressed by the WiiM’s power output figures. The Class D power amplifier circuitry will deliver a claimed 100 watts per channel into an 8-ohm load and double that as impedance halves. That’s impressive, especially as the unit only gets warm rather than hot when pushed.

As a precaution, we still recommend that you leave plenty of space around it for ventilation purposes.

The WiiM’s Class D circuit uses ‘Post Filter Feedback Technology’ to overcome the speaker-dependent nature of the configuration. It seems to work, as the Amp Ultra’s presentation and tonal balance remain consistent as we swap between various speaker designs.

We try price-compatible choices like the Dali Kupid and Wharfedale Diamond 12.1, as well as pricier alternatives like the KEF LS50 Meta. For fun, we even connect our reference ATC SCM50 speakers with reasonable results. A Cyrus CDi CD player is pressed into service to test the WiiM Amp Ultra’s analogue and optical inputs.

Given its aggressive price, excellent build and slick usability, we’re feeling mighty good about this WiiM. Our positivity remains even after we start listening, though there are areas where we want more from the product.

Sound

The Amp Ultra has a clean and crisp presentation. There is a good amount of detail and, even given a complex piece of music like Orff’s Carmina Burana, the level of cohesion and organisation deserves praise.

The unit’s generous power output pays dividends when it comes to delivering the ferocious crescendoes of this Orff piece, with the WiiM sounding taut and controlled. There is little sense of harshness or stress at any reasonable volume level, and a good degree of separation between notes is maintained when the music becomes dense.

Tonally, it all sounds pretty even, and there is enough scope in the various equaliser functions to balance things if necessary, though doing that does affect overall transparency and articulation.

There is a fair sense of scale and authority, though the Amp Ultra does sound a touch lean and lacking in body, in absolute terms. Given its price, we are happy to overlook this.

It is harder to ignore the slightly restrained dynamic expression, though.

This streaming amp, like its cheaper siblings, isn’t great at communicating subtle shifts in intensity or conveying dynamic contrasts. The result is that the sound, while perfectly listenable, doesn’t convey the emotional impact of the music as it should.

It doesn’t help that rhythmic precision is also lacking, so that when we play recordings as varied as Get Lucky by Daft Punk or A.R. Rahman’s Chaiyya Chaiyya, there is an element of musical propulsion and engagement missing. The sound remains pleasant, crisp and decently refined, but we can’t help wanting a little more.

Still, the midrange is open and well projected, so voices come through with clarity, while the top-end balances bite and refinement well. Look further down the frequency range and you will find that bass notes punch hard.

The Amp Ultra’s unfussy nature is another plus point. Play a poor recording and the WiiM doesn’t make a meal of it, which is ideal for people who base their listening habits around music they like rather than prioritise recording quality.

Verdict

Regardless of its sonic shortcomings, we think that this WiiM has a strong place in the market. It is small, neatly styled and a pleasure to use. We still can’t figure out how the brand can make such a slick product for so much less than most of its rivals.

The Amp Ultra certainly sounds better than its cheaper siblings, and our complaints about dynamics and rhythmic drive don’t stop it from being a pleasant sonic companion. While this streaming amp isn’t for those who put sound quality first, it certainly has a place for those looking for a fuss-free audio solution.

Review published: 16th January 2026

SCORES

• Sound 4
• Build 5
• Features 4

MORE:

Read our review of the WiiM Amp Pro

Also consider the Bluesound Powernode Edge

Best music streamers: top network audio players tested by our experts

At long last, Mission has launched its 778S music streamer, and it's full of surprises.

This standalone streamer is designed to match the 778X stereo amplifier, a half-width design that marked Mission's return to the amplifier market in late 2022, after a hiatus of 40 years. It received five stars in our review for its wonderfully balanced sound and compact, versatile design for the attractive price (£549 / $549 / AU$1099).

The matching music streamer (and CD transport) for the 778X was first teased at High End Munich in May 2024, showcasing the same half-width design; but details and pricing were under wraps – until now.

We now know the Mission 778S is as well equipped as any modern network music player, and it is designed in partnership with streaming specialist Silent Angel.

This specialist streaming brand has been around since 2014, and Mission says the 778S integrates “a custom version of Silent Angel’s streaming engine with Mission’s own circuit designs” along with a specialised app for iOS and Android designs.

The 778S supports all the popular streaming features: Connect versions of Qobuz, Tidal and Spotify, TuneIn internet radio, and AirPlay 2. Wi-fi and ethernet are on board, while DLNA/UPnP compatibility ensures that the 778S will be able to stream files from any connected storage devices on the same home network, such as a laptop or NAS drive. The unit it also Roon Ready, but there is no Google Chromecast or Bluetooth on board here.

As part of the DAC stage, Mission uses the ESS Sabre ES9038Q2M chip along with its proprietary clock and power supply circuitry. The brand has taken care to “eliminate noise and distortion in the signal path”, along with ensuring that clean, consistent power is sent to the digital and analogue stages.

File compatibility is extensive, with the streamer supporting up to 32-bit/768kHz PCM and DSD512 – that's more than enough for the majority of digital libraries and hi-res streaming platforms.

The streamer is also able to upsample all PCM streams to 352.8kHz or 384kHz before converting to analogue, in a bid to move digital artefacts into the realms beyond audible hearing. Alternatively, users can select between five “reconstruction filters” to fine-tune the sound to your source.

There is a healthy complement of physical connections too, including USB-C and two USB-A ports for connecting to laptops and storage devices. There are balanced XLR and RCA outputs on the analogue side, along with digital coaxial, optical and USB-A outputs. It even has a 6.35mm headphone socket.

Mission stats that “every aspect of its technical design is focused on delivering sonic excellence.” We are promised a “fluid, full-bodied, detailed and dynamic” performance. The ‘mission’, according to the press release, is “to bring sonic rapture to music-loving souls on this earthly plane.” That's quite the ambition.

The 778S follows the same half-width design with anodised aluminium casing as the 778X amplifier, and features two large control dials (one for input selection, one for volume control) in a symmetrical format on the front panel.

There is no full-colour display with album artwork as we have come to expect from most modern streaming rivals; instead, the 778S has a dimmable OLED display for text-based information such as input chosen.

The Mission 778S will be available from late January in silver or black finishes, and costs £799 / $1699 / AU$1899. At this price, its main rivals are the five-star Cambridge Audio CXN100 (£799 / $1049 / AU$1899) and Award-winning Bluesound Node Icon (£899 / $1199 / AU$1949). Let’s hope Mission's first streamer has been worth the wait.

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Lumin has unveiled a new flagship network audio player, the Lumin X2, which boasts a fully custom, bespoke DAC circuit and advanced streaming features for a high-end price point.

After years of R&D, Lumin has built its first in-house DAC architecture that uses individually selected components, which allows the brand to optimise every aspect of the digital-to-analogue process to a higher degree of precision in this streamer.

Replacing the Dual ESS SABRE32 ES9038Pro DAC used in the previous X1 model, the new Lumin Discrete DAC is tailored to work with the brand's streaming engine. It sits in a redesigned system with new circuit layout, power management and more precise clocking, all of which are “carefully tuned for maximum coherence, ensuring exceptional precision in network audio reproduction.”

Designed from the ground up, this custom DAC circuit works in conjunction with a fully customised Field Programmable Gate Array (FPGA) and Dual Femto Crystal Oscillators, and promises reduced timing errors, minimised interference and preserved channel separation.

Other features include a new output-buffer for greater clarity, detail and warmth, a dual-mono power supply for the analogue circuitry, and a high-quality lossless digital volume control that means you can connect the X2 directly to a power amplifier.

The X2 carries on key technologies and specifications that were introduced in Lumin's previous X1 flagship. At its centre lies Lumin's advanced streaming platform, which gives you access to all the popular music-streaming services, including Spotify, Tidal, Qobuz and their Connect versions, along with Amazon Music and TuneIn internet radio stations.

Apple AirPlay is also on board, but as with other Lumin products, they don't include lossy Bluetooth here.

File compatibility is comprehensive, with support for hi-res files up to 32-bit/768kHz PCM and DSD512, and you can stream from connected music libraries and servers stored on the same network.

You can control your connected music libraries and sources using the Lumin app, and the X2 is also Audirvana and Roon Ready certified.

As for physical connections, there are balanced XLR and RCA analogue outputs, while a USB port with native full hi-res and DSD512 support sits alongside a BNC SPDIF socket for digital outputs.

There are additional USB ports for connecting hard disks, flash drives and USB storage. An RJ45 Ethernet port is provided alongside an SFP Optical Network input that offers complete isolation from the rest of the network, and there is a built-in network switch.

The new flagship Lumin X2 streamer is available from December in natural or black anodised aluminium, with a matching outboard power supply unit. It will cost a cool £12,995 / $16,800 / AU$21,500.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Price

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

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

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

**Winner: Draw**

Features & connectivity

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

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

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

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

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

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

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

**Winner: Bluesound Node Icon**

Build & design

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

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

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

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

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

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

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

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

**Winner: Draw**

Sound quality

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

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

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

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

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

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

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

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

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

**Winner: Bluesound Node Icon**

Verdict

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

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

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

**Overall winner: Bluesound Node Icon**

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Quad is rapidly expanding its Platina range of hi-fi separates, which it boasts are, "the finest range of solid-state audio electronics the company has ever produced".

Just days after the announcement of the new Platina Integrated amplifier, the new family has been bolstered by the arrival of the Platina Stream network player.

At the core of the new music streamer is an onboard DAC stage built around the ES9038PRO Sabre DAC chip. The DAC’s eight audio channels have been designed to drastically reduce noise and distortion, bolstered by Quad's proprietary circuitry and precise clock technology.

The new streamer incorporates a Class A post-DAC circuit stage that has been tailored to bring out the best of the ES9038PRO’s performance. Hi-res support is extensive, with the Platina Stream capable of handling PCM files up to 32-bit/768kHz alongside DSD512.

Regarding physical connections, Quad's latest network player offers single-ended RCA and balanced XLR analogue outputs, complemented by coaxial and optical digital outputs, meaning the Platina Stream can be connected to an external DAC.

The new network player can stream via wi-fi or a supplied Ethernet port, with native support offered for services such as Tidal, Qobuz, Spotify and TuneIn Radio.

Externally, the Platina Stream has been built to complement the aesthetics of its Platina Integrated sibling, exhibiting the same steel chassis and aluminium front panel alongside side-mounted heat sinks and anti-resonance feet.

At the front, the unit's fascia is equipped with a power button, a rotary control and a 4.3-inch colour display.

The Quad Platina Stream network player will be available from November 2025 with a choice of a choice of silver or black front panel, priced at £2999 / €3599 / $4495 / AU$6899.

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• Our experts rank the best music streamers

On the face of it, Arcam has everything in place for its SA35 streaming hi-fi system to be a slam-dunk success.

It already has a What Hi-Fi? approved five-star music streamer in its lineup in the shape of the ST25. And it has not one but four five-star stereo amplifiers (the updated A5+ and A15+, and the original A5 and A15).

You would think, then, that for Arcam and the SA35, it’s going to be a relatively straightforward case of taking the best bits from its streamer and amps, adding a smattering of extra features, and just sitting back and admiring its work.

However, after years of testing products like this, we know that marrying everything together and automatically creating five-star synergy isn’t easy. There’s no doubt that Arcam potentially has a pretty solid foundation from which to build for the SA35, but can it execute?

Price

The SA35 is Arcam’s entry-level streaming amplifier and has an asking price of £2999 / $3300 / AU$6495. There is a step-up model in Arcam’s Radia range, the SA45, which costs £4499 / $5500 / AU$9995.

There aren’t a huge number of rivals for the Arcam around its price point – it’s relatively similar in terms of features and functionality to the Naim Uniti Atom £2299 / $3799 / AU$5750, although the Naim is cheaper and getting a little long in the tooth now.

Build & design

Like its ST25 streamer and A15+ stereo amplifier siblings, the SA35 is quite a chunky unit. It weighs in at 12kg, which you can definitely feel when moving the unit into position.

The black chassis hides its size well, though – we think Arcam has really nailed the styling of this Radia series of hi-fi products.

The clean-but-stealthy look combined with the yellow halo lighting around the input and volume dials, and the yellow highlights around the top vents, make for a striking piece of kit.

There’s nothing stealthy about the large 6.5-inch high-resolution display that sits right in the middle of the fascia, though. It’s bright, punchy and colourful and, from what we can tell, virtually identical to that found on the ST25.

This means album artwork generally looks great on the Arcam, offering you a few different configurations for how it and the accompanying metadata are displayed.

The display's size and clarity also make navigating the on-screen menus very straightforward when you’re carrying out functions like choosing inputs, cycling through filters and setting up Bluetooth.

The display is flanked by those input and volume dials, which give the front of the unit a neat symmetry. Both rotary controls feel good to use – they turn smoothly but, being ultra-critical, we think they could have a tiny bit more resistance to them. Otherwise, you’re treated to a tactile user experience.

The supplied remote does feel cheap and plastic in comparison, though. It’s a little small in hand, and although the volume control gets the job done, it feels on the finicky side when you’re trying to do more extensive navigating.

Depending on the streaming services and features you want to use, you’ll also be using the Arcam Radia control app, which is fine, but isn’t the last word in intuitiveness.

It also feels slightly clunky that you have to use the remote to access some features and settings, and Arcam’s Radia app for others. It would make for a more complete user experience if you could access everything through the app.

The inputs on the rear of the unit are all clearly labelled, although the hood that extends over the rear of the chassis does get in the way when you’re hooking everything up for the very first time. Thankfully, most users will only have to do this once and then forget about it.

Features

Arcam has been as thorough as possible with the spec sheet for the SA35.

The streaming section of the SA35 caters for Apple AirPlay, Google Cast, Spotify Connect, Tidal Connect, Qobuz Connect, Amazon Music and Roon. There’s also playback from UPnP servers and the system can handle a multitude of high-res formats up to 32-bit/384kHz PCM and DSD256.

There’s also two-way Bluetooth connectivity, which not only allows you to stream music to the system from a smartphone or tablet but also allows you to stream music from the Arcam to any pair of Bluetooth headphones you want to pair with the unit.

For those seeking a wired headphones connection, there’s a 3.5mm socket in the bottom left-hand corner of the front of the unit.

Connectivity also includes a pair of optical digital inputs, a pair of coaxial digital inputs (both styles of digital input support datastreams up to 24-bit/192kHz) and HDMI eARC for anyone wanting to use the Arcam to receive audio from a compatible TV.

You even get individual inputs for moving magnet and moving coil phono stages to cater for your turntable.

To help with set-up, there’s Dirac Live Room Correction; you get a mic and remote in the box to help get the system configured best for your particular room conditions.

Our test rooms have been acoustically treated and designed to minimise effects that Dirac compensates for, but in our experience the system encourages your set-up to sound more even as well as clearer, but the trade off is that you lose a bit of rhythmic drive and expression,

If your room isn’t well behaved we definitely feel there’s no harm running it to try and improve how your system sounds.

120W of Class G amplification (per channel) provides the grunt, which is more than you’ll find in any of Arcam’s stand-alone Radia amplifiers, including the 100W A25+. It’s actually Arcam’s fifth generation of Class G amplification and uses new components and materials to raise performance levels.

Similarly to Arcam’s ST25 music streamer, you have a choice of different DAC filters to choose from to help you tailor the sound to suit your own taste.

The four options are minimum phase, linear phase apodizing, linear phase slow roll-off, and minimum phase slow roll-off. We found all four very similar during testing and stick to the default on the unit, which in this case is linear phase apodizing.

To try and give us an idea of compatibility, during testing we try the Arcam SA35 with a range of different speakers from our reference ATC SCM50 to the PMC Prodigy 5 floorstanders and the Award-winning KEF LS50 Meta. The Arcam handles each pair with relative ease, and we don’t think it should have any issues driving most suitably-priced pairs.

Sound

We kick things off with a CD-quality stream of Adele’s Hometown Glory and the Arcam SA35 shows an amazing sense of control and precision with every keystroke.

The quiet background, the reverb from each string, the Arcam reveals detail effortlessly and delivers a level of intimacy that really connects with the listener. As the piano play becomes more dramatic and Adele’s voice enters the fray, you can feel the intensity pick up.

Her vocal sounds expressive and emotional, superbly reinforced by the increased intensity of the piano. When the strings seep in, they just add another layer of detail and simply add to the dynamic reach of the Arcam.

There’s a real sadness, anger and feeling of conflict with Adele’s vocal, which the Arcam captures perfectly. It’s calm, controlled and conveys emotion well.

The stereo imaging you get is clear and precisely layered. Tonally, The Arcam system is well-balanced too – there’s no coarseness at the top end, nor any bloating at the bottom end.

We turn up the sonic temperature with a stream of Mombassa from the Inception OST and the Arcam goes straight on the offensive, showcasing its agility and ability to capture the feeling and tone of a track at will.

It dispatches bass notes with confidence and efficiency – there isn’t an ounce of fat on the meat of the track. There’s ample power behind each low frequency hit and the SA35 goes deep yet still delivers detail and texture to satisfy those who want to hear the fine details in their music.

The dramatic, high-octane nature of the track is captured superbly, and as the track courses along, you’re left in no doubt as to the feeling of impending danger and action that the track is conveying. It’s a confident performance across the board.

During testing, we don’t ignore the Arcam’s phono stage options and headphone output. Arcam really has ticked all the boxes with the SA35, but it’s also ensured both the MM/MC phono stages and headphone output are up to scratch. Play Michael Jackson’s Bad on vinyl and both inputs maintain the very likeable, clean-cut, precise sound of the system. It’s effortless and expressive.

And as you’d probably expect, the Bluetooth connection is sonically more limited than the other connectivity options, but it’s good enough for general listening.

Verdict

In this modern age, where people want the convenience of a one-box solution but don’t want to make huge sacrifices where sound quality is concerned, the Arcam SA35 streaming amplifier is one of those rare do-it-all devices that does it all extremely well. Highly recommended.

Review published: 13th October 2025

SCORES

• Sound 5
• Features 5
• Build 5

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Generally speaking, we’ve had nothing but love for Arcam’s recent Radia range of hi-fi separates. It’s delivered multiple five-star products, including a pair of Award-winning stereo amplifiers and CD player. Next up for the eyes and ears of our crack team of reviewers is its premium ST25 music streamer.

Ironically, the only blot on Radia’s copybook so far has been the Arcam ST25’s cheaper sibling, the ST5. It disappointed us with a three-star performance when it passed through our test rooms a couple of years ago.

Now it’s time for the pricier model to go on the test bench, and, to put it rather bluntly, we are hoping for bigger and better things from the step-up streamer…

Price

Priced at £1499 / $1650 / AU$2995, the Arcam ST25 is a clear step above entry-level music streamers and will need to deliver the sound performance befitting a premium model.

The closest rival we have tested is the Cambridge Audio EXN100 at £1599 / $1799, a formidable five-star rival and What Hi-Fi? Awards 2024 winner.

Build & design

We’re a fan of the design language Arcam adopted for its Radia range and our opinion isn’t shifted by the ST25.

It’s a modern, clean-looking, solidly made hi-fi separate – the full-width all-black chassis makes quite the impression, especially against lighter-coloured racks and kit.

The top panel shows some nice attention to detail, with furrows running front to back that gradually get deeper as you reach the streamer’s front panel.

And, speaking of the front panel, a large chunk of it is dedicated to a 6.5-inch high-resolution display. It looks great; the album artwork appears bright, punchy and colourful with good viewing angles, while the accompanying metadata is easy enough to read too.

The front of the ST25 is also zero fuss, with not even a power button in sight.

Inside the ST25’s chassis, you’ll find a new six-layer digital audio and streaming platform. Arcam has included a ground plane through the board to keep noise and interference away from the audio components.

These components include the latest Hyperstream iV DAC topology from ESS in a balanced configuration with advanced jitter elimination to minimise digital timing errors.

The ST25 also uses a new linear, low-noise toroidal power supply and a switching power supply, which takes over when in standby for improved efficiency.

Features

While that 6.5-inch display dominates the front of the Arcam ST25, the rear of the unit is a more stripped-back and minimalist affair.

Tucked beneath the hood, which extends over the rear of the streamer (we understand it helps keep dust off the sockets, but it does get in the way a tad if you’re a hi-fi reviewer who constantly needs to keep switching between it and rival products), you’ll find a pair of analogue line-level outputs, an Ethernet connection, and coaxial and optical digital outputs.

There’s also a USB port for connecting an external drive and a control port – the latter comes into play if you want to pair the streamer with one of Arcam’s Radia stereo amplifiers (such as the A5+ or A15+) and use the two together.

Arcam’s menu of streaming support includes Apple AirPlay, Google Cast, Spotify Connect, Tidal Connect, Qobuz Connect, Amazon Music and Roon, which should be more than enough to cater for most streaming needs.

Of course, if all your music is stored on a server on your connected home network, the ST25 can stream from there too, and it supports high-res audio up to 32-bit/384kHz PCM and DSD256 files.

The ST25 comes with a small remote control, which you’ll need to use to carry out some functions, including selecting your favourite DAC filter and dimming or turning the display off.

When it comes to choosing your preferred DAC filter, you have four options: minimum phase, linear phase apodizing, linear phase slow roll-off, and minimum phase slow roll-off. The effects are extremely subtle, but we settle on linear phase apodizing for the bulk of our testing.

If you’re not using a streaming service like Tidal or Spotify with ‘Connect’ functionality, you’ll be using the Arcam Radia app to control the streamer. Here you can set internet radio presets, access podcasts and other services such as Amazon Music.

In an ideal world, it would be nice to be able to access all settings through the app, including the filter options mentioned above, as jumping between the app on a phone or tablet and the on-unit menu with the remote wand does feel a little jarring.

It’s also a shame Amazon doesn’t have ‘Connect’ functionality like Tidal and Spotify, because its implementation in the Radia app does feel a little clunky when trying to navigate tunes and playlists.

Similarly, accessing music stored on our review network is fine, but it could be slightly easier to navigate than having to scroll through long lists of artists, for example.

Having the ability to jump to different letters in the alphabet and navigate that way could make the experience slightly slicker.

