Sennheiser and Sony make some of the best wireless earbuds around, so when a new pair from either brand launches, it's big news indeed.

Sennheiser's latest, the Momentum True Wireless 5, do not disappoint. Their crisp, detailed sound and impressive battery life helped them earn a five-star review, but are they better than Sony's five-star WF-1000XM6? That's what we're here to find out.

We've compared every aspect of the two pairs to help you decide which is right for you. Ready? Let's go.

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: tech specs comparison

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: price

When it comes to price, there really isn't much to choose between these two pairs. The Sennheiser Momentum True Wireless 5 launched at £250 / $300 / AU$480, which is very similar to the XM6's launch price of £250 / $330 / AU$500.

However, the XM6 went on sale back in February 2026, whereas the Sennheisers only launched at the start of September, meaning that the Sonys are much more likely to be discounted.

Indeed, they already have been. Last summer's Prime Day saw the XM6 drop to £199, and with both Amazon Prime Big Deal Days and Black Friday coming soon, expect plenty more drops where that came from.

It's too early for a major deal on the Sennheisers, though we could see a small discount this side of Christmas.

** Winner: Sony WF-1000XM6 **

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: build & comfort

Sony and Sennheiser have strong legacies in the wireless earbuds space, so it's hardly surprising that both pairs stick to the respective brands' tried-and-tested designs.

The Sennheisers have had a few subtle tweaks to freshen up the design. They're now rounder and more similar in shape to a baked bean. The Momentum True Wireless 5 have a new case too, which is taller and slimmer than its predecessor, and made of speckled plastic.

Both pairs are comfortable enough to wear for long sessions, though we have found the XM6 (like most Sony 'buds) split opinion – some people get on with them fine, others struggle to get a secure fit even after trying the various sizes of bundled eartips.

Both pairs offer XS, S, M and L tip choices, though we'd predict that most users will find the Momentum TW 5s' fit more secure and forgiving than that offered by their Sony rivals.

With an IP54 rating, the Sennheisers are protected against dust and water splashes, whereas the Sonys only have water protection. If you're heading to the beach, the Momentum True Wireless 5 are the safer bet, as they'll offer a more reliable shield against small particle ingress.

Both pairs of buds feature touch controls which can be customised using the respective mobile apps, both of which are in-dept and a pleasure to use.

Do note that the Sennheisers come in far more finishes – five, to the Sony's rather measly two.

** Winner: Sennheiser Momentum True Wireless 5 **

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: features

These new Sennheisers support spatial audio with Dolby Atmos, while Sony's wireless buds have their proprietary equivalent 360 Reality Audio. Both features work well, especially the dynamic head tracking, though Atmos is the more widely supported format, so you'll find more spatial content to listen to using Sennheiser's 'buds. Plus, you'll have to have your ears 'analysed' to use 360 Reality Audio, something which some users might find to be an unnecessary hassle.

The Sonys counter with the longer battery life, on the buds at least – you get eight hours of playtime from the buds alone, and only six from the Sennheisers. The Sennheisers do last an hour longer when you factor in recharges from the case, however, offering 25 hours of use to the XM6s' 24 hours. These figures are all with active noise cancellation turned on. Turn it off, and the Sennheisers go for a marathon 40 hours in total)

For higher-quality listening, the Sennheisers support the aptX Adaptive codec, while the Sonys have LDAC. The Sennheisers also support a more recent version of Bluetooth: 6.0 compared to 5.3 on the Sonys. Bluetooth Multipoint comes on both pairs for seamlessly switching between connected devices.

Sony's DSEE Extreme processing boosts the sound of lower-quality files – handy if you're listening to compressed formats like MP3. But for the longer total battery life, more advanced Bluetooth and more widely used audio standards, the Sennheisers take this round.

** Winner: Sennheiser Momentum True Wireless 5 **

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: ANC & call quality

Sennheiser and Sony have been in the noise-cancelling game for quite some time now, and their flagship pairs of earbuds pack some mighty impressive ANC credentials.

Both pairs pack four mics in each earbud, while the Sonys add the brand's third-gen HD Noise Cancelling processor QN3e and Adaptive NC Optimiser, which automatically adapts the ANC algorithm to your fit and environment.

The Sennheisers' new shape is designed to provide better passive noise isolation. In our Momentum True Wireless 5 review, we found the noise cancellation "powerful yet not overdone" and more natural-feeling than some rival buds' ANC.

"The shrillest highs and most booming lows will penetrate," we concluded, "but for softening or excluding most external sounds, from general chatter to humming air conditioning, they confidently make the grade."

The WF-1000XM6 also fare very well in this regard. Testing them on planes and trains (but sadly not automobiles) for our XM6 review, we wrote that "they impressed us with their consistency and ability to extract both low-frequency rumbles of carriages and aeroplane engines, but also more high-pitched screeches and whistles that crept into our environment."

For call quality, however, there's a clearer winner.

The Sonys combine AI beamforming, bone conduction sensors, extra mics and a wind noise reduction design to devastating effect. They "do a great job subduing and minimising background noise, including tricky-to-handle wind noise – voices come through loud and clear with a great level of detail," as we wrote at the time.

While the Sennheisers' microphone plates and acoustic chamber are configured to reduce the effect of wind, and they handle calls competently, we found that "voices can sound a little muffled when compared with the natural clarity of the Sony WF-1000XM6."

A win for Sony on this one.

** Winner: Sony WF-1000XM6 **

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: sound

And so to sound.

Sennheiser's flagship pair contain the brand's signature 7mm TrueResponse dynamic drivers, which helps the sound stay clean and balanced.

Playing Massive Attack’s Paradise Circus, the Sennheisers "confidently track clacking drums, scattered hand claps and glassy synths" with plenty of insight and clarity. They excel in the midrange too – witness Hope Sandoval’s breathy whispers – and have no trouble staying organised and composed when faced with trickier compositions. Their bass, meanwhile, is weighty yet precise, adding a natural anchor to the frequencies above.

The XM6 also sound excellent, full of a natural warmth while also boasting impressive levels of detail and insight.

As we wrote in our review: "Everything that you expect to be present in a pair of flagship wireless earbuds is there: a fantastic sense of timing, an expressive midrange, weighty yet well-defined bass and crisp, nicely controlled highs. The Sonys cover all the bases and then some".

Through the Sonys, Tom Odell's Black Friday has plenty of delicacy and subtlety, and as fingers slide up the acoustic guitar's neck, "you can explicitly hear the little shifts in dynamics and the fine details in the gentle piano play, both of which mix beautifully with the sweeping strings that flow alongside both instruments."

Bass is powerful but controlled, and their rhythmic abilities are second to none.

So both pairs sound pretty great, but how do they compare side by side?

Both sets handle dynamics superbly, even with their somewhat contrasting approaches. As we wrote during our review of the Momentum TW 5, the XM6 "are more expressive in how they keep the underlying pulse of Radiohead’s Burn The Witch ticking away, but the Sennheisers' agile, nimble sound means that the track's relentless sense of attack isn't lost for a moment".

Side-by-side, the Sennheisers are also prone to sounding a bit more etched than the Sonys, particularly in the high frequencies, but this can be somewhat negated via the provided in-app equaliser.

The XM6 come across as more natural at this end of the frequency range, whereas the Sennheisers can sound a little hard-edged with cymbal strikes or shrieking strings. It's not a dealbreaker, but it is something to consider when weighing up your purchase.

This one is as much about taste as objective quality. The Sennheisers are sparklingly clear, especially through their superb midrange, with a natural smoothness and poise that we find to be a delight. If that's your kind of thing, they're a complete no-brainer.

For us, the Sony WF-1000XM6 just grab and hold our attention more effectively thanks to their more expressive, grippy sound. It's a close one, but the XM6s' masterful blend of analysis and entertainment is yet to be surpassed.

** Winner: Sony WF-1000XM6 **

Sennheiser Momentum True Wireless 5 vs Sony WF-1000XM6: verdict

It's a close run thing, but for sound, call quality and features, we just about prefer the Sonys. And given that they've been around since February 2026, they're more likely to see decent discounts than the much newer Sennheisers.

The Momentum True Wireless 5 are still a five-star pair, however, with a robust design, packed feature set and nimble sound. If their sonic personality sounds like your kind of thing, they're well worth considering, because they could definitely be the buds for you.

MORE:

Read our Sennheiser Momentum True Wireless 5 review

And our Sony WF-1000XM6 review

Apple AirPods 5 vs AirPods 4: what's new with Apple's latest noise-cancelling earbuds?

That can be particularly frustrating when you have forked out a fair amount of cash for a brand-new TV. Unfortunately, as TVs have been getting slimmer, so have their built-in speakers which often does not allow enough space for the drivers you deserve.

But don’t worry, there are a few things you can try before completely relying on subtitles or cranking up the volume to 11. Let’s take a look.

Experiment with your TV’s speech boosters

One of the simplest ways to try to improve the dialogue from your TV is to dive into its settings menu. Every TV brand has a slightly different name for its speech boosters, so finding the right one may take a bit of searching online or in the user manual.

Sony Bravia TVs, for instance, offer a feature called Voice Zoom, which reduces ambient noise and increases the voice level.

There are usually also sound presets that prioritise dialogue, although they might be under Dialogue or the less intuitive News option. It might be a little time-consuming to start with, but it’s worth it in the long run to find the best setting for you.

Invest in a soundbar

If you are still struggling to catch dialogue, then it might be worth investing in a soundbar. They can sit in front of your TV screen, or you can wall-mount them if you prefer. And they offer far better dialogue and a more immersive audio experience than the vast majority of TV speakers.

There are oodles of models on the market, ranging from premium entries to more budget-friendly options. For the latter, the Award-winning Hisense AX5125H soundbar system and the compact Creative Stage Pro models are each well worth your consideration. In both cases, we find that dialogue is much clearer compared with the TV speakers, as well as delivering more expression and nuance in voices.

Many soundbars also offer their own EQ modes to enhance the dialogue further. The Sonos Beam Ultra, to which we just awarded five stars in our test room, for instance, has its own Speech Enhancement mode, which you can adjust from low to max, or just leave off entirely.

Connect to your headphones

This option won't suit everyone, but if you are still struggling, then it might be worth connecting your TV to a pair of headphones. That, of course, makes the listening experience much more intimate, and you quite possibly already have a compatible model in your home.

It’s also handy if you don’t want to disturb others in your home without having to turn the volume down and making the dialogue even less clear.

Most smart TVs allow you to connect your cans via Bluetooth, as you would link them to your phone or computer. For the more analogue among you, you can connect many over-ear headphones to the TV using the 3.5mm auxiliary jack and a cable extension.

Invest in a good pair of Bluetooth headphones, such as the Award-winning Sony WH-1000XM6 or Sennheiser HDB 630, and you should be getting a much more detailed and engaging experience compared with your built-in TV speakers.

If you wear hearing aids, you can connect these to your TV as well via Bluetooth.

After finding the right solution for you, hopefully you will be well on your way to getting much clearer dialogue – and so to immersing yourself more fully in movies.

MORE:

These are the best headphones we have tested

Check out the best soundbars

And here are the best TVs

Back in June, Sony pushed a software update to its current lineup of TVs that, for many, seems to have caused fundamental problems with eARC.

The issues include Dolby Vision content refusing to play, sound gradually desyncing, and audio dropouts, with most users experiencing some but not others. I’m a Bravia 8 II owner, and it’s the audio dropouts that I got.

The common factor is that it only affects content being played from an external source that is being routed through the TV to an external sound system.

For most people, including me, it has meant having to stop using their system as intended – I’ve been unable to use my Apple TV 4K, for example – and while the Dolby Vision problems were seemingly fixed by a further software update last month, the audio problems have remained.

Sony has been frustratingly quiet about the whole issue, with the only public acknowledgement coming from Sony Japan just last week.

Once translated, that Sony Japan post states that “the issue of audio being out of sync with the video (lip-sync discrepancy) will be addressed in a software update scheduled for September 2026”.

It's worth noting that Sony Japan's statement specifically refers to the lip-sync issue; it doesn't explicitly say that the audio dropout problems experienced by some owners will also be addressed by the same update.

But, in fact, it seems that the software update referenced may already be available – at least in some regions.

Software update 114.603.100.1 launched yesterday in the US, and early reports from some Sony Bravia owners suggest the audio sync and dropout issues might have been resolved.

To be clear, this software update is not yet available in the UK, so I haven’t been able to test it myself. It’s only a handful of owners in the US who are so far reporting positive news, too, so it’s a little too early to assume everything is hunky-dory.

I have contacted Sony UK for clarification, as well as a date for the software release over here, and I’ll report back if I hear anything.

Still, if the early reports are correct, this already feels like positive movement, and I, for one, am excited for the presumably imminent release of this new software in the UK.

I love my Bravia 8 II, and I would really like to go back to using it as intended.

MORE:

Here are the best TVs and best Dolby Atmos soundbars you can buy right now

Two Japanese AV titans are going head-to-head today, and more is at stake than you might think.

Sony’s TA-AN1000 AV amplifier turned our Awards list on its head in 2023, dethroning both the Denon AVR-X2800H and Denon AVC-X3800H in one fell swoop.

Ever since, Denon has been working tirelessly to reinstate its AV amplifiers as the top choice for home cinema fans – and that brings us to its most recent launch.

After almost four years of anticipation, Denon launched the AVR-X2900H earlier this year, alongside its step-up sibling, the AVC-X3900H.

The X2900H was developed as a direct response to the TA-AN1000, and Denon’s goal was to knock Sony off the top spot after spending multiple years virtually unchallenged.

So, has Denon succeeded? Or are you better off sticking with the Sony? We tested these sub-£1000 AVRs side by side to answer that very question…

Sony TA-AN1000 vs Denon AVR-X2900H: Price

Both the Denon and Sony amplifiers occupy the more affordable end of the mid-range AVR market, though the Denon technically launched at a slightly lower price.

The AVR-X2900H launched at £899 / $1349 / AU$1799 earlier this year, whereas the TA-AN1000 cost £999 (around $1240 / AU$1850) when it was released back in 2022.

However, the Sony’s age becomes an unexpected advantage, as we find that it is practically always subject to heavily discounted prices.

The TA-A1000 seems to have widely adopted the £699 price tag that was once reserved for Black Friday and Amazon Prime Day, making it the cheaper of the two amplifiers.

**Winner: Sony TA-AN1000**

Sony TA-AN1000 vs Denon AVR-X2900H: Design

Neither of these home cinema amplifiers will make you swoon, but they’re also by no means unpleasant to look at.

We think that they both look practical and understated, which is a nice way of saying that they’re black aluminium cuboids with a smattering of buttons and knobs on the front, and a heavy helping of ports and connections on the rear.

The Sony looks almost identical to the STR-DN1080 that it replaced, which launched in 2017. It sports a split-layer design, with a row of slim buttons sitting below a slender horizontal display that runs along the width of the amplifier.

There are separate volume and input selection wheels, as well as a few front-facing ports.

The Denon, on the other hand, looks almost identical to the last decade of Denon AVRs that came before it. It sports a brushed metal finish, a row of buttons that sits below a slim horizontal screen, separate volume and input selection wheels, and a few front-facing ports.

While that might sound identical to the Sony (because it pretty much is), the Denon’s display and buttons take up only a central panel rather than the full width of the amplifier.

Denon has also kindly tweaked the on-unit controls this year, with buttons that are angled slightly upwards, making them easier to press if the AVR is sitting on a lower shelf in your media unit.

Truthfully, this is a horses-for-courses situation, and which looks better will depend on your personal taste.

**Winner: Draw**

Sony TA-AN1000 vs Denon AVR-X2900H: Features

The AVR-X2900H and TA-AN1000 both feature seven channels of amplification, which can power up to 7.1 surround sound or a 5.1.2 Dolby Atmos speaker system. The Denon takes the crown when it comes to power output, though, as it features a claimed 95W of power with two channels of the seven driven, whereas the Sony touts a claimed 85W with two channels driven.

Denon also beats the Sony when it comes to connectivity; both amps feature six HDMI inputs on the rear; however, three of them are full-bandwidth HDMI 2.1 sockets that can handle 4K/120Hz or 8K/60Hz signals with VRR and ALLM on the X2900H.

The TA-AN1000, on the other hand, has just two HDMI 2.1 inputs. The X2900H also adds 1440p support for console and PC gaming, as well as AMD FreeSync for smoother gameplay.

Wireless connectivity is also solid on both. Bluetooth is featured on the Sony and Denon, and they can both handle music streaming over wi-fi, though they take different approaches.

The Sony allows for direct streaming via AirPlay 2, Spotify Connect, Tidal Connect and Google Chromecast, while the Denon funnels these services through its HEOS service, which also allows users to tie this amp into a multi-room system with other Denon and Marantz audio products. The Sony has a similar trick up its sleeve with its Works With Sonos feature, which means that you can link the TA-AN1000 with Sonos’ wireless multi-room speakers.

The X2900H beats the AN1000 when it comes to HDR support too. Both amplifiers can pass through HDR10, HLG and Dolby Atmos video, but the AVR-X2900H adds HDR10+ support, which is missing on the Sony. Both amplifiers support a wide array of Dolby and DTS audio formats, including Dolby Atmos and DTS:X.

Both amplifiers also have comprehensive room calibration systems built in, with the required microphones included in the box. The Sony uses its own proprietary system, which requires a little bit of manual labour – including taking measurements of your ceiling height, screen height, and distance to your listening position – though it rattles through the calibration process at speed afterwards.

The Denon features Audyssey’s MultEQ XT, which allows users to take measurements from multiple positions to determine the best speaker distances and levels for your space.

If that doesn’t float your boat, then Dirac Live Room Correction is also supported, though it requires additional paid software and accessories to complete.

While the Sony is a well-equipped amplifier by general standards, there’s no denying that the Denon steals the spotlight with better connectivity, HDR support and calibration options.

**Winner: Denon AVR-X2900H**

Sony TA-AN1000 vs Denon AVR-X2900H: Sound

Here is where the winner of this battle is truly decided. Sound performance is everything, and as the star ratings for these amplifiers may give away, there is a clear winner in this regard.

We’ll start with the AVR-X2900H, as there is plenty to like here. Denon’s signature sound is on full display here, as there is a rich, weighty and broad sense to the sound that this amplifier produces.

This ensures that the Denon is in its element with large-scale action set pieces, as the big, powerful sound sweeps us up in its cinematic presentation.

While it may sound like this amplifier is all muscle, that’s far from the case; sonic subtleties are handled with care, meaning distinct background sounds are preserved to ensure immersion.

That is paired with an excellent sense of sonic cohesion, as the Denon is a dab hand at passing sound effects – big and small – around the surround sound channels without noticeable gaps or distractions.

The Denon’s richer and more powerful sound makes it talented for music. The smooth, inviting sound makes stereo recordings a joy to listen to, and with that level of detail that we mentioned earlier coming into play here with vocals and instruments. We find that the Denon is talented for AV and hi-fi tasks alike.

That said, the Sony also delivers detail in droves, and it too delivers an impressive surround sound showcase. It also introduces a much-needed sense of energy and agility to the sound, which highlights the Denon’s tendency to veer into sounding somewhat over-indulgent and slightly lethargic.

Furthermore, the Sony dominates when it comes to dynamic control. Immediate jumps in volume (think explosions and car crashes) are punchy, powerful and engaging, and there’s also much more care given to low-level dynamics too.

Paired with the crisper and snappier nature of the Sony, we find that dialogue sounds much more lifelike through this amplifier compared to the Denon too.

What really seals the Denon’s fate, however, is how it handles bass. While this amplifier can pump out a truly impressive amount of bass (certainly more than the Sony), it often feels disappointingly ill-defined and mushy, with surprisingly little tonal variation on display here.

The Sony, on the other hand, dials back the bass depth slightly, but in doing so it makes low frequencies sound much more intentional, with more dynamic, textured and expressive low end.

**Winner: Sony TA-AN1000**

Sony TA-AN1000 vs Denon AVR-X2900H: Verdict

Denon’s mission to knock Sony down a peg and reclaim its spot as the champion of mid-range AVRs may not have succeeded this time, but that doesn't mean there isn't lots to like with the X2900H.

It delivers a warm, rich and powerful sound that will appeal to and delight many, and it's talented for movies and music alike. If you want grandeur, scale, and a surround sound experience that envelops you in every aspect, then the Denon could be ideal for you; however, the Sony once again reminds us why it's earned its praise and accolades once we fire it up for comparison.

Truthfully, we wanted the Denon AVR-X2900H to give the Sony TA-AN1000 a serious fight. The Sony has sat too comfortably on our annual Awards list, shooting down any competition that comes its way thanks to its superb handling of dynamics and detailed sound.

It may not be as well equipped as the Denon, but given the price drops that can be forgiven for now. And once we immerse ourselves in the agile, dynamic and crisp sound it produces, it begins to highlight some of the Denon’s inherent flaws.

We can't fault Denon’s grit and determination to deliver an AVR that beats this three-time Product of the Year Award-winner, but it needs to rethink its approach to dynamics and bass performance if it truly wants to knock Sony off the podium.

**Overall winner: Sony TA-AN1000**

MORE:

Read our full Sony TA-AN1000 review

And our Denon AVR-X2900H review

Check out our list of the best AV receivers

That's no bad thing, however – there's plenty to look forward to in the rest of 2026, especially in the dynamic worlds of hi-fi and home cinema.