Rival apps from the likes of Cambridge Audio and Bluesound do feel a little more intuitive, clearer and more rewarding to use.

There’s no Bluetooth functionality on the Arcam, which some users might find a strange omission, but for us, it isn’t a deal-breaker.

Sound

We carry out our testing using a variety of streaming options, including Tidal Connect, Amazon Music, internet radio and high-res tracks stored on our Naim Uniti Core server.

We start testing with a CD-quality stream of Madonna's Sky Fits Heaven from our Uniti Core server.

The first thing we notice about the Arcam is its crystal clear and clean delivery. It sets an eerily quiet backdrop for the music, which allows all the instruments space to breathe.

The track starts with rapid pulsing synths, which exhibit great texture and fine detail.

There’s a real sense of pace, agility and power to the bassline as it pounds along, laying a robust foundation for all the electronica poured on top.

The ST25 is really easy to listen to and doesn’t leave any unpleasant aftertaste. Madonna’s vocal sounds effortless and comes at you covered in texture and oozing emotion.

All the different elements mix like a perfectly crafted cocktail; drum machine, vocal and synths all move around in unison, with the Arcam really capturing the high-energy tempo of the track.

We switch over to something a little calmer, and play Einaudi: Experience by Ludovico Einaudi, as a 24-bit/48kHz stream from Tidal Connect.

The Arcam’s quietness plus attention to detail means the precision and delicacy of the piano play leaves a sonic mark on the listener.

Notes hang in open space, with differences in dynamics explicitly presented. You can hear the intent and intensity behind each key strike change as the track flows gracefully along.

While the piano remains pacesetter for the track, strings slide into view with precision – they’re tightly defined, natural-sounding strokes, and you can feel the intent behind each one.

The Arcam layers the track beautifully as more elements come together in a bountiful soundstage. The drama blossoms into a beautiful crescendo before all those extra layers fall away, leaving just the piano exposed.

We compared the Arcam to its closest rival, the Cambridge Audio EXN100, and while the Cambridge streamer sounds big, bold and confident in its own right, we think the Arcam opens up an even bigger window into the music being streamed.

The ST25 and its quieter background allow for an even greater level of insight and subtlety, which allows it to form an even stronger connection with the listener.

Verdict

If you’re looking to add a great all-round streamer to your hi-fi system, and it warrants a standalone unit at this price, the Arcam is a fantastic option.

Whether it’s internet radio or high-res audio streams, the ST25 presents them in a hugely enjoyable and musical way.

Okay, so the control app isn’t the slickest we’ve used, but the class with which it presents music, and in such a detailed and dynamic manner, needs to be heard.

Review published: 13th October 2025

SCORES

• Sound 5
• Features 4
• Build 5

MORE:

Also consider the Cambridge Audio EXN100

Read our Bluesound Node Icon review

Best music streamers: top network audio players tested by our experts

Bluesound has had a run of very competent, well-featured and well-priced compact music streamers, but it’s been a while since one really stood out as a class leader when it comes to outright sound quality.

That all changes with the Node Icon.

Where the mid-range Node (2024) model conceded to the greater musicality of the Cambridge Audio MXN10, and the budget Node Nano couldn’t topple the wallet-friendly WiiM Pro Plus from its throne, the Bluesound Node Icon stands head and shoulders above its siblings in design, features and, most importantly, performance.

Price

The Bluesound Node Icon is yours for £899 / $1199 / AU$1949 and is the priciest of the current Node range of streamers. Its main competition is the five-star Cambridge Audio CXN100, which retails for a very similar price at £899 / $1049 / AU$1899.

After a time with the Icon and its many talents, you might well think it outperforms its sub-£1000 billing.

Build & design

The three members of the Node family have distinct profiles, but instead of the slimline, ‘modem’-like designs of most Nodes, the Icon is a taller, boxier unit. It’s still a fairly compact unit, taking up roughly the same footprint as the smaller Node (2024) and Cambridge Audio MXN10, but is twice the height of its younger sibling.

Its build quality is of a considerably higher quality, too – the anodised aluminium metal casing and shiny glass top feel sturdy and substantial. Altogether, it’s a classier and more premium-feeling unit, but is still discreet enough to hide away in your listening room if that’s your preference.

What stands out is the 5-inch full colour display that dominates the front panel. It’s the first Bluesound streamer to sport a screen, and it is sharp, clear and appealing. It displays album artwork, track and source information when music is playing, while a clock face is shown when the unit is on standby or, unusually, when the music is paused.

This is a quirk of the unit’s system that can’t be changed; Bluesound states that the clock display automatically slides in to prevent issues such as image burn-in on the screen, to reduce interface clutter when the unit is inactive, and simply to provide useful information – the time – when it’s in idle mode. We do sometimes wish the ‘now playing’ screen stayed on for a little longer, but it’s a pretty small niggle in the grand scheme of things. Bluesound’s reasoning is sensible, and we get used to this quirk in the course of our testing period.

It’s also worth noting that, unlike some of the screen-toting WiiM and Eversolo streamers, the Node Icon’s display isn’t a touchscreen one. But the Icon does incorporate the touch-capacitative controls that we’ve seen on its siblings. That sloped glass section on top of the unit houses this strip of touch controls, which includes basic music playback (pause, play, previous and next-track skipping) and a volume slider.

More usefully, you can appoint five presets that are readily available to you by tapping the five illuminated ‘dots’ – meaning you can play your favourite playlist or radio station with a single tap, without having to fire up your smartphone or app. Neat.

The controls are responsive, and the streamer is overall easy and uncomplicated to operate, especially when combined with the handy BluOS app. The touch controls on the highly reflective glass panel do pick up fingerprint marks easily, but we should note that this is less obvious in person than how it looks in our photos here.

Features

Pitched as the “audiophile” flagship option of the Node family, Bluesound has imbued the Node Icon with more advanced audio technology and tuning, and a greater spread of connections, although the streaming elements remain the same across the family.

Internally, the Icon features twin ESS Sabre ES9039Q2M DAC chips in a dual-mono DAC architecture. This means each chip can devote its full processing power to each channel, with Bluesound saying this offers a more separated and “pure” sound. The Icon has an integrated power supply design that aims to reduce noise and produce a clearer signal, while a “transparent” circuitry helps with delivering high levels of resolution, dynamism and ultra-low distortion.

As with the current Bluesound Node products, the native file resolution support here goes up to 24-bit/192kHz PCM and DSD256.

In addition to that, the Node Icon is the first to implement MQA Labs’ Qrono digital-to-analogue technology, following parent company Lenbrook’s acquisition of MQA Ltd and its technologies. The Qrono technology aims to further refine the DAC’s timing response, so that it aligns more authentically with the original recording. We always found Tidal’s MQA tracks have the upper hand when it comes to rhythmic ability, so we are hoping that this sonic trait translates here.

The Node Icon runs on the tried-and-tested BluOS streaming platform, which is smooth-running and feature-packed. The connection is stable over both wi-fi and wired Ethernet, and we didn’t encounter any issues when playing music from Tidal Connect, Qobuz Connect, Spotify Connect or BBC 6 Music.

The BluOS app supports plenty more streaming services and various internet radio stations, and is overall well organised and intuitive to use, especially with large music libraries stored on connected NAS drives or media servers.

There’s no Google Chromecast support, however, which is standard for all BluOS-supported products. Some might miss this functionality, but Bluetooth (of the aptX Adaptive variety) and Apple AirPlay 2 are also on board for convenient streaming from a smartphone or tablet.

There is scope to adjust the Icon’s audio settings further in the app: there are gain options, mono/stereo playback modes, tone controls (which we preferred to leave off for a more solid, punchier sound), and the ability to toggle the fixed output level on or off, depending on whether you want to use the Bluesound streamer as a preamp.

You can also combine other BluOS-compatible wireless speakers and streaming products (from Bluesound, NAD, Cyrus, Dali, Roksan and more) into a wider multi-room system all through the app, should you wish.

Physical connections include digital coaxial and optical outputs, as well as an HDMI eARC for connecting the unit to a TV. The Node Icon is the only one of its family to include a pair of balanced XLR analogue outputs, alongside one set of RCA line level outputs. You also get an RCA line level and optical input apiece on the back panel, along with USB-A and USB-C ports for plugging in a laptop or external storage devices.

As with its streaming talents, switching between our connected TV and CD player is a smooth process, and the Icon never falters when we swap between multiple sources in quick succession to try and trip it up.

One of our favourite things about the Node Icon is that it offers not one, but two full-size 6.3mm headphone jacks, which are situated at either side of the unit. This means two people can simultaneously listen to the same music or TV show late at night. It’s a lovely touch. The headphone amplifier stage features THX AAA feed-forward error correction technology that promises low distortion levels and great clarity and soundstaging. Similarly to the Node (2024), the headphone amplifier proves once again to be of great quality in the Icon.

Another key USP of the Node Icon is that it is Dirac Live Ready, although you will have to separately purchase the calibration kit (£39, consisting of a high-sensitivity microphone and USB adapter) and a Dirac license to make it all work. Dirac Live is a room correction software designed to optimise the streamer’s performance to your listening space, especially if the room has serious acoustic issues.

There is a limited bandwidth licence ($159) and a full bandwidth license ($249); we were provided with the full kit for our review, but as we found during the NAD C 3050 with MDC2 BluOS-D module testing, this doesn’t make much of a substantial difference in our acoustically treated test rooms. However, we can see the benefit of investing in this calibration kit and software when your listening space is less than ideal, and so we will be trying the Dirac Live effect further when one of our reviewers takes the Node Icon into their home, which has zero acoustic treatment.

Sound

Despite the time it’s taken us to get to the sound quality section, getting music playing from the Node Icon takes a small handful of minutes after unboxing it. What’s even more pleasing is just how musically engaging the Node Icon sounds right from the start.

The Bluesound products we’ve recently reviewed have been capable and competent, but we felt that they were missing some kind of spark. There are no such reservations with the Node Icon. It’s a lively, engaging and dynamic performer that grabs our interest at the beginning and only continues to impress us the more we listen.

Plugged into our test room’s reference system of the Naim Nait XS 3 and Epos ES-7N speakers, the Node Icon delivers music with a pleasing richness and solidity, along with having an agile sense of rhythm and a strong handle on dynamics.

The fiery intensity and propulsive rhythm in Eminem’s The Way I Am is delivered with punch and snappy timing, while the solo drum pattern in Dave Brubeck’s Take Five is tightly and cohesively knitted together – it all makes rhythmic sense and keeps our attention hooked on the music.

This isn’t an extroverted, look-at-me presentation, but the Icon’s sound has a glimmer to it – underpinned by stellar composure and well-judged ability over the frequency range – that is so appealing to listen to that we find ourselves playing song after song through the Node Icon and having a great time.

There is clarity and detail aplenty when conveying The Unthanks’ delicate but nuanced vocals in Gan To The Kye, and there is a satisfying amount of body and twang to the shapely and taut basslines in Chaka Khan’s Ain’t Nobody. There is a lovely fluidity and precision to the way the Node Icon handles music from any source, with a nimble footing that keeps pace with whatever genre or song we throw at it.

The Node Icon sounds even more at home when paired with the price-compatible Arcam A5+. Both meld together with a deft handling of dynamics that means there is an appropriate sense of drama and excitement when listening to Fontaines D.C.’s high-octane Starburster track. The Icon is able to tidily convey the subtler flourishes and different timbres of instruments in Khruangbin’s funky, easy-going Maria Tambien, as well as the softly mournful piano notes in Ólafur Arnald’s Raein composition.

This lithe and musically engaging presentation is heard across the various inputs, too, with albums played on our Cyrus CDi player sounding clean and solid via optical, and hi-res songs from our NAS drive having that bit more depth and grip. Songs played through Bluetooth naturally dip in power, punch and detail as expected, but it’s perfectly fine as a convenient solution.

To give credit to the Node Icon, it doesn’t put a spotlight on any sonic element in particular, aiming to simply deliver music in a confident, balanced and entertaining way. The streamer is transparent enough to reveal the subtle differences in source quality or of the era in which a recording was made, such as how a 1970s soul track has such a different feel and texture from a modern, polished K-pop production.

The Icon deftly relays all these nuances in space, texture and resolution without making too much of a meal of it. It doesn’t try to embellish any frequency, nor does it try to hide any warts – this is a quietly but terrifically capable performer that simply gets out of the way and lets the music shine through.

Plug a pair of Beyerdynamic DT 990 X Pro open-back headphones in, and we’re met with vocals that are crystal clear and emotive against an impressively quiet background, while instruments and melodies retain their snap and sparkle. It’s an excellent performer, and we wouldn’t hesitate to aim higher with your audiophile headphone pairing.

The five-star Cambridge Audio CXN100 rival offers a bigger and more spacious soundstage than the Icon, but we find ourselves willing the leaner Cambridge streamer to sound that bit more propulsive and more dynamically adept with the same songs during our comparison testing. The Bluesound is more musically cohesive and dynamically subtler; it times better and has that spark that keeps our attention fully captured through the drama and message of a song.

Verdict

Sure, it could sound bigger, and pricier options from Naim, Cyrus and Audiolab raise the standards even higher and are more articulate, insightful and offer greater precision and control. That the Node Icon sounds so deft, composed and fun at this sub-£1000 level is pretty remarkable, and it does so with such ease that it puts rivals to shame.

We hope the Node Icon’s strong sonic talents are reflected in Bluesound’s future models, as its wonderfully musical, engaging quality holds our interest like no other Bluesound product has done before.

For anyone looking for a compact, feature-laden, fuss-free streamer that sounds great for a rather reasonable price, we can’t recommend the Node Icon highly enough.

Review published: 11th October 2025

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Also consider the Cambridge Audio CXN100

Best music streamers: top network audio players tested by our experts

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

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

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

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

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

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

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

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

MORE:

Read our Cambridge Audio EXN100 review

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

Our guide to the best music streaming services for sound quality

It was teased at High End Munich earlier this year, but we now have official details and prices for the Eversolo T8. This is Eversolo's first streaming transport, i.e. a product with all the latest network streaming software and features but without a DAC built in; so you will need to plug it into an external DAC or into the digital inputs of your amplifier.

It's a neat way to add modern streaming powers to a hi-fi system that already has a great DAC. It could also prove to be a smart route for the brand, considering how we have heaped praise on Eversolo's excellent streaming software and its capability as a digital source in the DMP-A6 and DMP-A10 streamers that we have tested.

The T8 aims to deliver “clean, precise digital audio” and features carefully isolated digital outputs, an ultra-high precision clock, and all the bells and whistles that come with Eversolo's proprietary software ecosystem.

The Eversolo T8 features a 6-inch touchscreen display that lets you select the numerous music apps and services available, control playback, adjust settings and more. This display screen dominates the front of a sleek, aluminium chassis that boasts shielding from its internal circuitry as well as from outside electromagnetic interference.

Expect all the streaming features we encountered in the flagship DMP-A10 music streamer: AirPlay 2, Bluetooth, Tidal Connect, Qobuz Connect, Deezer, Amazon Music, internet radio, DLNA and LAN access for playing from connected storage and hard drives, as well as bit-perfect playback of Apple Music's hi-res library, internet radio and a wide variety of third-party music apps that you can download directly to the unit.

It features Wi-Fi 6 and is Roon Ready certified, too. A quad-core ARM processor, 4GB RAM and 64GB internal storage aim to provide smooth daily use and “efficient data management”.

The T8 features an ultra-high precision femtosecond clock system (a femtosecond is one quadrillionth of a second), which is responsible for maintaining the timing of every audio signal with accuracy and reducing jitter. The T8 promises to deliver “focused sound, well-defined imaging, rich detail, and natural dynamics.”

It also houses a “super-silent” linear power supply, which is further isolated from the digital circuitry. If connecting an external DAC via USB, Eversolo says the T8’s USB Audio output is further isolated from noise generated by the power stage and potential ground differences, to ensure only clean audio signals are transmitted.

There are only digital outputs on this unit: AES/EBU, optical and coaxial. The unit supports playback of hi-res files up to DSD512 and 32-bit/768kHz PCM, although the coaxial output is limited to 24-bit/192kHz.

Additionally, there are two SSD slots in the T8 to hold a sizable digital music library, supporting up to 16TB (2 x 8TB) of maximum storage capacity. Room correction software that can be used with a separate mic or your smartphone's mic is on board, and you can control all features and playback with the included remote control and by using the Eversolo Control app.

The T8 can be used with a wide variety of DACs, and it aims to provide “flexibility, depth, and a high-end audio experience for music lovers and audiophiles alike.” The Eversolo T8 streaming transport is available for pre-order now and costs £1199 / $1380 / €1380.

MORE:

Read our Eversolo DMP-A10 music streamer review

And read our Lumin U2 Mini streaming transport review

Our guide to the best music streamers you can buy

Eversolo is a young company and it shows. There is a sense of adventure and ambition about its products that we rarely see from longer-established alternatives. This Chinese brand was founded in 2014, but here in the UK, it only really came to our attention somewhere around 2023, when the mostly excellent DMP-A6 streamer (tested at £759 / $859 / AU$1399) made something of a splash.

What a splash it was. That music streamer still seems as modern as they come, with a combination of slick ergonomics and class-leading usability that makes almost all its sub-£1000 rivals seem a generation older. Factor a generous feature set and good sound into the equation, and the result remains tempting.

The range-topping Eversolo DMP-A10 we have on test here feels like that first model on steroids, sharing its excellent ergonomics and modern styling but now shooting for the stars when it comes to performance.

Does it succeed? Considering the price, the answer is mostly, but that’s not the full story, so read on.

Features & connectivity

Calling the DMP-A10 just a music streamer is somewhat underselling its talents. Yes, it will pull music files from any storage connected to it or on your home network. As expected, all the usual streaming services and internet radio are present, as is Bluetooth, AirPlay and Roon Ready compatibility.

Like most streamers that come our way, it has digital inputs but alongside the usual trio of USB (Type B), optical and coax, it also adds HDMI ARC to make integration into a two-channel AV set-up easier. We connect it to a 32-inch Sony W8 TV and everything works seamlessly. So far, so good, with the Eversolo up there with the best-equipped of its rivals.

Then it adds proper analogue preamp functionality. There is a pair of single-ended RCA inputs sitting above a balanced XLR option, and that combination is mirrored on the output side, with one stereo pair marked for use with subwoofers. Just add a power amplifier and a pair of speakers, and off you go.

Better still, an Eversolo DMP-A10 driving a pair of good active speakers would make for a wonderfully minimalist set-up that, on paper at least, would have nothing to fear from traditional separates alternatives.

This Eversolo isn’t unique in offering such a range of features, but add that to its beautifully presented touchscreen display, exceptional build quality and nicely sorted software app, and you have something unusual in the world of high-end hi-fi.

We have to tell you about the Eversolo Control app. It's a world away from the clunky off-the-shelf efforts we usually see from small high-end companies that don’t have the software resources to do the job properly in-house.

This is about as comprehensive as control software gets, arguably adding a level of customisation that enthusiasts may enjoy but may leave some users bewildered.

Want some examples? There are a myriad of options for the main display, including seven VU meters of various designs, multiple layout choices and even a range of spectrum graphics that provide quite the light show.

The signal path for the analogue input signal is user-selectable. You can send it directly into the volume control, or convert the signal into digital first via a 192kHz-capable ADC (Analogue-to-Digital Converter).

This latter approach allows a range of digital processing, before switching the signal back to analogue and continuing through the volume control and output stage. There are also seven digital filter options, a 15-band graphic equaliser and a 10-band parametric option. Those who like to tweak are in for a treat here.

The DMP-A10 even has built-in room equalisation that can use the microphone fitted in your smartphone or tablet to balance out the frequency response of your listening space. There are only a handful of other streaming products, those from Linn and Lyngdorf come to mind, that offer something similar.

This streamer’s file compatibility is excellent with the DMP-A10 happy to play up to 32-bit/768kHz PCM hi-res music files and DSD512. It is also equipped with Connect versions of Spotify, Tidal and Qobuz, as well as Deezer, Amazon Music and rather unusually, Apple Music.

This Eversolo will not only access music files from anything connected to your home network, but also has two M.2 NVMe SSD slots (hidden behind a flap on the base) to offer local storage for 2 x 4TB of music files.

Build & design

Take a look inside that immaculate casework and you will find an astonishingly neat circuit layout. Eversolo is proud of its custom-designed OCXO clock system that is temperature-controlled and features dual crystal oscillators (operating at 45.1584MHz and 49.152MHz, respectively) to minimise jitter levels.

ESS Sabre’s flagship DAC chip, the ES9039Pro, sits at the heart of the DMP-A10’s digital circuitry, working in partnership with an XMOS316 processor.

The analogue preamp circuitry is fully balanced and features a resistor ladder volume control that emits a fairly loud click for every step change. Some members of our team like the sound, while others find it annoying over time.

Thankfully, there proves to be enough steps to allow subtle adjustments of volume in our system, which isn’t always the case. Even here, Eversolo offers the user the chance to adjust the volume steps to taste.

There is no divergence of opinion when it comes to the little display built into the volume control, which is impressively crisp and easy to read. Like the main front panel display, it is heavily customisable in terms of appearance and the information it shows.

If you aren’t a fan of using apps to control your streamer, Eversolo has also supplied a conventional remote with the DMP-A10. This is a slim, simple affair that’s easy to use and pleasant to hold.

Set-up and compatibility

A product at this level demands a quality system. We have our Burmester 088/911 MkIII reference amplifier on hand, powering the ATC SCM50 speakers. Our alternative set-up is a PMC Cor integrated amplifier driving Epos’s excellent ES-14N speakers. The Eversolo DMP-A10 turns in a good performance regardless of the partnering electronics used.

It is a breeze to set up, taking little more than 10 minutes to get up and running, though working through the various set-up options and processing modes takes considerably longer. That said, the whole process shouldn’t be seen as a chore, and certainly allows us to optimise the product's sonic presentation to match our tastes.

We start by trying the Eversolo’s room equalisation system. It does a decent job, and we can see it being helpful if your room doesn’t have a particularly even response. But, in our acoustically treated test space, the additional processing also robs the sound of a little too much transparency and dynamic subtlety.

We also work our way through the various digital filter settings and settle on Minimum Phase Slow Roll-Off as the best option in our set-up. It just sounds a touch more natural and fluid than the other choices. By most standards, the differences between the filters aren’t massive, and in our experience, the one you like tends to come down to your taste and partnering system.

Sound

Those things done, we are ready for some serious listening. While some of our listening is done using the Burmester 088 preamp, we also spend a fair amount of time with the DMP-A10 connected directly to our Burmester 911 MkIII power amplifier.

In our view, this is the way to go, as it makes the best use of the Eversolo streamer’s range of features, and saves the cost of an additional preamp section. The decision is made all the easier by the streamer’s analogue section being a good performer. Its presentation isn’t the last word in transparency, but it is tidy, nicely detailed and well-balanced.

We stream music files from our Naim Uniti Core server and find the Eversolo consistent in its behaviour regardless of the music or file format being played. As we listen to Beethoven’s Symphony No.9, we find plenty to admire. The DMP-A10 has a solid and refined sound that’s easy to enjoy.

Details levels are good, and the unit assembles that information in an organised and controlled way. There are no rough edges here, just a good amount of insight, richly textured instruments and the ability to convey the sheer majesty of a full orchestra well.

Tonally, things are full-bodied, avoiding the etched, slightly lean presentation that seems to be in fashion in some quarters. Yet, there remains a decent amount of agility and the talent to track dynamic sweeps with conviction. There is a pleasing lack of clutter to the sound, with each instrumental section enjoying a decent amount of space around it. The stereo imaging is nicely broad and deep, and layered with care.

Switching to an old favourite in the form of Massive Attack’s Heligoland proves that the DMP-A10 has a weighty but nicely agile bass, and the ability to punch hard when the music demands. It seems less comfortable with this album’s complicated rhythms though, underplaying their role and in the process diluting the appeal of songs like Flat Of The Blade. The result is that the track entertains less than expected.

This streamer has decent dynamics, though, but softens the extremes, which makes the music sound more comfortable. Now, a comfortable presentation certainly has a place. Such a presentation suits some small-scale acoustic pieces or voice-and-guitar recordings, but it costs the Eversolo a degree of excitement and energy with hip-hop, rock and dance that rivals such as the excellent Cyrus 40 ST streamer has in abundance.

Generally, the DMP-A10 likes to take a more relaxed view of the music, and that holds true whether we listen to the built-in streaming module, the analogue inputs or even the digital inputs.

We are pleased to report that this streamer is a remarkably consistent performer across its various inputs. Bluetooth pairing is slick, and the sound is as good as we can expect from such a limited transmission method.

The internal DAC module is a fine one, rendering the sound from both our Apple MacBook Pro (loaded with Audirvana music software) and the digital output from our reference Naim ND555/555 PS DR music streamer well. Even the analogue inputs, once we choose the more direct and minimal processing signal path, sound good, sharing the streamer’s undemanding and smooth approach to music replay.

Verdict

A product like the Eversolo DMP-A10 is tough to sum up. When it comes to build, features and usability, we have nothing but praise. This Eversolo sets standards in these areas that are unmatched at this price. When it comes to sound quality, however, we find things less remarkable.

This is a good, solid performer. One that digs up a competitive amount of information and presents it in a refined and confident manner that some will admire. It may not be the most foot-tapping or thrilling music streamer on the market, but we still recommend giving it a serious audition.

Review published: 1st September 2025

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Cyrus 40 ST

Also consider the Audiolab 9000N

Best music streamers: top network audio players tested by our experts

The Eversolo Play is a thoroughly modern audio product. It has a cutting-edge design and all the streaming (and physical) features you can think of, resplendent with a snazzy touchscreen display, a compact size and a fairly reasonable price point.

All you need is a pair of speakers to complete the system. It’s a world away from traditional hi-fi separates, and we can see the instant appeal of this streaming amplifier.

While we think the traditional hi-fi brands could learn a thing or two from Eversolo regarding its design and slick software implementation, in turn, Eversolo still needs to learn a thing or two from the hi-fi stalwarts when it comes to outright sound quality.

Star ratings alone don’t tell the full picture, however, so let’s dig into the Eversolo Play CD Edition and everything it is capable of.

Price

The Eversolo Play streaming amplifier comes in two variants. The Play CD Edition that we have on test here has an integrated CD-ROM drive and costs £699 / $799 / AU$1349, while the standard Play model without the CD drive costs £599 / $699 / AU$1199.

We’ve encountered streaming amplifiers at affordable prices more recently, with the WiiM Amp Pro the cheapest example we’ve tested yet at £399 / $379 / AU$699. The newer WiiM Amp Ultra (yet to be tested, but no CD drive) clocks in at £499 / $529 / AU$899.

Meanwhile, the multiple Award-winning Technics SA-C600, which includes a CD player, is the Eversolo’s closest rival at £789 in the UK, but pricer in the USA ($1300) and Australia (around AU$1699).

Features & connections

The Eversolo Play CD Edition is packed to the gills with most essential streaming features and physical connections, and then some. It’s more than we’d expect to see offered in a product of this type and at its price. At times, we think it might be trying to do too much – but we can’t help but applaud its generosity and the need to tick every possible feature that today’s streaming-savvy customer could want.

The most popular music services and their Connect versions are supported (Tidal, Qobuz and Spotify), while Amazon Music, Deezer and TuneIn internet radio are all available, as are more specialist apps such as Idagio and Presto. Local radio apps are supported, while you can download a variety of third-party apps directly to the Eversolo.

This includes Apple Music (essentially the Android app version), and it is a rare opportunity to play Apple Music’s large library of hi-res files in lossless quality up to 24-bit/192kHz directly from this Eversolo unit, instead of streaming via lossy AirPlay like most of its rivals.

AirPlay 2 and Bluetooth are on the menu for easy streaming from other source devices, but it doesn't feature Chromecast/Google Cast.

Both wi-fi and ethernet connections are swift and stable, although we found that the Eversolo Control app recognised the product more readily when using a wired network. UPnP compatibility means that the Eversolo Play can access music libraries stored on the same network, and it is also Roon Ready certified.

If the music apps aren’t enough, there is a fun feature called Listen At Will which will play truly random selections from all your logged-in services and connected libraries. The aim is to deliver surprising results for genuine music discovery – it’s a nice idea, even if our test unit has a penchant for recommending Weird Al Yankovic parody tracks at first.

File compatibility is extensive, too, with the streaming amp able to handle hi-res files up to 32-bit/768 PCM and DSD512 thanks to an AK4493SEQ DAC at its core.

On the amplification side, the Eversolo uses a Class D power module that claims to deliver 60 watts per channel into 8 ohms, which the company says is enough to power most bookshelf speakers, and we find that to be largely true during testing.

Physical connectivity is just as ample. You get an HDMI ARC input for connecting to your TV, and there are two digital and one pair of RCA analogue inputs. There are two USB 3.0 type A ports, too – helpful for adding external hard drives.

More unusually, Play has a built-in phono stage that works with both moving magnet and moving coil cartridges. Most streaming products – even higher-end ones – don’t tend to include MC compatibility with their built-in phono preamps.

There are no analogue outputs, but there is one coaxial output that you can use to feed an external DAC, just in case you want to focus on using the Eversolo as a digital source only.

The only thing it doesn’t have is a headphone jack, which is a shame.

The Play CD Edition we’re testing has a Hitachi-LG CD-ROM drive included, which can both play and rip CDs. CD playback is fuss-free and quiet, while the CD ripping process is swift and informative.

It’s a nice process: track titles can be renamed, there is a progress bar, and you can even choose whether the tracks are ripped as WAV or FLAC files. You can also choose where the ripped CDs are stored, whether it’s in the unit’s rather limited 32GB of internal storage or to any connected hard drives with larger capacity. You can access all of this under the streaming amp’s Files/Functions folders.

Other advanced features include room correction using your smartphone’s mic, setting volume limits and detailed EQ settings for each input. We think these rather involved parametric and graphic equalisers can be a little daunting for the type of customer we expect will buy the Eversolo Play CD Edition, while those who enjoy tweaking to their heart’s content will no doubt enjoy the level of control over their audio signals.

There are also 23 preset EQ options (from Pop to Lounge to Classical), but these are hidden away – we think these settings could have been made more easily accessible for casual users.

All of these features can be accessed within the Eversolo Control app, which does a good job of organising all the various sources, apps, settings and customisation options available in a packed but overall neat interface.

Build & design

In fact, the Eversolo Play’s biggest appeal is how slick it is to use, both in terms of its excellent software and the physical product itself.

The square, compact dimensions means it is easy to accommodate on a small shelf rack as well as on desks, making it appealing for those with limited spaces. Paired with small bookshelf speakers, we can see the Play CD Edition forming a tidy, discreet desktop system that will fit into most homes.

The aluminium alloy casing is well made; it feels sturdy, and we like how the entire bottom area of the unit operates as a heat sink. It’s a smart design, and looks even smarter thanks to that large 5.5-inch full-colour LCD touchscreen that dominates the front panel. Overall, it’s a joy to use.

You can access all of the Eversolo Play’s features, sources and playback options through this bright and colourful touchscreen, which is nicely responsive and smooth in operation. We find ourselves swiping and tapping at it more than the smartphone app, and we have yet to see it falter in operation. Album artwork is displayed with good contrast and looks great to our eyes, too.

Because of the sheer amount of things you can do with the Eversolo Play CD Edition, we do sometimes get lost within the multiple menus and folders available, but find our way around after a series of taps.

That touchscreen display can be heavily customised, too. You can choose between seven retro dual VU meter display designs, four different colourful spectrum graphs, and three themes for how minimal or detailed you want the ‘now playing’ screen to be. We like how the sample rate, file type and source being played can be shown during playback; despite all this information, the screen never looks too cluttered.

You can even customise the subtle ring of light around the volume/control dial on the front panel, either from a suite of 16 set colours or choose your own shade in the app.

Fancy customisations aside, the Eversolo Play CD Edition unit itself is nice to use and the on-unit controls work smoothly in daily use. We wish the CD-ROM drive tray was a little sturdier, but it works well and we have no serious complaints at this level.

Sound

Once we’ve played around enough with the Eversolo’s features and settings, we plug the streaming amplifier into our usual Epos ES-7N reference speakers and start listening.

We also try it with more price-compatible options such as the Wharfedale Diamond 12.1, Dali’s Oberon 1 and the brand-new (but yet to be reviewed) Dali Kupid speakers, and find that the Eversolo benefits from partnering with speakers that have a lively, forthright and punchy presentation.

This is because, after all that excitement of exploring its many features, the Eversolo Play CD Edition’s actual sound performance is rather disappointing.

It has a flat, uninvolving presentation that simply isn’t very interesting to listen to. We start with Billie Eilish’s bad guy and it sounds upfront, clear and spacious enough. To the Eversolo’s credit, neither of the frequency extremes sticks out unduly: the low end doesn’t flab or boom, while the top end has no shrillness or frizz.

But the Play CD also doesn’t do much to dig into the textures of details, or deliver dynamics with much subtlety or drama. The French horns at the start of the Jurassic Park theme have little sweetness or fluidity, Bon Iver’s luxuriously deep vocals on Exile lack richness and nuance, and the highly textured and shapely bassline on SBTRKT's Wildfire is delivered in a one-dimensional manner.

It feels very much like music is being played in a paint-by-numbers fashion, but with a limited palette that doesn’t have much light or shade to it.

Yes, it is a fairly clear sound, the notes are in order, the sound is solid and its timing doesn’t trudge along like treacle – but it’s all rather perfunctory. There isn’t much in the way of gripping rhythmic drive or dynamic prowess, meaning songs don’t ebb and flow as naturally as they should.

We’d feel happier if the Play streaming amp at least delivered each song with more gusto and enthusiasm – its detached quality means it is difficult to get emotionally involved with the music being played.

We switch to the Technics SA-C600 rival and are met with an immediate rush of dynamic subtlety, richer and subtler textures unearthed, along with greater punch and vitality. Songs are delivered with so much more conviction and emotion.

Even the cheaper WiiM Amp Pro has a livelier, more appealing presentation about it, even if the Eversolo has tauter, tighter bass and delivers cleaner detail.

We are surprised at how Eversolo Play CD Edition’s listless sound is so at odds with its vibrant design. We’ve had far more positive experiences with its streamers, the punchier and more capable four-star DMP-A6 and flagship DMP-A10 (review out next week).

We use the unit’s coaxial output and plug it into the Arcam A5 amplifier, and sure enough, we find that the streaming section comes to life. There is levity, agility and finer detail, sounding more confident and involved; it’s the amplifier section within that is dragging it down.

Finally, we connect a Rega Planar 3 RS Edition turntable to the Eversolo to try out the phono preamp section, and the vinyl album of Portishead’s Dummy sounds less clear, less detailed and somewhat fuzzy. The quality is fairly on par with the middling built-in phono preamps we encounter in similarly priced streaming products, although we’d still want more vigour and dynamic punch.

To end things on a positive note, the Eversolo’s sound is at least consistent regardless of what source or input we use. Songs streamed from our NAS library, Qobuz, Apple Music, BBC Radio 6, over AirPlay and via physical CDs have the same presentation, with ripped WAV files having a tad more solidity and grip.

Verdict

We have rarely experienced such a large discrepancy between a product’s design and its sonic performance. The Eversolo Play CD Edition does so much – commendably so – in a well-designed, compact and appealing unit, but we wish the company had paid more attention to the more crucial aspect of sound quality.

For all its laden features and satisfying user experience, an audio product that is unable to deliver an engaging sound performance is hard to recommend.

Review published: 28th August 2025

SCORES

• Sound 2
• Features 5
• Build 5

MORE:

Read our review of the Technics SA-C600

Also consider the WiiM Amp Pro

Best music streamers: top network audio players tested by our experts

After just shy of two decades working as a professional shiny things chaser, I have come to terms with the fact that I am the tech support for most of my immediate friends and family.

Whether it’s which new TV to get, why they shouldn’t put their new speakers flush to the wall or the ongoing argument I have with my neighbour about floorstanders vs standmounts, I get asked many questions on a regular basis.

But most recently, either thanks to my age, or the fact many of my friends and relatives have decided 2025 is the year to spring clean their homes, one in particular has been playing on repeat: “What should I do with all this old hi-fi?”

And it is a fair question, especially if you’re inheriting a load of hardware from an old-school hi-fi fanatic, as is the case with one of my old university mates. As we know, and frequent "Reader Rescue" efforts have highlighted, hi-fi is often a hobby that appeals to collectors.

Just the other day our freelance sub editor, Andrew Puddifoot, was quizzing our technical editor, Ketan Bharadia and I about what to do with some old Tannoy speakers he’d found helping clear a friend’s house.

Generally, my first bit of advice is, “don’t throw it away".

Why? There are three reasons. First, because you may have stumbled on audio gold.

At What Hi-Fi? we keep a lot of equipment around to help us properly review products – we always test comparatively, to make sure we can hear products side-by-side rather than relying on memory.

This means we have a lot of products passing through our listening rooms at any given time.

For especially interesting older products we even have a special That Was Then series where Ketan discusses their legacy and even runs them head-to-head with modern rivals.

And thanks to that, we know, while hi-fi is getting better, there are a wealth of old amps and speakers that still sound great, even by today’s standards.

Recent examples covered in our column include the first NAD 3020 and original Cyrus 2, which despite not having all the modern streaming smarts and coming with certain compromises, still deliver where it matters most: audio quality.

Yes, the NAD 3020 isn’t the final word for clarity, dynamic expression and rhythmic precision. But, Ketan still liked it enough to report: “It remains a hugely entertaining proposition with a smooth, big-boned presentation that grips the listener from the first note of a song to the last.”

In the same vein, the Cyrus 2 couldn’t match the firm’s current Cyrus One for sheer muscle and low end heft, but it proved superior when it came to responsiveness and general transparency.

So, just because it’s old doesn’t mean it’s bad. In fact, the only features you 100 per cent won't find on older amps are streaming smarts. There's an obvious reason for that. Wi-fi and Bluetooth, let alone Spotify, Apple Music, Qobuz, Tidal Connect and the ilk, simply didn't exist when these classic products were made.

Still, even knowing that, when most of us use streaming as our primary way to access music, their absence is an undeniable pain.

But, that brings me on nicely to my second point – remember, it’s easy to add modern streaming smarts to amps in particular.

I said as much when I first listened to Cambridge Audio's MXN10 streamer – a tiny unit that went on to take the top spot in our best music streamer guide.

Featuring a compact design and the ability to add hi-res streaming capabilities to most amps, the Cambridge Audio MX10N is a quick, easy and eco-friendly way to give old amps a new lease of life.

And there are now plenty of options, from affordable units like the £220 WiiM Pro Plus up to premium packages, such as the £2500 Audiolab 9000N.

Trust me, whether you’re on a budget or lucky enough to be able to afford high-end hi-fi there’s a price appropriate five-star streamer available that we’ve tested and recommend. So, there's no reason to not at least consider upgrading that old amp before going full on scorched Earth and starting all over again. Which is why my top tip is always, have you thought about adding a streamer?

Speaking of scorched Earth, that brings me to my third and in some ways most important piece of advice for anyone who comes across some dusty old hi-fi gear – think of the environment.

E-waste is a serious problem right now. The latest numbers, which are referenced in the UK government’s official waste estimates for 2025, show that we generated 128,000 metric tons of e-waste in Q3 2024.

To make matters worse the same UK government stats report we only have a 44.6 per cent household recycling rate right now.

Go bigger and look at the latest stats from eco consultancy DTP Group and you'll see scary forecasts estimating that global e-waste levels will reach 82 million tons by 2030. Take that number in for a second...

The last thing we should be doing is adding to that pile with old consumer technology devices, particularly with hi-fi products that can perform well for decades.

So if you ever find or inherit some old hi-fi, I’d urge you to consider reviving, upgrading and hopefully enjoying it, before sending it to the big audio farm in the sky.

Not only will you potentially find a hidden gem, you’ll also be actively helping reduce the amount of waste we as enthusiasts, and a wider industry, generate.

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Curious to learn more about hi-fi and sustainability? Check out our full Sustainability Week 2025 coverage

NAD’s C 3050 is more than it initially seems. On the surface, it’s yet another hi-fi product that has boarded the retro design train. But, look closer and you will find real engineering substance behind those admittedly rather appealing mechanical power meters.

The headline feature, and the main differentiator between the C 3050 and excellent stereo amplifier rivals such as the Arcam A15 or the Rega Elex Mk4, is the option to add a streaming module. Called, rather catchily, the MDC2 BluOS-D, the module is based on a platform developed by NAD’s sister company, Bluesound.

Ticking this box may raise the price from the standard amplifier’s £1349 / $1699 / AU$2699, but it turns the C 3050 into an extremely neat and characterful just-add-speakers streaming system.

Features & connectivity

The NAD brand is built on good value electronics, and even in base form, the C 3050 amplifier still has a lot going for it. It is well equipped with a moving magnet phono stage, two-way Bluetooth (of the aptX HD variety), coax and optical digital inputs and a healthy power output of 100 watts per channel.

There is also a front panel-mounted 6.3mm headphone output and, rather usefully, an HDMI eARC input to help the NAD integrate into an AV set-up.

Add the optional streaming module, and the product’s functionality increases massively. A fully-loaded C 3050 can stream music files from your home network, play internet radio or access any of the usual streaming services through wired or wireless means.

The MDC2 BluOS-D module’s range of abilities should be extensive enough for most users, but we note that there are some obvious gaps in its specifications. It doesn’t play DSD files and the PCM files it does play are limited to a maximum of 24-bit/192kHz.

While we suspect neither of these will be an issue for the vast majority of users, those with more ambitious tastes in file formats may feel shortchanged here.

While Spotify and Tidal in Connect form are available, at the time of writing, Qobuz Connect isn’t. Similarly, Apple AirPlay 2 is on the menu but Google Cast isn’t. Streaming is a software-based world, and that means shortcomings such as these can be remedied with updates.

It will be interesting to find out whether NAD feels the need to do so. We can only hope.

Unusually, NAD has included Dirac Live room equalisation software as part of the MDC2 BluOS-D package. This is the limited bandwidth version of the room correction system and operates from 20Hz to 500Hz. If you want the full range, full-fat version that works up to 20kHz, you’ll have to buy it from Dirac’s online store for around £75/ $99 (around AU$154).

Whether the additional expense is worthwhile is a matter of context. In our acoustically treated listening room, the basic Dirac Live system gives a slightly more even frequency response when using Fyne Audio’s large F502S floorstanders, but it comes at the expense of a slight degradation of low-level dynamics and rhythmic drive.

However, we can certainly see benefits of using the system in rooms that have more serious acoustic issues, so in those cases, the premium version of the software may well make sense.

Build & design

Take a look inside the C 3050’s walnut vinyl-covered casework and you will find NAD’s trusted HybridDigital UcD output stage delivering a solid 100 watts per channel into both 4-ohm and 8-ohm speaker loads. The output rises to a claimed 135 watts per channel on short-term dynamic peaks.

That should be enough to drive any price-compatible speaker to decent levels in all but the largest of listening spaces. We certainly didn’t have any problems driving a range of speakers, including the Acoustic Energy AE300 Mk2, the KEF LS50 Meta, the Fyne Audio F502S and the Neat Mystique Classic floorstanders (reviews coming soon).

A Texas Instruments PCM5242 differential 24-bit/192kHz DAC chip is at the heart of the C 3050’s digital circuits. NAD’s engineers chose this DAC for its dynamic performance and resistance to clock jitter.

We have no issue with the C 3050’s build and finish. It feels like a quality product with solid casework and sturdy controls. The fit and finish are good too, giving the NAD a proper premium aura. The streaming side is taken care of by the well-established BluOS app. This is one of the better pieces of streaming control software on the market and is stable, easy to use and intuitive on the whole.

It doesn’t take long to get a sound from the C 3050 once we get it out of the packaging. Our sources are the Technics SL-1000R/Nagaoka MP-200 record player to test the NAD’s moving magnet phono stage, Naim’s ND555/555 PS DR music streamer to feed the analogue and coaxial inputs, alongside a Cyrus CDi for the optical.