With IFA and the Apple September event now concluded, we have plenty of new product releases to look forward to, including offerings from heavyweights such as Apple, Sonos and Sony.

That's not all, though! An HDR war is on the horizon as Dolby Vision 2 and HDR10+ Advanced start rolling out across consumer TVs, and RGB Mini LED is now out on the market and facing its first sales season.

So don't start planning Christmas just yet – we've got all this to come...

The HDR format war heats up

It's been a long time in the making, but the next generation of HDR formats is finally here.

Dolby Vision 2 launched on select Hisense TVs on 6th August, with more models set to receive the firmware update over time.

Not to be outdone, HDR10+ Advanced also launched on select Samsung TVs last month, setting the stage for a good old-fashioned format war that the AV industry can't help but love.

Supported TVs are still rather limited, as are compatible streaming services – Dolby Vision 2 has only been confirmed for Peacock, CANAL+ and iQIYI so far, whereas HDR10+ Advanced is currently only on Prime Video.

However, support is only set to grow, so it will be interesting to see how the next few months unfold – we're looking forward to having a closer look in our test room as well...

A Sonos double bill

IFA saw the launch of not one, but two key Sonos products – the long-awaited Sonos Beam Ultra soundbar and Sonos Ace Ultra wireless headphones.

The Beam Ultra is not a replacement for the beloved five-star Sonos Beam (Gen 2), but instead a step-up model with up-firing Atmos drivers as the big selling point. We'll be sure to test it as soon as possible, but we were very impressed when we heard a demo session.

The Sonos Ace Ultra are a more interesting proposition, as they are only the American brand's second wireless headphones. We were left underwhelmed by the three-star Sonos Ace, but the new drivers, refined tuning and upgraded ANC of the Ultra model look to rectify many of our misgivings.

The Sonos Beam Ultra and Ace Ultra both release on 29th September.

Good things come in threes for Sony

When it rains, it pours. The release of new Sony wireless headphones is always a cause for celebration, but three have come along at once.

Granted, one of them is an update of an old favourite: the Sony WH-1000XM4C is a redesign of the five-star WH-1000XM4, now with EU-compliant batteries and a tweaked sound more akin to the WH-1000XM6. Battery life has dropped from 30 hours to 27 hours, but luckily so has the price tag: the WH-1000XM4C retails for £219 / $300 / AU$449.95.

The other two are newer proposals, even if they are budget offerings. The Sony WH-CH530 and WH-CH730N replace two of the cheapest five-star headphones we recommend, with several upgrades and tweaks to the already great-value cans.

The WH-CH730N have had a notable redesign from the WH-CH720N they replace, with a smoother, more premium look similar to the Sonos Ace. They also fold away and boast a titanic 75-hour battery life.

The Sony WH-CH530 are very similar to the WH-CH520 aesthetically, but have a longer 55-hour battery life. Both models also claim to have a sonic boost thanks to improved digital signal processing and algorithms, as well as upgraded noise-cancelling thanks to Sony's 'Dual Noise Sensor' technology and beamforming microphones.

All three Sony headphones are available now. We look forward to welcoming them to our test room very soon!

Apple joins the folding craze

We're sure you've seen that slick folding animation all over social media by now, but yes, Apple has announced the long-rumoured foldable iPhone. The iPhone Duo has an outer display measuring 5.4 inches and an inner display coming in at 7.6 inches, with speakers at the top and bottom of the screen for spatial audio.

We awarded five stars to the Samsung Galaxy Z Fold 8 only a few weeks ago, so the Duo is up against some tough competition. However, we're excited about what the Duo's aspect ratio and wide-angle OLEDs could mean for movie and TV watching.

More of a surprise, however, was the AirPods 5. ANC is now available even on the base model, as well as several AirPods Pro 3 features such as a new multi-port acoustic architecture, transparency mode and live translation.

Two models were announced, with the more expensive version coming with a wireless charging case, volume swipe controls and an extra hour of battery life. We're excited about the AirPods 5, but the four hours of battery life on the base model has left us scratching our heads.

The iPhone 18 range also launched with two new Pro models, with a heavy emphasis on AI and camera upgrades.

The AirPods 5 and iPhone 18 range will be released on 18th September, with the iPhone Duo following on 23rd September.

RGB Mini LED faces its first big sales test

The other big display technology of 2026, RGB Mini LED finally entered our test rooms this spring after months of anticipation.

It's fair to say that while we were impressed with sets such as the Sony Bravia 9 II, the backlit technology was not about to eclipse the impressive contrast, perfect blacks and wide viewing angles of OLED in our eyes.

However, with Black Friday and the biggest TV sales event of the year on the horizon, consumers may well think otherwise. One of our biggest gripes with RGB Mini LED was the OLED-level price, so a healthy discount in the sales week could do wonders – we've already seen huge drops on the Hisense UR9 and Sony Bravia 7 II. Only time will tell...

MORE:

These are the best phones for serious music and movie fans

Our picks of the best wireless headphones

We rank the best soundbars money can buy

Not because they fell short of our expectations – quite the opposite – but because the budget noise-cancelling over-ears were so good, we couldn't wait to see what Sony could do when given another chance to impress.

A sequel has indeed finally arrived in the shape of the Sony WH-CH730N, vowing to elevate everything we liked about the WH-CH720N while mitigating their modest but not-trivial limitations.

Those limitations included a slightly bass-heavy sonic signature, as well as a design that, if we're being charitable, wasn't exactly the last word in luxury.

If the WH-CH730N can rectify such minor issues without losing the character of what made their predecessors so great, they could truly be successors to some of our favourite headphones of the past few years. Now that's something worth getting excited about.

When Sony invited us for an exclusive look at the WH-CH730N, we had to take advantage. We haven't heard the new headphones yet, but we've had a sneak peek at how they look and feel, and heard directly from Sony about the changes the next-gen over-ears have made. From what we've seen, they could be something very special.

Excited for: a new folding look

When we went to see them in person a few weeks ago, we really liked the way the new WH-CH730N looked.

Taste is subjective – and how a pair of headphones appear on the outside should be a secondary priority to how they sound – but that wholesale redesign really works for us. The WH-CH720N were, to be charitable, rather rough and ready headphones, but the smoother, more modern design of their successors feels like a big improvement. Out are the rather basic earcups, replaced by larger, more premium cups that come across as far more premium than the headphones' modest price might suggest.

Better still, they should be more ergonomic to live with thanks to the fact that the new over-ears feel sturdier and are now fully foldable, something that was lacking in the somewhat rigid WH-CH720N. It was always a worry that you might accidentally snap your precious headphones in transit, but full foldability helps assuage such fears this time around.

It makes sense considering that these are still reasonably budget-friendly headphones geared towards everyday use. When you've got over-ears that are going to be thrown into backpacks and tossed into the back of the car, you want to know they're going to survive years of potentially hard use.

Excited for: refined tuning and (hopefully) better sound

At first, it was easy to hear the news that Sony hadn’t updated the physical drivers for the Sony WH-CH730N. You expect new hardware from one generation to the next, so the fact that Sony had kept the same 30mm dynamic units as found in the WH-CH720N just slightly smacked of complacency.

Yet that needn’t be the case. The thing is, the WH-CH720N sound great – they might be the best sound-per-pound wireless over-ears you can buy – with their slightly enthusiastic bass the only real point of criticism. Even then, you can tone that down via the in-app equaliser, so it’s not a huge deal.

As it turns out, we want more of the same from the WH-CH730N, albeit with a bit of sonic tinkering to make them as good as they can be. Tweaking tuning algorithms rather than physical hardware can make a surprisingly profound difference, too – just look at how much better the Bose QuietComfort Ultra Earbuds (2nd Gen) sound over their first-gen antecedents.

The punchy, deeply musical personality of the WH-CH720N…but better? Sounds like a recipe for success to us.

Excited for: longer battery life

Wow, check out these numbers. We didn’t think the WH-CH720N were exactly short on battery life, thanks to their 50 hours of lifespan with ANC off and a still-massive 35 hours with it on, but Sony has really doubled down for the sequel.

The WH-CH730N will go for 75 hours before they need a recharge if you have noise cancelling turned off, a figure that quite frankly puts their predecessors in the shade. That’s a huge usability bonus, only sweetened by the fact that a three-minute quick charge will grant around an hour of playback when you’re in a hurry.

Not many rivals come close at this kind of money. The Austrian Audio Hi-X25BT (£129 / $140) will go for around 30 hours before they need a recharge, whereas even the mega-battery-boasting Philips TAH8000E's (£140 / $149) 70 hours with ANC off can't quite keep up.

Excited for: that seamless Sony usability

From the bottom of its range to the very top, Sony's headphones are very rarely a chore to live with. Quality tends to suffuse everything the brand does at the moment, with its wireless cans exemplifying this customer-first focus on usability and performance that few rivals can match.

What the WH-CH730N have in their favour right out of the gate, then, is the fact that they're a pair of Sony over-ears. That means certain features, such as DSEE upscaling for poorer-quality files, as well as 'Precise Voice Pickup Technology' for better noise calls and beamforming mics contributing to improved noise cancelling, are already in the bank.

Plus, access to the Sony Headphones app is never a bad thing, as while it's rarely been the most sleek or stylish platform in the world, the levels of customisation it offers are extremely tough to beat.

Unless something goes horribly wrong, we'd feel confident in stating that, from its voice calls to its ANC, we'll likely be in very safe hands with the WH-CH730N.

A small concern: that higher price

This isn't a dealbreaker for most, but it's still worth mentioning: the WH-CH730N are more expensive at launch than their predecessors. It's not a massive increase – only £10 in the UK – but it does point to a slightly more worrying trend in audio concerning rising prices.

This isn't something for which we blame Sony, but more a reflection of where things could be headed across the market. Due to poor market conditions, the global economic downturn, certain political decisions and an increasing scarcity of computer chips, consumer audio prices are rising, and even the budget end of the audio landscape isn't unaffected.

£10 isn't a huge rise from one generation to the next, but when even massive entities such as Sony are affected, it could point to an unwanted trend: higher prices for your headphones.

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The new budget WH-CH530 follow on from the entry-level WH-CH520 Bluetooth on-ears, while the affordable WH-CH730N are the sequel to the multiple-Award-winning WH-CH720N noise-cancelling over-ears.

Both sets come with a number of upgrades and tweaks to the firm's five-star formula, though only one has had an aesthetic refresh.

The WH-CH730N has had an external redesign, ditching the rough-and-ready aesthetic of its predecessors in place of a smoother, more premium design that doesn't look entirely dissimilar to the more expensive Sonos Ace.

Better still, the new noise-cancelling cans fold away; something their rather rigid predecessors couldn't do, much to our reviewers' annoyance.

The WH-CH530's design hasn't deviated much from the WH-CH520's, opting for similarly small rounded earcups, an on-ear fit and a reasonably compact form factor.

Internally, the actual hardware that the two new sets pack hasn't changed much, with both pairs housing the same drive units as before. That means both the WH-CH720N and WH-CH530 come with 30mm dynamic drivers.

Despite the lack of hardware changes, Sony claims both sets offer a major sonic boost over their predecessors, thanks to work it has done improving their digital signal processing and algorithms. Sony's established DSEE signal processing is also on board for cleaning up lower-quality files.

The WH-CH730N boast a titanic 75 hours of battery life with noise cancelling switched off, a figure that quite frankly puts the 50-hour lifespan of the WH-CH720N firmly in the shade.

The WH-CH530 aren't doing badly either, serving up 55 hours of battery life. That's a five-hour improvement over the 50 hours offered by their predecessors. A three-minute quick charge of the WH-CH730N will grant around an hour of playback, while the same charging time will grant 90 minutes of listening on the cheaper WH-CH530.

Both new pairs tease clearer voice calls thanks to AI noise reduction algorithms that spotlight human speech and dampen the clamour of the outside world. The noise-cancelling WH-CH730N also tout improved noise cancelling thanks to Sony's 'Dual Noise Sensor' technology and an array of beamforming microphones.

The WH-CH530 are available now in a choice of Black, Cobalt, White, Pink, Coral, and Mint, priced at £50 / AU$99.95 – which is the same price as their predecessors' original price tag. The WH-CH730N are also available now in a range of Black, White, Pink, Blue, and Oat colourways, priced at £110 / AU$229.95. That's a small advance on the original £99 asking price of the current WH-CH720N in the UK, but a decrease of AU$20 in Australia.

Price rises aside, we can't wait to try out both of Sony's latest over-ears. The WH-CH520 and CH720N have been holding steady on our list of the best wireless headphones ever since they debuted, and we're expecting their respective sequels to elevate their performance to even greater heights.

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The WH-1000XM4C are a revised version of the original WH-1000XM4, which launched back in 2020.

That original XM4 was the longest-running pair of headphones in Sony’s 1000X series so far, and remained on sale for five years after their arrival.

In that time, not only did they become repeat What Hi-Fi? Awards-winners, the headphones also secured a place in the What Hi-Fi? Hall of Fame, where only products that make a long-lasting impression on our test team are included. This makes the arrival of the WH-1000XM4C all the more exciting.

So, “what’s changed?” we hear you ask.

The biggest change is to the battery. The reason the original XM4 reached end of life is that its battery was not compliant with the EU battery regulation (EU) 2023/1542, which stipulates that portable batteries need to be able to be removed by the end user.

• Why I think Sony’s new WH-1000XM4C headphones are a brilliant but risky gamble

This law comes into effect in February 2027, so for the XM4 to stage a comeback, the battery needed to change. The only downside is that it is smaller than the one used previously and doesn’t provide quite as much juice as the original.

This means battery life has dropped from 30 hours with ANC on for the original XM4 to 27 hours for the WH-1000XM4C.

Sony claims the design and finish of the headphones are identical, apart from a slight tweak to the Sony logo and the introduction of a letter ‘L’ and ‘R’ inside each respective earcup. The software driving the headphones is the same, too.

This means the 40mm driver of the original carries over to XM4C, as does the DSEE Extreme processing engine and the HD Noise Cancelling Processor QN1. While ANC performance should remain virtually identical to the original, Sony has been able to upgrade other elements of the new headphones.

The main change has been to the sound – Sony has tweaked the tuning of the headphones so it’s more akin to its most recent WH-1000XM5 and WH-1000XM6 models. It’s claiming richer and clearer vocals, greater separation and a more immersive listen, plus greater dynamics and punchier bass.

Through Sony’s Headphones Connect app, you can now access a ten-band equaliser and a dedicated Gaming EQ setting, which wasn’t available for the original.

The WH-1000XM4C have Multipoint Bluetooth and still feature Sony’s Precise Voice Pickup technology, which helps with phone calls.

In addition to the standard black and silver (which is a slightly lighter shade than before) finishes, there’s also a new lavender option which brings a splash of colour to the range. Sony hasn’t confirmed whether a Midnight Blue option will be available, as was introduced for the original model.

The WH-1000XM4C cost £219 / $300 / AU$449.95 and go on sale this month. You might be wondering what this means for the WH-1000XM5, which at the time of writing are still on sale. Their battery does not conform to the EU regulation, so they will go end of life before February 2027, and the WH-1000XM4C will continue in their place.

What do you think? Are you excited to see the XM4 return? Let us know by clicking on our poll and leave a comment below! We'll hopefully be getting a sample soon, so stay tuned for our full review!

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Seeing this as an opportunity to one-up its arch-nemesis, which has dominated the home console market for years now, Xbox has announced a new feature that will give physical discs a lifeline – for now, at least...

Announced at Gamescom 2026, Xbox's new "disc to digital" initiative will let gamers acquire digital licenses for the physical games they own, essentially bundling the best aspects of physical and digital media into one.

Inserting a supported Xbox Series X/S or Xbox One game (Xbox says that thousands of titles are supported and more will be added over time) will prompt users to "claim a digital entitlement", essentially adding a digital version of their game to their library.

This allows them to fire up the game even when the disc isn't in the console, and it unlocks the ability to play the game practically anywhere, whether that's a friend's console that you're logged into, Xbox's Play Anywhere feature, or even the Xbox Cloud Gaming service.

Crucially, though, users will still benefit from owning a physical copy of the game: Xbox says that this is an "important step toward a future where players can have greater confidence that the games they buy remain with them for years to come".

In other words, if you own a physical copy, your purchased titles can't suddenly disappear from your library – which is what happened when Sony removed hundreds of purchased films from PlayStation users' libraries recently.

Furthermore, you can still sell your disc or lend it to a friend without worry, as the digital license is transferable.

Xbox CEO Asha Sharma, in an interview with BBC News, stated that it will allow users to experience a best of both worlds approach, and claimed that "it's really a breakthrough in how we think about physical and digital media".

The feature will come to Xbox Insiders (the gaming firm's Beta software testers) on 31st August, with a wider rollout to all users expected down the line.

While this looks like a positive change on paper, it also suggests Xbox may follow Sony's lead and opt for an all-digital approach for its next consoles, though that remains speculation for now.

Xbox could be preparing its users by allowing them to digitise their existing physical library in readiness for a discless Xbox launching in the coming years, but only time will tell if that is the outcome.

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It offers a handful of upgrades over its predecessor, the Xperia 10 VII, and follows on from the Award-winning Xperia 10 VI.

The new model boasts a claimed peak brightness that is double that of the previous smartphone to deliver “improved visibility even outdoors”, although Sony has not disclosed the exact figures.

The Japanese brand also claims that the stereo speaker system (made up of the earpiece and a bottom-firing speaker) features “revised tuning”, which will supposedly deliver “improved volume and sound quality”.

Sony says that volume is boosted by 15 per cent and these speakers can also output 30 per cent stronger bass than the previous model.

There are still a fair few similarities with its older sibling, though. Like the VII model, it runs on the Snapdragon 6 Gen 3 with 8GB of RAM, and is powered by a 5,000mAh battery that Sony claims can last for up to two days.

Resolution and size have also stayed the same, with a 6.1-inch screen with a 2340 x 1080 OLED display.

The camera set-up is familiar too, with the 10 VIII sporting a 50-megapixel main and 13-megapixel ultra-wide lens on the back, as well as an 8-megapixel selfie camera.

We are glad to see that the 3.5 mm aux jack has stuck around, and cements Sony as one of the best for audio features in the smartphone market.

You can choose from three colour finishes for the Xperia VIII: Frozen White, Frosted Grey and Misted Lilac.

The Xperia 10 VIII is launching at £549 in the UK, making it £150 more expensive than its predecessor.

That would feel more warranted if there were more hefty upgrades, but it’s a hard sell considering it has the same chipset and camera. That said, the ongoing RAM crisis is likely the cause, with smartphone prices rising across the board.

We're eager to find out if Sony has delivered another five-star budget portable AV machine, so stay tuned for our full review.

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WinFuture has posted some images of the cans, which look very similar to the standard XM4 which launched in 2020. The images show the headphones in black, white and violet colourways.

The German site has also seen “excerpts from the manufacturer’s data sheet” which spills the beans on the specs. Bluetooth 6.0 is apparently supported, which is a later version than even that on the Award-winning XM6 (which have Bluetooth 5.3), and matches the premium 1000X The Collexion. Whether this translates to any new or improved features remains to be seen.

Some corners are rumoured to have been cut in order to offer the headphones at a lower price. The NFC logo is missing from the pictures, which suggests Sony axed the easy-pairing feature to keep the costs down. Battery life is also said to be lower than the XM4, at 27 hours with active noise cancellation (ANC) activated, and 34 without (the XM4 boasted 30 hours and 38 hours, respectively).

But, like the standard XM4, they are said to feature 40mm drivers, ANC, and to have a frequency response of 4Hz-40,000Hz. They should also weigh the same as the XM4.

Launch price is said to be €250, which would be lower than the XM4’s original price of £380. Given that the XM4 have fallen to £170 before, however, Sony will have some way to go to make the XM4C a compelling alternative. Having said that, given that the XM4 are no longer on sale, the XM4C could be a tempting budget option for Sony fans unable or unwilling to stretch to the XM6.

They are rumoured to launch in early September – we’ll bring you all the news as soon as we have it.

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The offending software is 114.602.080.1, which was released to various Sony TV models towards the end of June.

The issues reported range from audio dropout (which is what I’m experiencing) and lip-sync issues to Dolby Vision content refusing to play, and it appears to be related to the way the TVs handle HDMI sources and passthrough.

Needless to say, affected owners are pretty frustrated, but I do have some good news – at least for some of them.

Sony has just released a new update, 114.602.170.1, and, according to some owners, including reader David Simmonds, who alerted me to the release of the new software, the Dolby Vision issue, which caused some users to see a black screen instead of their content, has seemingly been fixed.

[Edit to add: I've since been informed that a secondary Dolby Vision issue, which involves scan lines being visible in content, has not been resolved]

I wasn’t experiencing this problem, so I only have the reports of others to go on regarding the fix.

However, having now installed and done some testing of the new software, I can confirm that it unfortunately doesn’t fix the audio dropout issues for me, and David has confirmed it’s the same for him.

In fairness, this latest software update specifically mentions that it “resolves an issue where a black screen could be observed when starting playback of specific content from external HDMI devices”, but makes no mention of fixing any audio issues – it seems it was always intended to fix one problem but not the other.

I have contacted Sony with these findings and a request for information on a fix for the audio issues, and will report back with any information I get.

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LG Display, which produces the OLED panels used in all OLED TVs sold by LG Electronics and in many TVs sold by brands such as Samsung, Sony and Panasonic, has just announced a new “dream” panel technology called ‘FLiPP’.