We have an iPhone 12 Pro Max to test the C 3050’s Bluetooth performance. Of the list of aforementioned speakers, we spend the most time with the KEF LS50 Meta connected to the NAD, as these seem the most appropriate partners in terms of price and quality.

Sound

We start by listening to the NAD using the built-in streaming module. It all works smoothly, with none of the clunkiness that a less well-engineered add-on solution could suffer from.

And you know what? The C 3050 sounds great.

As we work through a collection of music that spans a broad range from a small-scale folk group like The Unthanks (the Mount The Air album) and Rachmaninov’s Symphonic Dances Op.45 through to Nick Cave’s Wild God set, the NAD doesn’t skip a beat.

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

The NAD doesn’t just excel with the subtleties either. It may be refined, but when the music demands, there is bite here too. The Rachmaninov piece shows the C 3050’s dynamic prowess and ability to convey the piece's power and authority. It sounds muscular, delivering lows with a richness and punch that’s enjoyable. The presentation is airy but still manages to retain the music’s exuberance.

Soundstaging is reasonably expansive and nicely focused. It stays stable even when the music becomes demanding. Our listening room is a decent size at 3 x 7 x 5m (hwd), and the C 3050 has no trouble filling it with sound.

Of course, it can be made to sound stressed if you really push things. But provided your speakers aren’t unusually insensitive (or your room isn’t massive), we think this amplifier has you covered.

Feeding Mary J Blige’s No More Drama from our Naim music streamer into the C 3050’s line level input proves that the NAD has surefooted rhythmic drive and a good degree of punch. It delivers the album’s basslines with verve, while neatly swerving the sludgy feel that such a full-bodied and rich low-end can sometimes impart.

The story remains positive when we try the NAD’s digital inputs. The sound through these retains the characteristics we so like from the streaming module and line stages, and the on-board DAC has no issue when we work our way through the various music file resolutions from 16-bit/44.1kHz to 24-bit/192kHz.

Even the phono stage is good. It is reasonably quiet but still sounds agile, informative and dynamically interesting. It's good enough to handle the likes of the Rega Planar 2/Nd3 without leaving us feeling that we need to upgrade. Considering the general standard of built-in phono stages in most rivals, it is fair to say that NAD has done a great job here.

Verdict

That applies to the complete product. The NAD C 3050 is a high achiever across the board, from the better-than-average Bluetooth performance to the capable DAC module and talented streaming section. While the basic amplifier is a fine performer, it would still struggle to topple class leaders like the Arcam A15.

However, add the MDC2-BluOS-D’s streaming smarts into the equation and the story changes dramatically, catapulting the NAD to class-leading status as far as streaming systems are concerned.

The attractive retro appearance may be the thing that draws people to the C 3050, but it’s the product's all round abilities as a streaming package that makes it such a strong buy. Highly recommended.

Review published: 18th August 2025

SCORES

• Sound 5
• Build 5
• Features 4

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Best music streamers: top network audio players tested by our experts

Network transports are having a bit of a moment. It is widely understood that music streamers integrate a DAC – but what if you already have a perfectly good (or very good indeed) DAC in your hi-fi system chain and just want to add streaming powers without doubling up?

That's where a network transport, also referred to as a streaming transport or network streaming bridge, comes in. We've recently tested the Lumin U2 Mini and Lindeman Limetree Bridge II to great five-star success, and high-end streaming specialist Lumin has just announced a new flagship network transport in the form of the U2X.

Featuring key technologies derived from the company's flagship X1 streamer, the new U2X promises to "meet the demands of audiophiles seeking pristine sound quality and seamless functionality".

The U2X supposedly delivers a "significant boost" in processing power over its predecessor (U1X) thanks to its use of its most advanced, high-speed System-on-Chip processor, which was launched in 2022.

This allows for better real-time handling of high-resolution files and enhanced upsampling, as well as future-proofing.

Also included is a high-precision 10MHz clock, which allows the U2X to be used as either a master or slave clock through its 10MHz single input and two outputs.

This unusual feature (at this price level) is useful if your system includes external master clocks or multiple digital devices that require precise synchronisation, allowing one unit to dictate the timing for the other units.

Lumin says this helps to "enhance audio accuracy and fidelity," as well as minimise jitter by ensuring all devices are working with a consistent timing reference.

The Lumin U2X's file support is extensive: it supports up to 32-bit/768kHz hi-res PCM audio files and native DSD512 playback, alongside DSD256 up/down sampling; even MQA files are on the menu.

Thanks to UPnP compatibility, the U2X can access your digital audio library stored locally on connected NAS drives. Streaming features include support for Tidal Connect, Qobuz Connect, Spotify Connect and KKBOX, as well as TuneIn internet radio and AirPlay. It is also Roon Ready and Audirvana certified.

In terms of digital outputs, the Lumin U2X offers a single optical, two coaxial (RCA and BNC sockets) and AES-EBU connections. Standard Ethernet and optical fibre network ports are available.

One of the three available USB ports is isolated from the noisy network, while the other two are free for music storage.

All streaming features and connected music libraries can be managed by the comprehensive Lumin app, which has also been updated to offer simpler view options on your smart device.

As with Lumin's other flagships, the U2X and its accompanying external power supply are housed in a chassis that is CNC-machined from a solid block of aluminium, with thick walls that provide ultimate rigidity and isolation from unwanted interference.

The low-noise external supply separates the digital processing elements from the analogue components, while also maintaining a clean signal path for 'optimal' sonic performance.

The Lumin U2X is available from August, priced at £8995 / $9990 / AU$18,200.

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Streaming amplifiers are always a compromise. They have to combine amplification, DAC, preamp, multiple wireless streaming protocols and support for dozens of different music apps – all in one box. To make all these elements work seamlessly and deliver a great sound is a hard task.

Ruark Audio, however, has decades of experience in combining multiple functions in one box, to great success.

From powered desktop speakers with Bluetooth (MR1 Mk2), smart radios with streaming features (R1S, R2 Mk4) and all-in-one music systems (R410) – Ruark has already proven it can juggle multiple features while delivering great sound, stylish design and ease of use.

The Ruark Audio R610 streaming amplifier, then, should be a walk in the park, shouldn’t it?

Build & design

Unusually for a Ruark product, the R610 doesn’t include any speaker elements. It’s all electronics.

Inside, the R610 features Class D amplification with 75 watts of power per channel, and a Burr Brown DAC that supports hi-res files up to 32-bit/384kHz.

High-quality components are used, as well as a switch mode power supply that delivers efficient and optimised power to the system. It even sports a moving magnet phono stage, while the streaming platform is identical to the one we experienced in the five-star R410 all-in-one system.

Not unusually for a Ruark product, the R610 looks stunning. A classy design with a high standard of build quality, this “music console” (as Ruark calls it) wouldn’t look out of place in any interior.

The handcrafted slatted wood grilles and metal details on the front – also seen in fellow R100 series products, including the matching Sabre-R speakers – are elegant, and the whole unit is beautifully made.

The large, five-inch, full colour TFT display screen is gorgeous to behold – clear, informative, easy to read and use, with good contrast for displaying album covers.

It’s not a touchscreen interface, but it gives the R610 that harmonious balance of modern and retro aesthetics in either of its two finish options.

The compact footprint is also appealing. Coupled with the Sabre-R speakers that you can buy as a bundle, it is well-suited to smaller spaces.

The R610 is topped off with Ruark’s iconic RotoDial controller, a design which is also mimicked in the separate remote control you get in the box. This identical RotoDial handheld remote fits particularly neatly into our palms and is a well-designed, tactile way to use the R610.

Even better, it connects to the main unit via Bluetooth, not infrared, meaning you don’t need to have a direct line of sight to the unit to control it.

It takes a while to get used to all the icons and what each button does, but once you familiarise yourself with all the functions, it’s all plain sailing.

The buttons are swift and work smoothly, and the circular dial makes it very intuitive to scroll through all the sources and menu options.

Another great touch from Ruark is that a pair of 3m speaker cables are included in the box. This is unusual but wholly welcome – we don't normally see such premium-looking speaker cables included with a product.

It makes setting up your system, especially if this is your first hi-fi set-up and you aren’t au fait with traditional separates, quicker and easier as you don’t have to shop separately for speaker cables (which can start to get expensive).

The cables are nicely braided, are terminated with banana plugs and work well. This does also offer a good upgrade path as the R610’s performance did improve when we swapped them for a step-up set of speaker cables.

Features & connectivity

The R610 streaming amplifier is bursting at the seams with features. In terms of wireless streaming, all the popular protocols and latest apps are supported.

We started testing the R610 when Qobuz Connect launched in May, and the new feature worked without a hitch. Tidal Connect and Spotify Connect are also on the menu, as is support for Amazon Music and Deezer.

You can also opt to stream from your smart device using AirPlay 2, Chromecast or Bluetooth (connection is swift and simple), while DLNA and UPnP compatibility means you’ll be able to play through your digital music collection stored on media servers or NAS devices on the same network.

We tried both wi-fi and wired Ethernet connections, and they proved stable throughout our testing duration.

The Ruark R610 wears its radio heritage proudly, with FM and DAB/DAB+ radio tuners included alongside the usual internet radio stations. There is even built-in support for the BBC Sounds app.

You can save up to 20 presets on the R610, making your favourite playlists and stations easier to access.

It’s worth noting at this point that there is no dedicated app here. This is unusual for a streaming amplifier, but the Ruark R610 is perfectly usable without one.

If using Qobuz, Tidal, Apple Music or BBC Sounds, the native app serves as your natural playback controller, while the R610 auto-senses if you want to stream via the Connect mode or AirPlay, for instance.

It’s when dealing with large music libraries that a tablet or smartphone interface feels necessary, so a third-party app such as M-Connect is recommended.

The R610 also isn’t laden with myriad settings and customisation options, as offered on the BluOS or WiiM streaming platform – so there isn’t much need for an app, really.

The R610’s menu settings are simple and offer straightforward options that are easy to select with the physical control buttons.

Ruark has also confirmed to us that new features should be added in October, which include the ability to hide sources that you don’t use, alarm clock functionality, and support for Bluetooth headphones playback.

That’s it for the streaming side, but the R610 also packs plenty of physical connections. There is a rather good moving magnet phono stage for your turntable, an HDMI ARC input for connecting to TVs, along with digital optical and RCA analogue inputs.

There is also a UBC-C input that supports audio playback; this is also where you would plug in Ruark’s dedicated R-CD100 CD drive.

We didn’t have the R-CD100 at hand, but we used our reference Cyrus CDi CD player with both analogue and optical inputs, and our Rega Planar 3 RS Edition turntable was connected to the phono input as part of our listening.

The only hiccup we encountered during testing was when the two analogue inputs didn’t make a sound at first. A factory reset fixed this problem promptly, and we haven’t had any issues with the analogue section since.

Sound

We start our R610 testing by connecting it to our reference Epos ES-7N standmount speakers, and we're met with a smooth, spacious and open sound.

It’s a dynamic and detailed presentation, allowing high frequencies to soar while keeping basslines in check. There is ample punch and impact to the low end, while a taut and agile sense of rhythm gets us fully in the groove of the song being played.

The bite and shine in the sharper edges of Fontaines D.C.’s Starburster is crisp and full of attitude, but it never sounds thin or harsh.

There is textural depth and body to the cello and piano in Agnes Obel’s The Curse, while the soundscape is layered. The R610 delivers a pleasing breadth of scale as orchestral pieces ebb and flow, with the sense of build-up towards a rousing crescendo coming through with a good amount of drama and weight.

We play through a little bit of everything from ’60s Dusty Springfield to ’70s Bowie, ’90s grunge rock to modern shiny pop, and the R610 takes it all in stride.

Piano notes glide across fluidly but with enough intent when fingertips hit ivory; Outkast’s frenetic energy in B.O.B. is relayed with verve and propulsive momentum; voices are conveyed with clarity and dynamic subtlety.

In terms of speaker matching, we do get a sense that the R610 is holding back a touch with our reference pair; that it isn’t sounding quite as free and lively as we would expect.

We swap our Epos speakers for the mid-priced Bowers & Wilkins 606 S3 – all of the R610’s positive qualities still remain, but this combination still sounds rather reserved.

It isn’t until we plug in the Ruark Sabre-R speakers that the R610 truly shines.

The R610 comes to life now. There is a greater spring in its step, the mid to high frequencies have greater shine and sweetness, and we notice a clear step up in rhythmic agility and fluidity.

Vocals in particular sound far more immediate and natural – you can hear greater nuance in the emotion and inflections in voices when listening through the Sabre-R speakers.

Overall, it’s a more engaging and dynamic sound. The Sabre-R speakers are clearly tuned to match the R610, so it makes sense that they sound their best when paired together.

Our dedicated Sabre-R review goes into greater detail about these small speakers, but don’t be deterred by their four-star rating – they and the R610 fit together like two pieces of a puzzle. They flow together in perfect harmony, highlighting each other’s strengths and delivering a cohesive performance.

If you are considering buying the R610, then the Sabre-R should be considered its most natural pairing.

If space is tight and you need an even smaller pair of speakers, then the titchy Neat Iota II are a good fit – their energy and dynamism suit the R610 well, although they’re perhaps not quite as refined as the Ruark pairing.

Luckily, you can buy the Sabre-R and R610 as a bundle in the UK, while you can purchase them separately in other territories.

The Sabre-R speakers cost £699, so together with R610, the total system will set you back £1899. We just wish there was a little discount when you bought the pair as a bundle.

Elsewhere, the R610’s sound is consistent throughout the various source inputs. The built-in phono stage is of decent quality, which isn’t always a guarantee in streaming amplifiers. We would recommend the Rega Planar 2/Nd3 or Pro-Ject Debut Evo 2 as good options for the R610.

The streaming amplifier is sympathetic to different recording qualities but doesn’t make too much of a fuss about it, either. It conveys hi-res albums streamed from our Naim server with the same care and attention as with lossy Bluetooth streams from an iPhone.

Regardless of how you listen, the R610 doesn’t rob you of experiencing the shifting mood and feel of a song. Ruark simply tries to deliver the music as authentically as possible, so we can enjoy the core intent of the music.

For this type of product, which juggles so many different jobs, it’s a very capable performer. The R610 is a clear step up in performance over the Award-winning Technics SA-C600 (now available for around £760).

There are many streaming amplifiers across the price ranges that get close to offering great performance alongside ample features and specifications, but can’t quite hit the spot in every aspect.

With the R610, Ruark makes it look – and sound – easy. There is an effortless quality with which it delivers music, especially when paired with the Ruark Sabre-R speakers, that is wonderfully pleasing to listen to.

Verdict

If you want a substantial step up that gets closer to the sound of separates hi-fi, we would recommend the pricier Naim Uniti Atom (£2300 / $3799 / AU$5750).

But the Ruark R610 streaming amplifier is a fine example of what can be accomplished in such a compact, multi-faceted form, and at this price.

The R610 is a gorgeous piece of design, it’s lovely to use and however you listen to music – vinyl, streaming, CD, radio – it delivers an engaging, convincing performance.

Review published: 27th June 2025

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Read the Ruark Audio Sabre-R speakers review

Also consider the Technics SA-C600

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

Best hi-fi systems 2025: CD, vinyl and streaming music players for the home

The Bluesound Powernode was something of a pioneer in the world of streaming amplifiers, so a new model is always big news. The 2025 incarnation (called, like its predecessor, simply 'Bluesound Powernode') offers more power while promising less distortion and smarter home integration.

The 100W per channel of 'DirectDigital' amplification is an upgrade on its predecessor's 80W per channel of 'HybridDigital' amplification.

The device is designed for "people who want powerful sound in a simple, streamlined package – a way to stream music and enjoy TV without the clutter and confusion of multiple boxes, remotes, or wires," Bluesound says.

It can act as an AV receiver, thanks to its HDMI eARC support and ability to add a centre channel alongside left and right channels. Just add a subwoofer and some wireless speakers, and you've got a full 5.1 surround system on your hands.

Inside is an upgraded circuitry design with improvements to the signal path. Those 100W per channel are in stereo mode only, while in a 3.1 configuration it drops to 80W per channel.

Bluesound claims its DirectDigital amplification and gallium nitride (GaN) technology result in "virtually no distortion". As ever, we'll be the judge of that – though, considering its predecessor scored five stars, expectations are high.

Like other Bluesound products, it runs the BluOS multi-room streaming platform which supports the usual suspects such as Tidal, Qobuz, Spotify, Amazon Music and Deezer. It supports up to 24-bit/192kHz, MQA and DSD256.

As well as streaming services, BluOS can access locally stored media and internet radio. And Dirac Live Ready is on board for room correction and audio tuning.

The new Powernode will ship on 10th September, with pre-orders starting on 12th August. It will cost £899 / $1199 (around AU$1880). We'll bring you a review as soon as we can.

MORE:

Read our Bluesound Powernode (2021) review

Marantz PM7000N review – it pipped the previous Powernode to an Award

Best streaming amplifiers for your consideration

The Lindemann Limetree Bridge II is a network bridge, sometimes referred to as a streaming transport. It plays music files from streaming services, any attached storage on your home network or connected directly into its USB socket and Bluetooth sources. Just add a quality DAC and off you go.

The vast majority of music streamers on the market include a DAC, of course, but the Limetree Bridge II’s lack of such a circuit may not be the issue it initially appears to be. We’ve come to the point in hi-fi where it isn’t unusual for a DAC module to be included in a stereo amplifier or a CD player to have digital inputs.

Failing that, there is no shortage of excellent outboard converters such as the Award-winning Chord Qutest, which we partnered with the Bridge II for this test.

Build & design

The Limetree Bridge II is a tiny unit that takes about as much shelf space as a coaster. Its casework is made from aluminium and is only available in silver as standard.

There isn’t a display, which leaves the front panel looking rather barren, with just a toggle switch and a couple of LEDs to provide some interest.

The toggle performs three functions depending on how long it is activated: a quick nudge upwards switches the steamer in and out of Standby, holding it for three seconds upsamples the incoming signal, while keeping the toggle activated for ten seconds resets the unit.

The LEDs indicate the signal sampling rate and operating status.

Connectivity & features

Given that the only outputs provided are coaxial and optical, there are firm upper limits for the signal the Limetree Bridge II can deliver. The coax is limited to 24-bit/192kHz streams while the optical tops out at 96kHz.

So, while the Limetree is compatible with hi-res 24-bit/384kHz PCM music files, they will be downsampled to 192kHz at best. DSD isn’t even on the menu.

Most modern designs don’t suffer from such shortcomings, and just about every one of them also includes either Apple AirPlay or Google Cast, if not both, which the Bridge II doesn’t.

On the plus side, music streaming services such as Tidal Connect, Qobuz Connect, Deezer, Spotify Connect and internet radio are all on the menu. This unit is Roon Ready certified too.

Overall, there is no denying that the Lindemann has some notable gaps in its feature list, and for some, these may be enough to be a deal breaker. We advise people to think carefully about their requirements before considering a purchase.

Look around the back and there are the aforementioned pair of SPDIF digital outputs, a USB Type A socket (for connection to file storage) and the Ethernet LAN socket. Wireless connection to the network is possible too.

Compatibility

So far, the Lindemann Limetree Bridge II hasn’t put up a great showing for something that costs as much as it does. Start using it, however, and things turn for the better. This streaming transport is a breeze to set up thanks to an intuitive and simple app.

It connects to our network without issue, working with a slickness and stability that most rivals would envy. Our NAS units are quickly found, and we’re logged into Tidal and Qobuz in minutes. Even Bluetooth pairing with our elderly iPhone 12 Pro Max is a work of moments.

Given the Lindemann’s price point, partnering it with Chord’s Qutest DAC (£995 / $1625 / AU$2400) seems reasonable. The company makes a partnering Limetree DAC, but we haven’t heard it and so can’t recommend it as a good option. We suspect it will be worth a listen, given our experience of the brand’s other products.

The rest of our system is Burmester’s 088/911 MkIII pre/power and ATC SCM50 speakers, though we also try the Lindemann/Chord front end with the more price-compatible Naim Nait XS3 integrated amplifier driving a pair of Epos ES-14N speakers.

There aren’t many streaming transports on the market, so we decided to use the digital output from the Audiolab 9000N streamer (£2499 / $3699 / AU$5499) as our main comparison. For fun, we also compare the Lindemann’s performance to that of the Wiim Ultra streamer (£349 / $329 / AU$599), with both feeding the Chord DAC.

Sound

Stop reading if you think that the sound of the digital outputs from all these music streamers should be identical, because that’s certainly not what we hear. Feeding the Chord Qutest DAC, the Wiim puts on an admirable show given its relatively low price. However, it clearly loses out in terms of dynamics, detail and rhythmic precision to the others.

The comparison between the remaining two is much closer, but ultimately the Lindemann emerges on top. That’s no slight on the Audiolab, though, given that it includes a good DAC and has many of the features the Limetree Bridge II lacks.

The Lindemann wins out because it is a more expressive and enjoyable performer. As we listen to Sibelius’s Karelia Suite Op.11, it is the Limetree that holds our attention better, thanks to its more fluid sense of drive and more subtle way with dynamics.

There is a touch more detail too, though it is the way the little network transport puts all the information together to form a musical and engaging whole that we enjoy.

It sounds bold and powerful without getting overblown. Large-scale dynamic shifts come through with enthusiasm, yet subtle instrumental strands, and the positive impact they have on the piece, never get overlooked.

Tonality really isn’t something that a streaming transport influences a great deal, as other parts of the system are always going to be more characterful, but we can say that the Bridge II is as even-handed as we would expect it to be. The system’s stereo imaging is pleasingly large-scale and stable. It retains precision even when the music becomes busy.

While the Lindemann/Chord combination is hugely capable, it doesn’t deliver a massive amount of sonic weight or heavyweight bass that some streamers can. What we get instead is class-leading agility and definition of low notes combined with a high level of transparency.

That’s a trade-off we are happy with.

We spend many hours working through our music collection from our NAS units as well as streaming services such as Tidal and Qobuz. Nina Simone sounds as passionate and forceful as we would expect, her voice on Sinnerman is as clear and driven as we’ve heard at this level.