That funky name stands for the decidedly less funky ‘FMM-Less innovative Pixel Patterning’, which actually explains how this new technology works.

For the past decade or so, OLEDs have been manufactured using fine metal masks (FMMs). These are essentially sheets covered with microscopic holes, through which the red, green and blue OLED materials are placed.

The problem with these FMMs is that they add cost and they are hard to manufacture, particularly at very large screen sizes.

Now, “after a year of concentrated R&D”, LG Display says it has managed to develop a manufacturing method that eradicates the need for these FMMs.

More affordable super-sized OLED TVs?

Why should you care? First up, LG Display claims that because FLiPP improves the aperture ratio of OLED, it can “increase display brightness by 1.6 times, extend lifespan by 2.4 times, and reduce power consumption by 13 per cent”.

But I think there is potentially a more interesting point here. FLiPP apparently reduces material costs and significantly improves the efficiency of using large OLED sheets to produce panels for different products, and that means that manufacturing costs should decrease, potentially resulting in cheaper OLED TVs.

This could be particularly beneficial where very large OLED TVs are concerned. Big OLED panels are difficult and expensive to produce, so very large OLED TVs tend to be disproportionately expensive. FLiPP could change that.

LG Display flags that FLiPP is “free from panel size and resolution constraints”, and can be used for producing panels from 1-inch in size (for AR/VR headsets, for example) right up to 100 inches.

But when will we start to see FLiPP-based OLED TVs in shops? Not for a while, it seems: the tech is being officially unveiled at the International Meeting on Information Display (IMID) this week, and LG Display says it will first be used in “IT applications such as tablets and monitors”.

Rollout for “ultra-large TVs” is explicitly promised in the press release, though.

We have contacted LG Display for more information, and have reached out to TV manufacturers for their thoughts on the announcement.

We’ll follow up with more on FLiPP as we get it. In the meantime, those who want more of an explanation of how it works should check out LG Display’s own video explainer:

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Perhaps you’re watching something on your handset and want to transfer it to the bigger screen in your living room; maybe you want a big display to show off the snaps from your latest holiday; or you might want to play some music via your TV.

Whatever you’re trying to achieve, there’s generally a way to do it. Allow us to show you how.

Cast video from your phone

If you want to watch a video from your phone on the big screen, casting is usually the easiest and best way to do it.

Rather than sending everything on your phone's screen to the TV, casting tells the TV to play the content itself, with your phone essentially acting like a remote control. That means you can usually carry on using your phone without interrupting playback, and in many cases you can even turn its screen off while the video continues playing.

Google's technology is now called Google Cast, although you might still see it referred to as Chromecast.

Google Cast is built into Chromecast devices, the Google TV Streamer and TVs running Google TV or Android TV. In the UK, that includes compatible TVs from brands such as Sony, Philips and TCL.

Other manufacturers have also added Google Cast to some models: newer LG TVs support it, for example, while compatible Panasonic Android TVs do, too.

But don't assume that every TV from a particular brand supports Google Cast: Samsung’s Tizen TVs, Hisense's VIDAA TVs and Panasonic's Fire TV models, for example, use different systems.

If your TV doesn't support Google Cast, don't worry: you may still be able to send content to it using AirPlay or the manufacturer's own casting/mirroring system.

How to cast a video

First, make sure your phone and TV are connected to the same wi-fi network. Then open the app containing the video you want to watch and look for the Cast icon – it's a little rectangle with three curved lines in the corner.

Tap it, select your TV from the list of available devices, and the video should start playing on the TV.

Once you're connected, your phone becomes a convenient remote control: you can pause, skip and adjust playback from the app, while the TV does the actual streaming.

The catch is that the app needs to support casting. Netflix, Amazon Prime Video, Disney Plus, YouTube, BBC iPlayer and many other popular streaming services do, but you won't necessarily find a Cast button in every app.

If there isn't one, you might be able to use screen mirroring instead, but some apps restrict this, too. Sky Go, for example, doesn't support casting of any kind, so you can't simply send its live football or other content from your phone to a Cast-equipped TV.

What about iPhone?

iPhone users can also use Google Cast with compatible apps and TVs, but Apple's own AirPlay system is also an option if you have an AirPlay-compatible TV or an Apple TV 4K streamer.

The principle is much the same: start playing a video, tap the AirPlay button (a rectangle with a triangle pointing into it) and select your TV. Your iPhone and TV generally need to be on the same wi-fi network.

So, as a rule of thumb: if the app has a Cast or AirPlay button, use it. It's generally a better option for watching video on your TV than mirroring your entire phone screen.

Mirror your phone screen

If the app you want to use doesn't support casting, or you simply want to show something that's on your phone rather than stream a particular video, screen mirroring is the next option.

As the name suggests, mirroring shows what's happening on your phone's screen on your TV. Open a website, look through your photos or start an app on your phone, and you'll see the same thing on the big screen. It's particularly useful for things that don't have a dedicated TV app or don't offer a Cast button.

The exact method depends on your phone and TV. iPhone uses Apple's AirPlay system, while Android phones can use different systems depending on the manufacturer. Samsung calls its version Smart View, for example, while LG uses Screen Share on compatible models.

How to mirror your phone

On an iPhone, make sure your phone and TV are connected to the same wi-fi network, then open Control Centre, tap Screen Mirroring (the icon with two rectangles, one in front of the other) and select your AirPlay-compatible TV or Apple TV 4K. If a passcode appears on the TV, enter it on your phone.

On Android, look for a screen-mirroring option in your phone's quick settings. The name varies: Samsung phones use Smart View, while other manufacturers may call it Screen Share, Cast, Wireless Display or something similar. Select your TV from the list of available devices and accept the connection on the TV if prompted.

You'll generally need the phone and TV to be connected to the same wi-fi network, although the exact requirements vary between devices.

Mirroring generally isn't the best option for video

There's a reason we recommend casting where possible. With mirroring, everything on your phone is replicated on the TV, so a notification, incoming call or change of app can appear on the big screen.

And some streaming services restrict mirroring of protected video content, so don't assume that an app without a Cast button will necessarily work when mirrored.

For watching Netflix, YouTube, iPlayer and other supported services, casting or using the app directly on your TV is generally the better solution. Use mirroring when you want to show something that's actually on your phone, such as your photos or a presentation.

Play music through your TV

If you're listening to music, you're generally better off sending it directly to a wireless speaker, soundbar or AV system than using your TV. But there can be good reasons to put your music on the big screen, particularly when you're listening with other people.

The simplest option is to use your music service's TV app, if it has one.

Spotify, for example, has apps for many smart TVs, and you can use Spotify Connect on your phone to control what's playing. The TV can then display album artwork, track information and the playback queue, while everyone can see what's playing and take part in choosing the music.

But you don't necessarily need a TV app. Services including Spotify, Tidal and Qobuz can send music from their phone apps to compatible TVs using Google Cast, while AirPlay provides a similar option for iPhone users with a compatible TV.

So if your TV doesn't have a native app for the music service you use, check whether its phone app supports Google Cast or AirPlay before assuming you're out of luck. You may still be able to get your music onto the big screen.

Connect your phone with a cable

If a wireless connection isn’t an option, you can always connect your phone to your TV with a cable.

It's not as convenient as casting or mirroring, but a wired connection can be useful if you want a direct connection between your phone and TV, particularly if low latency is important – for example, when playing games.

Most modern phones use USB-C, so you'll generally need a USB-C-to-HDMI adaptor or cable, with the HDMI end connected to an HDMI input on your TV. Older iPhones with a Lightning connector require a suitable Lightning-to-HDMI adaptor instead.

Just bear in mind that not every USB-C phone supports video output, so check your phone's specifications before buying an adaptor.

Once connected, your phone will usually mirror its display on the TV, although the exact behaviour depends on the phone and adaptor.

And while a cable removes some of the potential complications of a wireless connection, it doesn't necessarily get around content restrictions: some streaming services can still block video output, or require the adaptor and TV to support the appropriate copy-protection standards (which they often don’t).

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In many ways, software updates are a blessing of modern technology.

They can add features, fix bugs and even improve the performance of a product that's weeks, months or even years old. At their best, they can breathe new life into a device that you've owned for ages.

But they can also go wrong.

It's why many TV owners, particularly those who've been stung by unwanted changes or problems after previous updates, have long promoted a 'turn off automatic updates' mantra.

I wish I had listened.

My philosophy has always been that software updates do far more good than harm, and that the frequency with which they create problems is overblown. Honestly, that's probably still the case. But now that I've been stung by a dodgy update myself, I'm feeling far less philosophical about the whole thing.

For the last few weeks, I've been experiencing audio dropouts from my Sony system. After hours of research and experimentation with different settings and cables, I've finally established that the blame lies with the most recent update to my Bravia 8 II OLED TV.

The problem is frustratingly specific. When I'm watching something through an external source connected to the TV, such as my Apple TV 4K or Sky Stream puck, I can no longer use my external sound system without suffering audio dropouts.

The TV's internal apps work perfectly, but that has only reminded me how much higher the quality is from the Apple TV 4K than from Google TV.

Sony is aware of the issue, and my contacts assure me that a fix is in the works. There's no date for it yet, though, and it's already been almost two months since the problematic software was released.

That's a long time to have a significant part of an expensive home cinema system effectively out of action.

And this is where I've changed my mind about automatic updates.

I've now turned them off on my TV and several of my other devices. From now on, when one tells me that a software update is available, unless it's flagged as a critical security update, I'm going to wait a week or so before installing it.

I'll then search for the release number online, see whether other owners have reported problems, and only if all looks safe will I then download and apply it manually.

I'm not saying that software updates are bad. They're not. I've benefited from plenty of them over the years, and I'd still much rather have a TV that receives regular updates than one that's abandoned by its manufacturer.

But there's very little downside to waiting a few days before installing one. If an update is working perfectly for everyone else, I'll happily install it. If it turns out to be causing problems, I'll be very glad that I wasn't one of the first to find out.

So I'm now firmly in the 'turn automatic updates off' camp. Not because I'm suddenly convinced that every software update is a ticking time bomb, but because I've learned the hard way that there's no need to be an early adopter of firmware.

A few days of caution could save you weeks of frustration.

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Sony's OLED TVs have been among the best you can buy for years, and its first QD-OLED model, the stellar A95L, knocked our socks clean off when it launched in 2023. Its successor, the Bravia 8 II, won an Award last year, too, so clearly Sony still knows how to make a great OLED TV.

It has since turned its hand to RGB Mini LED tech, in the form of the Bravia 9 II. While this nascent tech, which Sony refers to as 'True RGB ', is less proven than the granddaddy that is OLED, Sony has still managed to squeeze some pretty impressive results out of it.

So which TV should you go for: the safe bet of the Bravia 8 II, or the exciting new thing that is the Bravia 9 II? Let's find out.

Sony Bravia 9 II vs Bravia 8 II: price

As the older of the two TVs, the Bravia 8 II is inevitably cheaper. But that's also partly because it comes in a 55-inch variant, whereas the Bravia 9 II starts at 65 inches.

The Bravia 9 II starts at £3499 / $3600 / AU$5999, which is £500 more than the same size Bravia 8 II at launch. Like other sizes, that price has since dropped, in this case by around £600.

The 55-inch Bravia 8 II currently costs around £2000, which is £1500 cheaper than the entry-level Bravia 9 II. A clear win for the older model.

** Winner: Sony Bravia 8 II **

Sony Bravia 9 II vs Bravia 8 II: design

Here you have a choice to make: do you want your TV to sink into its surroundings, or stand out?

The Bravia 8 II is very much the former – its chassis looks very familiar. There's nothing wrong with that – it's smart and premium in equal measures – but it's nothing we haven't seen before.

The blade-style feet can raise to accommodate a soundbar, but have to be positioned at the extremities of the TV's screen, which means you'll need a fairly wide cabinet on which to place it.

The remote is also a step backwards – it takes AAA batteries and doesn't light up. Whereas previous models had rechargeable remotes that were backlit. Disappointing.

The Bravia 9 II, however, is a real step forward in terms of TV design.

Its crowning glory is the Mirage Stand, which makes it look as if the TV is floating above the TV cabinet. It lets you see the wall behind the stand while somehow managing to conceal the cables from view, which is very clever indeed.

But it can't be adjusted. While its sole position will fit a regular-sized soundbar, there's no option to lower the TV if you're using the built-in sound system.

The look is a lot more striking than the Bravia 8 II's and won't appeal to everyone. But we're big fans.

The Bravia 9 II also features a more advanced anti-reflective coating. While effective at minimising distractions, it does make the screen look a little greyer in a well-lit room than the Bravia 8 II, which features a less intense coating.

The remote control that comes with the Bravia 9 II is backlit, too, making it easier to operate in the optimum movie viewing conditions of a dark room.

** Winner: Sony Bravia 9 II **

Sony Bravia 9 II vs Bravia 8 II: features

The main difference between these two TVs is the screen panel technology: the Bravia 8 II uses a QD-OLED panel, while the Bravia 9 II has an RGB Mini LED display.

OLED has been around for years, and Sony certainly knows its way around it. Because it's not backlit, the tech has previously struggled with peak brightness, but great strides have been made in recent years – the Bravia 8 II goes 25 per cent brighter than its predecessor, helped in no small part by its custom heatsink.

OLEDs also have perfect blacks, which help the contrast ratio and add depth and perceived detail.

RGB Mini LED is backlit. But unlike your standard Mini LED TV, which uses a white backlight beamed through a colour filter, Sony's tech uses independently controlled red, green and blue Mini LEDs to generate colour directly. These are controlled by Sony's Backlight Master Drive system.

Sony makes some bold claims for RGB Mini LED, among them that it's akin to watching on one of its own mastering monitors used in professional studios. In other words, your viewing experience should be as the director intended. We'll see if these claims stack up in the next section.

Both TVs are powered by Sony's XR processor, complete with AI modes and Studio Calibrated Modes for the likes of Netflix, Prime Video and, of course, Sony Pictures Core. The Bravia 9 II adds a new My Cinema interface to the mix, but this has also now been added to the Bravia 8 II via a software update.

My Cinema aims to simplify the settings for picture and sound without depriving enthusiasts of control. You get three viewing profiles – Director's Cut, Daytime and Dialogue – each of which limit the available picture adjustments in order to deliver what it thinks is the best quality image.

Dolby Vision and Atmos are supported, and both sets are certified IMAX Enhanced. The HDR10 and HLG formats of HDR are also supported, but not HDR10+ (which is no surprise).

For gamers too, these TVs are tied, with 4K/120Hz, VRR and ALLM, Dolby Vision Game mode and ‘Perfect for PlayStation 5’ functionality.

But both have just two HDMI 2.1 ports, one of which serves as the eARC port and so will be taken up by a soundbar or surround sound system, should you add one. That will leave you with just one port to get the full experience from your games machine.

Both TVs run Google TV, which is slowly but surely gaining on LG's webOS, and runs all the usual apps (including UK terrestrial catch-up apps, which can be missing from the platform).

** Winner: draw **

Sony Bravia 9 II vs Bravia 8 II: picture quality

And now what we really came here for. Which TV has the better picture quality?

As an Award winner, the Bravia 8 II is the TV to beat in this regard. And it's a doddle to set up to look its best thanks to its excellent presets.

Peak highlights are, well, a highlight, but overall colours have plenty of vibrancy which they maintain even in low light. Shadow detail is excellent, and the image looks convincingly solid and three-dimensional.

In our Sony Bravia 8 II review, we concluded: "The key to the Bravia 8 II’s success is balance. The colours are so vibrant, highlights so bright and edges so sharp, but nothing feels exaggerated or incorrect, which means you never feel as though you’re getting anything other than the very best versions of your movies and TV shows."

As Sony's first foray into RGB Mini LED tech, the Bravia 9 II was very eagerly awaited. And largely, it's a success: for most of our time viewing, we stopped noticing how it was doing what it was doing, and just enjoyed the picture. Speaking as reviewers, that's a very good sign indeed.

A large part of this is down to the colours, which we described in our Sony Bravia 9 II review as "the finest colours we've ever seen from any TV."

We went on: "Richly saturated scenes burst with vibrancy, but never at the expense of authenticity. Sony has combined extraordinary colour volume with its traditional restraint, so even the boldest hues remain beautifully balanced and believable. It's a wonderfully cinematic presentation that constantly impresses without ever shouting for attention."

High praise. Brightness too is exceptional, with the Bravia 9 II proving to be one of the brightest TVs ever to grace our testing rooms. Thanks to its backlight system, whole-screen brightness is possible, whereas an OLED will have to drop it down to focus on highlights.

A perfect example of this comes during the white room scenes in The Matrix. As the bright white light fills the screen, the Bravia 8 II reduces its luminance, whereas the Bravia 9 II maintains its dazzling brightness. It makes it a very versatile TV, that's ideal for viewing in brighter conditions (like daytime viewing).

The local dimming is also excellent, with virtually no blooming around highlights, while skin tones remain natural throughout. It's the best picture we've ever seen from a backlit TV.

There's a 'but' coming.

And that 'but' is the Bravia 8 II's OLED screen, which remains better than RGB Mini LED in certain key areas, such as its pixel-level precision. The Bravia 9 II's picture looks a touch flat by comparison, and it can't reproduce small highlights against very dark backgrounds with the same brightness as the OLED, for fear of creating blooming.

And the Bravia 8 II has practically perfect viewing angles, too – another strength of OLED – whereas the Bravia 9 II, while good in this regard for a backlit TV, loses contrast and vibrancy, and reveals some blooming, when viewed off-axis.

There's also some slight smearing to fast-moving action on the Bravia 9 II – though this is only a significant issue when playing 60Hz games.

The result? A four-star picture to the Bravia 8 II's five. But we can't wait to see what a second-generation Sony RGB Mini LED panel can do.

** Winner: Sony Bravia 8 II **

Sony Bravia 9 II vs Bravia 8 II: sound quality

Sony makes some of the best-sounding TVs around, and these two are no exception. But which sounds better?

The Bravia 8 II houses Sony's Acoustic Surface Audio+ set-up, while the Bravia 9 II features a so-called Acoustic Multi-Audio+ system. The former comprises two actuators that vibrate the screen to produce most of the sound, plus two subwoofers for added bass, while the latter features two full-range drivers, twin subwoofers, two tweeters and a pair of Beam Tweeters built into the rear, top and sides of the chassis.

Because the Bravia 8 II's screen literally makes most of the sound, the audio is tied to the visuals in a way that other TVs (apart from other Sony OLEDs) can't match.

The presentation is nice and direct, but spacious at the same time. Detail is excellent, with enough dynamic nuance to do a scene justice. It copes well with bigger dynamic shifts too, though bass depth is a bit lacking.

The Bravia 9 II has plenty of scale, with those Beam Tweeters really adding a sense of height (these are rare for a TV's built-in sound system). Effects are placed with precision within the soundstage, and there's plenty of subtle detail to get your teeth – and your ears – into.

Its sound has more weight than the Bravia 8 II's, but this extra bass lacks the same tautness of its older sibling.

It also doesn't sound as refined. As we wrote in our Bravia 9 II review: "Dialogue remains consistently clear, but voices aren't projected with quite the same focus or solidity as they are by Sony's flagship OLED. There's also a slight hardness to the presentation that occasionally makes speech sound a touch brash, softening some of the subtle emotional nuances in performances."

Higher frequencies suffer from a similar problem. Which makes it not quite as refined a listen as the Bravia 8 II.

But if you're partnering your TV with a soundbar or surround sound system – which you really should – this round is by the by.

** Winner: Sony Bravia 8 II **

Sony Bravia 9 II vs Bravia 8 II: verdict

While the Bravia 9 II excels in terms of brightness and vibrancy, and delivers the best picture of any backlit TV we've ever tested, it still can't quite match its OLED sibling in certain key areas.

The Bravia 8 II is more consistent, three-dimensional and responsive in its picture delivery, and it boasts more direct and refined sound. It's more affordable, too – that's of course partly down to it having been on sale longer, but the launch pricing suggests the Bravia 9 II may never be discounted to quite the same level.

There are circumstances in which the Bravia 9 II will make more sense, most notably if you want a TV larger than 65 inches, or one for a super-bright room, but for most people and most settings, the Bravia 8 II is the better buy.

We can't wait to see what Sony can achieve with its second-generation RGB Mini LED TVs, though...

** Overall winner: Sony Bravia 8 II **

MORE:

Read our Sony Bravia 9 II review

And our Sony Bravia 8 II review

Sony 2026 TV lineup: everything you need to know about the new Bravia range

This wasn't a straightforward experiment, though (as most who know me will tell you, nothing is ever straightforward with me), because my living room is really dedicated to home cinema rather than hi-fi.

Not traditional home cinema, either, but a fairly minimalist, lifestyle-first home cinema featuring Sony's HT-A9 wireless speaker system which, it transpired, has no physical audio inputs.

The solution, much to my concern, was a Bluetooth turntable – the very capable Pro-Ject T1 Evo BT. Why the concern? I simply assumed that the richly layered charm of analogue vinyl would somehow be lost in the calculated ones and zeros of wireless Bluetooth transmission.

It turns out I was wrong about that – at least in a broad, conceptual way. Bluetooth carries across the little pops and crackles that help make the vinyl listening experience unique, and none of the hardness I had expected was evident in the delivery.

There was a problem, though: my Sony system's lack of aptX support meant I was limited to a relatively low 327kbps Bluetooth bitrate.

Given that limitation and the general nature of the speaker system itself, the sound was surprisingly decent; but I was clearly leaving detail, dynamics and texture on the platter.

That simply wouldn't do, particularly as my family and I had been instantly bitten by the vinyl bug.

A capable, compact solution

Rather than return the turntable, then, it was time to source an alternative system to partner the Pro-Ject. I didn't want to replace the Sony HT-A9, which has served me well as a home cinema system, and I didn't want to move the turntable from its approved position at the back of our living room.

In other words, I was going to have to stick with Bluetooth, and whatever I added was going to have to be minimalist enough to fit in with my existing AV kit.

After much research, the solution I settled on was the five-star KEF Coda W speakers.

To my eyes, the angular Coda W aren't quite as pretty as KEF's smoothly sculpted LSX models, which have always appealed to me, but they prioritise Bluetooth over wi-fi streaming and have built-in aptX HD support. A perfect match, then, for the Pro-Ject turntable.

They are also quite a lot larger than the LSX II LT, producing a bigger sound that would potentially work well in my decently sized living room, while still being compact enough to fit into the nooks of my existing bookshelf-cum-TV-stand. No furniture upheaval required.

Sure enough, the unpacking and installation of the new Coda W speakers took all of five minutes, and connecting them to the turntable was simply a matter of putting the KEFs into Bluetooth pairing mode and switching the Pro-Ject on. Bingo-bango, I was ready to rock.

Analogue charm with wireless convenience

As a nascent vinyl collector, I had been listening to more or less the same few records since I first took the turntable home in April, so I was intimately familiar with how they sounded through my Sony speaker system. The upgrade provided by the KEFs was vast and instantly apparent.

Playing my much-spun copy of On Circles by Caspian, the huge improvement to dynamics was what struck me first. The Coda W are capable of creating a large, spacious sound, but within that, they deftly handle dynamic shifts both grand and small-scale.

Detail levels, too, were clearly massively improved, thanks to the combination of the revealing nature of the KEF speakers and the upgrade to aptX HD Bluetooth.

In fact, the sound-quality improvements were across the board, as you might expect with a switch from a lifestyle-oriented home cinema system to a pair of powered hi-fi speakers. Greater punch, rhythmic drive and tonal balance – it was all there, along with those subtle imperfections that for many people represent a big part of vinyl's character.

In other words, I'm hugely impressed – and surprised – by the performance that a minimalist, Bluetooth-based turntable system can clearly offer.

I'm not saying that going wired wouldn't be better – it no doubt would, and I may well look into a switch to cables in the near future. But I am saying that the need to go wireless and generally build a system around your lifestyle no longer precludes you from enjoying an excellent vinyl experience in the way that it would have done just a few short years ago.

Back then, a turntable system simply wasn't an option for me. Now, it is, and I’m loving how much less compromised it is than I was expecting.

MORE:

Here are the best Bluetooth turntables and the best active speakers you can buy right now

In fact, the brand's six-year-old WH-1000XM4 wireless headphones still top my personal list of the best wireless headphones to this day, and I continue to see countless pairs on the heads of commuters daily.

That said, I and our annual What Hi-Fi? Awards list alike have moved on to the current five-star WH-1000XM6; although it looks like Sony isn't quite ready to let go of the old XM4 model just yet.

A new leak reported by French retail publication Dealabs suggests that Sony is preparing to launch a new version of its beloved wireless headphones, which are expected to be called the WH-1000XM4C.

We're not sure what the "C" stands for yet, but we've theorised "Classic" and "Comeback" as potential solutions.

According to the leak, these "new" Sony cans will be practically identical to the existing pair in terms of design, functionality and driver technology, but with reportedly two very minor changes.

Battery life has reportedly been reduced to 34 hours (down from 38 hours on the original XM4 headphones), and this new "C" variant could come in a new Lavender finish alongside the existing Black and Platinum Silver colours.

While we'll have to take this leak with a pinch of salt (nothing is official until it comes from Sony itself), it's worth noting that Sony has extended the lifespan of a previous pair of headphones from its popular 1000XM-series headphones.

It launched the WH-1000XM5SA variant of its Award-winning WH-1000XM5 headphones back in October 2025 (five months after the launch of the XM6), which featured a new soft case and trimmed-down price tag. The WH-1000XM4C could be a similar affair, with a minor cosmetic change to justify an extended lifespan.

These refreshed XM4 headphones are expected to launch on 7th September, and Dealabs reports that they will be priced at £219.99 / €249.99. Interestingly, this would position the XM4C just £10 below the current widely available price for the XM5SA.

However, with their potentially sturdier and more compact design, the XM4C could be the more alluring choice. They could also be a preferable choice for those who are eyeing up Sony's premium headphone offerings, but don't want to spend big on the XM6 or 1000X The Collexion cans.

We'll bring you the any official news of the rumoured XM4C model if and when details are confirmed.

MORE:

I spent 10 hours on trains listening to the Sony WH-1000XM6 – and it convinced me to upgrade my beloved XM4 headphones

Check out our picks for the best Sony headphones

As well as the best wireless headphones

The question is this: which one is actually better?

You might be surprised how often the debate as to which of these options is better comes up here at What Hi-Fi?, but this time we decided to take the discussion to YouTube. Our latest video weighs up the pros and cons of each, as I take on Team Projector, while our TV and AV editor, Tom Parsons, is heading up Team TV.

Your first option is going down the traditional route: a projector. These have been the trusty go-to option for home-cinema purists for a long time, offering screen sizes well north of 100 inches and delivering the “movie magic” we associate with visiting the cinema.

That beam of light hitting your projector screen, with sound coming from a dedicated surround sound package, is almost impossible to beat, but it comes with some impracticalities and, as you can expect, large price tags.

Which is why we are seeing more projectors launch with smaller footprints and bigger feature sets, all at lower prices. They’re not perfect, as it’s usually picture quality that takes a hit to cram in these features, but they are certainly making projectors more approachable.

That said, what if you just don’t want to deal with any of the hassle that comes with a projector?

That’s where the recent phenomenon of XXL TVs comes into play. Popularised by Hisense and TCL, 100-inch TVs are starting to become more common, while the likes of Sony, Samsung and LG have jumped on the bandwagon to deliver TVs reaching 115- and 130-inches.

The benefit here is that everything is built in, including picture, sound and streaming; and prices are dropping surprisingly low. They do take up quite a lot of space, of course, and, as mentioned in our discussion, you won’t find our favourite panel technology at this size.

Ultimately, it’s worth noting that there isn’t a “one size fits all” answer to this debate, and personal preference will play a substantial role in your decision; but whichever one you pick, be sure to consult our best projectors and best TVs lists to choose the right models.

MORE:

Read our full Sony VPL-XW5000ES review

As well as our TCL C7K 98-inch review

And check out our list of the best Mini LED TVs

According to an often-reliable inside source, thewalkman.blog, recent import filings have revealed that a new pair of headphones is set to replace the Sony WH-CH720N, and will be called the "Sony WH-CH730N".

The filing also reveals the new colours for the upcoming sequel, with 'Black', 'White', 'Pink', 'Blue' and 'Beige' all listed. That's broadly the same as the finishes found on the established WH-CH720N, with 'Beige' representing the only new addition.

We don't have many details regarding the headphones' hardware or specifications. It remains to be seen what drivers they will implement, which chipset they will use, or what their prospective battery life figures will be.

We've had no word on price either, but as the WH-CH720N launched at £99 / $129 / AU$259 back in 2023, we'd hope to see an RRP that didn't rise too much beyond that.

So when could we see these new wireless cans finally arrive? According to thewalkman.blog, the FCC confidentiality end date is on October 20th, so there's a good chance we could see the WH-CH730N arrive at around that time.

The WH-CH720N landed in March 2023, but as we're well beyond that point in 2026, it appears that Sony may be shooting for a release that's somewhere towards the final quarter of the year.

For us, the sooner the better. The more we've had time to listen to and often live with the WH-CH720N, the more we've come to appreciate them as being some of the best sound-per-pound wireless headphones you can get. For sheer value, we're struggling to think of many that do so much for such a modest price.

They're not perfect, and when we speculated as to the four things we'd love to see from the then-speculated WH-CH730N, we hoped for a little less bass and for the new headphones to fold away fully, for a bit of added portability and convenience.

The WH-CH720N are lauded Award-winners, but a few new features, such as on-head wear detection or support for Sony's higher-quality LDAC codec, would be lovely additions for when a sequel materialises.

Whatever the case, the WH-CH730N have big shoes to fill. We dubbed the WH-CH720N as "dependably made, enthusiastic-sounding headphones that...deliver good ANC and a strong feature set to the very affordable end of the wireless headphone market", so any prospective sequel will have its work cut out to improve on such a potent combination of performance and sheer value.

Can Sony manage it? We'll be keeping our ears to the ground for any further rumblings regarding the WH-CH730N, and will keep you updated as and when any new information comes to light.

MORE:

Don't need ANC? Read our review of the cheaper Sony WH-CH520

I thought this simple upgrade would elevate Sony's WF-1000XM6 wireless earbuds – I was wrong

Our pick of the best over-ear headphones

From the start of 2028, all games are set to be digital-only, available either as part of the library of content included across PlayStation’s various membership tiers, or to download and keep digitally via redeemable codes or the online PlayStation Store.

The announcement has not been well received. My dear colleague Lewis Empson reacted to the news at the time, bemoaning the fact that this move away from the good old-fashioned disc represented another nail in the coffin for physical media as a whole.

Not for the first time, it looks as though Lewis is absolutely right.

More nail than coffin at this point

The implications, as Lewis has already touched upon, are profound. The abandonment of physical discs probably means that forthcoming consoles will no longer house a disc slot. So anyone who currently uses their PlayStation to play Blu-rays, for example, would no longer be able to do so on newer consoles.

Lewis also touched on the death of the joy that the humble disc brings. As he wrote at the time: “You can forget lending a game to your friend, or selling it on when you have finished playing it. Likewise, those who prefer to buy games on the second-hand market to save money will be out of luck from 2028 onwards.”

And that, my fellow sufferers, is the crux of why I too am bemoaning the sad, unceremonious death of games in their physical form. It’s only PlayStation for now, but who knows what Microsoft has planned for Xbox? The signs aren’t positive, that’s all I will say.

As someone who has been gaming since the late ’90s, the death of the disc represents the end of an era. From slotting a copy of Age of Empires II into my parents’ creaking Dell desktop to having endless iterations of FIFA put my temperamental Xbox 360 into near-meltdown, those shiny circles have stored more than mere data. For me, they house tangible, precious memories.

This is the real tragedy which the demise of Sony’s physical production is helping to precipitate. I wrote a while back about the joys of tangible media in an audio and hi-fi context, getting all doey-eyed about the joyous ritual inherent in unpacking your favourite vinyl records or even giving a shiny CD a cheeky spin.

As I wrote at the time, so much of the appeal of owning a turntable or CD player “comes from their physical aspects, be that interacting with the product themselves or the ownership of a collection of CDs or records to play on them.

“As CDs hold strong and vinyl sales continue to soar in an age of digital streaming, those aspects of use have clearly become more important than ever with users for whom poking a smartphone to load up Spotify isn’t scratching a very particular itch.”

Replace ‘CDs’ with ‘physical games’ and ‘Spotify’ with ‘the PlayStation Store’ and the point is just the same.

What sort of collections will any of us have now? Even if you will still be able to download games individually and enjoy full ownership – in contrast to the subscription, Netflix-inspired model the games industry keeps so desperately trying to implement – it’s simply not the same as owning an actual, real-world collection.

You can’t line your office’s shelves with digital copies of all your favourite titles. You can’t enjoy the infinite pleasure of taking the thin layer of cellophane off of a copy of, say, Assassin’s Creed: Black Flag. You won’t be able to get deluxe physical copies anymore, which often come with real-world goodies such as maps, collectables and exclusive artwork. Maybe they’ll just flog those to us separately – for an inflated fee, of course.

You can’t even sit back and wallow in the soulless raft of digital copies saved to your console in the same way that you might admire the perfectly ordered racks adorning the wall of your musty man cave.

The thing is, I have spent time building up my games collection, in the same way that I’ve spent time building my small arsenal of CDs, DVDs and vinyl. Okay, I have only two vinyl records, one of which was a gift, but that’s part of the collector’s journey. It took time to accumulate all of my precious games, from formative PC classics such as Rome: Total War through to my roster of Xbox 360 releases and my PS4 and PS5 titles. All for nought.

Housed on its own carefully ordered shelving unit, that entire collection isn’t just a bunch of games shoved unceremoniously into a metaphorical pile. It’s a part – in a small, silly way – of my history. It’s my own personal gaming journey, and now it seems as though that journey is coming to an end.

The game’s afoot

The injustice doesn’t stop there. As if this all weren’t bad enough, the pleasure of tangible ownership isn’t the only real-world delight we gamers are now set to lose out on.

Can I be honest with you? I like second-hand stores.

No, they’re not the grooviest spots on God’s green Earth – most have a customer base with an average age somewhere in the 80s and many smell like damp cardboard mixed with Werther’s Originals – but they’re still great places.

If it’s a full-blown charity shop, you get the obvious benefit of helping out worthy causes. Even if they’re not charity-focused, you still have the lovely environmental bonus of reducing the need for further first-hand manufacturing, whether you’re selling or buying. Most importantly, they are often extremely cheap.

In a time when it seems that all the games industry wants to do is take your money, be it through skyrocketing base game prices, ludicrously exploitative microtransactions and even more ludicrously exploitative ‘loot packs’ – essentially a form of legalised gambling often aimed at children and teenagers – it’s nice to level the playing field with a bit of bargain-bin hunting.

Why, for example, would you pay at least £60 for a day-of release when you could wait a while and get the same game for less than half price?

Admittedly, there are certain games that you want to get hold of straight out of the gate – I can’t imagine many are going to wait more than an extra second for GTA VI – but the easiest way to save a monumental chunk of cash is simply to wait a few months and get a second-hand copy.

If you really want to find the best bargains, then pre-owned physical editions are always the way to go. PlayStation (and Xbox, as far as I know) will often offer big digital deals on titles that aren’t doing so well; but those tend to be seasonal and, more importantly, there’s generally a cap on by how much they will be reduced.

There’s no actual stock that needs shifting, so there is less incentive to drop to ridiculous depths, unless the game in question is unspeakably dreadful. (If you see Babylon’s Fall or Forespoken on a 65 per cent discount, just walk away.)

With proper material games, though, you can get some truly mammoth savings. Thanks to charity stores, second-hand retailers such as CEX, and online marketplaces such as Vinted or eBay, you can pick up some awesome bargains for mere pennies. I managed to find an old copy of Far Cry 4 for about £2 the other day, and a PS5 version of Marvel’s Spider-Man: Miles Morales for less than a tenner.

That’s the joy of the used market. Much like going to old vinyl stores, car boot sales or charity shops for unearthed vinyl gems, snooping around for a gaming bargain holds similar scope for unearthing a diamond deal. You have to put the work in and do some digging, but that’s a huge part of the fun. Who knows? You might dig out a Classic Edition of The Orange Box for 50p. Ah, heaven.

Or, of course, you could just borrow games from one of your mates, and lend them something of yours in return. I think one of my pals still has my copy of Assassin’s Creed: Odyssey somewhere. He’s welcome to keep it, to be honest – I’m much more of a Black Flag and AC: II kind of a guy.

Lending doesn’t make as much money for the games industry as everyone buying their own distinct, non-transferable digital copy, though, does it? Makes you think…

Sony’s decision to cull all forms of physical release seems utterly at odds with the wants and needs of its current consumer base.

At a time when both established consumers and younger audiences are discovering, or indeed rediscovering, the joys of physical media and tangible content ownership, Sony/PlayStation has decided to turn its back on this clear desire in favour, one suspects, of tying people further into the models of consumption which suit its needs, rather than those of the end consumer.

In an age when the experience of streaming and purely digital consumption can feel impersonal and even soulless, buyers want something they can discover, interact with, enjoy, collect and own with pride.

Just like listening to music or watching movies, gaming is a pastime that goes far beyond the playing of the actual game. Maybe Sony needs to be reminded of that fact.

MORE:

Read our full Sony PlayStation 5 review

Check out our picks for the best 4K Blu-ray players

Which is the best 4K Blu-ray player, PS5 or Xbox Series X?

More specifically, which headphones we have had the privilege and often pleasure of hearing throughout the year. As somebody who works on the audio side of the great hi-fi/AV divide, I spend a lot of my time listening to headphones and earbuds, thanks in part to the fact that so many brands are desperately trying to make this massive market their own.

Whether it has been for reviews, comparisons or my own personal interest, these have been the headphones that have impressed – and occasionally frustrated – me over the past seven months.

A hero’s return: the Sennheiser Momentum 5 Wireless

At last, the Momentum Wireless have returned. The fifth iteration of Sennheiser’s heralded Momentum over-ear line has been a long time coming, so when they arrived earlier this year, expectations were high.

Happily, Sennheiser has managed to deliver the goods. The Momentum 5 Wireless are excellent premium over-ears, acting as a timely reminder to the likes of Sony, Bose and Apple that Sennheiser is still here, and, crucially, still up for the fight.

They are a little different to their competitors, especially in the sound department, prioritising a rich, smooth and refined presentation that can take a little while to warm up to. Once you click with them, though, you’ll find this to be a deeply rewarding pair of over-ears, especially if you like the sort of expressive, detailed midrange the premium Sennheisers so effortlessly exhibit. Oh, that midrange…

The earcups could feel a little more luxurious, the noise-cancelling isn’t Bose-beating, and having them fold away completely would be nice, but this is a five-star return for a brand that was just slightly in danger of being forgotten by the mainstream market.

Rivals, take heed: Sennheiser is back, and it means business.

The sonic standounts: Sennheiser HDB 630

Technically, technically, we reviewed the Sennheiser HDB 630 last year; but the supremely gifted premium headphones only landed on my desk in 2026, so I think I’m still on relatively firm ground when I say that they are, unequivocally, the best wireless headphones I’ve heard this year.

Scratch that: they might be some of the best wireless cans I have ever heard, full stop. They might not look particularly special, but the sound they produce certainly is.

£400 / $500 / AU$1000 isn’t pocket change, I grant you, but our entire test team is rarely so effusive when it comes to heaping praise upon a product. From top to bottom, we are huge admirers of the HDB 630 – and if you hear them for yourselves, you’ll understand exactly why.

They are fun, dynamically adept and musically expressive – all ingredients that make listening to any set of over-ears a joy – but it’s the amount of textural detail and sonic precision the HDB 630 exhibit that really leaves us feeling bowled over. These are headphones that make the masterful Sony WH-1000XM6 sound almost vague and a bit slipshod by comparison, and that’s really saying something.

Part of that signature comes from Sennheiser’s clever BTD 700 USB-C dongle that you plug into your device’s USB-C port to give it aptX Adaptive powers. This means that any source device, including your iPhone, gains hi-res streaming up to 24bit/96kHz, even if it wouldn’t natively support it. Really clever stuff.

Add in 60 hours of battery life, very solid noise cancelling and a luxurious fit, and the HDB 630 are 2026’s headphones to beat.

The tricky second album: Apple AirPods Max 2

I didn’t end up testing the Apple AirPods Max 2, but I did spend a good deal of time listening to them when making comparisons with the likes of the Sony 1000X The Collexion (below) and similar premium contenders.

And you know what? They’re pretty good. The AirPods Max 2 give you that familiar Apple signature which blends smoothness and refinement with a crisp, sparkling treble that lovers of the original Max will recognise, all boosted by better punch, dynamics and precision than their predecessors.

They are also incredibly easy to use if you have an iPhone, thanks to their native integration within the iOS ecosystem, and they still have that look and feel of a premium product that you would be proud to own. We can see why the Max continue to enjoy such a stellar cultural cachet – they just look the business.

They’re not perfect, admittedly. The Max 2 are better than the originals, but they have fallen behind more recent rivals for dynamic punch, rhythmic precision and overall insight. Plus, we just cannot abide that ridiculous carry case, and rather wish that the battery life had been boosted a bit beyond 20 hours. The Sony WH-1000XM6 give you 30 hours, after all.

The thing is, the AirPods Max 2 feel like six of one and half a dozen of the other. They are certainly some of the best headphones, in objective terms, ever made by Apple, a brand that has only relatively recently started to trouble the class leaders when it comes to pure sonic performance.

On the other hand, the Max 2 had a chance to close the gap on their rivals. Instead, it feels as though that chasm has widened a little. For their failure to properly keep up with the pack, some might see this as a missed opportunity for Apple.

The in-ear kings: Sony WF-1000XM6

I have such a complicated relationship with the Sony WF-1000XM5 and, now that there’s a sequel, it is carried over to the Sony WF-1000XM6.

On the one hand, I really like them. I love how detailed, refined and musical Sony’s flagship buds are. I admire that Sony continues to push the sonic boundaries for its flag-bearing buds, and that it seems to improve their capabilities with every passing generation, both in terms of sonic performance and accompanying features.

The WF-1000XM6 are, in so many ways, the apex of what Sony can do from a form such as this, with a sound so textured and rich it practically glitters inside your ears.

My problem remains that fit. I couldn’t get the WF-1000XM5 to stay inside my ear holes, and I can’t get the WF-1000XM6 to do so either. Sony revamped the design of its sixth-gen buds, offering up a new charging case and dropping the teardrop design of the older model in favour of a more rectangular, boxy configuration; but it kept on with its memory-foam eartips.