The instrumental backdrop sounds on point rhythmically and carries us along in the music’s energy. Radiohead’s The National Anthem blasts out of our ATCs with no shortage of enthusiasm. There is refinement to the sound but it doesn’t go as far as civilising a hard-charging track such as this.

It’s equally good news when we try the Bluetooth connection with our iPhone. While such a connection would never be our first choice for top-class sound, there is no denying its convenience. Using this input, the Limetree sounds solid, bold and capable, proving stable in use.

There is a good level of insight, and we find ourselves enjoying Armand Amar’s Poem Of The Atoms II rather than worrying about any degradation the wireless format may have added. We can’t ask for any more than that.

Verdict

We are surprised that there aren’t more streaming transports available given the sheer number of products in the market that have digital inputs.

The Lindemann Limetree Bridge II may not look like anything special, and its feature set may be a problem for some, but when it comes to performance, we have heard few alternatives that we prefer.

Review published: 20th June 2025

SCORES

• Sound 5
• Build 4
• Features 3

MORE:

Read our review of the Chord Mojo 2 and Chord Poly

Also consider the Cambridge Audio EXN100

Best music streamers: top network audio players tested by our experts

I've spent an ungodly amount of time with the WiiM Ultra music streamer. We usually pack up a product after we have reviewed it, to make space for the next one, and then the one after.

But ever since we reviewed the Ultra in February, I haven't been able to part ways with it. It has remained unboxed, connected and in constant play in our test room.

It isn't just because it's a very appealing five-star performer with an attractive touchscreen display; it's also because the very stable Ultra has been useful for our general testing process.

The Ultra has been handy for checking status and features when Qobuz Connect launched in May; for double-checking our internet connection when another streaming product is misbehaving or can't see our media servers; for trying out smaller desktop systems; for running in wired headphones.

Over the past few months, I have also delved even deeper into the Ultra and its myriad settings in the WiiM Home app that lets you customise nearly everything related to source inputs, audio quality and even its display settings.

So here are the key settings that I think you should check out to get the most out of the WiiM Ultra.

1. Customise EQ settings for each audio source

That the WiiM Ultra has EQ settings is no secret and is to be expected in a product of this type. That you can set different EQ settings for every input is a level of customisation that we don't often see.

There is a 10-band graphic equaliser that you can customise and save your own setting, as well as 24 preset options. Acoustic is my favourite preset EQ, as it adds a little more punch and immediacy to vocals, although it does bring the mids a little more forward in the balance.

As an alternative, there is a more-involved parametric EQ setting that offers a different way to make finer adjustments across the frequency bands, by inputting numbers for every frequency, gain and Q factor. We suggest leaving this one to more advanced users.

These EQ settings are available across all inputs – Wi-fi, phono, HDMI ARC, line, optical, Bluetooth – meaning you can tailor the EQ settings for each of your connected devices to your heart's content.

2. Per-source volume control

This isn't unusual, but it is a setting that is hidden away in the 'audio input' section in the WiiM app. This feature essentially keeps the volume distinct for each source; it will save the last used volume for each source, so it isn't too loud or too low when switching between multiple inputs.

It's a useful feature if you come across this issue often.

For instance, if you have 50 as your preferred volume level when streaming via wi-fi, but need to have the listening level at 80 when a turntable is plugged into the MM phono input, the volume won't jump to 80 (and be so much louder) when you switch back to the wi-fi input.

3. How much adjustment for each volume step?

Sticking with volume, this is an unusual feature we really like. You can set the amount of volume adjustment that one step or button press takes. Scroll down in the app's settings page until you get to the Hardware section, and you'll find a "Knob Volume Step" option.

There are five levels here – fine adjustment, small step, medium step, large step and quick adjustment – so you can choose how much of a leap you want one volume step change to make.

I prefer being able to make super-fine volume adjustments with my music's volume, but others might prefer a more obvious and greater step up. Definitely one worth experimenting with.

4. Selecting max digital output resolution to match your DAC

If you have an older DAC in your system or one that isn't capable of accepting higher resolution limits, then you can adjust the Ultra's digital output resolution limits accordingly in 'audio settings'.

Some DACs can't handle files beyond 96kHz; some might even have lower limits. To ensure music can be played, WiiM lets you select 16-bit or 14-bit and 44.1, 48, 96 or 192kHz options for the coaxial and optical outputs.

The WiiM will play a test audio sound to check that your connected DAC (or "downstream device") can support the selected resolution. If no audio tone plays, you'll have to pick a lower resolution.

5. Adjust line-out levels to match active speakers or power amp

In the 'audio output' or 'audio settings' sub-sections, you have the option to adjust the line-out level. This setting is useful if you are connecting the WiiM Ultra to a pair of active speakers or a power amplifier, and using the Ultra as a preamp.

Line-out level matches the Ultra's output to the input sensitivity of the active speaker or power amp.

If the WiiM's output level is too high, then all of your volume adjustment is done in the very short first travel as you move the volume dial. This doesn't give you a lot of subtlety for volume adjustment.

If you find this is an issue, then setting a lower line-out level – from 2 Vrms down to 500 or 200 mVrms – allows you to use more of the volume control travel and as a result, you get more scope for making subtler volume adjustments.

6. Set presets for your favourite playlists and radio stations

This is one of the key attractions of the WiiM Ultra's touchscreen display – so it's not exactly a hidden benefit, but one I think is worth highlighting as it's my favourite feature.

Being able to set presets on streamers isn't new, but on the WiiM Ultra you can save up to 12 presets that you can easily access via the display screen's app. You can save your most-used BBC radio station (6 Music for me), your favourite Tidal or Qobuz playlists (or both), and even an album you love replaying in full.

By having these presets available at your fingertips through the screen, it negates the need to pick up your smartphone and fire up the WiiM app – unnecessary additional steps.

I find that selecting the preset from the unit rather than the app is always quicker and easier, and means I can start playing music with no delay.

7. Customise the display to show sampling rates (and personalised wallpaper backgrounds)

Here are some fun settings – rather than audio-related – to customise your Ultra to how you want to use it. You can set alarms, change the screen brightness, toggle on/off the display screen or status lights, change the clock settings and the background wallpaper.

There are various clock-face designs you can choose from, or you can customise the background wallpaper to use photos from your camera roll, either as a static display or as a slideshow. You can display holiday snaps, abstract artwork or photos of your pet – it's a great way to really personalise the Ultra to be your own.

Additionally, can opt for full album artwork or VU meters as the playback screen, but I prefer the option where you can see the sample rate (e.g. 24-bit/96kHz) and bitrates (e.g. 2820kbps) being played with each source clearly displayed.

Nerdy, I know, but it is satisfying to see.

MORE:

Read our WiiM Ultra review

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

Our guide to the best music streamers across all budgets

A month ago, we asked our readers how you listen to hi-res music in your hi-fi system? Do you exclusively use streaming services, or do you buy and download hi-res files?

Overwhelmingly, your answers indicated a combination of the two methods, with owning music being a huge priority.

With so much choice available in how to stream music – Apple Music, Amazon Music, Qobuz, Tidal – these days, as well as various download sites available (Bandcamp increasingly gets a mention), we found that our readers use a variety of different listening methods available today that suits their needs, preferences and ethos.

Many of you use streaming as a complement to CDs and vinyl – proving that you don't have to choose a side in any format war – while others have eschewed physical formats entirely in favour of hi-res streaming or digital downloads.

The most common thread throughout, however, is the importance of high-resolution sound quality, as well as being able to own the music you buy. It's a sentiment we agree with entirely.

Owning music you love is the priority

Forum member Cork says: "I listen to hi-res for music that I think was well recorded, typically music recorded relatively recently. I like to own the music, so I purchase CDs for non-hi-res and primarily use HDTracks for hi-res (occasionally I use Bandcamp). FWIW, I'm very happy with HDTracks because I *am* an older listener who likes jazz, classical and "dad rock". I like to listen to an album once before I purchase it, so I use Tidal to check out albums; I listen to Tidal's hi-res version if one's available."

Simon Broch says: "I listen to a lot of hi-res music which I store locally on a Bluesound hard drive connected to my hi-fi system. I don't use streaming services as I much prefer to own my music."

"I am downloading more frequently from Bandcamp where I can stream most of my favourite new music.... I also like to buy music in a way that best rewards the artists."

We have to say we agree with Adam Ranson's position, especially as a frequent user of Bandcamp to discover and support artists directly.

MusicSloth says they would consider streaming if the monthly subscription fees were lower for "essentially "borrowing" music", and is sticking to digital FLAC downloads for now, also citing how external storage devices and hard drives are cheaper to buy these days.

We like his mantra: "Pay once, listen as often as I want to."

Combining streaming for music discovery and then buying downloads

Many users simply use streaming services like Tidal and Qobuz for music discovery, and then buy and download the digital hi-res album on HDTracks, Qobuz Store or Bandcamp to own the album permanently.

"Both. I purchase, mainly from Bandcamp, and stream via Tidal," says Forum member hootywwfc.

ruffian22052 does the same, but with different services. "I’m listening to music via Apple Music in the highest quality available, but when I find an album I really love, I’ll buy it from Qobuz in whatever the highest res version I can find. That way, I’ll have all my favourites, and an extensive CD collection (which I’m ripping slowly to my NAS), to keep me happy if I ever have to give up my Apple Music subscription."

A commenter on Facebook reinforces their preference for owning music they love. "I use streaming services to audition music, then buy a lossless digital copy to have and hold in my own home storage whenever I find music I genuinely love. I don't want to be at the mercy of shifting licensing agreements when it comes to the core collection of great music."

Fellow member busb echoes the sentiment about owning music and paying artists fairly, but issues a warning about disappearing downloads: "Until a couple of years ago, I'd say that streaming was my favourite option – renting rather than buying. Using iTunes has enabled me to locally cache a huge amount of music including classical & individual songs.

However, differences in SQ [sound quality] aside, dozens of tracks and/or whole albums suddenly become unavailable, despite downloading them. "This song is no longer available in your region." Others may be able to explain the whys, but there's no technical reason music can't effectively be available forever – you don't need to make another batch of CDs or LPs! If I "buy" music, I don't own it but do have the right to listen to it – you don't get home to find some CDs or LPs are missing.

I do agree that equitable payment needs to be sorted out but politics seems to be intervening. I'd say to anyone thinking of streaming: be aware that your favourite music may suddenly be unavailable!"

Sticking to streaming or download exclusively – but sound quality remains important

And of course there are those that exclusively use one method.

"I stream via Amazon Music Unlimited using the Alexa app; would not be without it now," says DREADZONE.

"For me it is internal streaming, I download the album or track to my Server / NAS and stream to my Linn streamer. I don't use any of the streaming sites to stream music." - michael hoy.

"Almost exclusively streaming," says a Facebook commenter. "Saves getting out of the chair to change the disc!"

"I am a dedicated downloader," says James McWilliams, "having abandoned streaming a couple of years ago. Qobuz is my download site of choice. It has a great selection of keenly priced jazz and classical music in its BNF collection and there are regular sales and special offers. I rarely download Hi-Res as, to be honest, I can't detect a difference relative to CD quality. I see the main advantages of downloading relative to streaming as being ownership and the ability to listen offline."

Many have embraced the convenience that streaming brings, after a lifetime of collecting physical music. "I am just streaming. Tidal and Apple Music are my streaming services," says Welzar. "Streaming Hi-Res and CD quality sounds as good or better than my CD collection without all the hassle of dealing with CDs."

For those who ripped their CDs back in the day and now combine them streaming, Joe_Christmas says that using a third-party platform like Roon has transformed the way they listen to all their music, both streamed and stored locally.

"I mostly listen to hi-res music streamed online through the Bluesound ecosystem – mostly Tidal, though I have a Zen Innous for all my old CDs. I don't download from Tidal/Spotify and have never really had an issue with disappearing tracks or albums – I mostly listen to jazz/folk/Americana.

A game-changer for me was Roon, which allows for the proper integration of both my sources – being able to create a playlist from a mixture of Tidal and my own CDs is tremendous, and its player functionality is significantly better than Tidal, Spotify and Bluesound."

Many users have confirmed lifetime subscriptions for Roon that they use in conjunction with a Tidal subscription and a NAS drive full of stored CDs. But many have gone streaming only, with commenter Alex now "instead preferring the Tidal versions rather than what I have ripped on a PC and stored."

There was a lot of love for Tidal and Qobuz in particular for their sound quality. Richard Ridgeway streams via Qobuz as "they only stream CD or better audio," while AndyC405 prefers Tidal "primarily for the hi-res stream quality and because I'm concerned about what the artists earn."

We had two shoutouts for something a little bit different.

Commenter GRPR has a particular focus when it comes to streaming: "It's all about Dolby Atmos from a streaming perspective. Apple Music on an Apple 4K TV. I have enough stereo and surround titles on my own music servers, which is around 42 TB at this point. It's the new releases in Atmos that I want to use streaming for."

And brandavon shows love for the niche Blu-ray Audio. "Tidal, SACD and Blu-ray Audio" are their preferred formats. "Blu-ray Audio should've taken off instead of vinyl having a restore. I use Tidal the most as there's never been enough SACD and Blu-ray Audio discs."

Streaming as a complement to vinyl and CD listening

Many users also mix up the streaming discovery with the physical formats like vinyl and CD, stating how owning and listening to music on a physical unit is more emotionally involving than a digital file.

Forum member mavplace64 says: "I grew up in the age of vinyl, then converted to CD and have returned to vinyl about 15 years ago. So vinyl is my main source for music purchases and preferred way to listen to music. About 4 years ago I set up a streaming system with a streamer and DAC using Tidal and Qobuz, this I use only really to discover new music but still stream at the highest quality I can.

Storing and purchasing downloads has never interested me as there is no emotional involvement for me. Maybe being of a certain age and listening to an album rather than individual tracks means streaming and downloading will never be for me."

Chris_Horner plays records when it's all about sound quality, but uses streaming for its convenience and ease – for instance, as background music when they are cooking, have people over, working on something or just want it to be easy without having to deal with flipping an LP.

"Different sources for different priorities," he wisely says – something that plenty of us can identify with in how we listen to music these days.

And we have to salute eduard, who has spent a lifetime enjoying hi-fi and buying music. Bitten by the 'hi-fi virus' at 14 and using a tape deck to record vinyl from friends and the local library, eduard has now discovered streaming at age 65, upgrading their entire system and enjoying the vast amount of music at their fingertips and how easy it all is to use a tablet compared with putting on a CD or vinyl...

"I am not only pleased by the sound quality – I agree there will always be the dream of a next higher level – but especially by the hundreds of new discovered albums and artists, I never would have discovered when I had to buy those music."

A happy convert, indeed.

A happy coexistence – but things could be better?

Unlike the format wars of the past, it's clear that there are so many options and permutations to hi-res streaming and downloads these days, that there really is no one answer. The prevalence of better than CD quality and hi-res audio being available both as digital downloads and on popular streaming services means that we now have greater access to high quality music than ever before.

And they can all happily coexist together. Sticking to just one type of listening feels like a rarity, as our readers show how streaming, downloads and even CD and vinyl can all be part of your hi-fi ecosystem. Streaming as a music discovery tool to then buy the albums you enjoy is a common theme – in fact, we are struck by how strongly many of you felt about owning music you buy and how important this was, rather than 'renting' music, alongside ensuring artists are paid fairly.

Our What Hi-Fi? readers obviously care about sound quality, so it's no surprise that this is a top concern, with most of you perfectly happy with the hi-res quality on offer via streaming or downloads.

However, some of you noted how hi-res Masters on streaming don't necessarily sound as good as they could be...

MattJKing71 writes: "The quality of many Masters are often so poor that Hi Res can barely shine. Qobuz and Tidal had some good masters but not the range (a 16-bit/quality compression is why I've held out for Spotify to go Hi Res and will download to play at home offline to avoid streaming glitches."

davidbix also queries the mastering quality. "So much hi-res stuff that's out there isn't done that well. For brand new releases, they'll use the same mastering steps from the CD-quality version even though the hi-res audience obviously doesn't want the kind of dynamic range compression that's long been too common... It's rare that I'll find a hi-res title that matches or exceeds both the vibes and perceived sonics of a good vinyl pressing, so I don't go back to it as much as I'd like.

It doesn't help that a lot of the best hi-res releases are SACDs that aren't legally available to stream. (Whether in-print or otherwise, often from speciality reissue labels like Mobile Fidelity, Analogue Productions, Intervention Records, or Impex.) So listening to them in a more convenient fashion requires jumping through a lot of hoops."

There's always room for improvement, as the chase for ultimate hi-fi sound is never-ending. But it looks like the majority of you are enjoying music in the variety of ways that are available today, finding a happy balance between them all.

Thank you again to all our readers who commented and shared their opinions.

MORE:

Rainer Finck on his hi-fi career highlights as a 30-year Marantz engineer and original developer of the Philips Bitstream DAC

Hi-res music streaming services compared: is Tidal, Qobuz, Amazon or Apple Music better?

Our pick of the best music streamers across all budgets

We've caught our first glimpse of HiFi Rose's latest music streamer, the RS451.

Making its official debut at this year's High End Munich show, the new model joins HiFi Rose's solid roster of established network players, and while we don't have official prices just yet, we do have enough information to keep you in the loop.

The new RS451 uses an ES9027 PRO(ESS) DAC at its heart, and is capable of handling PMC files up to 32-bit/868kHz alongside DSD512.

It's well-appointed with physical connections, boasting coaxial, optical and even an HDMI eARC digital input for hooking up your TV. There are also coaxial, optical and USB-A digital outputs, plus balanced and unbalanced analogue outs.

Three headphone outputs (XLR, 4.4mm and 6.3mm) are housed at the front.

We don't know the full extent of the streaming platforms that HiFi Rose's latest player supports besides Spotify, but we do know that the likes of aptX Bluetooth and AirPlay are on the menu, and the RS451 is also Roon Ready.

The HiFi Rose follows the same aesthetic we've admired in many of the brand's previous music streamers and all-in-one units, boasting a substantial 9.9-inch LCD touch capacitive touch screen, plus a large volume dial on the right side of the player.

Updated 03/09/2025: Available in silver and black finishes, the HiFi Rose RS451 is set to cost £2699 / $3295 and will be in stores in September 2025.

MORE:

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

The rise of small, complete hi-fi systems that are more accessible for newcomers is a great direction for the industry

Eversolo is fast building a reputation for making solid, innovative digital music devices, and its latest product looks to bolster that. The Eversolo Play is the brand's first streaming amplifier, and combines amplification, digital-to-analogue converter (DAC) and wireless streaming skills in one package.

Inside the Eversolo Play is an AK4493 DAC chip and Class D amplifier that, Eversolo claims, will drive bookshelf speakers "to recreate every nuanced detail". We don't have information on the power rating figures yet, but we will find out at the Play's debut at High End Munich 2025 show.

The Eversolo is decked out with streaming features, featuring support for Tidal Connect, Qobuz, Deezer, Amazon Music and TuneIn Radio. It is also Roon Ready certified.

You can also stream locally stored files on a NAS drive over the network thanks to compatibility with UPnP and WebDAV. And finding tracks should be easy thanks to Eversolo's own library management system that works across platforms.

It also boasts an impressive list of ports including HDMI ARC for connecting to a TV, optical and coaxial inputs for CD players and external streamers, a subwoofer output and phono input for hooking up a vinyl turntable.

It has multi-room talents too, so you can place one Play in each room (with speakers) and share music throughout the home.

The mobile app lets you control the Play, plus you can use your phone to analyse a room's acoustic characteristics to adjust the Play's output accordingly.

The body is a CNC construction with an aluminium alloy, to maintain structural rigidity while shielding against external electromagnetic interference. And a heatsink stops components from getting too hot to maintain optimal performance.

That screen is a sizeable 5.5 inches, and lets you control Eversolo's redesigned interface. Eversolo's super slick, user-friendly interface was a highlight during our DMP-A6 streamer review, so we're hoping that the new streaming amplifier brings more of its delightful use case and extensive features to win us over.

The Eversolo Play is also available in a CD Edition, which has a built-in Hitachi-LG CD-ROM drive. The Standard Edition is set to cost €699 (around £600 / $790 / AU$1200), while the CD Edition costs €799 (around £680 / $900 / AU$1400).

That's a rather attractive price considering most established hi-fi brands offer streaming amplifiers that cost much more than that. Our Award-winning Technics SA-C600 (with CD player) costs £769; in contrast, the WiiM Amp Pro (no CD player) is just £399.

Also at High End Munich 2025, Eversolo is showcasing its new flagship DAC Z10, a streaming transport T8 and its sister-brand Luxsin's X9 headphone amplifier and DAC.

MORE:

Read our Eversolo DMP-A6 review

These are the best music streamers around

And the best DACs

Don't be confused by the name: dCS's latest launch is a music streamer. The new high-end Lina DAC X arrives to round out dCS's established Lina line, adding versatility to the established Lina DAC (also a music streamer, tested at £12,500 / $13,650 / AU$22,000) but with greater flexibility and a revamped full-width design.

The Lina DAC X uses the same core technology as the original model, but with the addition of a rotary volume control, a new remote handset and the option to connect CD/SACD transports.

Like its established stablemate, the new DAC X is capable of handling hi-res PCM files up to 24-bit/384kHz alongside DSD128. Sonically, dCS promises "exceptional clarity and detail retrieval" from its latest music streamer, teasing "a natural and deeply musical sound" aided by the brand's 'Ring DAC' conversion system and unique digital processing platform.

The Lina DAC X supports streaming from platforms such as Tidal, Qobuz and Spotify, as well as music management software such as Roon and Audirvana. There's support for AirPlay 2, Internet Radio and UPnP streaming, meaning it will work with compatible NAS devices, laptops and hard drives on the same network. Sadly, however, there's no Bluetooth or Chromecast on board.

The new model offers balanced XLR and unbalanced RCA outputs alongside coaxial, optical and USB (Type B and Type A) digital inputs. You can connect a TV via Toslink, or hook up a CD transport if you want to get your shiny discs spinning.