It might be a personal thing, but I just cannot get them to stay put, especially if I’m walking, gymming or, heaven forbid, going for a run.

Fit issues aside, the XM6 really are something special. Of all the buds I have heard in my time at What Hi-Fi?, they rank somewhere towards the top, outshining the likes of the Technics EAH-AZ100, the Bose QuietComfort Ultra Earbuds (2nd Gen) and the Apple AirPods Pro 3.

If you can get them to fit, breathtaking sound will be your reward.

The missed opportunity: Sony 1000X The Collexion

Ah, what could have been.

Sony billed its super-premium wireless over-ears as being “the best-sounding headphones it had ever made” when it lifted the lid on the 1000X The Collexion (£550 / $650 / AU$900) earlier this year. While there's an extent to which we agree with that statement, there’s also a lot we find hard to endorse fully.

These are some of Sony’s clearest and most spacious-sounding cans – we’ll give The Collexion that. I spent weeks with the premium headphones clamped over my ears, and their clarity, textural refinement and cinematic soundscape impressed me every single time I booted them up for a listen.

For that clean, open ‘hi-fi’ sound, these really are among Sony’s finest, and that’s before even mentioning their admirable noise cancelling and excellent voice calls.

Across all parameters, though, are these Sony’s best-ever wireless headphones? I’m not so sure.

When you can get the Award-winning Sony WH-1000XM6 for less money (£400 / $450 / AU$699), and get a good deal more punch, dynamism and rhythmic spark thrown into the bargain, not to mention a similar battery life and better noise cancelling, it becomes hard to see exactly how to justify buying the more costly Collexion cans.

For the What Hi-Fi? team, The Collexion are a great concept, but we can’t quite square the execution with the elevated price tag. Like England at every major international tournament, we are left wondering what could have been.

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It sounds like a simple question, but it’s one that I think is worth considering during our Home Cinema Week, and I suspect you'd get wildly different answers depending on who you asked.

For some, it's impossible without an AV receiver, a projector and at least seven speakers. For others, it's a big TV and a Dolby Atmos soundbar. I'd even argue that, in the right circumstances, it can be a pair of headphones connected to a streaming box.

Perhaps that's controversial, but I genuinely think home cinema is pretty much anything you want it to be.

Now, before anyone thinks I'm trying to rewrite the rules, let me be clear: if your goal is the very best home cinema performance possible, the traditional route is still the right one. A quality AV receiver paired with a carefully matched speaker package and, if your room allows, a projector, remains the pinnacle of what's possible.

I'm fortunate enough to experience setups like that regularly. We evaluate AV receivers, Atmos speaker packages and projectors in a dedicated home cinema test room, and when everything comes together, there's simply nothing else quite like it. I've also owned a traditional 7.1.4-channel system myself, so I know exactly what that experience is capable of delivering.

But here's the thing: somewhere along the way, I think we've started to confuse the best home cinema with the only home cinema.

My own current setup is proof that those aren't the same thing.

When I moved house, I swapped my traditional separates system for Sony's HT-A9 wireless speaker system and a subwoofer. Is it as accomplished as the 7.1.4-channel system I had before? No. But it suits my living room far better, it took minutes rather than days to install, and it still produces a wonderfully immersive Dolby Atmos performance that regularly reminds me why I love this hobby.

And when everyone else has gone to bed, my favourite way to watch a film is with AirPods Max connected to an Apple TV 4K. Is that better than listening through a room full of speakers? Of course not. But it's very immersive in its own right, and it lets me enjoy late-night movies without disturbing the rest of the house.

That's still home cinema to me.

In fact, I'd argue that if you've deliberately chosen a setup because it helps you become more immersed in the films, TV shows or games you love, you're already part of the home cinema community.

Whether that's a flagship projector and a 7.1.4-channel speaker package, a premium Atmos soundbar, a wireless surround system or even a tablet paired with headphones capable of reproducing Dolby Atmos through spatial audio technologies, the goal is the same: to bring the magic of the cinema into your home.

The equipment is simply the means of getting there.

None of this is meant to diminish traditional home cinema. Quite the opposite. If you have the space, budget and enthusiasm to build an AVR-powered surround system, I wholeheartedly encourage you to do so.

But I don't think owning that sort of system should be the entry requirement for calling yourself a home cinema enthusiast.

After all, very few of us started there.

Most enthusiasts build their systems over time, upgrading piece by piece as budgets, homes and family life allow. Others discover that a high-quality soundbar or wireless speaker system gives them the balance of performance and practicality they're looking for. Neither approach is more legitimate than the other – they're simply different stages of the same journey.

One day, I still hope to convert my garage into a dedicated home cinema room featuring an AV receiver, a projector and at least 12 speakers.

Until then, I'll continue enjoying films through my wireless Atmos system. I'll continue watching late-night movies through my AirPods Max, too, and I'll continue recommending traditional separates systems to anyone who wants the very best performance money can buy.

Because I don't think those things are contradictory.

The best home cinema I've experienced has been in dedicated cinema rooms filled with high-end equipment. The home cinema I use most is in my living room. And some of my favourite movie nights have happened when wearing a pair of headphones.

They're all different. One is objectively capable of higher performance than the others. But all of them remind me why I fell in love with home cinema in the first place.

To my mind, that's what really matters.

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Letterboxd's co-founders Matthew Buchanan and Karl von Randow will still own 40 per cent, but the fate of the remaining stake in the social network is up in the air as the current holding company, Tiny, seems to be looking to sell.

For those not in the know, the movie cataloguing site allows you to rate and review films. You can follow your friends and to see what they are watching, and tailor your profile to show your top four favourites.

As of July this year, there were a whopping 26 million users worldwide. That includes numerous celebrities, such as Ayo Edebiri, Charli XCX and Ed Sheeran. Even our furry friend Paddington leaves the odd review.

One of the prerequisites for working at What Hi-Fi? is that you have to be a massive movie nerd (joking, kind of). That's because testing out the latest home cinema and AV kit involves watching a variety of films to see how well they perform. We watch the same scenes again and again to compare different models, and that is a lot more fun if you genuinely love watching movies.

I have gushed about Letterboxd before and it's still the first thing I reach for once I have watched a movie. Users can post one-line zingers or thoughtful reviews, and both are equally likely to get hundreds of likes.

But I'm a little worried about the possibility of the platform being owned by streaming services or movie studios such as Netflix or Sony Pictures. It means that they could favour certain releases and push some films onto the homepage more than others, giving smaller movies less of a chance to get noticed.

Clearly, I am not alone, as there is already a crowdfunding effort to "buy it back for the people" that has gained over $54,000 in donations so far.

Nothing is set in stone yet, but it would be a shame to see the fun and passionate Letterboxd community become oversaturated with advertising and led by algorithms instead of film lovers.

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Developed in collaboration with monitoring engineers, Sony bills its latest in-ear headphones as being the perfect partner for musicians and performers who require "reliable and accurate in-ear monitoring" for both performance and practice.

The IEMs' fully sealed structure, combined with a large acoustic chamber, offers outstanding sound isolation, even in noisy live environments.

A set of 5mm dynamic drivers are complemented by a large acoustic chamber in pursuit of "deep, controlled bass", while the headphones' optimised internal structure has been designed to give a more refined high-frequency reproduction.

Designed to blend comfort and stability, the IER-M500 feature what Sony calls "fitting supporters".

This is a loop at the top of each earpiece which nestles under the inner ear ridge to anchor the IEMs in place. To further facilitate a better fit, four sizes of noise-isolating ear tips are included, as is a 1.6m detachable cable with a 3.5mm jack.

While they don't carry an official IP certification, Sony pledges that the IER-M500 are capable of handling moisture, such as splashes of water or human sweat, without too much trouble.

The IER-M500 will be available from August in a choice of Clear, Black and Red & Blue finishes, priced at £99 / $120 / €115.

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I can't really complain. Between commuting, international travel and a house move, they'd spent years being stuffed into backpacks and suitcases before emerging to soundtrack thousands of hours of music and movies. They'd had a pretty hard life.

Rather than rushing to repair them, though, I saw an opportunity.

In the five years since I'd bought the AirPods Max, loads of exciting new headphones had launched. This felt like the perfect excuse to break away from Apple's ecosystem and find out whether anything could finally replace them.

Over the next couple of months, I spent time with headphones from Sony, Bose, Sennheiser and Bowers & Wilkins. Their relative strengths varied, but all of them sounded very accomplished with music. In the case of Sony's superb WH-1000XM6, I'd even argue the overall musical performance is better than that of the AirPods Max.

But this period of headphone flirtation had a surprising effect: my movie-watching almost ground to a halt.

For years now, I've used my AirPods Max at least as much for movies as for music. In fact, they've quietly become an essential part of my home cinema setup.

Once the rest of my family had gone to bed and it was no longer neighbourly to keep my Dolby Atmos system rumbling away, I had a simple routine. Rather than switching on Night mode and flattening every explosion, gunshot and orchestral swell, I'd put on my AirPods Max, tap the pop-up on my Apple TV 4K and carry on watching exactly where I'd left off.

The combination of the AirPods Max and Apple TV 4K remains astonishingly good. Their Dolby Atmos implementation, delivered through Spatial Audio with dynamic head tracking, creates an experience that's surprisingly easy to forget is coming from a pair of headphones. It doesn't simply sound spacious; it sounds uncannily natural.

And that's the bit I hadn't appreciated until the AirPods Max disappeared from my life. Every alternative I tried excelled with music, but none recreated that movie experience.

The closest I came was pairing Sony's WH-1000XM6 with the Bravia 8 II TV. It produced an impressively open and fairly cinematic presentation, but because the connection relied on standard Bluetooth, what I was hearing was ultimately a cleverly processed stereo signal rather than the sort of binaural Dolby Atmos experience that Apple's solution provides.

The difference wasn't night and day, but it was enough that I found myself missing the AirPods Max every time I settled down to watch a film, and that had a surprisingly big impact on my viewing habits.

If the family was asleep, I simply wasn't getting the experience I wanted. I wasn't about to hobble my main home cinema system with Night mode, but neither were the alternative headphones convincing enough to tempt me away from it.

Whether it's children, a partner or simply considerate neighbours, I suspect lots of people end up watching films after the house has gone quiet, and losing that window meant the number of films I watched absolutely tanked over the following weeks. I missed loads.

The good news is that I'm now making up for lost time, because I've managed to get hold of another pair of AirPods Max.

The whole experience taught me something I wasn't expecting, though: I'd quietly built my entire late-night movie-watching routine around one Apple feature.

That's not to say Apple has the only solution. Sony, for example, offers the little-known WLA-NS7 wireless transmitter, which promises a similar binaural Dolby Atmos experience with compatible headphones. I'll be testing that very soon.

But until something else can recreate what the AirPods Max and Apple TV 4K achieve together, they'll remain my favourite headphones for movies – even if some rivals have at least matched them when it comes to music.

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These days, Sony tends to work on two-year lifecycles for its TVs, so I wasn’t expecting a successor to last year’s Bravia 8 II; but a replacement for 2024’s Bravia 8 seemed a fairly safe bet – as did a successor to the A90K, which is now an incredible four years old.

The omission prompted some (again, mostly me) to theorise that Sony had in fact turned its back on OLED entirely, and that the Bravia 8 II could be the brand’s last OLED model.

Last month, though, we reported on rumours that Sony was bracing to launch a brand-new OLED TV. And now, those rumours have been all but confirmed by the appearance of this new OLED set on several of Sony’s own websites.

The listings, first spotted by High Def News (thanks, The Walkman Blog), confirm that the new OLED is indeed the Bravia 6. And, if the name wasn’t a big enough hint, the TV’s tagline – “OLED essentials, now within reach” – also confirms that this is indeed an entry-level OLED TV.

Naturally, I’m disappointed that Sony isn’t launching a new flagship OLED at this stage, but if the Bravia 6 is indeed Sony’s most affordable OLED TV yet, as the tagline suggests, that’s rather exciting news in its own right.

Full tech specs are currently absent from the live pages (another suggestion that they have gone live earlier than planned), but there are some nuggets of information to be gleaned.

First, the TV is listed in sizes ranging from 48 inches to 83 inches. That’s a broader range than Sony typically offers for its OLED TVs, but it’s also highly suggestive of the Bravia 6 using LG Display’s new OLED SE panel, which is available in exactly those sizes and notably not in 42 inches.

While it’s not confirmed, we believe this is the panel that is already found in the LG B6, a set we will be reviewing very soon.

Another encouraging detail is that the Bravia 6 sports four HDMI 2.1 sockets. Gamers (myself included) have long lamented Sony’s models being limited to just two HDMI 2.1 sockets, with that limitation even being true of the new flagship Bravia 9 II, so this is very good news.

The listing also confirms that Dolby Vision is supported on the video side, and that Dolby Atmos and DTS:X are present on the audio side.

Unsurprisingly, like every other modern Bravia TV, the Bravia 6 also features the Google TV platform, which can be operated via voice control (though it’s not clear whether this is via a microphone built into the remote control or the TV itself).

We do know the TV includes ambient sensors, with the listing promising automatic picture adjustments based on room conditions.

None of the leaked listings includes pricing, so we don’t yet have any indication of where the Bravia 6 will sit in Sony’s range.

We don’t even know, in fact, whether the Bravia 6 will even come to the UK. Sony has a recent habit of releasing some models in certain regions but not others.

If it does launch the new model in the UK, there’s no guarantee that it will do so in all sizes: I note that Sony Hong Kong is listing the Bravia 6 in 48-, 55- and 65-inch sizes, while Sony Gabon is listing the 55-, 65-, 77- and 83-inch sizes.

We have approached Sony UK for comment. We don’t expect the company to confirm the Bravia 6 ahead of an official announcement, but with multiple regional Sony websites now listing the TV, that announcement surely can’t be far away.

Stay tuned for more on the Sony Bravia 6 as we get it.

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The update is also available for Sony’s 1000X The Collexion.

The update adds support for the Bluetooth LE Audio Gaming Audio Profile (GMAP). This reduces latency (the time that a sound takes to reach your ears) to less than 40 milliseconds.

As the name suggests, this will predominantly be of interest to gamers.

GMAP has four signal profiles (A-D) depending on whether speed or stability is the priority. Profile A is the quickest, while D is better suited for areas with lots of interference. GMAP is part of the Bluetooth specification laid down by the Bluetooth SIG, and so can work on other wireless headphones too.

In order to hear the benefit, your audio source also needs to support GMAP.

The new feature is available now via the 3.1.5 firmware update for the XM6 and 1.3.0 for the 1000X The Collexion. You can install the updates for both pairs of headphones using the Sony Sound Connect app.

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Read our Sony WH-1000XM6 review

And our Sony 1000X The Collexion review

I spent 10 hours on trains listening the Sony WH-1000XM6 – here’s what I learned

Sony announced yesterday that all PlayStation games released from January 2028 onwards will be available only as digital downloads; physical disc production will end.

This, unsurprisingly, has rubbed everyone the wrong way. Including more than 6000 angry gamers in the comments section of the PlayStation Blog post that announced the change, as well as on the brand’s various social media pages.

Sony has also been mocked by the likes of Domino’s Pizza. We are even seeing gamers dig up a satirical video made by Sony teaching gamers how to share and resell their games made in 2013 after Microsoft famously tried to implement a system that locked discs to individual users’ Xbox consoles.

We don’t blame them. This decision – which, according to Sony, has been made to “adapt to consumer trends as the general preference for digital media significantly outpaces physical discs” – is without doubt detrimental not only to gamers, but also to cinephiles who value the 4K Blu-ray format.

I’m willing to bet that the PS5 is the best-selling 4K Blu-ray player on the market currently, and that’s mostly because competition isn’t exactly fierce.

Sony and Panasonic are the only mainstream manufacturers offering 4K disc players at the moment – and, one incredibly minor refresh last year from Sony apart, neither has put out a truly new 4K player in years.

While I’m not betting the house on every PS5 owner tapping into the high-resolution disc format for their films and TV shows, the PS5 has felt like a lifeline for the format for quite some time.

The multipurpose nature of its ability to play games and movie discs has really added to its appeal in the world of home cinema, even if it’s missing some AV-focused features such as Dolby Vision HDR support.

But with this change, I think it’s safe to assume that the next-generation PlayStation console will be a digital-only affair.

Sony soft-launched that concept with the PS5 Pro, when it offered the console only without the disc drive, and required customers to purchase a drive separately as an accessory.

It now seems that the company was laying the foundation for this recent announcement – and we fear that the PS6, which is expected to launch next year, could forgo the optional disc drive entirely.

While this will be a crushing blow to 4K Blu-ray fans such as myself – need I remind everyone that physical PS5 game releases come on 4K Blu-ray discs too – this is also a huge blow to consumers in general.

You can forget lending a game to your friend, or selling it on when you have finished playing it. Likewise, those who prefer to buy games on the second-hand market to save money (gaming isn’t a cheap hobby after all) will be out of luck from 2028 onwards.

Historically, Sony has come under scrutiny for the pricing of games on the PlayStation Store. It has even faced lawsuits for allegedly charging gamers unfair digital fees.

This announcement is especially galling after the recent news that, in September, more than 550 films and TV shows will be removed not only from the PlayStation Store, but also from the libraries of people who bought them.

This is due to a licensing agreement between Sony and Studio Canal ending – and it appears as though refunds will not be issued.

This is where my biggest issue lies. I tend to buy my PS5 games on disc for this very reason; so that I own them outright, and they can’t be taken away from me at a moment’s notice and with no compensation.

From 2028, I won’t have that option, and that certainly doesn’t sit well with me. As someone who is constantly vouching for physical media – especially 4K Blu-ray – I’m really discouraged by Sony’s choice. It certainly means that I won’t be rushing out to buy a PlayStation 6 in the same way I did with the PS5.

Overall, this announcement feels more like a punch to the gut for consumers, and I’m not buying Sony’s reasoning.

If it really wants to “drive innovation in how players can access games and provide choices as to where players prefer to purchase new games”, I would suggest it changes its viewpoint on physical media.

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Starting in 2028, Sony will end physical disc production for PlayStation games, meaning you will be able to access future titles only digitally. Sony confirms that retailers will carry digital download codes for games from 2028 onwards, with the PlayStation Store as the most convenient place for gamers to access new titles in two years.

The Japanese AV and gaming goliath confirms that this change will affect only new titles, and that “this transition has no impact on games that already released, or will be releasing, prior to January 2028 in disc format”.

This news follows the announcement that Grand Theft Auto VI, which is expected to be one of the biggest video game launches of all time, will be available only in digital formats on PS5, Xbox Series X and Xbox Series S.

The reasoning behind this monumental change, given by Sony, is that it simply follows consumers’ wants and needs. The company had this to say in a PlayStation Blog post made yesterday:

“This is a natural direction for Sony Interactive Entertainment to adapt to consumer trends, as the general preference for digital media significantly outpaces physical discs. This transition will enable us to align more closely with how most of our community prefers to access and play games today.”

While Sony claims that this decision has been made with consumer interests in mind, the general reaction to the news has been less than positive from gamers. At the time of writing, there were 6256 comments on Sony’s blog post, and the consensus is overwhelmingly negative.

Comments on the blog post from PlayStation users include: “Do not like this, I’ve always preferred physical to digital”, “Shame on you Sony”, “Revert this decision right now”, and “We literally own nothing now but licenses; this is a horrible decision, Sony”.

This also comes in the wake of a digital-media fiasco made by PlayStation a mere three days ago. The company announced that, due to a content licensing agreement with Studio Canal, users will lose access to more than 500 films and TV shows that they have bought from the PlayStation Store here in the UK.

If that’s not already concerning enough, Sony confirmed that the affected content will be removed from users’ video library with no mention of refunds or compensation. This makes Sony’s announcement to ditch physical game releases even more troublesome.

It has been made clear time and time again that access to digital media can be revoked in a heartbeat, so seeing physical media being phased out is leaving gamers feeling understandably insecure.

While it is currently far too early to speculate, it’s presumed that Sony will lift the lid on the PlayStation 6 next year, just in time for this new digital revolution.

Therefore, it’s not out of the question to assume that the PS6 will be a digital-only console, which could deal a critical blow to the 4K Blu-ray format.

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In September, PlayStation will remove more than 550 films from its catalogue. Which means any affected films will be wiped from your video library, even if you paid for them.

The company is not offering refunds to users, and there’s not even an option to offload them to another device. Sony, which owns PlayStation, says that they will be removed due to content licensing agreements with Studio Canal.

You can read the full list of affected movies on PlayStation’s website but some of the most notable titles include Moonlight, Rambo First Blood, Apocalypse Now, and Pan’s Labyrinth.

At the moment, this affects only customers in the UK, although the brand pulled the same move in Germany and Austria back in 2022.

It’s a rather unpleasant reminder that you can never truly own a piece of media online, as you are always at the whim of licensing battles. We have seen the issue with streaming services before, with Netflix most recently hitting headlines for removing all seven series of Gilmore Girls from its US site.

That’s why physical media is still so important. There is no substitute for holding a copy of your favourite movie or TV show in your hands.

Investing in a 4K Blu-ray is usually the more expensive option, but it gives you proper ownership while also providing the best picture and sound quality you can get at home.

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Seeing as I've been reviewing TVs for almost 20 years, that hopefully says a lot.