The Lina DAC X is housed within a machined aluminium chassis designed to enhance its sonic performance by minimising unwanted distortion. It's wider than the compact Lina DAC, measuring 44cm across rather than 36cm.

The new music streamer has also been designed to be consistently upgradable thanks to its flexible built-in architecture, allowing for further upgrades and features to be added later down the line.

The original Lina DAC was a five-star performer when we tested it back in 2023 – we'd like to think that the new X-rated version can live up to such a legacy. The dCS Lina DAC X is available to order now for £13,500 / $15,500 with shipping starting in June 2025.

MORE:

Check out our list of the best music streamers

8 tracks we've been using to test in the What Hi-Fi? listening rooms this month

High End Munich 2025 preview: what to expect from the upcoming hi-fi show

The Cambridge Audio MXN10 has been at the top of our best music streamers guide ever since we reviewed it two years ago, and it's a well-deserved two-time and current What Hi-Fi? Award winner.

But if there’s one thing we won’t allow is for a product to rest on its laurels, and the arrival of the WiiM Ultra has presented the perfect opportunity to put the two streamers head-to-head.

Both of these products are brilliantly affordable ways to add cutting-edge streaming skills to your hi-fi separates, and they can even be used to create a simple but effective audio system by connecting them directly to a pair of powered speakers.

With both affordable streamers from Cambridge Audio and WiiM earning five-star reviews, you might be wondering which one should be the recipient of your hard-earned cash, so we’ve put these two network audio players up against each other to find out which one comes out on top.

WiiM Ultra vs Cambridge Audio MXN10: price

It can sometimes feel a little unfair to compare two products with different price tags, so helpfully Cambridge Audio has dropped the asking price for the MXN10 since we first reviewed it in July 2023, and it’s now available for exactly the same affordable price as the WiiM Ultra in the UK: £349.

In the US and Australia there’s still a bit of a price difference, with the WiiM Ultra setting you back $329 / AU$599, and the Cambridge Audio MXN10 costing closer to $399 / AU$749.

WiiM does trump Cambridge Audio by including all the cables – optical, RCA interconnect, HDMI – in the box (you only get a power lead with the MXN10), which could save you a few quid if you don’t already own the required cables for your set-up, but that’s unlikely to be a deal-breaker for most people.

** Winner: Draw **

WiiM Ultra vs Cambridge Audio MXN10: build & design

In terms of size, there’s not much between these two very compact streamers. Both take up as much space as a paperback book and have a solid build quality; either should easily fit on to your hi-fi rack, in your TV cabinet or on your desktop.

The WiiM Ultra is a couple of centimetres taller, but the MXN10 is slightly wider and deeper, so unless you have a very specific space to fit one of them into, size probably won’t play a huge part in your decision-making.

The most significant design difference between the two is that the WiiM Ultra sports a 3.5-inch touchscreen colour display. It’s slick and responsive, and we found it not unlike using the touchscreen on a smartphone.

For controlling basic playback, selecting inputs or choosing saved playlists, we actually prefer tapping at the display compared to the companion WiiM Home app. However, this depends entirely on where the Ultra is placed in your set-up and if you can reach it easily.

Seeing the album artwork on display and being able to tweak the volume dial using just the unit makes the WiiM Ultra all the more appealing.

There is still something to be said for the clean simplicity of the Cambridge Audio MXN10, which sports a small handful of responsive buttons for selecting inputs. You can, however, control everything you need using the StreamMagic app, but the MXN10 does look a little plain in comparison to the Ultra's more modern sensibilities.

In terms of colours, both are available in Apple-esque grey, while you can also get the WiiM Ultra in silver. Cambridge Audio did also release a limited-edition black version of the MXN10, but at the time of writing there are only a few left and it hasn’t had the same price cut as the grey model. Cambridge Audio has said there are no plans to make any more, so if the rest of your kit is black you’ll have to weigh up whether the extra £100 is worth it (and quickly).

** Winner: WiiM Ultra **

WiiM Ultra vs Cambridge Audio MXN10: streaming features

Obviously having the full complement of streaming features is paramount for a network audio player.

Both MXN10 and Ultra offer wi-fi and wired ethernet connectivity to your home network. There's also support for Bluetooth and Google Chromecast, although the WiiM Ultra misses out on AirPlay support. That will be a blow to iOS and Apple Music subscribers, so this alone is likely to be a dealbreaker for many when choosing between these two models.

In terms of high-resolution compatibility, both units are able to play hi-res tracks, but there are some small differences in the maximum file resolution they can play natively. The WiiM Ultra is equipped with a 32-bit/384kHz ES9038 Q2M Sabre DAC, and it can natively play up to 24-bit/192kHz PCM files. That covers pretty much all hi-res files available to download, so it should be more than enough for those with a large digital music collection.

The Cambridge MXN10 uses an ESS Sabre ES9033Q DAC and it goes a little further in supporting up to 32-bit/768kHz PCM, and it can also natively play DSD files (up to DSD512 resolution). Essentially, both streamers will be able to cope with pretty much any hi-res digital file you’re likely to throw at them.

And if it doesn't make your decision-making any harder, both units support multi-room audio, are Roon Ready and are able to play stored music files from a network storage device or connected laptop on the same network.

The major music streaming services such as Spotify Connect, Tidal Connect, Qobuz and Deezer are supported on both, as is internet radio. You can handily choose which services are prominent on your StreamMagic app homepage, and pin specific stations or playlists in the app. And as mentioned before, you can do the very same on the WiiM Ultra, but save your go-to favourites as presets that you can select directly from the unit's screen.

Speaking of the control apps, both are among the better ones we've used with music streamers. WiiM’s Home app is well laid out, accessible and intuitive to use even for hi-fi newbies, while Cambridge Audio’s StreamMagic app is a good example for any hi-fi brand to follow. The WiiM Ultra also comes with a voice-enabled remote control in the box. Both are easy to set up with their respective apps, too.

It's fairly neck and neck between the two, but the lack of AirPlay on the WiiM Ultra is a big omission. Cambridge Audio MXN10's extensive streaming features and handling of even higher-res tracks make it the preferred choice here for pure streaming ability.

** Winner: Cambridge Audio MXN10 **

WiiM Ultra vs Cambridge Audio MXN10: connectivity

Where the Cambridge Audio MXN10 and WiiM Ultra start to diverge is with the spread of connectivity included.

The MXN10 is a straightforward music streamer, offering coaxial and optical digital outputs, a pair of RCA line level outputs, and a USB type A input. This covers the basic elements you'd normally expect from a budget streamer.

The WiiM Ultra aims to be more than just a streamer, with more features thrown in to create a one-stop music hub for your system. For starters, it has an HDMI ARC input – an increasingly popular demand from customers who want to connect their hi-fi to their TV more easily. (In fairness, newer Cambridge Audio models now include an HDMI connection, so here's hoping the next iteration of the MXN10 will feature this input.)

The Ultra also sports a moving magnet phono stage for incorporating a turntable easily into your system, and there is a 3.5mm headphone socket on the front. You get the same amount of optical, coax and RCA outputs as the MXN10, but the Ultra provides an additional optical input.

The amount of features and connectivity thrown in for the Ultra's price and compact size will clearly have huge appeal. While its talents as a network streamer may not be as exhaustive as the MXN10, the additional inputs and headphone stage here will give plenty for prospective buyers to think about.

** Winner: WiiM Ultra **

WiiM Ultra vs Cambridge Audio MXN10: sound quality

Cambridge Audio might have more long-standing pedigree in the hi-fi world than WiiM, but the Ultra continues an impressive run of releases for a company that’s relatively new on the scene.

In our five-star review of the Ultra, we praised its “mature and engaging performance” that offers a clear step up in audio quality compared to its cheaper, Award-winning WiiM Pro Plus. It's a crisp, clean, easy-going presentation regardless of what source you use, but the Ultra offers a good dose of solidity, muscle and clarity with all kinds of music.

We said in our review: "We play Doechii’s Alligator Bites Never Heal album over Tidal and her fierce yet playful tone comes through with crispness and clarity through the Ultra. There’s agility and decent snap behind the driving rhythm, while her distinct, crystal clear vocals come through with ample attitude and detail on Denial Is A River. Play Billie Eilish’s Blue, and we find the Ultra treads a fine balancing act, with neither end of the frequency sticking out unduly or sounding smoothed off.

There’s enough space and bite at the top end without getting too shrill or splashy; while basslines on Massive Attack’s Paradise Circus have a decent amount of punch and solidity."

But what about in comparison to the Award-winning MXN10?

This is where Cambridge Audio’s experience shows, with the MXN10 delivering “an extra level of textural depth and subtlety to detail” and “greater dynamic scope and rhythmic precision” than the Ultra. It’s the all-round performance of it that’s so impressive, keeping us entertained with everything from Max Richter to Wu-Tang Clan.

We said in our original review: "We like that the Cambridge remains composed when the music becomes demanding, and the way it renders the tone and texture of instruments in such a convincing way. There is a good sense of scale here combined with a surprising dose of authority."

The way it delivers the energy, punch and momentum of a track is hugely enjoyable and captivating. The layers of subtle detail and harmonies around a piano note are delivered with nuance and richness; it sounds musical and entertaining.

It’s important to point out, though, that we never felt shortchanged by the WiiM’s performance. It’s nimble, balanced and likeable, but just lacking a little in terms of texture and rhythmic propulsion compared with the Cambridge rival.

There are a few more elements to the Ultra's sound quality. The WiiM's headphone stage is of a good quality, retaining the same sonic characteristics but with a touch of added richness when we plug in a pair of Beyerdynamic Amiron wired headphones.

Its phono stage is decent but not its strength by far. We connect the Rega Planar 3 RS Edition turntable during testing and it loses clarity and dynamic breadth, opting for a mid-forward balance. Having the phono stage option is nice, but we think going for a dedicated phono preamp or choosing an amplifier with a good phono stage is the way forward if you want the best from a turntable.

** Winner: Cambridge Audio MXN10 **

WiiM Ultra vs Cambridge Audio MXN10: verdict

The WiiM Ultra has plenty of appeal thanks to its touchscreen-enabled modern design and more features than we'd expect from a standard affordable music streamer. It's a talented, multi-faceted unit and its clear, balanced, likeable sound quality will reward many fans. We highly recommend it.

The Cambridge Audio MXN10, however, is the more complete streamer when it comes to its wireless talents, and triumphs in the area that matters the most: sound quality.

What that means to a prospective buyer who’s torn between the two is that both will make great purchases, but the MXN10 remains our top choice if sound quality is your main priority. For this affordable price, the little MXN10 delivers a big performance that still excels and impresses us to this day.

MORE:

Read our full WiiM Ultra review

And our Cambridge Audio MXN10 review

Best music streamers: top network audio players tested by our experts

There’s a common misconception that music streamers are simply about the qualities of their digital chipsets alone. That is, the computer-like streaming module that pulls digital music data from the cloud (from Tidal’s server, say) and packages it into a smooth constant data stream, and the digital-to-analogue converter (DAC) that then turns that data stream into an analogue waveform the rest of your hi-fi system can understand.

It somewhat stems from the broader fallacy that digital audio’s inherent ‘ones and zeros’ makeup means that there can be limited differentiation in their delivery.

But as eloquently illustrated by Cambridge Audio, such chips are comparable to how an orchestra performs: “If the conductor isn’t very good, the orchestra won’t perform as well as they can. However, if the conductor is surrounded by poor musicians or the wrong instruments, again the performance won’t be as good as it could be.”

Indeed, while chipsets do matter, and it is true that all streamers perform one stage of the process with parity (which we’ll get to), their audio performance is predominantly down to how the chips are implemented.

As Paul Neville from Harman International told us, “Engineering a high-quality music streamer requires a holistic approach to the signal path, from the network input to the final analogue output.”

So what exactly matters in music streamer design? Here’s what experts over at Audiolab, Cambridge Audio, Chord Electronics, Cyrus, dCS, Fell Audio, WiiM, Lenbrook (NAD, Bluesound) and Harman International (Arcam, Mark Levinson) had to say about what makes streamers truly sing…

Chips do matter

The streaming module is a crucial music streamer component. It communicates with the source to get your music before packaging it up in a digital language the DAC chip can understand. Up until this point, the digital audio data is more or less handled as it would be had it come from a CD transport.

As dCS’s James Cook tells us, this first process performed by the streaming module guarantees bit-perfect data from a lossless source.

“This means two comparable streamers that support the same version of a streaming service will output an identical data stream,” he says. “This holds true largely regardless of network conditions, the equipment upstream of the network streamer, and to a degree the streamer itself.”

That’s the parity – and to some extent why some people believe that music streamers (those that are DAC-less, anyway) should all sound the same.

What about your home network conditions; does that affect the obtaining of networked music?

“While network stability is important, the reality is that most modern connections, whether wi-fi or wired, offer ample bandwidth for even the highest-resolution audio,” says Cambridge Audio’s engineering team.

“Streaming 4K video with multi-channel audio is a far greater data demand than high-resolution audio. If your network can handle that, it can almost certainly handle your music.”

How the data stream is rendered before the digital-to-analogue conversion stage, however, does make a difference. “The way a streamer unpacks and processes a digital file has already shaped the final sound,” says Fell Audio’s Luke Tyson.

“Its handling and transmission of ones and zeroes within the [circuit] board affect timing, accuracy and ultimately musicality; garbage in, garbage out!”

Tyson says that in this world of increasingly affordable music streamers, “it’s easy to assume that a great music streamer is simply defined by the DAC chipset or streaming module it uses”.

The quality of the streaming and DAC chips themselves does matter – specifically in the case of the latter.

“The first step is selecting the right chip,” says Harman International’s Neville, while Cambridge Audio and Audiolab also stress the importance of using a good-quality DAC chip. But achieving good performance goes far beyond picking expensive chipsets.

“Often you see ‘insert latest DAC name here’ as a marketing bullet point as if just having it in that product guarantees a good sound,” says Cyrus’s Nick Clarke.

But as Audiolab and Cambridge Audio reiterate, the truth is that just as crucial is how it is implemented within and complemented by the surrounding components and circuitry. And often, Clarke continues, “As the performance and functionality of these devices [chips] increase, the scope for not handling them correctly also increases.”

Negating the noise

Several design factors need careful consideration in order to prevent a plague affecting all hi-fi: noise. “Even the best DACs and processors won’t perform optimally if the power supply is noisy or the circuit design introduces unwanted electrical interference,” says WiiM’s Dr. Lifeng Zhao.

Let’s take the power supply. Ideally you want separate supplies feeding the digital (DAC) and analogue (post-DAC) stages with, as Audiolab’s Jan Ertner describes, “clean, consistent power”.

Ertner says that the DAC’s supply in Audiolab’s flagship 9000N (our current Product of the Year streamer) having multiple discrete ultra-low-noise regulators providing power separately to the left and right channels for each conversion stage is a “vital contributor” to its performance.

As an aside, Neville at Harman believes that linear power supplies are preferable to the smaller and arguably more efficient switch-mode supplies here, as they produce less noise and provide “cleaner and more stable power for optimal sound quality”.

As he rightly points out, you need these separate analogue and digital supplies to be isolated from one another, too. And ‘away’ from sensitive circuitry, full stop.

But you can go one better than that. Chord Electronics’ Matt Bartlett says that using a streamer with an external DAC is “one of the best ways to isolate the audio signals, as this allows you to keep all the analogue audio signals you actually listen to, away from any of the noisier streaming functions”.

As we mentioned earlier, the majority of music streamers (including those in our best music streamers buying guide) do, however, have DACs built-in.

Those without one do the pre-DAC music pulling and processing only, are often aspirational designs and are referred to as ‘network transports’ or ‘network bridges’; the recently reviewed Lumin U2 Mini is an example of such.

You then have noise creeping into the audio path or supply from the streamer processing or conversion. Bartlett likens streamers to computers (they are “computers optimised to run dedicated audio/streaming software”), which are inherently noisy.

“They have a lot of clocks and signals that, if not handled correctly, can induce noise,” he says. “This is exacerbated by the need to make the software run as fast as possible to give a positive user experience; users will not appreciate lags and delays in playback if the software cannot keep up. To do this effectively, larger processing and memory is required which, more often than not, also requires faster clocks and more demand on the power supply, and so more noise.”

Cyrus’s Clarke explains that the way streamers receive and decode data – by receiving it in blocks (sometimes referred to as ‘packets’) and placing it in a buffer for decoding in blocks – can also produce noise.

“Specifically when dealing with compressed audio, a poor [decoding] implementation will have measurable artefacts at the block-processing frequency,” he says.

In summary, “A low-noise environment is crucial to unlocking the full potential of high-resolution audio,” says Cambridge Audio.

A question of timing, among other aspects

One of the most important aspects of digital audio delivery is trying to prevent (or minimise) ‘jitter’.

In the case of music streamers, this is the distortion artefact that occurs from slight timing deviations in the clocking signal during the digital-to-analogue conversion stage. These small errors mean the reproduced analogue waveform isn’t exactly the same as the original.

Unsurprisingly then, every manufacturer we spoke to here mentioned the importance of clock design in a music streamer.

The most important one is the ‘master’ that regulates the conversion stage; however Cyrus’s Clarke also explains that there is scope for large amounts of jitter in the sending of data to the DAC (as there is with any digital source pre-DAC).

He says that while modern DACs are then “very good at handling this ‘automatically’, it would be much better if the data was correctly timed in the first place”.

This somewhat goes back to Clarke’s earlier comments that what happens before the DAC stage has an impact, as well as Tyson’s claim that “the way the renderer buffers and reconstructs the digital audio signal before passing it to the DAC can make or break the overall performance”.

For this reason, dCS’s Cook says that for high-performance streamers it is vital that the streaming solution can accept an external clock signal as this helps to ensure that the DAC-bound audio signal leaving the streamer has a low level of jitter.

“A key feature of this is having high-quality clock circuitry inside the product running at integer multiples of the two base audio sample rates (44.1kHz and 48kHz) which can be fed into the streamer,” he says.

Clocks and timing aside, Greg Stidsen of Lenbrook says that the circuit board layout is important too: “How the traces are laid, where the components are placed – all of this affects the sounds to varying degrees.”

Stidsen keenly reminds us that these kind of changes almost exclusively evolved the Bluesound Node 2 (2015) to the Node 2i (2018) on the engineering side of things, and that we noted in our review just how much the performance had improved in the newer model as a result.

Harman International’s Neville agrees that “adherence to high-speed circuit board design principles” is crucial for signal integrity.

Neville and Clarke (Cyrus) discuss how in such hybrid digital and analogue products, careful management of signal grounding (the reference point at which voltages are measured) is also important, with particular focus on where the analogue and digital ground domains intersect to minimise noise and interference.

Of course, Neville adds, on the whole, carefully tuned analogue stages are essential too!

Software and sound

Where digital is the topic of conversation, software isn't far behind.

When you think of music streamer software, you likely think of the app – the thing that can turn your phone or tablet into a practical and intuitive remote control for the platform your streamer runs.

And indeed it’s that operation, alongside the behind-the-scenes design, that impacts not only a product’s user experience but also its audio performance.

Stidsen of Lenbrook – who knows a thing or two about developing streaming systems, with the company’s Bluesound brand having developed its own system (BluOS) based on a Linux kernel – goes as far as saying that “audio quality is defined just as much by software as it is by hardware in a streamer”.

“A well-designed streaming app directly impacts how music sounds, from how the signal is routed to how it interacts with the hardware,” says Audiolab’s Jamie O’Callaghan, tying in with an earlier point that the way in which a streaming platform processes digital data is primarily down to software.

“The various codec implementations and audio chain are all areas where the sound quality can be greatly diminished if the software engineer does not have audio expertise,” adds Stidsen.

WiiM’s Dr. Lifeng Zhao also shares the opinion that hardware alone doesn’t guarantee a great streamer, and it is unfortunate but true that our reviews team has come across great-sounding streamers that we haven’t been able to wholly recommend due to their sub-par user experience.

Nothing is worse than buggy app control prone to drop-outs or lag. Actually, there is one thing: music playback glitches.

“A platform must have a proven track record of stability, ongoing updates and innovations,” says O’Callaghan at Audiolab, while his colleague (and others) stress the importance of platform relevance and longevity, considering the never-ending road of streaming service updates and protocols that lay ahead of music streamer development.

The big picture

Going back to our earlier point, despite those who, from the dawn of digital audio, have insisted that all digital audio kit must sound the same, Audiolab’s Ertner says that “this is demonstrably not the case, and that includes music streamers – even those that use the same streaming platform or chips”.

As several streamer manufacturers have examined here, everything from power supply and analogue stage design to software processing and platform handling impacts streamer sound performance – not just chipset selection.

To that end, Fell Audio’s Tyson proffers a fitting denouement: “A more entry-level ESS Sabre DAC chip, when given a carefully considered discrete power supply feed, better component layout, and efforts to keep signal integrity, can yield superior results and will most likely provide a more complete musical performance than simply opting for the more expensive DAC model.”

So the next time you’re shopping for and comparing music streamer specifications, it would be wise to remember the bigger picture.

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Industry sources:

• Audiolab – Jamie O’Callaghan, Global Marketing Director; Jan Ertner, Head of Electronic Design
• Cambridge Audio – engineering team combined
• Chord Electronics – Matthew Bartlett, MD
• Cyrus – Nick Clarke, MD
• dCS – James Cook, Product Marketing Manager
• Fell Audio – Luke Tyson, Design Lead
• Harman International – Paul Neville, Senior Director of Global Audio, Luxury Audio
• Lenbrook Group – Greg Stidsen, CTO
• WiiM – Dr. Lifeng Zhao, CEO

Devices that bring streaming powers to your old hi-fi kit aren't new, but this new device aims to bring the most popular streaming elements to existing products without being tied to any single brand or ecosystem.

Hailing from Sweden, the Atonemo Streamplayer is a small unit that looks like an oversized lighter (measuring just 70x50x19mm) and aims to update "any speaker, amplifier, or system – regardless of brand, age, or inputs – into a smart, wireless, multiroom audio system."

Atonemo's approach aims to be agnostic, meaning you can keep your existing speakers from different brands and from different eras, but update them with streaming technology without having to start all over with a specific smart brand or be tied to a particular ecosystem.