The Bravia 8 II is also on sale right now, with the 65-inch version available for £2099 at Richer Sounds.

That's not the cheapest it's ever been (that would be £1979), but it's still a good price for what is an absolutely awesome TV.

If I were looking to buy a premium TV right now, though, it's the 65-inch LG C5 I would go for.

It's a step-down OLED rather than a flagship like the Bravia 8 II, but it's still an absolutely cracking all-rounder of a TV, and it's currently available for £1299 at Amazon.

That price difference is just too big to ignore.

In our review, we awarded the C5 five stars, praising it for delivering "excellent all-round performance" that punches well above its price.

It's one of those rare TVs that doesn't have any glaring weaknesses, making it an easy recommendation whether you're a movie buff, sports fan or gamer.

Picture quality is the obvious highlight. The C5 produces rich, vibrant colours without sacrificing authenticity, while its contrast is superb, delivering the deep blacks and bright highlights that OLED TVs are famous for.

It's also wonderfully sharp and detailed, with excellent motion handling that keeps everything from fast-paced football to blockbuster action films looking smooth and natural.

Gaming is another area where the LG excels. All four HDMI sockets support the full HDMI 2.1 specification, including 4K/165Hz, VRR and ALLM, making it one of the most comprehensively equipped gaming TVs around.

Now, let's be clear: the Sony Bravia 8 II is still the better TV. It's brighter, more vibrant and more refined, producing an even more cinematic and authentic picture. Its built-in sound system is also leagues ahead of the LG's, delivering audio that's fuller, weightier and more immersive than almost any other TV.

If money were no object, I'd still tell you to buy the Bravia 8 II.

But money almost always is an object. And when you're looking at an £800 price difference, the LG C5 becomes the smarter buy.

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This is one of the rare instances, however, when we'd advise you to look elsewhere. The Sony ULT Wear are a rare misfire from Sony, and while they're down from £180 to just £88 on Amazon, we just don't feel that they're worth your time. Save your cash and pick up a pair of five-star alternatives (listed below, obviously) instead.

Sony ULT Wear deal

Hooray, a pair of heavily discounted Sony headphones! They’ve got noise cancelling, a comfortable design, loads of high-performance Sony features and a majorly knocked down right, so what exactly isn’t there to love?

The problem is that the ULT Wear don’t sound as good as we had hoped. In fact, they are a rare sonic misfire for Sony, with a sound that sounds either too enthusiastic and bass-heavy, or simply too lacking in the basics of dynamics and detail to have us singing their praises. Great Sony headphones abound at the moment, but sadly, the ULT Wear are quite a long way from greatness.

Consider these alternatives instead

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After what's felt like a never-ending onslaught of leaks, delays, and speculation, we're officially less than six months away from what could be the biggest gaming launch in history.

While securing a copy is top priority – pre-orders start at midnight tonight – I'm taking the release of this hotly anticipated title as an excuse to level up my gaming setup, and what better time to do it than during Amazon Prime Day?

I've found the ideal gaming TV, a soundbar system that will put you in the centre of the action, and a console that should not only be powerful enough to handle GTA VI but also ensure that the high-resolution, neon-adorned streets of Vice City shine in glorious 4K.

Regarding the console, I recommend the Sony PS5 Pro. We haven't reviewed it yet, but its dedicated upscaling feature leads us to believe that it will offer extra headroom for the expected demanding graphical requirements of GTA VI.

As someone who has gamed on a PS5 since launch (including the superb GTA V remaster), and has also been eyeing up a PS5 Pro since Sony unveiled it back in 2024, seeing it drop in price this close to GTA VI's official pre-order date simply feels like the fates aligning.

As for the TV, I felt as though the LG C5 was a no-brainer. It's our current Award-winner in various categories, including "best gaming TV", and the 55-inch (which is the size we reviewed first and can thoroughly recommend) is currently £1000 off – that's a mind-blowing saving.

It sports four full bandwidth HDMI sockets that support up to 4K/144Hz (or 4K/120Hz with the PS5 Pro), and LG's Game Dashboard feature will be the perfect sidekick during your car chases and shootouts this November.

Finally, the Samsung HW-Q990F (another Award-winner, no less) is also enjoying an unbelievable discount of just over £1000. With Dolby Atmos on board (which the PS5 Pro supports for gaming now), it's bound to get you immersed in GTA VI's sprawling city, especially with planes and helicopters soaring overhead.

And with another HDMI 2.1 socket on board (bringing the total of this system to five), we could even bestow it with the title of "best gaming soundbar".

However, what makes it truly stand out is the incredible subwoofer, which should add some serious low-end punch to gunshots, explosions and car engines.

All of the components listed here work in tandem to also deliver a superb home cinema experience, meaning movies, TV shows and music will also benefit from this do-it-all system too.

And with Prime Day in full swing, you can expect to save a staggering £2080 in total; what's not to like?

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Find the best Amazon Prime Day home cinema deals here

Check out our picks for the best gaming TVs

As well as the best Dolby Atmos soundbars

Luckily, there is a way to fix this common problem. If you don’t have the budget or space for a multi-speaker package to upgrade your sound, then adding a soundbar to the mix is a great way to go.

• View all the Prime Day deals on Amazon

And, for those on the hunt for an even more room-filling experience, there is the option of getting a soundbar with Dolby Atmos support, which can provide a much-desired extra boost of surround sound.

With Amazon Prime Day deals swarming your search like ants to a melting Calippo, it can be hard to find a model that is genuinely right for you. That’s where we come in. We have tested hundreds of soundbars over the years, and have hand-selected four products that provide immersive sound and are at a discounted price right now.

Sonos Beam Gen 2

The Sonos Beam Gen 2 holds the crown as the top entry-level Dolby Atmos bar in our best soundbars guide.

The Beam Gen 2 measures just 7 x 65 x 10cm (hwd) and weighs 2.8kg, making it easy to place in front of your TV without obscuring the picture. Under the hood, you will find four front-facing elliptical mid-woofers and a centre tweeter.

Most importantly, it offers a detailed, rich, and enveloping audio experience, which is particularly impressive considering its compact footprint.

Despite the bar’s lack of up-firing drivers, the soundfield is immersive and we get a good sense of height as well as scale. In fact, we note in our review: “Whether it’s a chirping bird, a car or a voice, there’s remarkable consistency across the complete soundfield, and seamless handover between drivers, which we have to say doesn’t always happen when a Dolby Atmos soundbar has upward drivers to contend with.”

It launched at £449, but this Prime Day deal has seen its price drop to £337 at Amazon. That’s a saving of £112, and is well worth considering if you are looking to add an Atmos soundbar to your system.

Sony Bravia Theatre Bar 9

If you are looking for a step-up soundbar to add to your system, then the Sony Bravia Theatre Bar 9 is hard to beat. This Sony sounds exceptionally crisp and precise, and the Atmos-ness of its delivery is hugely impressive for a standalone bar.

We find there is a slightly clinical tone in its overall delivery, but its superb detail and punch mean it still achieves five-star success.

In terms of connectivity, gaming fans will be pleased to hear that the Bar 9 has a dedicated HDMI 2.1 input and support for 4K/120Hz, VRR and ALLM.

You can find it for £999 at Richer Sounds, chopping £400 off its launch price. At this price, it is also worth considering the Award-winning Sonos Arc Ultra. It’s a brilliant-sounding system, offering a rich overall sound with expressive vocals.

It features only a single HDMI eARC port, however, which is not as comprehensive as the Theatre Bar 9’s offerings. The Sonos model is currently available at its launch price of £999 at Smart Home Sounds, but we have our fingers crossed for a reduction before the end of Prime Day.

Hisense AX5125H

All-in-one soundbars work excellently for some people, but you might be craving that extra sense of immersion that can come with a soundbar package. And our top budget soundbar system recommendation is currently available for an absolute steal.

You can pick up the Award-winning Hisense AX5125H for just £199 at Currys, making it easily one of the best-sounding affordable soundbar systems we have heard.

The 5.1.2 system, which supports both Dolby Atmos and DTS:X, offers a relatively compact design that is easy to accommodate in most homes. It is made up of two small wireless surround speakers, a wireless subwoofer and the main soundbar. Even though the surround speakers are surprisingly compact (each one measures just 14 x 9 x 11cm), they produce an impressively enveloping soundfield that massively improves upon our experience with the TV’s sound.

We noted in our review when watching Civil War: “Bullets whizz from the front to the back of the room and even behind the listening position, helicopters hover at ceiling height, and distant explosions rumble menacingly.”

Vocals are clear and sound relatively emotive too, although the subwoofer can get a little overzealous and cause them to become muffled in the busiest sections. Still, the Hisense system is a top performer in its class and is even more tempting at this discount.

Samsung HW-Q990F

Finally, we have the Samsung HW-Q990F, an Award-winning 11.1.4 soundbar package. Like the Hisense system, it is made up of a soundbar, a subwoofer, and two surround speakers.

It is a chunkier system in terms of its build, though. The surrounds, for instance, measure 25 x 25 x 25cm and the soundbar comes in at a more hefty 7 x 123 x 14cm (hwd).

With support for Dolby Atmos and DTS:X, we were impressed by the soundbar’s ability to create that all-important dome of sound as well as ensuring the sound moves organically between the channels.

When it comes to its bass performance, we say in our review: “There is a much greater sense of tonal variation from this subwoofer [compared with the older Q990D model], which unearths a new layer to the bass. The Q990F’s bass feels more organic, balanced, and seamlessly integrated into the system as a result.”

That all makes it a focused, tonally varied overall sound that immerses us in whatever we listen to. You can find the system for £750 at Amazon, saving you around a whopping £949 off its original price.

We recently reviewed the Q990F’s successor – the Samsung HW-Q990H. This new system managed to build upon our favourite aspects of the older model, resulting in an even more detailed and nuanced performance. That meant the Q990H took the crown when we put them head to head – but the Q990F is without doubt still a brilliant performer in the category.

Plus, the Q990H's price has dropped only a small amount for Prime Day (the cheapest we have seen so far is £1299 at Amazon). That makes the older model all the more tempting.

MORE:

These are the best Dolby Atmos soundbars

Check out the best budget soundbars

And here are the best TVs right now

For me, they’re great, and I am more than happy with them. But, after a few readers got in touch asking if they should take advantage of Amazon’s current Aventho 300 deal, which lets you grab a pair for £239 (saving £120), my answer is, probably not.

Instead, I would point most people to Amazon’s current deal on the five-star Sony WH-1000XM6, which lets you pick up a pair for £236 (save £164).

That’s not because the Aventho 300 and I have fallen out of love and are on a break. They are fantastic, wonderfully unassuming headphones with a sonic profile that will truly delight any listener who values composure and balance, even if it means they might be a little clinical. That’s why I love them.

For most people, however, there’s a reason we scored the Sony WH-1000XM6 higher and gave them a What Hi-Fi? Award. Their sonic profile is more entertaining and packed with detail, and will please a wider audience of listeners than the Aventho 300.

They also offer better ANC, which again is a big factor that gives them more mass appeal. We said as much in our reviews of the two headphones.

For example, here is our WH-1000XM6 verdict:

“Sony’s wireless headphones deliver a performance more than befitting a flagship pair of wireless headphones. Comfort levels are great, they’re nice to use, ANC is excellent, call quality is class-leading, and sound quality can match anything at this level. Simply sensational.”

Whereas in our Aventho 300 review we reported:

“The Beyerdynamic Aventho 300 won’t be for everyone [...] That said, these are really solid performers for the money, that resist the urge to impose their will on your music and instead step back and allow your tunes room to shine.”

We stand by those statements. Which is why, generally, I recommend that most buyers should opt for the Sony WH-1000XM6, even though I am personally very fond of my Aventho 300.

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

These are the best wireless headphones we have reviewed

Our picks of the best wireless earbuds

This Prime Day has seen major discounts on a massive variety of headphones, but we're limiting this rundown to those which fall under £150. Times are tough right not, so the products we've listed below, be they in-ear or over-ear, are all designed to elicit maximum satisfaction from the lowest cost possible. Nice.

Wireless earbuds

Best mid-price: Bowers & Wilkins Pi6

Best noise-cancelling: Sony WF-C710N

Best entry-level: Sony WF-C510

Over-ear headphones

Best entry-level: Sony WH-CH520

Best budget noise-cancelling: Sony WH-CH720N

Best budget wired: Røde NTH-100

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“A TV can’t replicate the charm of that beam of light flying over your head, or the little dust fairies that dance about within it. That’s real cinema, isn’t it?”

If that sentiment has tugged on your heart strings, and you have decided it’s finally time to take the plunge and build your own home cinema, I have some good news to share.

I have trawled the current sales and offers to create a stellar full-fat, wireless Dolby Atmos home theatre, built around a five-star Sony projector we use as a quality benchmark in our AV test room.

The package requires you take advantage of three key deals that are live on Peter Tyson right now. They are listed below.

• Get the Sony VPL-XW5000ES with a free Apple TV 4K for £4399 at Peter Tyson (save £1600)
• Get the Sony Bravia Theatre Quad for £1999 at Peter Tyson (save £500)
• Get the Sony SA-SW3 Wireless Subwoofer at Peter Tyson for £296 (£153)

Total system price: £4894 (save £2252, not including Apple TV)

There’s a lot to like about the Sony VPL-XW5000ES. But the main reason I would pick this five-star beamer – even at full price – over its rivals is its ability to deliver a native 4K image.

Most projectors at this level use pixel shifting to achieve 4K. This is a bit of a cheat, as it means the projector is creating its ‘4K’ image by combining two 1080p images per frame, rather than delivering it natively. Though the technology has improved over the years, the process can lead to motion flicker or haloing – two things you don’t want when watching movies.

The Sony projector’s ability to deliver a native 4K image is a key reason it offers one of the most balanced, authentic and ultimately immersive home-movie experiences you’ll find on a unit at this price. As we say in our review: “Despite being Sony’s cheapest 4K laser projector, the XW5000ES still delivers gorgeously cinematic and detailed pictures.”

One word of warning: it doesn’t have 4K/120Hz, so it’s not great for gamers. I have opted for the Peter Tyson deal here as it also gets you an Apple TV 4K (3rd Gen), which adds a source to the bundle, free of charge. (Like most long-throw projectors at this level, the VPL-XW5000ES doesn’t have a streaming platform built-in.)

Next up we have the Sony Bravia Theatre Quad. I chose Sony’s four-star wireless surround sound system over one of the sea of full fat 5.1 multi speaker setups we have reviewed, because of the simplicity it brings to the table. If you wanted to get a full fat 5.1 (or more) home cinema, you would need to invest in an AV amplifier to power it. You would also then need to connect it all up with cabling snaking around the room.

The Quad doesn’t require you do either of the above. It simply requires you to connect the control box to your source, then place the four wireless speakers (which house 16 channels with a total power output of 504W) sensibly around the room. From there it will deliver a pleasingly clear and spacious sound that should delight most movie fans.

In fact, the Quad’s only real shortcoming is that the system’s low end is a little underpowered. Which is why I recommend picking up the Sony SA-SW3 Wireless Subwoofer to complement it. The SW3 neatly slots into the system with a few button pushes; it improves low-end performance, making the whole experience all the more immersive.

So, a hassle free, wireless home theatre that combines the best of old and new. What’s not to love?

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I already own what I consider to be the best OLED TV available – the awesome Sony Bravia 8 II – but, at that price, the C5 was well worth buying for use in my spare room, where it could perform gaming and work monitor duties, as well as the odd streaming binge.

But yesterday, I updated that story to point out that the price for the 42-inch had dropped to £623. The previous price that I had thought was unbeatable had been beaten.

And now, would you believe, it's been beaten again: the 42-inch LG C5 is down to just £611 at Amazon.

That's a nuts price for a TV this good.

At £611 from Amazon, the 42-inch LG C5 is one of those deals that feels almost too good to be true.

In our five-star review, we praised its wonderfully balanced OLED picture, excellent motion handling, natural colours and superb contrast, all of which combine to deliver a brilliantly engaging and authentic viewing experience.

It's also among the most comprehensively specified gaming TVs available, with four full-bandwidth HDMI 2.1 sockets supporting 4K/144Hz, VRR, ALLM and Dolby Vision gaming.

The sound is fairly ordinary, but that's a common weakness among TVs at any price and one that's easily fixed with one of the best budget soundbars.

Everything else about the C5 feels premium, making this deal particularly impressive. At £611, you're getting a TV that performs like a flagship for little more than the price of many mid-range rivals.

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Here are all the best TVs you can buy right now

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They can be yours now for £65 at Amazon, which is £10 less than when I bought them in February. Still, considering the use I have had out of them since then, that extra tenner was money well spent.

Best-ever deal on the Sony WF-C710N earbuds

The C710N take everything we loved about their Award-winning predecessors, the C700N, and crank it up a notch: the battery life is an hour longer; the ANC has been beefed up with the addition of Dual Noise Sensor filters; the on-bud controls are now touch sensitive – and very intuitive to use.

They also have auto pause and wear detection, to help when having to interact with people.

But it’s the sound that’s the real highlight. “There’s a weight, solidity and fullness in the bass which makes the WF-C700N sound lightweight and a little top-heavy,” we note in our Sony WF-C710N review. “The new model fleshes things out better.”

They extract an enormous amount of detail from a track, lending notes plenty of texture. And they have Sony’s trademark musicality in spades.

From a personal point of view, the C710N are a great daily pair of earbuds. Their stacked feature-set makes them very versatile, and they have accompanied me on runs, walks, commutes, Zoom meetings and everything in between. If even a skinflint like me would pay more than their current price of £65 at Amazon, you know it’s a good deal.

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You can grab the 55-inch Sony Bravia 7 Mini LED TV for £1099 at Amazon right now. That’s a £400 saving on its regular price and the cheapest we’ve ever seen it retail for.

And if, for whatever reason, you are dead against getting an OLED TV as your next set, it is a fantastic saving on a TV we openly describe as “a marvel”.

But, there is one issue, stopping us from wholly recommending it: you can get a Sony Bravia 8 OLED for only £100 more.

There are reasons you may want to pick the Bravia 7 over its OLED sibling – chief of which is its higher peak brightness, which makes it better if you plan to use it in a very bright room.

But for serious movie fans, the Bravia 8’s OLED panel makes it a better option for one key reason: its ability to deliver perfect blacks.

Yes, the Bravia 7 is very good by LCD standards, but it's still a backlit TV, which, as we’ve said many times before, means it can’t match an OLED's perfect black level. Put them head-to-head and the Bravia 8’s perfect blacks are immediately apparent and convey an added depth and level of contrast.

This isn’t a dig against the Bravia 7 specifically; it’s just a constant theme we’ve experienced when comparing Mini LED sets to OLEDs. But it’s especially true with the Bravia 8, which, despite coming out two years ago, remains a top performer in its class.

Highlights include wonderfully accurate colours and a general focus on consistency that helps it deliver a truly immersive home cinema experience. And that’s why, unless you really don’t want an OLED, we’d still recommend it over its Mini LED sibling.

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Prime Day 2026 Home Cinema Deals Live: all the top discounts our experts have spotted

These are the best TVs we've fully reviewed

Our picks of the best soundbars

It's a question we're asked all of the time, and while we're seeing TV manufacturers attempt to fix the issue with built-in dialogue enhancement features, we think there's a clear answer to this problem.

An external sound device, namely a soundbar, is one of the most crucial – and easy – TV upgrades that you can make.

Not only will you get clearer dialogue, but many soundbars also offer deeper bass, improved dynamics, and, if you opt for one that supports it, Dolby Atmos.

With Amazon Prime Day officially less than 24 hours away, we expect to see plenty of discounts on several models featured in our best soundbars list.

However, if you're simply looking for a quick, easy, and reliable recommendation, then you've come to the right place.

I've selected three soundbars – an affordable option, a mid-range choice, and a premium soundbar package – all of which have been thoroughly tested to solve your sonic woes by our expert team of reviewers.

Just be warned, it's early days, so prices may drop further during the Prime Day sales as the week progresses, but these are the top savings I've spotted in the initial round of discounts.

So, if you're tired of muffled voices or you're sick of rewinding to catch a crucial missed line of dialogue, then look no further.

Affordable: Creative Stage Pro

This sub-£100 marvel of a soundbar is also the most versatile option on this list.

Designed to be used with smaller TVs or on a desk with a computer monitor, the Creative Stage Pro is a charming, super-affordable, and effective soundbar.

It ditches a fancy feature set and instead opts for a straightforward approach to improving sound, and we think that was a clever move from Creative.

That simplicity extends to the setup process; a single cable links the soundbar to the included subwoofer, and there are options to connect the soundbar to your TV via an HDMI ARC or optical connection.

We think it's especially talented when it comes to voices, as our full review notes that it outputs "crisp, detailed and emotive dialogue", which is the ideal solution to stave off muffled TV sound.

We reviewed it at £130, but Overclockers UK has it down to just £95.

Mid-range: Sony HT-S2000

Sony's entry-level Dolby Atmos soundbar is my choice at the more affordable end of the market.

This compact, fuss-free soundbar sports an easy plug-and-play setup, and it produces a sound that is guaranteed to be leagues ahead of your TV's built-in speakers. Not only that, but the inclusion of Bluetooth 5.2 ensures that streaming music to the unit is a breeze.

Generally speaking, the HT-S2000 ticks a lot of boxes, especially for the money. It serves up punchy dynamics, impressive directionality, and superb clarity, which results in an impressively cinematic sound despite the soundbar's modest footprint.