The device includes AirPlay 2, Google Cast, Spotify Connect, Tidal Connect, Apple Music and YouTube Music, as well as Bluetooth and LE Audio Auracast streaming. Wi-fi 6 is on board, while Roon Ready integration is also coming soon.

The Streamplayer is also compatible with Apple HomeKit and Google Home smart home systems (but not Amazon Alexa).

The Streamplayer can be connected to any audio product that has a 3.5mm auxiliary input, with up to 24-bit/192kHz hi-res files supported. We're told that the 3.5mm audio output on the Streamplayer is a combination analogue and mini Toslink/SPDIF output.

You can power the unit using USB-C, while it connects to your home wi-fi using the Atonemo app. The app is there purely for set up, grouping together connected speakers and offering a 10-band EQ; all music playback is done through the native music streaming apps.

This means you can wirelessly unite various speakers (active, Bluetooth, even older models) from different brands in your house and be able to play to all from your chosen streaming service. To do this, you will need one Streamplayer for each product.

Founder and CEO of Atonemo Leo Ballesteros says he saw a gap in the market where "speaker manufacturers excelled in sound and design but struggled with software and streaming capabilities." Atonemo's agnostic approach aims to be as simple and out of the way as possible. “Speakers should be about sound and design, Atonemo takes care of the rest," he says. "We’re here to breathe new life into all the beautiful speakers, amplifiers and systems already out there, ensuring they remain timeless while embracing modern technology.”

We are increasingly seeing some music streamers miss out on one streaming feature – for instance, BluOS platforms don't feature Chromecast, while the new WiiM Ultra is missing AirPlay 2 – and if you are after a multiroom speaker system, you tend to have to pick a specific maker (Sonos, Amazon Echo, Apple HomePod, Bluesound, Denon etc) to get a seamless experience from multiple speakers. The Streamplayer is a clever way of supercharging any speaker or kit you already own and love with missing streaming elements that you can control from your smartphone without investing in any extra subscription or locking into a brand's own locked system.

The Atonemo Streamplayer is due to go on sale in Spring and will cost £99 / $99 / €99. You can register your interest on the official website to be notified of when it goes on sale.

Read the budget favourite WiiM Pro Plus streamer review

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

I heard my favourite Radiohead album on the B&W speakers used to record it – and now I love it even more

OK, so Dr Victor Frankenstein’s stitching together of various parts to create a new species for the betterment of humankind didn’t go so well, but what could possibly go wrong with mashing together the best bits of several music streamers to produce a perfect one?

We can heartily recommend as many as 15 hi-fi streamers to readers looking to make their systems streaming-savvy, all of which can be found in our best music streamer buying guide. But among the many talents of each are slight imperfections, or at least an aspect of their performance, design or feature set that is beaten by another's.

Indeed, the perfect hi-fi streamer only exists in our minds, so we’ve had some fun by selecting only the finest ingredients from our favourites to make the ultimate music streamer recipe – one that could surely only ever scare in how monstrously good it is!

Build quality: Eversolo DMP-A6

If you haven’t heard of, or don’t know much about, Eversolo, your first impressions of the Chinese-based manufacturer will likely be very positive after reading this article. Despite being relatively new to the music streamer market, it features more than once here, with several of the DMP-A6’s ingredients making it into our ideal music streamer recipe.

We reviewed the DMP-A6 18 months ago and were highly impressed with the package, whose solid foundation starts with its build quality. Despite being a pretty affordable machine at £759 / $859 / AU$1399, it proves it can play with the established big boys on both construction and aesthetic fronts.

For one, our test experts liked the shoebox size of its aluminium chassis, which is somewhere between the full-width design of the Cambridge Audio CXN (V2) and the half-width form of the Cyrus 40 ST. Those pretty compact dimensions strike a nice balance of fitting into any hi-fi rack both width- and depth-wise and being large enough to accommodate the size of LCD touchscreen you genuinely want to interact with (which we’ll get to shortly).

It's well-made and we like how its brushed aluminium finish, single dial and fascia-hogging display combine for a classy, minimal aesthetic. Music streamers aren’t inherently the most physically attractive hi-fi components – their app-heavy nature means they don’t really need to be – but Eversolo’s efforts here pay off. It’s little wonder the company has stuck to the same blueprint for its new DMP-A6 Gen 2.

Ease of set-up: WiiM Pro Plus

WiiM is another Chinese brand to have made a huge impact on the music streamer market, with its What Hi-Fi? Award-winning Pro Plus demonstrating that you can get decent sound, features and usability from a unit as affordable as £219 / $219 / AU$339. Pretty much everything about WiiM’s disruptor is fantastic for the price (bar its plasticky, non-descript build), but the part we like most for our streamer paragon is its set-up process.

The WiiM Home App is its crowning glory, facilitating an intuitive and fuss-free set-up that takes no time at all, is essentially foolproof, and is representative of how comprehensive and slick it is for daily operation.

As we said in our five-star WiiM Pro Plus review, the app is “a cut or two above what you might be expecting from such a modestly priced product (and even better than the apps accompanying rival products with more hi-fi pedigree)”.

User experience: Eversolo DMP-A6

We haven’t encountered any music streamer that betters the Eversolo DMP-A6’s user experience. While it starts with a fuss-free set-up that rivals WiiM’s (in a matter of minutes, our reviews team had hopped onto our network, accessed our various NAS units and logged into our Tidal streaming account – no problem), it’s the unit’s everyday user experience that sets it apart. “An absolute joy to use,” reads our DMP-A6 review.

Unusually for a dedicated hi-fi product, its wonderfully crisp full-colour 6-inch touchscreen display works as well as any current smartphone: it’s smooth, responsive and stutter-free, with neat graphics that are informative without looking cluttered. It is all powered by Android 11 software running on a capable quad-core ARM Cortex-A55 processor; the result is impressively slick. It’s so good, in fact, that we often found ourselves operating the Eversolo from its front panel rather than waiting for our iPad to boot up – and there aren’t many streamers we’ve come across at all that we actually want to directly interact with that way.

Features & app control: Eversolo DMP-A6

Of course, unless your hi-fi system is set up within easy reaching distance, right in front of you or by your side, remote control via a dedicated app on a phone or tablet is how you’ll most often interact with a music streamer. The third and final aspect of Eversolo’s DMP-A6 that we’re borrowing for our ideal music streamer creation is indeed its app.

Available for both iOS and Android, EverSolo Control is intuitive and logically arranged. Streamers are inherently complicated components that have a great deal of functionality, but somehow Eversolo has managed to make its app easy to navigate, even for those not comfortable with such things.

Perhaps most importantly, the app proves stable and reliable in use. In our time with the DMP-A6, it never drops out or freezes, which is almost unheard of. Both the product and the app just work, and that’s something the rest of the streaming industry would do well to emulate.

And while there’s greater parity in terms of streaming features in the hi-fi streamer market than ever before, the DMP-A6 remains, to borrow a quote from our review, “as feature-packed a streamer as we’ve encountered”. You can tick the usual boxes – UPnP, AirPlay 2 and support for popular music streaming services such as Tidal Connect and Spotify Connect, Qobuz, Deezer, Amazon Music and internet radio. It’s Roon Ready certified and has Bluetooth 5.0 (with aptX HD codec). It even has Chromecast built-in (less of a given than the others), while its proprietary sampling-rate audio engine means you can download the Apple Music Android app and stream its lossless hi-res catalogue without Apple’s famously closed ecosystem being a barrier.

Detail resolution & dynamics: Cyrus 40 ST

There are so many different aspects to sound performance that we often find ourselves wishing that even the best all-round hi-fi performers had a little bit more of this or a larger helping of that. For example, while one component may prioritise space and scale and the coherence that often comes with that, another may not be quite so open but instead have the compelling rhythmic flow of a ribbon gymnast.

It makes sense, then, that we have chosen the sonic highlights of three music streamers that, blended together, would create a flawless audio presentation. And it should probably come as no surprise that we have picked fairly premium propositions here. While feature count, app design, set-up ease and, to a lesser extent, build quality aren’t all that price-dependent in the music streamer market, sound performance is.

The Cyrus 40 ST (£2995 / $3995 / AU$4999) would in our minds be the best contributor of detail resolution and dynamic subtlety, getting one over on its biggest rival, the Audiolab 9000N, which won our What Hi-Fi? Award last year (and which features below). Our reviews team notes how in comparison it finds an extra layer of textural detail in instruments and voices.

“Dynamically, it is impressively expressive,” reads the 40 ST review, “rendering low-level shifts in intensity elegantly, and delivering large-scale orchestral crescendos with real conviction, leaving the Audiolab sounding a little subdued in comparison.” It’s as clear and precise a performer as we’ve come across at this aspirational level.

Rhythmic drive & punch: Naim ND5 XS

While the Cyrus is far, far from a musical slouch, arguably only one of its competitors can just better its rhythmic drive and outright punch. The Naim ND5 XS2 (£2499 / $3399 / AU$5750) brings the company’s long-held musical understanding very much to the fore, able to get right underneath any genre of music to convey not only the ebb and flow of its rhythmic pattern but also its intensity.

“It remains a pleasant surprise when a streamer displays any kind of aptitude for timing, but the clock here is admirably precise, while an abundance of punch and terrific dynamic range make for an entertaining, exciting listen,” reads our ND5 XS2 review. Combine the Cyrus’s class-leading analysis and the Naim’s effortless melodiousness and you have renditions that are as informative as they are enjoyable. But there’s another sonic aspect we want to throw into the mix too…

Tonal balance & soundstaging: Audiolab 9000N

Our current Award winner can still reply to the Cyrus and Naim when it comes to tonality and soundstaging, though. Compared to its rivals’ more condensed soundstage, the Audiolab 9000N (£2499 / $3499 / AU$5499) delivers an expansive sonic canvas that is big on both scale and space. It’s stable and packed with sharply focused and precisely plotted instruments and sounds, deftly organised so that its presentation is clean and coherent, never muddled.

It doesn’t even flirt with putting its own sonic character on the music, too, going straight down the tonal middle to offer impressive neutrality.

Both are familiar strengths (neither can be overstated) of Audiolab, which has impressed at the more modest end of the streamer market for years and whose latest 9000N shows it is just as adept at the more sophisticated end too.

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Chances are you have come across our many product buying guides, where we handpick the top products we have tested and can recommend as the very best of their particular price range or type. These lists include, typically, less than a dozen (or in some cases even a small handful) products that have impressed us must during our comprehensive, in-house testing – and we don't include a new product in these guides unless they either surpass a current star in the same category/price or stand out for good reason.

Our best music streamers buying guide is one that has grown in the past couple of years – there are now nine products on the list that have scored five stars and will do justice to your digital music collection, whether you have a strict budget or have thousands to spare. The latest and newest entrant to this guide is none other than the recently reviewed WiiM Ultra.

WiiM has already been a fixture of this music streamers category since we reviewed (and gave a What Hi-Fi? Award to) the budget WiiM Pro Plus, which we still recommend as the best budget streamer you can buy. The WiiM Ultra (£349 / $329 / AU$599) is pricier than the Pro Plus, and is the same price as the multiple Award-winning and reigning Product of the Year, Cambridge Audio MXN10. But its particular set of talents is such that we created an entire new entry for the Ultra, deeming it to be the 'best music streamer for versatility'.

The Ultra is a clear step above its cheaper sibling in terms of price, audio performance and design, and while the Cambridge streamer still pulls ahead when it comes to absolute sound quality, the Ultra offers a wealth of features and connectivity that far outstrips what we would expect from your usual network audio player.

The WiiM Ultra has the streaming chops – DLNA, wi-fi, Bluetooth, Chromecast, Spotify Connect, Tidal Connect, Qobuz, internet radio – with native hi-res resolution up to 24-bit/192kHz supported. The one glaring omission here is AirPlay 2. If you're an iOS user and a regular Apple Music subscriber, then the Pro Plus and MXN10 are better options if AirPlay is a priority.

But the Ultra includes a headphone stage, a moving-magnet phono stage for plugging in a turntable, and an HDMI ARC for easy connection to your TV – none of which you will find on either the Pro Plus or the Cambridge streamer.

Add in a sleek, well-built Mac Mini-style design and very responsive and appealing touchscreen display that we enjoy prodding and using, and you have a product that, unlike many streamers, you won't want to stow away on a busy hi-fi rack or hide away in a corner. You can add various other sources to the streamer, while the unit itself can be connected to a pair of active speakers for a streamlined, compact and modern audio system.

Streaming songs via the WiiM Home app is slick and organised, and it adds voice control, multi-room functions and ample EQ customisation. That display is customisable too, so you can pick a different clock font or choose your pet or holiday snaps as the screensaver background.

The Ultra's sound quality is clean, clear, lively and organised – it's an engaging presentation that is easy to listen to regardless of which streaming source you use. In our review, we say, "There’s enough space and bite at the top end without getting too shrill or splashy, while basslines on Massive Attack’s Paradise Circus have a decent amount of punch and solidity." The phono stage's quality isn't its strongest suit (the dynamics are squashed and the mids are pushed forward, upsetting the Ultra's otherwise well-judged tonal balance), but the headphone stage is great for wired listening and its innate balanced, composed sonic character is consistent across the analogue and digital inputs. "It’s a likeable, tidy performance that keeps us wanting to play more songs from our various music libraries," we continue in our review. "We like the way in which the Ultra doesn’t try to overtly grab your attention; its clean, balanced and nimble sound packs enough punch and pizazz to keep you interested."

The Cambridge MXN10 does, however, unearth greater textures, deeper subtleties in detail and dynamic punch, as well as giving instruments greater body and authenticity. If sound quality is your number one priority, then the MXN10 remains our top recommendation at this price if you are looking solely for a streamer to add to your hi-fi set up.

For music fans who aren't perhaps going down the traditional hi-fi separates route, however, the Ultra offers a versatile, modern hub that gives you a great starting point for streaming music wirelessly but with the potential to add more as you go along your audio journey. (And it's especially appealing if you don't have hundreds in loose change to spend on new kit). The touchscreen display is an immediate draw, while the range of connectivity options available is impressive for this price point. The lack of AirPlay will be a dealbreaker for some, but the WiiM Ultra's charming, likeable performance and hugely appealing design ensures it has a prime spot in our best music streamers buying guide. We'd be hard pressed to find a more versatile player for such a realistically affordable price point of under £/$350 in today's market.

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

Formed in 2012, Lumin has been in the high-end streamer market longer than most, and that experience shines through in the new U2 Mini network transport. It’s a slick and stable performer that could be perfect for those with a digital-to-analogue converter (DAC) in their system but have yet to get into streaming.

Before we go any further, let us clarify what a network transport is. Sometimes called a network bridge or even a network player, it is the component that accesses music from a NAS (Network Attached Storage) across a home network and plays files from streaming services or USB storage. In a nutshell, the transport fetches the digital music file from wherever it is and passes it to an external DAC (which then converts the digital data to an analogue signal that your amplifier can use).

Of course, it is far more common to find music streamers on the market that combine the streaming platform with a built-in DAC, but if your system already contains a digital-to-analogue converter – built into your amplifier or CD player – it probably isn’t worth doubling up on the circuitry. This is where a product like the Lumin U2 Mini fits in.

Features

The U2 Mini is a UPnP streamer and works with all the main streaming services – Spotify Connect, Tidal Connect, Qobuz, TuneIn Radio – and is certified as Roon Ready. File compatibility is excellent with the Lumin handling up to hi-res 32-bit/768kHz PCM files and DSD512. It will decode MQA streams too, though that feels less important now that Tidal has moved away from the format.

Lumin is proud of its new processing system and the quad-clock arrangement which ensures greater internal timing accuracy. Jitter in all its forms is the enemy of good digital sound quality, after all.

The U2 Mini is a generally well-equipped unit, but there are some obvious gaps in its specification. While Apple AirPlay is on the menu, Chromecast isn’t and neither is Bluetooth. While Bluetooth wouldn’t be our first choice for optimal performance, it remains a quick and convenient way of getting music from your phone or computer into your hi-fi.

On a practical note, we are a little surprised that Lumin hasn’t included wi-fi capability here: the U2 Mini has to be hard-wired to your network. Doing things this way has clear advantages in stability of operation and potentially sound quality, but sometimes using a wired connection is impractical or just not possible for some.

It comes as no surprise that a network transport has limited physical connections. The pair of USB Type A ports on the back can be used to connect to storage devices, but only one can be used for that at any given time. The same limitation applies if either is used as a digital output too. Beyond that, there are no other hardwired inputs apart from the ethernet socket, of course. There is a range of digital outputs though. Alongside the aforementioned two USBs, you will find an optical, two coaxials (RCA and BNC) and an AES/EBU.

General build quality is good, though the U2 Mini confirms its status as an entry-level Lumin product by missing out on the beautifully machined, rather luxurious casework found on its siblings further up the price ladder. It shares their simple, some would say basic, display though, and generally uncluttered appearance.

Lumin’s app is a mature and comprehensive piece of software that proves stable and reliable. There is plenty of adjustability on offer to hone the player to what you want it to be. It is possible to bypass specific outputs, adjust the volume level or even fine-tune the way MQA is decoded. At first, all the adjustability feels overly complex, but proves useful over our time with the product.

Despite all the positives, it is also fair to say that its layout can look a little too busy and cluttered. We think Lumin should have another look at this to improve clarity.

Compatibility

Regular readers will know that we rate the digital to analogue converters from Chord Electronics highly, so it should come as no surprise that we partner the U2 Mini with both the Award-winning Chord Qutest (£1195 / $1625 / AU$2400) and Hugo TT2 (£3995 / $5100 / AU$8500), as well as using the digital-to-analogue section of our reference Naim ND555/555 PS DR music streamer.

The rest of the system is our usual Burmester 088/911 Mk III amplifier and ATC SCM 50 speakers. We also have a PMC Cor amplifier and Epos ES14N combination on hand to hear how the Lumin copes in a more price-compatible context, and the Audiolab 9000N (£2499 / $3499 / AU$5500) music streamer for comparison.

The Lumin proves easy to integrate into our system and we manage to access our music library (a Naim Uniti Core) and log into our various music streaming service accounts without issue. Given that a network transport’s job is to access digital music files from various sources and then simply send them to a partnering DAC, it would be easy to assume that all such products would sound the same as long as none of the ‘0’s or ‘1’s are lost.

It is fair to say that in any competently designed streamer, there would be enough in the way of error correction and other processing to ensure that any such losses are absolutely minimal. Yet, in our experience, there are notable differences in sound quality between streaming transports, and this is borne out again when we compare the U2 Mini’s performance to that of Audiolab’s 9000N streamer, with both feeding an outboard DAC.

The Audiolab wasn’t chosen by chance for the comparison. This five-star streamer also uses the Lumin streaming platform and as such is the perfect benchmark at this level. If anything was going to sound the same as the U2 Mini, then the 9000N through its digital output would be it. But it didn’t. Now, the Audiolab 9000N is a terrific product and the current holder of our Product of the Year Award in the music streamers category, but it didn’t take long to decide that the Lumin delivered better results with a good external digital-to-analogue converter.

Sound

When we play Dvořák's New World Symphony (a 16-bit/44.1kHz recording) we are initially drawn to the Audiolab’s rendition. It sounds more forward, crisper and seems to have a touch more punch. As we listen longer, the Lumin’s more neutral and measured approach to music replay gains in appeal. It has a calmer manner and feels more composed. We notice that the U2 Mini digs up a touch more low-level information and that means we are more aware of details like the scale of the recording venue and placement of the orchestra. Through the U2 Mini, the quiet between the notes is more emphatic and that allows the harmonic decay of instruments to come through with greater clarity. We also notice that the Lumin renders the stereo soundstage with a little more depth, though there isn’t much to differentiate the products when it comes to image focus or width. The differences in each particular area aren’t massive, but put them together and our clear preference is for the ’Mini.

Switch to a DSD recording of Stevie Wonder’s Innervisions and the Lumin continues to impress. Its rendition is detailed and energetic, capturing the drama of Higher Ground with its hard-driving rhythm track superbly. We get a fine sense of composure and the ability to organise the dense musical backdrop in a clear and musically convincing way. Wonder’s distinctive tones come through with passion, texture and nuance intact. The music’s dynamics are delivered with fluidity and the Lumin isn’t afraid to hit hard on demand.

Verdict

Over our time with the Lumin U2 Mini, we try out all sorts of music (and file types) from exploring our Tidal playlists to high-res recordings from the likes of the Rolling Stones, The Unthanks and Kate Bush, and this network transport never disappoints. It is a capable performer that works in a stable and reliable way. Partner the U2 Mini with a top-quality outboard DAC and it becomes a great way to bring streaming capability to your system.

First reviewed: March 2025

SCORES

• Sound 5
• Build 4
• Features 3

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Best music streamers: top network audio players tested by our experts

WiiM has been making waves in the world of music streamers lately. The WiiM Pro Plus has picked up a What Hi-Fi? Award two years in a row for the best budget music streamer and the top-of-the-range model, the WiiM Ultra, has just picked up five stars in our review.

Wondering what all the fuss is about? Want to know which one of these two streamers would be right for you? Let's run a comparison and see what the differences are between these two WiiM models.

WiiM Ultra vs WiiM Pro Plus: price

The Pro Plus is the middle child of WiiM's streaming line-up, sitting below the Ultra but above the Pro. It costs £219 / $219 / AU$339, which is quite a bit cheaper than the Ultra's £349 / $329 / AU$599. That's especially true when the Pro Plus goes on sale, which isn't all that often, but we have seen it reduced by £50 before.

Both are still very much on the affordable side when it comes to the wider music streamers market, and the Ultra does plenty to justify its higher price. But if you're after the most affordable way to get streaming in your system, the Pro Plus will do the job nicely.

** Winner: WiiM Pro Plus **

WiiM Ultra vs WiiM Pro Plus: design

As a more wallet-friendly device, the WiiM Pro Plus is distinctly lacking in design bells and whistles. It looks rather like an Apple TV, in that it's a black box bearing a logo and not much else. It comes with an equally functional remote control, but you can also use the WiiM Home mobile app that's much slicker and more feature-packed. It's compact enough to tuck away into most shelves and corners.