When it comes to voices, we stated that the HT-S2000 delivers "crisp and clear dialogue" and praised its ability to dig up an impressive amount of sonic subtleties. This means that voices not only sound clearer, but also more textured, tonally varied, and realistic.

We reviewed it at £349, but it can be found for just £299 at Amazon right now; that's a tidy £50 saving on a five-star soundbar.

Premium: Samsung HW-Q990F

This Award-winning soundbar package has been discounted so deeply that we think it makes a compelling mid-range option for those scouting out a new 'bar to sit below their TV.

This package includes a soundbar, two surround speakers, and a subwoofer, making it a full surround sound package. The trick here is that all components connect wirelessly, making it a neater solution compared to a traditional wired surround sound package.

The system produces a hugely spacious and detailed sound, with the included subwoofer being a particular highlight. It produces a rich, powerful, and tonally varied bass that blows many competitors out of the water.

On top of this, the HW-Q990F is no slouch when it comes to dialogue. We found it presents "natural and detailed voices" in our review, and if you want even more clarity, then Samsung's Active Voice Amplifier Pro feature is on board to grant your wishes.

We reviewed it at a hefty £1699, but it can currently be found on Amazon for just £749 (a staggering £950 saving).

MORE:

Find the best soundbar deals here

As well as our picks for the best budget soundbars

As well as the best Dolby Atmos soundbars

That TV is the Sony Bravia 8 II, and it really is as awesome to live with as I had expected.

• View all the Prime Day deals

Why, then, am I eyeing up another TV in the Amazon Prime Day sales?

Two reasons: I'd love to add an OLED to my spare room for gaming, and this deal is just too exceptional to pass up.

£623 at Amazon is just unbelievable for a TV this good, and it takes it from a super-premium option that would have to be your main TV, to a good price to pay for a second room TV.

My plan for this 42-inch OLED is to use it as a gaming TV and a monitor for work.

Its gaming specs are impeccable: four HDMI 2.1 sockets that all fully support 4K/144Hz, 4K/120Hz, VRR and ALLM; a superbly implemented HGIG mode for super-accurate HDR in games; and a Dolby Vision gaming mode.

It's great as a monitor, too, with neat, user-created software available that enables monitor-style features such as auto-wake.

Even if you've no interest in gaming or productivity, though, the 42-inch C5 is awesome for TV shows and movies, with a really balanced and authentic performance that makes full use of OLED's perfect blacks and pixel-level contrast control.

Other than the limp sound (which I recommend solving with one of the best budget soundbars), this TV is great at everything it does, and I think it's just irresistible at this price.

MORE:

Here are all the best TVs you can buy right now

And here are all of the best Amazon Prime Day TV deals

But these compact champions can play a crucial part in your home cinema setup. If you have the right model, your TV’s (almost certainly) lacklustre audio can be upgraded to deliver immersive yet detailed sound with clear voices.

As with any piece of home cinema kit, there is a huge variety when it comes to quality and price. If you are looking on the more affordable end of the spectrum (take the Creative Stage Pro, for instance), you will rarely find Dolby Atmos support. For those who have bigger budgets, you will find more premium models with the specifications to match.

So which models are worth your time? We have tested oodles of bars over the years since the category emerged in the 2000s, so we know which soundbars are genuinely good sonic performers.

With Amazon Prime Day almost upon us (it officially runs from the 23rd to the 26th June), we have already spotted some stellar bargains on top-performing soundbars. All the models below have been thoroughly tested by our experts, and have achieved either a four or five-star rating.

MORE:

Here is our review of the Samsung HW-Q990F

Check out the best soundbars

These are the best budget bars on the market

Which got me thinking. Could we see the OG portable cassette player, the Walkman, make a comeback? And not as a Walkman-branded phone or digital music player, but as a proper, bona fide tape player? As the proud owner of at least two Walkmans during my childhood, I certainly hope so.

Here's why the time is right for the Sony Walkman to once again strut its stuff.

1. A big anniversary is coming

It seems like only yesterday that we were celebrating the iconic player's 40th birthday – but its 50th is just three years away.

Mark the date in your diary: 1st July 2029. That's when the grandaddy of portable tape players hits the half century. The world of music on-the-go has changed massively since then, with first compact discs, then MiniDiscs, digital downloads and now streaming all having their time in the sun.

But the backlash against digital is building. As vinyl's sustained resurgence has shown, people are willing to put up with the inconvenience of physical media if it makes for a more rewarding experience. While no one's arguing cassettes are the last word in sound quality, they certainly have their appeal. A special edition Walkman would make the perfect 50th birthday present from Sony.

2. Sony is no stranger to special editions

Sony loves a special edition product. Recently we reviewed the Sony 1000X The Collexion, which was launched to celebrate a decade of Sony's world-conquering 1000X wireless headphones.

Sony deserves credit here. It would've been very easy for it to release the Award-winning WH-1000XM6 with a slightly different finish, but instead, it chose to launch a proper standalone product.

Admittedly they 'only' scored four stars, as opposed to the fives that Sony headphones are accustomed to. But it shows that Sony is not above celebrating its heritage, and in the most appropriate way possible – by releasing something new.

3. The digital backlash continues

No one's arguing with the convenience of streaming, but more and more people are seeing the appeal of physical media. It's tactile, it gives you more of a connection with the artist, and it's easy to display and show which artists you like. You can't put a stream on your shelves.

This cuts across age groups. Yes, there are those of us old enough to remember vinyl and cassettes the first time around, but Gen Z is also discovering the joy of cassettes. (It helps that they're much more affordable than vinyl.) As Sound Records' owner Gareth Simon told us earlier this year: "The kids have figured it all out – they see vinyl as a way to express their interests in a physical form."

I recently used the Gadhouse Miko Bluetooth cassette player, and while I wasn't enamoured with the sound quality (especially over Bluetooth), I did get an undeniable thrill out of feeling the cassette turning inside the player. As I wrote at the time: "Seeing the cassette's spokes revolve, and feeling the player's mechanism at work in your hand, makes it feel alive in a way that a solid-state device never will. It connects you to the medium as a physical thing, rather than a bunch of ones and zeroes flying through the air."

4. The nostalgia element

I'm not alone in feeling this nostalgic thrill. Whenever I told anyone I was trying out a portable cassette player that has Bluetooth, the reaction was the same: "Cool!" Or a slight variation thereon. Now admittedly these were all men of a certain age, but you get my point. Cassettes have made a comeback. And so should the Walkman.

Whether Sony should stuff it with mod cons like Bluetooth... sure, I mean, why not? As long as it sounds good. And if it can implement the mega bass feature of my childhood Sony WM-EX16, then even better.

But really this is about celebrating an iconic product that changed the face of portable music half a century ago. Make it so, Sony, and I'll get my pre-order in now.

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Sony’s thinking behind the Theatre Trio is that as TVs get ever bigger, soundbars will struggle to create audio on a scale to match the visuals. The obvious solution is to switch to having speakers on either side of the screen, which is what the company’s done previously with the HT-A9 and Bravia Theatre Quad, but that creates its own issue: a lack of central focus, which is particularly important for dialogue.

The solution to the solution, then, is to break the soundbar down into three parts: a centre, a front left and a front right.

In a way, this is the antithesis of the soundbar, which was created, of course, to reduce all of the speakers needed for satisfying home cinema into one, slender unit. What’s next: the return of full home cinema in a box systems?

Let’s not get bogged down in the circular nature of home theatre fashion right now, though. Let’s just enjoy the Sony Bravia Theatre Trio for what it is: one of the finest lifestyle Dolby Atmos systems you can currently buy.

Price

The Sony Bravia Theatre Trio has launched at £1999 / $2000 / AU$2999, making it a very premium proposition indeed.

It’s a highly unusual proposition in today’s market, too, which makes direct comparison rather tricky. Someone considering the Bravia Theatre Trio might also have on their shortlist solo soundbars such as the KEF XIO, Sonos Arc Ultra and Bravia Theatre Bar 9; full soundbar systems such as the Samsung HW-Q990H; and bar-less set-ups such as the Bravia Theatre Quad.

It’s a good job, then, that we have all of these on hand for comparison with the Trio.

Almost inevitably, the Trio system can be expanded through the addition of wireless surround speakers and up to two wireless subwoofers. The new Rear 8, Rear 9, Sub 7, Sub 8 and Sub 9 are all compatible with the Bravia Theatre Trio, and if you buy everything together, the prices of the surrounds and sub(s) are halved.

Several legacy accessories – the SA-SW5 and SA-SW3 subwoofers, and the SA-RS5 and SA-RS3S surrounds – are also compatible with the Trio, should you already own any of those.

We’ve tested the Trio with the Rear 9 surrounds and Sub 8, as well as solo, and you can read our thoughts on the value of expanding the system in the sound quality section.

Design

The Bravia Theatre Trio is a slightly odd thing to behold, especially if you're coming from a soundbar.

The left and right speakers will look familiar to anyone who remembers Sony's HT-A9 system. They share a similar cylindrical shape and fairly substantial dimensions, though the Trio's versions are considerably more stylish, with a black fabric (rather than grey plastic) finish that helps them look modern and discreet despite their size.

They're attractive speakers, too. A metallic ring around the top of each cabinet adds a touch of class, while perforations in the top reveal the up-firing drivers responsible for the system's height effects. Build quality feels reassuringly solid throughout, too.

The centre speaker is a little more divisive.

Essentially a very narrow soundbar that sits beneath the TV, the centre isn’t unattractive exactly, but there is something slightly awkward about its proportions, particularly when it’s positioned beneath the sort of super-sized TV that the Trio is primarily designed to partner.

Thankfully, its low-profile design means it won't obstruct the screen, and Sony includes spacer feet in the box should you need it to straddle your TV’s pedestal stand.

Sony has also done an excellent job of making the Trio as installation-friendly as possible.

The rear of each speaker is flat, allowing for neat wall-mounting, and the left and right speakers require little more than suitably positioned screws. A dedicated wall bracket for the centre speaker is included in the box, too, alongside an HDMI cable and usefully long power leads.

Sony has gone out of its way to ensure that the system isn't overly fussy about speaker placement. It's still worth positioning the speakers as symmetrically as possible, but if real-world constraints mean one speaker ends up slightly higher or further away than another, the calibration system is designed to compensate.

There are compromises to the minimalist approach, though.

Like many modern soundbars, the Trio has no traditional display. Each speaker instead features a small status light that indicates power and connection information. Anyone wanting more detailed feedback will generally need to open the Bravia Connect app, which isn’t always ideal, despite the quality of the app itself.

This is a non-issue for owners of compatible Bravia TVs, at least, as the Trio’s settings and status information appear directly within the television's interface.

Sony also supplies a small but useful remote control that provides quick access to the essentials, including volume, bass level, sound modes, voice enhancement and input selection.

Features

While the Bravia Theatre Trio's three-piece design is its most obvious distinguishing feature, the real cleverness lies in how Sony attempts to make those three speakers sound cohesive, like a soundbar, yet also much bigger, like a more traditional home cinema set-up.

Officially, the Trio is a 3.0.2-channel system comprising dedicated left, centre and right speakers. The centre houses two front-firing woofers and a tweeter, while the left and right speakers each feature a front-firing woofer and tweeter, plus an up-firing driver. Together, Sony claims the three speakers deliver a total power output of 405W.

The system supports Dolby Atmos and DTS:X soundtracks. It’s IMAX Enhanced certified, too, but only once compatible rear speakers and a subwoofer have been added.

Key to the way the Trio handles these 3D audio formats is Sony’s 360 Spatial Sound Mapping technology. Using the physical speakers as a foundation, 360SSM then creates up to 24 'phantom' speakers around the room. These virtual speakers are designed to bolster the real ones and create a larger, more immersive soundstage than would otherwise be possible.

One area in which Sony has clearly put particular effort is set-up and calibration.

Installation is handled via the excellent Bravia Connect app, which guides you through the entire process with clear, well-illustrated instructions. Despite the sophistication of the system, getting everything connected, positioned and configured is refreshingly straightforward.

As part of the set-up process, you're asked to specify the locations of the speakers relative to one another, either approximately or by entering precise measurements. You can also specify their height, allowing the system to compensate for the sort of less-than-perfect real-world placement that often comes with living-room-friendly home cinema set-ups.

The calibration itself is unusually thorough, too. As well as using microphones built into the speakers, the Trio comes supplied with a dedicated USB-C calibration microphone that you plug into your phone before measurements are taken from the listening position. The result should be a level of consistency and accuracy that's difficult to achieve with systems that rely solely on onboard microphones or a smartphone.

Despite that thoroughness, the process is remarkably quick and painless, and, once complete, Sony's Sound Field Optimisation technology adapts the system’s performance to both your room and speaker placement.

There are plenty of further adjustments available within the app should you wish to experiment. You can choose between Sony’s 360 Spatial Sound Mapping processing, Dolby Speaker Virtualiser and DTS Neural:X, adjust the height of the soundfield, create a temporary listening position and access the usual assortment of voice enhancement, bass and night mode settings.

Happily, Sony's default settings are generally spot on, and most users will never feel the need to delve into the Trio’s advanced sound settings.

Connectivity is solid, too. The centre speaker houses an HDMI eARC connection for your TV, plus a dedicated HDMI input with support for 4K/120Hz, VRR and ALLM passthrough.

Wireless support includes Bluetooth, Apple AirPlay and Spotify Connect, while Sony's DSEE Ultimate processing can be used to upscale compressed music files.

Owners of compatible Bravia TVs get a few extra perks, including Voice Zoom 3 dialogue enhancement and, as mentioned, the ability to control many of the Trio's functions directly through the television's interface.

Sound quality

The whole point of splitting a soundbar into three separate speakers is to create a larger and more spacious soundstage, and that's exactly what Sony has achieved.

Compared with even the best conventional soundbars, the Trio sounds huge. Effects stretch much further to the left and right, dialogue remains firmly anchored to the screen, and there's a greater sense of sound being projected out into the room rather than simply originating from beneath the TV.

Blade Runner 2049 demonstrates these strengths particularly well. The sounds of the city as K walks towards his apartment spread far beyond the physical locations of the speakers, filling our large listening room with impressive width and scale. More importantly, the system doesn't just sound wider than a soundbar; it sounds taller, too.

In fact, the Trio's Dolby Atmos performance is one of its most impressive achievements. The sounds of passing vehicles, overhead announcements and environmental effects frequently extend above the listening position, creating a genuinely convincing sense of height. Given the size of our test room and the almost three-metre distance between the seating position and speakers, that's no small feat.

The system proves equally adept with the chaotic battle sequences of Civil War and the aerial action of Top Gun: Maverick, maintaining an impressively large and immersive soundfield without losing track of the finer details.

Perhaps even more impressive than the scale, though, is the cohesion. Despite the fact that you're listening to three physically separate speakers, the Trio rarely sounds like three separate speakers. Instead, it creates a single, unified wall of sound that stretches right across the front of the room.

That sense of integration is particularly important because it allows the system to retain one of the key advantages of a traditional soundbar: you never find yourself consciously thinking about which speaker is producing which effect.

Much of the credit for this appears to belong to Sony's Movie Theatre Acoustics processing. Switch it off, and the soundstage immediately shrinks, while the illusion of a single coherent soundfield begins to weaken. Leave it enabled, however, and the Trio sounds significantly larger, more immersive and more convincing.

There is a small trade-off. The processing can occasionally exaggerate echo that's already present within a soundtrack. The interviewer's voice during K's baseline test in Blade Runner 2049 is one example, while Nandez's dialogue during the early autopsy sequence gains a touch more resonance than is strictly correct.

These moments are relatively rare, though, and the benefits broadly outweigh the drawbacks. Some people might prefer the cleaner delivery when Movie Theatre Acoustics is disabled, but most will want to leave it enabled (as it is by default) for the additional scale, weight and cohesion it brings.

In some respects, the Trio highlights the limitations of conventional soundbars.

Using the excellent Sonos Arc Ultra as a reference point, Sony's system delivers substantially greater scale, bass weight and Atmos immersion. This isn't really a criticism of the Sonos, which remains one of the most capable soundbars at its price, but it does neatly demonstrate what can be achieved when you physically separate the front channels: the Trio simply fills the room more effectively.

One small issue to note regarding movie sound is that the centre speaker can buzz slightly when pushed by super-deep bass, such as that at the start of the second chapter of Blade Runner 2049. It's not something that crops up often enough to become a significant issue, but it is one of the few occasions on which the centre speaker draws attention to itself.

For music, meanwhile, the Trio offers something that most soundbars simply cannot: genuine stereo reproduction.

Switch Sound Field processing off and the centre speaker drops out, leaving dedicated left and right channels handled by dedicated left and right speakers. Give those speakers a small amount of toe-in, and the resulting stereo image is impressively focused, while still benefiting from proper separation.

My Curse by Killswitch Engage is delivered with excellent punch, dynamics and drive, while Rosalía's Divinize demonstrates the system's ability to produce serious low-frequency heft. The dense instrumentation of Karnivool's Salva remains composed and controlled, and Alone On A Hill by Silversun Pickups is rendered with convincing scale and strong stereo focus.

Sony's hi-fi heritage shines through here. The Trio sounds weighty, energetic and engaging in a way that most soundbars simply don't.

That doesn't mean it's a replacement for a properly sorted pair of powered hi-fi speakers, of course, but it comes closer than most lifestyle home cinema products.

One similarly priced alternative to the Trio that we’ve not yet mentioned is the excellent KEF XIO.

With both movies and music, the KEF sounds cleaner, crisper and more detailed than the Sony, with excellent organisation and precision. The Trio counters with greater weight, larger scale and the sort of genuine stereo separation that only physically separated speakers can provide.

Neither approach is inherently better than the other, and preferences will inevitably vary, but the comparison reinforces the fact that Sony has created something genuinely distinct rather than simply another premium soundbar.

And, while the Bravia Theatre Trio is a complete and highly capable package on its own, adding Sony's optional speakers and subwoofer takes things to another level.

Testing with the Rear 9 surrounds and Sub 8 dramatically increases immersion, creating a seamless bubble of sound that extends around the entire listening position. Atmos effects become even more precisely placed, and the busy cityscape of Blade Runner 2049 becomes extraordinarily convincing.

Just as importantly, the minor shortcomings of the standalone system largely disappear. The slight buzz from the centre speaker vanishes once deep bass duties are handed over to the subwoofer, while the occasional over-emphasis of echo through Movie Theatre Acoustics is also cured.

There remains a very slight amount of distortion from the Sub 8 itself during the deepest bass moments, and we'd be fascinated to hear whether the larger Sub 9 can eliminate this final remaining niggle. That's a discussion for another review, though.

Judged as an initial package, the Bravia Theatre Trio is a hugely impressive performer that successfully combines the scale and spaciousness of a separate-speaker home cinema system with much of the convenience and cohesion that make soundbars so appealing.

Verdict

Sony's Bravia Theatre Trio could easily have ended up feeling like an awkward compromise: neither as neat as a soundbar nor as capable as a traditional speaker system. Instead, it succeeds in taking many of the strengths of both approaches while avoiding most of their weaknesses.

It's not quite perfect – the centre speaker isn’t quite as capable as the larger speakers flanking it, there's no display, and some rivals can sound a touch cleaner and more detailed – but those shortcomings are minor in the context of what the Trio achieves overall.

Ultimately, Sony's deconstructed soundbar concept proves brilliantly effective. If you're looking for a premium lifestyle Dolby Atmos system and have the budget to stretch this far, the Bravia Theatre Trio is one of the most compelling options in years.

SCORES

• Sound 5
• Design 4
• Features 4

MORE:

Read our review of the KEF XIO

Also consider the Samsung HW-Q990H

Read our Sonos Arc Ultra review

Best Dolby Atmos soundbars: our reviewers' five recommendations

If you are looking for a way to upgrade from your TV’s subpar audio without taking up space in your home, then a soundbar is a great way to go.

There are a range of options on the market, from budget bars to more premium models. The Sonos Arc Ultra is an example of the latter, and it has snagged a What Hi-Fi? Award for its excellent performance.

Since its release in 2024, the Arc Ultra has been relatively unchallenged. But the new Sony Bravia Theatre Bar 7 + S has stepped into the ring with its eye on the prize.

Boasting both a subwoofer and a soundbar as opposed to the Arc Ultra’s all-in-one design, they are two different beasts. But who will come out on top when it comes to audio performance? We have put both soundbars head-to-head in our test room, so we can tell you from experience which model is most worth your money.

Sonos Arc Ultra vs Sony Bravia Theatre Bar 7 + S: price

So how much will each soundbar set you back? The Sonos Arc Ultra launched at £999 / $999 / AU$1799 but, since its release, you can get it cheaper. In the UK, the Sonos model has dropped to £799 at most retailers, although we have seen it fluctuate.

The Sony system launched at £799 / $1100 (around AU$1320), and has remained at that price since its release. This combo has not been out as long as the Arc Ultra, so there is still an opportunity for the price to drop as time goes on.

There is the option to buy the Bravia 7 without the subwoofer but, for reasons that will become clear, we recommend spending the extra cash.

Right now, though, it is a tie between the two bars when it comes to cost.

**Winner: draw**

Sonos Arc Ultra vs Sony Bravia Theatre Bar 7 + S: design

The two soundbars offer opposing designs that cater to different sides of the market.

The Bravia Theatre Bar 7 + S consists of a soundbar and subwoofer, so there is one extra bit of kit to consider compared to Sonos’ single all-in-one bar.

Offering a versatile design, the accompanying subwoofer is easy to place in our test room and connects to the soundbar quickly. You can use it in two different positions, either with the grille facing the listener or the side of the room.

The Arc Ultra is longer than the Bar 7 soundbar, coming in at 8 x 118 x 11cm (hwd) versus Sony’s 6 x 95 x 13cm (hwd). The Sonos model is also heavier, weighing 5.9kg compared to 4.6kg.

With the Sony bar, you will find a small remote control that puts functionality over style. From here, you can control the power, input, bass levels, volume and turn on Night mode. There’s no such addition with the Sonos, however.

You can find the Sonos bar in either a black or white finish, whereas the Sony system is only available in black. Neither of the bars has a display, and the Sony has no buttons on the top of the bar. The Arc Ultra features touch-sensitive buttons, though these are situated on a ledge at the back. A display with both models would make navigating the settings without relying on the accompanying apps feel more straightforward.

Both designs offer their own benefits. The Sonos offers a slightly simpler set-up with its all-in-one build, but the Sony’s soundbar is more compact and offers versatility with the subwoofer’s placement.

That all depends on what you need from your soundbar, so it’s a draw this time round.

**Winner: draw**

Sonos Arc Ultra vs Sony Bravia Theatre Bar 7 + S: features

In terms of physical connectivity, both bars have an HDMI that supports eARC, but the Sony model has an extra HDMI port.

Dolby Atmos is available with both systems, but the Bravia 7 also offers DTS:X, which provides more options for surround sound.

The Sony bar offers a 5.1.2-channel configuration. Under the hood of the main bar, you will find nine drive units, split between side, centre, up-firing and bass channels. That differs from the Sonos, which is packing a 9.1.4-channel configuration. This is made up of seven tweeters, six midrange woofers, and a 'Sound Motion' woofer.

They both use their company's respective apps. The Bravia Connect and Sonos apps let you fine-tune the settings of the bars. With the Sony’s app, you can also pair the subwoofer (and the surrounds if you have them) from the app, where they recognise the product almost immediately, which makes for an easy set-up.

Both apps are easy to use, but Sony’s user interface is more intuitive and this results in a smoother overall experience.

From both apps, you can calibrate the soundbar to your space (the Arc Ultra employs Sonos Trueplay). Once we have calibrated the bars to our space, we are offered a wider soundstage with both systems. It’s worth noting that the subwoofer is not included in this process with the Sony system, so it must be adjusted by ear using the bass settings with the app or the remote.

There is also the option to expand your set-up with both systems. With the Sony soundbar and subwoofer, you can also add in the Sony Theatre Rear 8 speakers, costing £449 / $500 / AU$599 on their own.

Sonos’ offerings here are more comprehensive, as you can connect other products from the brand, such as the Sonos Sub 4 or the Era 300 speakers. These can be arranged in a multi-room set-up or in one room.

For its more comprehensive HDMI support and better app experience, the Bravia Theatre Bar 7 takes it.

**Winner: Sony Bravia Theatre Bar 7 + S**

Sonos Arc Ultra vs Sony Bravia Theatre Bar 7 + S: sound

Sony and Sonos take different approaches when it comes to audio performance here. But both are five-star systems that provide a massive upgrade from the majority of TV speakers.

When we start up the Bravia Theatre Bar 7, we are greeted with a punchy, cohesive sound that is immediately likeable. It offers an immersive experience, which is put to the test with Top Gun: Maverick as Maverick attempts to reach hypersonic speed in a jet, and the soundbar stretches the height effects above the TV screen.

The Arc Ultra also impresses, matching the Sony’s sense of scale and punch. Effects sound like they're coming from all around you, and are placed with precision, while certain sounds (like rain) stretch far beyond the confines of the TV to which the soundbar is connected.

Bass performance is strong with both soundbars, but the Sony’s added subwoofer gives it the edge in terms of agility and precision. We also find that the bass is well-integrated with the main soundbar and performs with the same precision as the rest of the system. That’s not to dismiss the Sonos performance with lower frequencies, as the bass it delivers is "tight, tuneful and expressive in a way that is rare in the soundbar world".

We listen to the Bravia Theatre Bar 7 without the subwoofer, and it still delivers clear vocals and convincing height effects. But the sound is thinner and lacks the sense of scale and authority that we get when the subwoofer is added.

Both soundbars produce clear vocals, but the Sonos model produces richer voices that lend a more emotive and warm feel to the sound.

When playing music, this warm approach carries foward with the Sonos to make it a more emotive performer than the Sony. The soft vocals of Aurora’s Churchyard start with the appropriate low-level dynamics and build to the punchy chorus as the bass kicks in. As with the Sony’s performance with movies, the Bravia Theatre Bar 7 + S delivers a more precise and energetic bass than the Arc Ultra.

Both soundbars are excellent sonic performers, but the Sonos bar inches past the Sony system for its warmer overall sound.

**Winner: Sonos Arc Ultra**

Sonos Arc Ultra vs Sony Bravia Theatre Bar 7 + S: verdict

If you are looking to upgrade your TV’s audio and get a more immersive audio experience, then either of these soundbars will deliver. Where the Sonos Arc Ultra offers a warm, spacious sound, the Bravia Theatre Bar 7 + S counters with a more agile and well-integrated bass.

One of their designs might suit you more, but the Sonos Arc Ultra just takes the crown for its richer sonic performance.

**Winner: Sonos Arc Ultra**

MORE:

These are the best soundbars on the market

Here's our full review of the Sonos Arc Ultra

Check out the best Dolby Atmos soundbars

The Japanese AV brand originally launched its Direct Connect feature with its duo of new True RGB TVs, the Bravia 9 II and Bravia 7 II.

The feature lets users connect a pair of the brand's latest Rear 9 or Rear 8 surround speakers and a compatible subwoofer directly to their TV. Compatible subwoofer models include the Sub 7, Sub 8 or Sub 9

The feature uses the TV's speakers as the centre, left and right channels, with the connected speakers providing surround sound and low-end support.

While it launched as an exclusive feature for the 2026 range, Sony has updated a selection of TVs from 2023, 2024 and 2025 to support the wireless surround sound feature. The list of included models is as follows:

• A95L (2023)
• Bravia 9 (2024)
• Bravia 8 II (2025)
• Bravia 8 (2024)
• Bravia 7 (2024)
• Bravia 5 (2025)

We're especially pleased to see the A95L featured here, as while we praised its built-in sound system in our review, we also reported: "we rather wish Sony gave you the option to add a subwoofer directly to the A95L, as that would make it even more formidable".

Job done, thanks to this update. Unfortunately, the Award-winning A80L misses the cut, as do other premium Sony sets from 2023, including the X95L and X90L.

While it may sound similar to LG's new Dolby Atmos Sound Suite range, Sony's system works slightly differently. Direct Connect does not use Dolby Atmos Flex Connect, and a maximum of two speakers and one subwoofer can be connected. LG's system allows for multiple sets of speakers to be paired directly with the TV.

Furthermore, Sony intends for users to place the speakers behind or adjacent to the listening position to create a surround sound effect, rather than using them as dedicated front left and right channels.

The update is rolling out now in Europe and the US, and it brings Sony's My Cinema interface, which collects the picture and sound features into a new-looking user interface, to the models mentioned above.

MORE:

Check out our picks for the best Sony soundbars

As well as the best OLED TVs

And read our full LG Sound Suite System review here

Five years later, the brand is now reaping the benefits of the self-emissive panel technology. It now makes some of the finest OLED TVs around – take the five-star S95F and S90F duo from last year – and its 2026 lineup features more OLED TVs than ever before.

Of course, Samsung was never going to celebrate half a decade of OLED success without taking things up a notch, which is why it has introduced a new, rather unusual flagship model that takes inspiration from one of the brand's other most successful models.

That new flagship OLED is the S99H, a premium QD-OLED TV that oozes style and sophistication, thanks at least in part to its aesthetic similarities to the wildly successful, design-led The Frame LCD range.

Here, though, those smart good looks have been blended with the core abilities of the excellent S95F – with a generous helping of performance upgrades for good measure.

The result? A showstopping OLED TV that blends style and substance, and one that we think could dethrone the current reigning champion of our best OLED TV list: the Sony Bravia 8 II.

Price

We have the 55-inch Samsung S99H before us today, and it’s officially priced at £2499, though in true Samsung fashion, that launch pricing hasn’t stuck around for long. We’re already seeing a £100 decrease across all sizes, which puts the 65-inch version at £3199, the 77-inch model at £4199, and the 83-inch size at £5999.

Now, we need to clear something up regarding model numbers for different regions.

In the US and Australia, Samsung is calling this model the S95H. Despite the different name, it is an identical TV. In these regions, you’ll find the 55-inch S95H for $2500 / AU$3999, the 65-inch S95H for $3400 / AU$5299, the 77-inch S95H for $4500 / AU$7999, and the 83-inch S95H for $6500 / AU$9995.

That's not the end of the story, though. To confuse things even more, Samsung is selling a model under the S95H name here in the UK, too, but it’s a different TV. From what we gather, it is the same TV as the S99H, but without the metal frame-style design. In fact, it looks identical to last year’s S95F.

So, to reiterate, the S99H we're testing here is known as the S95H in the US and Australia, but that is not the same as the UK's S95H TV. Yes, we have given some constructive feedback to Samsung on all of this.

Got all that? Then let's consider the S99H's competition, which primarily comes in the form of Sony’s awesome, Award-winning Bravia 8 II, the 55-inch version of which, after around a year on sale, now costs around £1799 / $2600 / AU$3995. That makes it significantly cheaper than the S99H in the UK, but there's rough pricing parity between the two TVs in the US and Australia.

There’s also the 55-inch LG G6 to consider, which appears to be widely discounted to £1840 here in the UK, but is so far sticking to its $2500 / AU$3995 launch price in the US and Australia, respectively.

Design

We’re confident in saying that this is one of the most unusual-looking TVs to enter our AV testing room.

Samsung clearly took inspiration from its hugely popular The Frame TV when it came to designing the S99H, and while this television’s looks won’t be to everyone’s taste, we’re just pleased to see a TV company that’s willing to push the boat out when it comes to design.

The S99H features a two-layer design, with an OLED screen section mounted onto a slightly larger metal backplate, with a roughly 2cm gap between. Samsung calls this its “FloatLayer” design.

It’s hard to describe, but the effect it gives is essentially a floating OLED panel surrounded by a premium metal frame. Much like LG’s G-series, this TV is designed to be wall-mounted, and while we can’t do that in our testing room, we have seen it wall-mounted at various hands-on events leading up to launch.

In short, the S99H looks like a work of art when it's fixed to a wall, as the floating design becomes really quite striking and effective. Despite the two-layer design, the overall depth is just 2.8cm, which also helps to sell the futuristic look that Samsung is going for.

Unfortunately, the TV doesn’t look quite as suave when it’s set up in its tabletop configuration. Samsung includes two quite cheap-feeling plastic feet with the TV that feel somewhat at odds with the rest of the premium design, and the metal bezel and floating design look less convincing when it's not attached to a wall.

Samsung also includes two remotes in the box: a “traditional” button-heavy number, and a sleeker “smart” remote. The latter includes both a USB-C socket and a small solar panel on the back for easy recharging, though it’s frustratingly not backlit. Then again, neither are the remotes included with the aforementioned Sony or LG TVs, so we can’t knock Samsung too much here.

Features

Samsung’s penchant for cramming (almost) every imaginable feature into its TVs is, once again, evident with the S99H.

We’ll start with the QD-OLED display, which Samsung has managed to squeeze even more brightness out of since we last saw it on the S95F. It can now reportedly reach a whopping 2700 nits in the Movie picture mode, and as you’ll come to find out in the picture section of this review, there are plenty of instances in which we find ourselves being taken aback by how bright this TV can get.

Samsung has also improved its Glare Free coating this year, making it more effective at combating reflections and glare from ambient light. The matte display also makes artwork from Samsung’s Art Mode feature look more realistic for those who want a TV that blends into its surroundings.

In usual Samsung fashion, HDR support comes in the form of HDR10+ (including the Adaptive and Gaming versions), HDR10 and HLG, but not Dolby Vision.

Samsung's answer to Dolby Vision 2, HDR10+ Advanced, is also supported by the S99H. Unfortunately, no content is available in the new format yet, and we don't have a date for its arrival. Amazon is said to be working on adding it to Prime Video in the not too distant future, though.

Hardcore PC gamers will be pleased to learn that the S99H can handle signals right up to 4K/165Hz, as well as the console-friendly 4K/120Hz format, across all four of its HDMI 2.1 sockets. VRR, ALLM and HDR10+ Gaming are also all supported.

All of the connections are built into a side-facing nook in the rear of the TV, which is a departure from the One Connect box that has come with Samsung’s previous flagship OLED TVs.

One Connect does live on, though, and in a quite remarkable way: Samsung is offering an optional Wireless One Connect accessory, which is set to launch in July for £299 / $350 (AU price TBC).

This features four HDMI sockets, and because it connects to the S99H wirelessly, it takes the total HDMI 2.1 socket count to a staggering eight. That’s enough to support all three of the current-generation consoles, a gaming PC, a 4K Blu-ray player, a soundbar or AVR, and a streaming device, and you’d still have one spare.

The S99H also supports Dolby Atmos, both via HDMI eARC and through its built-in 4.2.2-channel 70W sound system.

Samsung offers two simplistic sound modes, Standard and Amplify, but there is also a range of Samsung-specific sound processing features based on its Vision AI platform, including Object Tracking Sound Plus, Active Voice Amplifier Pro, Adaptive Sound Pro, and AI Sound Controller Pro; all of which are fairly self-explanatory.

Q Symphony also returns. This allows you to use the TV’s speakers in unison with those of a connected Samsung soundbar, but it should be approached with caution – we generally find that a good soundbar performs best when the less capable speakers of a TV don't get involved.

AI also steps in to help with picture processing, as Samsung has implemented its 4K AI Upscaling Pro, AI Motion Enhancer Pro and Auto HDR Remastering Pro features, alongside a Real Depth Enhancer contrast enhancement system and Colour Booster Pro.

On the subject of AI, Samsung has applied its “AI for All” mantra in swathes here, as the S99H is positively dripping in artificial intelligence, right down to the AI button on the remote.

A click of this button brings up Samsung’s Vision AI interface, which can recognise on-screen content and provide extra contextual information. This includes related content, cast information and prompts to find out more detailed information about the show or movie.

Scrolling from this page brings us to a more generalised AI interface, from which Samsung allows you to pick your preferred system. Here you can ask for recipes, generate AI wallpapers, or ask general questions. The sky is, hypothetically, the limit.

This is all made possible by the same NQ4 AI Gen3 Processor found in last year’s S95F, as well as Samsung’s Tizen OS platform. The operating system has had a fairly comprehensive refresh for 2026, with a new content bar at the top that splits your apps into categories including entertainment, gaming and art, and the operation feels generally slicker.

App coverage is mostly excellent, with a wide range of international and domestic streaming applications. Samsung has added BBC iPlayer support since launch, and it joins the likes of Netflix, Disney+, Apple TV, ITVX and Amazon Prime Video.

Samsung TV Plus, which features hundreds of free over-the-internet streaming channels, is also included, and gamers are well looked after thanks to the presence of apps for services such as Xbox, Amazon Luna, and Nvidia GeForce Now.

Picture quality

It’s clear that Samsung has been working to tweak and adjust its picture processing over the years in the pursuit of achieving that final pinch of picture quality excellence, and the S99H is evidence that its work has paid off. This is Samsung’s most mature TV yet, and it’s all the better for that.

We opt for Filmmaker Mode as our preferred picture preset, albeit with a couple of tweaks to get the best performance possible: we switch Colour Temperature from its Warm 2 default to Warm 1, and turn the judder and blur reduction settings up to 1.

The resulting picture is extraordinary, and it makes any content we throw at it – from Blade Runner 2049, Civil War, Pan and Drive, to No Time To Die and The Batman – shine. We have the S99H set up next to the Award-winning Sony Bravia 8 II, and despite the tough competition, the Samsung delivers an unflinching visual feast.

Starting with the opening scene of Blade Runner 2049, we find that the S99H serves up oodles of contrast, which results in a deeply three-dimensional picture with superb highlights.

The overhead shot of the solar farm instantly draws us in, thanks to the superb detail levels mixed with the excellent sense of depth. We also approve of how the S99H handles the gloomy, bluish-grey sky, as well as the skin tones of Officer K and Sapper Morton.

In fact, the S99H makes the Sony Bravia 8 II look a bit green in our head-to-head comparison, and skin tones start to look a bit pasty, too. Sony TVs have traditionally leaned towards the cooler side when it comes to colour reproduction, even in Filmmaker Mode, but it’s interesting to see these TVs take a different approach, particularly as they use the same panel technology.

This is most evident in the scene from Pan in which the floating pirate ship enters a cavern; the Samsung runs rings around the Sony when it comes to maintaining low-light colour volume. Skin tones are noticeably warmer and more vibrant on the Samsung in this instance. That being said, the Sony is evidently better at maintaining shadow detail.

In fact, some shadow detail is lost entirely on the S99H, especially during dark sequences in moodier flicks such as Drive and The Batman. In both films, we find facial features and clothing textures occasionally succumb to darkness, while the Sony has no trouble keeping them visible.

At the other end of the spectrum, the Samsung takes the crown when it comes to delivering dazzlingly bright highlights; in fact, we’re adding the S99H to the list of TVs that we’ve had to shield our eyes from physically.

Reverting to the exceptionally bright (and critically dismal) Pan, we find the mix of punchy, concentrated highlights and rich colours stealing our attention away from the Sony entirely.

However, the more conventional-looking Civil War is the perfect test disc to highlight exactly what this TV does well. Everything from the night-time forest fire sequence to a helicopter gliding over a lake and the Charlottesville military camp looks fantastic.

There’s a real sense of nuance here that previous Samsung TVs haven’t always been able to capture. Foliage, for example, is wonderfully textured and detailed without looking over-etched, and while the colours do seem a smidge over-saturated compared with those from the Bravia 8 II, it's not to an extent that looks instinctively wrong.

The sequence that shows the journalists driving through a forest fire seals the deal here. The mix of detail, depth and contrast served up by the S99H is remarkable – the striking, bright flames contrast wonderfully with the dark background, and there is a real sense of intensity and warmth derived from how Samsung's OLED handles highlights.

We fire up the standard Blu-ray of Logan to assess the S99H’s upscaling capabilities, and it's a similar story here, too. Detail levels are superb, and if we weren’t so eagle-eyed, the S99H could almost have fooled us into thinking we were watching a 4K disc.

Colours are also nicely balanced, and motion remains solid, too. This TV excels regardless of what you throw at it.

Sound

It’s not just the picture performance that Samsung has improved. Sound has also been upgraded, which is a good sign after the S95F’s middling delivery.

We stick with Civil War, which highlights everything from dialogue to explosions, and even Dolby Atmos height effects. The rhythmic swooping of helicopter blades is delivered with a strong leading edge, underpinned by a pleasingly controlled dose of bass.

Moving on to the scene in which Lee and Jessie have a heart-to-heart conversation in a wooded area, we approve of how the S99H captures the subtle characteristics of their voices well, and overall, the dialogue is crisp and well-defined. The atmospheric effects, including birds chirping and leaves rustling in the wind, sound pleasingly spacious, too.

There is plenty of height and width to the sound, which is also evident in Blade Runner 2049. The sequence in which Officer K returns to his home from the police precinct is another example of how the S99H captures atmospheric sounds to great effect.

The booming audio adverts are placed with impressive precision and plenty of height, while the S99H somehow manages to beam the sound of the bustling street in a way that creates a fairly convincing sense of immersion.

While we’re on the subject of Blade Runner, we put the S99H through our usual chapter two stress test and find that Samsung has changed its approach. Where many of the brand's previous models have been quite bassy but a little prone to distortion, the S99H digs less deep but proves to be almost entirely distortion-free.

Sony takes a similar approach with the Bravia 8 II (and many other of its TVs), and we ultimately find it to be a sensible compromise. We would of course like more bass weight, but if that has to be sacrificed somewhat to reduce distracting distortion, then so be it.

It’s not all good news on the sonic front, though: like the S95F, the S99H simply doesn't go very loud. Even close to its maximum volume levels, this is an easy TV to talk over. The Amplify setting helps to negate this somewhat, but it does result in some dynamic compression.

The Sony Bravia 8 II also does a better job of organising the sound during scenes with lots of competing effects. The ending battle of Civil War is a perfect example, as the Sony balances dialogue, explosions, and vehicle sounds with care to create a more impactful and immersive soundscape.

With all that said, the S99H is still a big improvement over the S95F where sound is concerned, and it's ultimately a very usable (and even enjoyable) built-in sound system.

Verdict

There’s no other way of putting it; Samsung has knocked it out of the park with the S99H.

With a refined approach to picture tuning, a feature set that (with one key caveat) many TVs can only dream of, and a greatly improved sound system compared with last year’s model, the company’s latest flagship OLED TV takes the title from the S95F as the best TV the company has made to date.

The bold new design might not suit all tastes, and die-hard Dolby Vision fans may be disappointed, but we’re struggling to find reasons not to recommend the Samsung S99H to anyone considering splashing some serious cash on a flagship OLED TV.

SCORES

• Picture 5
• Sound 4
• Features 4

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