Design-wise, the WiiM Ultra is cut from a different cloth – a much nicer cloth, velvet to the Pro Plus' pleather. While bigger than the Pro Plus, it is still fairly compact but has a much sleeker and high quality build, and features a gorgeous 3.5-inch touchscreen display that curves around the edges of the body. This full colour display shows album artwork and icons, as well as menus you can navigate for selecting sources and presets, and it's almost as responsive as the screen on a smartphone.

Of course, you can use the same WiiM Home mobile app as the Pro Plus, and it comes with the same remote control that lets you voice control either device via Amazon Alexa.

** Winner: WiiM Ultra **

WiiM Ultra vs WiiM Pro Plus: features & connections

For such an affordable device, the WiiM Pro Plus is surprisingly feature-heavy, sporting pretty much all the popular streaming platforms and casting methods you'd expect and need. It has dual-band wi-fi and Bluetooth 5.1 (supporting both SBC and AAC codecs), Google Chromecast, Apple AirPlay 2, and support for Spotify Connect, Tidal Connect, Qobuz, Deezer, Amazon Music, internet radio and others via the mobile app. The app can also access any music stored on a common network thanks to DLNA compatibility.

The Ultra has all these same streaming technologies apart from AirPlay 2. It's not alone in this – WiiM's Amp Pro also lacks it. It won't be a dealbreaker for most people, but it's tough to overlook the fact that you're paying more for a product that lacks a feature of its cheaper stablemate.

The two have different DACs, too. The Pro Plus has the AKM 4493SEQ, while the Ultra uses the more advanced ES9038 Q2M SABRE. They can both handle hi-res audio files up to a native 24-bit/192kHz, too.

In terms of physical connections, the Pro Plus offers a digital optical input and output, a digital coaxial output and stereo RCA line-level in and out. The USB-C port is for mains power.

This is where the Ultra has the upper hand. Because while it has the same RCA stereo line level inputs and outputs, digital optical in/out and a coaxial output, you also get an HDMI ARC input and a moving magnet phono stage. That means you can integrate it into your TV set-up more easily, connect it to a CD transport that lacks a DAC, and even hook up a turntable. It also has a subwoofer output and USB-A input for playing files from a media drive, and offers a 3.5mm headphone port where the Pro Plus doesn't. Win.

Both devices feature an Ethernet port for wired internet connection and support multi-room too – even if you connect an analogue source, it can be beamed to other WiiM products around the home. In general, the WiiM app is beginner-friendly and neatly laid out, with all features easily accessible and smooth in use. You can delve further into the app to access EQ settings and tweak more audio options, too.

The two products are very similar in terms of streaming features, but the amount of connections and additional features (such as presets via the display) available on the Ultra makes it the more versatile unit for the price. The lack of AirPlay will likely dissuade many users from considering the Ultra, but the Pro Plus is still a great option if you don't need the HDMI and phono inputs.

** Winner: WiiM Ultra **

WiiM Ultra vs WiiM Pro Plus: sound

The Pro Plus is a current What Hi-Fi? Award winner, so as you would imagine, it sounds pretty great for its super affordable price.

With hi-res files, the audio is entertaining, with an expansive but well-defined soundstage playing host to a great amount of detail for its price. "Despite the generous dimensions of the stage, there's no sense of estrangement or remoteness – every part of the recording relates to the others in a neat and confident manner," we wrote in our review.

Its low end isn't the most imposing, but it is very forthright, with plenty of detail and variation in the textures, and it always remains nicely controlled. It's very forgiving of lesser-quality sources too. Even compressed files sound clear and detailed through the Pro Plus, which is a real achievement.

Use it as a preamplifier or a pass-along device to other WiiM products, and it stays well out of the way. The vinyl audio quality remains untarnished when a record deck is played into the Pro Plus' analogue inputs via a phono stage and then out to a power amplifier. In this scenario, the Pro Plus controls the volume and nothing else, and like a great supporting actor, it plays its role to a tee.

But the WiiM Ultra is also a five-star product, and offers a clear step up in terms of sound quality. You can certainly hear the difference between it and the Pro Plus – as well as the better DAC, WiiM has used "audiophile grade" components in the Ultra, and it shows.

It just packs more detail, clarity and spaciousness than the Pro Plus – it's fuller of body and way more expansive. "The smaller sibling still knits music together quite cohesively for its budget price, but the Ultra's more mature and capable sound reveals more about the music being played, whether you're using Bluetooth or streaming CD-ripped WAV files from a NAS drive," we wrote in our review.

The Ultra's sound is plenty crisp and clear, nimble without overly stressing either end of the frequency range. It's a lively, dynamic sound, and its level of clarity and control is quite impressive even for its step-up price.

If we're being picky, it could use a bit more texture, and a greater sense of drive, especially when compared to rivals like the Award-winning Cambridge Audio MXN10. But it's still a very fine, entertaining performance indeed.

** Winner: WiiM Ultra **

WiiM Ultra vs WiiM Pro Plus: verdict

Two great streamers, one difficult decision. The WiiM Ultra has the edge in almost every department, even if it lacks the Pro Plus's AirPlay feature. If you're a hardcore Apple user (especially an Apple Music subscriber), that could be a major fly in the ointment, and it's difficult to overlook the sheer value that the Pro Plus offers.

However, the Ultra offers greater functionality, greater connectivity and pushes the sonic performance a step above, and is overall a more elegant device to behold and use. If you can stretch your budget further than the Pro Plus, the Ultra is the one worth considering.

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Read our full WiiM Ultra review

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The WiiM Pro Plus took us – and the audio world – by storm, with its hugely likeable combination of features, ease of use and performance bringing hi-res music streaming to an unprecedented affordable and mainstream level. Now it’s the turn of the much-anticipated step-up model, the WiiM Ultra, to come under scrutiny. Can the Ultra possibly live up to such expectations, and deliver yet another winning combination? Spoiler: it’s good news.

Price

The WiiM Ultra costs £349 / $329 / AU$599 and is now the brand’s flagship streamer, and a step up from the £219 / $219 / AU$339 Pro Plus.

The Ultra’s price point is so competitive that it falls in entry-level territory for most rival music streamers from established hi-fi brands. Our reigning champ in this category, the Cambridge Audio MXN10, launched at £449 / $499 / AU$899, but is now available for £349 in the UK and as low as $399 / AU$749 in USA and Australia respectively. The four-star Bluesound Node Nano is yours for £299 / $299 / AU$499, but it’s the Cambridge that WiiM has to beat in our eyes.

Build & design

We’ll get straight to it: the WiiM Ultra is a joy to use thanks to an appealing, user-friendly design. It has such a fresh, modern feel about it – from the sleek, compact design that puts us in mind of a Mac Mini to the very inviting touchscreen display.

It’s a smartly built unit, and we particularly like the way the screen curves around the edges of the aluminium-encased body – it’s a nice detail and elevates its perception of quality. It’s a fair bit taller, wider and deeper than the dinky Pro Plus (almost twice the size), but we think it would look at home on your desktop, under the TV or next to your games console, as well as in a traditional hi-fi rack. Our review sample is an Apple-invoking space grey finish, but a lighter silver model is also available.

The front of the unit is dominated by the 3.5-inch full colour touchscreen display, which shows off album artwork and icons for selecting inputs, changing EQ settings, accessing presets (a great feature for quickly playing your favourite playlists and radio stations) and more. Next to it, a large control dial lets you adjust volume and pause/play tracks. It’s a minimal, unfussy design that is both informative and appealing – even more so when we find out just how responsive the Ultra is in use.

The touchscreen is nearly as slick as using a smartphone screen, with taps and swipes responding smoothly at our fingertips, to the point we prefer using the display more than the control app on our smartphone for basic playback commands and firing up saved playlists. This of course depends on where your music system is set up in relation to where you’re sitting, but if the Ultra is within reach, tapping that screen becomes second nature.

Next to the WiiM Ultra, even our Award-winning Cambridge MXN10 (which doesn’t have a display) starts to look a little dated and plain. The WiiM Ultra also offers a more tactile, sleeker user experience, with the WiiM Home app running smoothly, with everything laid out logically – from setting it up to accessing all your music sources and even customising the clock face and wallpaper backgrounds on the screen. It all feels accessible, too – this isn’t a niche audiophile product that needs a level of technical knowledge to operate; anyone can use it right from the start.

Features & connections

For the price, it’s quite impressive just how many physical connections the WiiM Ultra has been able to fit in. You get your usual RCA stereo line level inputs and outputs, along with digital optical in/out and a coaxial output. But this WiiM lives up to its ‘Ultra’ name by also including an HDMI ARC input and a moving magnet phono stage. Already that’s a huge step up from the Pro Plus, as you can more easily integrate it with your TV system and add on sources like a CD transport in need of a DAC; you can even plug a turntable into the Ultra.

A subwoofer output, a USB-A input for playing files from a media drive and an ethernet port round out the busy back panel. You also get a 3.5mm headphone jack at the front for plugging in your wired cans for late-night listening. That’s about double the connections you get on the WiiM Pro Plus, and even the Cambridge MXN10 doesn’t offer HDMI or MM phono inputs.

On the all-important streaming side, you get pretty much the same extensive features as the Pro Plus, with one surprising exception. The Ultra plays nice with any DLNA-compatible network storage to access and stream hi-res audio files over a network. Inside the Ultra is a 32-bit/384kHz ES9038 Q2M SABRE DAC, but like the Pro Plus, it can natively play up to 24-bit/192kHz PCM files – which is more than enough for most streaming and digital libraries.

It supports Tidal Connect, Spotify Connect, Amazon Music, Deezer and Qobuz, along with internet radio and BBC radio. Bluetooth 5.3 and Google Chromecast are on board for streaming from devices, but the notable exception here is AirPlay. Those who are dedicated iOS users and Apple Music subscribers will decry this omission, but the WiiM’s latest products (WiiM Ultra and WiiM Amp Pro) are not equipped with AirPlay 2. The cheaper Pro Plus still supports AirPlay if that’s a big priority for you. It’s worth noting that the Bluesound Node Nano rival doesn’t support Chromecast but does support AirPlay, while the Cambridge Audio MXN10 supports both.

Other features – multi-room, voice control, room correction, extensive EQ tweaking for each input – are presented with easy-to-follow steps. One thing we really like about the Ultra is that all the required cables – optical, RCA interconnect, HDMI cable – are included in the box. It means you can plug the Ultra straight into your system no matter what input or source you’re using, and you don’t have to wait to buy or find the right cable. The included remote control is also nicely made and easy to use, and if you’re wondering how on earth you connect your turntable’s ground wire to the Ultra, there is an accessory included that you simply plug into the back (marked ‘ground’) that makes it possible.

If you do have more than one WiiM device connected in the app (we had both Ultra and Pro Plus in use during our testing) there is a slight quirk in that a music streaming service you’re signed into on one WiiM unit doesn’t automatically transfer over to other WiiM device added, so you have to re-sign in and reassign presets for each product. It doesn’t take too long to get everything set up, though.

Sound

We tested the WiiM Ultra plugged into our reference system of Naim XS 3 integrated amplifier and Epos ES7N speakers, but more price-compatible partnering equipment include the Rotel A8 and Rega io amps, and the Wharfedale Diamond 12.1 and B&W 607 S3 speakers. You don’t need to plug the Ultra into a traditional hi-fi separates system either; pairing it directly with powered or active speakers such as Elac’s Debut ConneX would make an ultra-compact and modern system.

WiiM says it has used “audiophile grade” components in the Ultra streamer alongside the newer advanced DAC over the Pro Plus, and the step up in sound quality is clear from the moment we start playing. We play Doechii’s Alligator Bites Never Heal album over Tidal and her fierce yet playful tone comes through with crispness and clarity through the Ultra. There’s agility and decent snap behind the driving rhythm, while her distinct, crystal clear vocals come through with ample attitude and detail on Denial Is A River. Play Billie Eilish’s Blue, and we find the Ultra treads a fine balancing act, with neither end of the frequency sticking out unduly or sounding smoothed off. There’s enough space and bite at the top end without getting too shrill or splashy; while basslines on Massive Attack’s Paradise Circus have a decent amount of punch and solidity.

The presentation is fairly open and an easy-going listen from the start, too. Next to the Pro Plus, the WiiM Ultra is a clear step ahead when it comes to detail, clarity and space. The UItra offers a more full-bodied and expansive sound, with greater muscle and dynamism than the Pro Plus. The smaller sibling still knits music together quite cohesively for its budget price, but the Ultra’s more mature and capable sound reveals more about the music being played, whether you’re using Bluetooth or streaming CD-ripped WAV files from a NAS drive.

In absolute terms, we’d like a touch more texture unearthed in piano notes and string instruments and a more propulsive sense of rhythm wouldn’t go amiss. The price rival Cambridge Audio MXN10 shows off its hi-fi pedigree by delivering an extra level of textural depth and subtlety to detail, with greater dynamic scope and rhythmic precision than the Ultra. The piano notes in Erik Satie’s Gnossienne No.1 and in Taylor Swift/Bon Iver’s Exile have richer tones and sound more authentic, while Doechii’s humour and personality come across with more nuance through the Cambridge.

That said, we never feel shortchanged by the WiiM Ultra’s performance when listening to it. It’s a likeable, tidy performance that keeps us wanting to play more songs from our various music libraries. We like the way in which the Ultra doesn’t try to overtly grab your attention; its clean, balanced and nimble sound packs enough punch and pizazz to keep you interested.

You can employ the many EQ presets or tweak frequencies yourself to fine-tune the Ultra’s sound to your tastes; we found the Acoustic option offered an extra dose of spark and zest when we felt certain songs (like Yard Act’s sardonic Dream Job) needed it, but note that this does upset the Ultra’s nicely judged balance by pushing the mids too forward. We opted to keep the EQ on Flat or turned off during most of our listening.

The Ultra’s sound remains pretty consistent across the various streaming sources and analogue and digital inputs. We plug our reference Cyrus CDi into the optical input and find the same balance and character when spinning Jamiroquai and The Unthanks discs, with a touch more stability and solidity compared with streaming. The headphone stage offers more of the same, but with even a touch more richness, while the moving magnet phono stage is fine but not the Ultra’s strength here. We connect the Rega Planar 3 RS Edition and it sounds more cloudy than clear, the dynamics are squashed, and the treble is shaved off in favour of a mid-forward balance. It’s nice to have the option, but you’ll likely get a better-quality phono stage performance from the one in your amp or an external one.

Verdict

If sound quality is your ultimate priority, then Cambridge's MXN10 remains our top recommendation for an affordable network audio player. But the WiiM streamer puts in a mature and engaging performance, while its lethal combination of features, connectivity and terrific user experience for the price is unparalleled.

While we tend to hold sound quality to be the ultimate arbiter in our reviews, there’s no escaping the fact that we find the WiiM Ultra utterly charming in use. Its modern, user-friendly design has broad appeal, and this is as important as its performance – which is a clear step above the Award-winning Pro Plus. The Ultra has many talents for its price level, and we wouldn’t hesitate to recommend it.

First reviewed: February 2025

SCORES

• Sound 4
• Build 5
• Features 5

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Hi-Fi Rose has a new reference-level music streamer, called the RS151. It replaces the outgoing RS150 model from 2021, with the Korean hi-fi brand promising "groundbreaking improvements in every aspect" of the new streamer via its expanded feature set, streamlined design and refined sonic signature.

At the heart of the new music streamer is HiFi Rose’s 'Digital Processing Core' module which synchronises the digital signal the DAC receives, minimising jitter and providing more accurate processing for a more natural, clearer sonic performance. By isolating the processing module from the rest of the unit's CPU circuitry, HiFi Rose claims to have dramatically reduced signal distortion generated from the digital audio path, resulting in accurately processed data and further contributing to the music streamer's pure digital sound.

That DAC is equally important to the RS151's performance, with the high-end streamer employing an ES9039PRO DAC chip alongside fourth-generation 'Hyperstream' technology. Within the DAC section, the digital and analogue signal paths are separated, allowing each circuit to operate independently with reduced interference, something HiFI Rose claims leads to a more precise soundstage with "excellent channel separation" and improved stereo imaging.

The RS151 supports high-resolution audio files up to 32-bit/7268kHz and DSD512. Naturally, the new music streamer works with a variety of popular streaming platforms and is UPnP and DLNA compatible to recognise any locally stored digital libraries. As well as being Roon Ready, the RS151 supports Apple AirPlay, Tidal, Spotify Connect and Qobuz, as well as Bluetooth 5.4 streaming.

In terms of physical connections, the new network player offers RCA, optical, coaxial and HDMI eARC inputs alongside RCA, XLR, optical, coaxial and HDMI outputs, as well as a USB Type-B audio output and a USB Type-B input.

The HiFi Rose streamer's chassis is made using machined aluminium plates up to 30mm thick, which have been designed for more effective heat dissipation, aiming for more stable performance even during extended use. HiFI Rose promises that the RS151's minimal assembly joints enhance its structural rigidity to suppress internal vibrations, resulting not only in less unwanted noise but also a chassis that boasts "an appealing aesthetic".

Like its predecessor, the RS151's front panel is dominated by a large HD touch-sensitive display and boasts a wide viewing angle and "superior resolution". If you don't want to get sticky fingers on your touch panel, the new music streamer comes with a supplied remote control and can be controlled by the Rose Connect app.

The HiFi Rose RS151 is available now in either a black or silver finish, priced at £4299 / $4995 / AU$8154.

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Bluesound has announced the arrival of room-correction technology Dirac Live to two of its newest music streamers. As of now, owners of the Bluesound Node (2024) and the Bluesound Node Icon will receive a firmware update allowing compatibility with Dirac Live.

You can read more about Dirac Live on our dedicated explainer, but the short version is that it's a dedicated room audio correction software that will try to reduce the peaks and fill in the frequency dips in a system’s sound, opting for a smooth and even response regardless of the frequency produced. Dirac also aims for a cleaner, tauter sound by reducing phase issues experienced between speaker drive units.

Owners of the compatible music streamers will still need to purchase a dedicated room-calibration kit and a Dirac Live license to experience "enhanced sound quality across any room of the house, regardless of the room’s unique acoustics."

Meanwhile, owners of the older network players such as the Node X, Powernode and Powernode Edge will get access to Dirac Live before the summer of 2025. There's no word on when, if ever, the entry-level Node Nano will receive the update.

The room calibration kit, costing £39 / $39 / €45, includes an omnidirectional microphone which connects to any laptop via USB-A and features compatibility with Windows and MacOS. For the license, Dirac offers three options: Dirac Live Limited ($159 / £127 approx), which corrects audio below 500 Hz, Dirac Live Full ($249 / £199 approx), which corrects the full frequency range, and a license which lets you upgrade from Limited to Full access for $99 / £79 approx.

According to Bluesound's Product Manager Matt Simmonds: “This launch is important to us since Dirac Live has been one of the most requested features from Bluesound customers due to its unique room-correction methods that result in more transparent, balanced sound, and tighter bass and enhanced clarity.”

We have listened to both the Bluesound Node (2024) and the smaller, cheaper Node Nano, both of which earned four stars when we reviewed them last year and garnered praise for their pleasing sound and impressive array of features. With the addition of Dirac Live, Bluesound aims to take its newer music streamers (aside from the Node Nano) to the next level.

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Read our Bluesound Node (2024) review

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These are the best music streamers across all budgets

Eversolo has caused quite the buzz recently with its highly intuitive and forward-thinking music streamers. The DMP-A6, in particular, received wide acclaim from hi-fi reviewers for its slick design, interface and control app, which puts music management and user-friendliness front and centre. Indeed our expert reviews team called the multi-talented unit a "capable music streamer" and an "absolute joy to use" in our four-star Eversolo DMP-A6 review, concluding that it offered a "fresh outlook on a niche hi-fi category".

The Chinese-based manufacturer is now looking to keep that buzz alive with a successor to the DMP-A6. The fittingly named DMP-A6 Gen 2 brings several upgrades to the table – extra connections, an advanced power supply and more – for a similar asking price of £799 / $859.

Firstly, Eversolo claims the enhanced linear power supply reduces noise levels to below 40uV and provides a “purer and more stable” power source for the circuitry.

Expanding the unit’s connectivity is an HDMI ARC socket and Trigger-out functions for greater compatibility with home cinema systems, allowing TV audio to be transmitted directly and automatic power-on/off with other devices respectively. Those new additions join the existing optical, coaxial and USB-C inputs, optical, coaxial, RCA and XLR outputs, and a full suite of streaming skills that includes Chromecast, Tidal Connect, Roon Ready certification and internet radio. It could well be the most well-equipped hi-fi streamer out there.

New WOL (Wake-on-LAN) functionality allows you to wake up the DMP-A6 Gen 2 through the app, without manual operation, too.

The same slick and responsive six-inch touchscreen, which is essentially a customised version of the Android operating system and works a treat, has been tuned for improved colour accuracy, supposedly resulting in better display performance. The same ARM Cortex-A55 processor and two ES9038Q2M DAC chips appear once more, although for the audio interface Eversolo has used a "significantly upgraded” XMOS chip that can decode native DSD512 and PCM 32-bit/768kHz. The barrier to the DMP-A6 receiving a fifth star lay in its closest rivals' extra subtlety and more convincing ability to handle rhythms and timing, so a boost on the audio front is a welcome one.

The ‘EOS audio engine’ (Eversolo's proprietary sampling rate audio engine) remains a handy feature as it effectively allows the DMP-A6 to output the original sampling rate from music services by bypassing any Android-based audio restrictions. That means you can, for example, download the Apple Music Android app and stream its lossless hi-res catalogue without Apple’s famously closed ecosystem being a barrier.

Also like its predecessor, the latest DMP-A6 even has an internal 32MB of storage if you want to directly upload songs to the unit; you can also install an SSD card for greater storage up to 4TB.

As an aside, the current DMP-A6 Master Edition (£1259 / $1280 / AU$1699) supposedly takes performance further courtesy of more advanced audio clocks and op-amps. Both A6 models sit below a DMP-A8 and DMP-A10.

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