With a bank holiday weekend coming up, there is now plenty of time to decide on that all-important World Cup TV.

Luckily, this week has seen some stellar deals on all sorts of great TVs. Whether you’re after a new-release OLED or a budget LCD, we’ve got those and everything in between.

Hi-fi hasn’t been left out either: the Award-winning Cyrus 40 ST music streamer is on offer again; and Sonos is running a sale that includes its five-star spatial-audio Era 300 speaker.

As always, these are products that we have tested ourselves. And they have to have received at least four stars to receive our coveted recommendation here.

We’ll go a bit more in-depth on why we like these products so much below, but for now, happy shopping!

The LG C6 is the latest in LG’s hugely popular OLED C-series, and has the brightest, richest and most refined picture quality yet. We only reviewed it in March, but you can get 20% off with the code ‘LG20TV’ – you have to be a My John Lewis member, but it’s free to sign up.

The Cyrus 40 ST may not be cheap even with this discount, but it’s worth every single penny. The What Hi-Fi? Award Winner is the top dog out of the high-end music streamers and an incredible piece of kit.

We reviewed the TCL Q6C just two days ago, and we call it “ridiculously good value for money”. Well, the 65-inch version of this Mini LED set is already on sale – and it offers far more than a TV at this price has any right to.

If you want to go big-screen on a budget for the World Cup, then the 65-inch Samsung U8000F is an excellent choice. The Standard mode is enjoyably punchy and bright, with lots of smart TV content available in one great value package.

The Sonos Era 300 is a former What Hi-Fi? Award winner, and offers an immensely immersive experience thanks to its engaging sound and convincing spatial-audio effects. And now it can be yours with a rare £90 discount.

The 48-inch Samsung S90F made headlines for its low prices over Black Friday, but now it’s available for even less. The five-star OLED can be yours for only £764, but first you’ll have to use the code ‘RSTV100’ at checkout and then claim 10 per cent back directly from Samsung. Full T&Cs can be found here.

MORE:

Our pick of the best wireless earbuds you can buy

And the best OLED TVs for all budgets

Interested in vinyl? Here are the best turntables we have tested

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

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

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

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

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

Opening sequence

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

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

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

"A Lovely Night"

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

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

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

A dance under the stars

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

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

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

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

MORE:

These are the best Dolby Atmos scenes to test your system

Check out the best OLED TVs

Here are the best TVs we recommend

I'll get straight to it because this deal speaks for itself. With 65 per cent off, you can be the proud owner of the LG S70TY for just £209 from Amazon.

We tested the four-star soundbar at £599, which means if you make the purchase, you'll be saving an incredible £390. A deal like this does not come along every day.

If you like the sound of "an easy-going and well-integrated soundbar package that’s easy to live with", then this deal was created just for you.

Need more convincing? In our review, we praised its full-bodied, powerful sound and impressive sense of spaciousness. It handles movie soundtracks particularly well too, with dialogue remaining clear and centred even during action-packed scenes.

It is set up in a 3.1.3-channel configuration, which includes dedicated upward-firing speakers to deliver a more immersive Atmos experience.

The included wireless subwoofer also adds a substantial low-end punch without requiring additional cables cluttering up your living room.

Connectivity is well catered for too, with HDMI eARC, optical and USB ports, while wireless options include Bluetooth for easy streaming from your mobile devices.

It also supports high-resolution audio up to 24-bit/96kHz and works with LG's Sound Station app for additional customisation options.

For anyone still relying on their TV's built-in speakers, this represents a substantial upgrade at a price that is significantly more accessible than its launch price.

If you’re after something that packs a bit more of a punch (and are willing to part with some extra cash), check out the full list of the best soundbars we have tested.

Otherwise the LG S70TY for £209 at Amazon is a fantastic deal.

MORE:

Read our full LG S70TY review

Best soundbars 2025: Dolby Atmos movie magic from budget to premium

Best TV 2025: flagship OLEDs and affordable flatscreens tried and tested

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

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

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

Here’s what you need to know.

New Arcam hardware

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

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

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

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

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

A headphone shootout

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

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

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

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

LG Sound Suite pricing

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

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

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

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

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

KEF speakers tried and tested

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

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

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

Hence, our verdict:

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

Read our in-depth KEF Coda W review

MORE:

These are the best turntable speakers we've tested

We rank the best Dolby Atmos soundbars

Our picks of the best AVRs

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

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

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

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

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

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

The Rotel Michi Q5

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

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

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

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

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

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

Five stars

Read our full Rotel Michi Q5 review

MORE:

Our reviewers rate the best stereo amps

Our picks of the best bookshelf speakers

We rank the best floorstanding speakers

The Sonos Beam (Gen 2) is one of the best Dolby Atmos soundbars, holding the top spot for its small stature.

But, don't be fooled by its size as this five-star soundbar is a multi What Hi-Fi? Award winner that offers spacious and immersive audio, while also costing far less.

And now, this impressive soundbar has just dropped to its lowest ever price.

For just £299 at Amazon, that's a £200 saving on one of the best soundbars on the market.

The only slight caveat – while it's available in White immediately, you'll have to wait 1-2 months for delivery on the Black model.

The Sonos Beam (Gen 2) may have launched several years ago, but it still remains one of the best soundbars on the market – especially when it comes to its size and price (also topping the rankings for the best budget soundbars).

When we first got our hands on it, we said: "It combines impressively spacious movie sound with clarity and punch that works just as well with music, making it an affordable, all-in-one device of rare ability."

So, if you're short on space and budget, this is the ultimate pick that, even years on from our initial testing, we're more than happy to highly recommend.

With the Beam (Gen 2) you'll get great sound, Dolby Atmos support and a ton of features, making it the perfect upgrade for your TV speakers.

While it boasts a compact design, you'll find forward-facing drivers and more processing power under the hood – saving money where more expensive soundbars would opt for upward-firing.

There's also wi-fi onboard, which is impressive for the budget price, meaning you can stream to the Beam (Gen 2) from a handheld device using Apple AirPlay 2, whilst Spotify Connect is built-in too. Not forgetting voice control of Amazon Alexa and Google Assistant.

And, like the true Sonos product that it is, the Beam (Gen 2) can also be integrated into a wireless multi-room system via the Sonos S2 app. In the app, you'll also gain access to Trueplay to get an insight into your room calibration.

A sub £300 soundbar of this quality? That's a seriously good deal.

MORE:

Read our full Sonos Beam (Gen 2) review

Check out the best budget soundbars

As well as our list of the best Dolby Atmos soundbars

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

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

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

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

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

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

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

MORE REVIEWS...

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

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

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

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

MORE FEATURES...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MORE:

These are the best cheap TVs we've reviewed

Our picks of the best OLED TVs

We rate the best 65-inch TVs

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

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

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

Design & connections

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

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

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

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

Compatibility

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

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

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

Sound

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

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

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

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

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

Verdict

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

First reviewed: January 2025

SCORES

• Sound 5
• Build 5
• Features 3

MORE:

Also consider the SPL Phonitor SE

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

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

After months of strenuous testing, the What Hi-Fi? Awards 2024 winners have been revealed. One of the most highly contested categories – wireless headphones – is full of some of the best wireless earbuds and headphones we’ve ever tested, making all of them worthy of earning a spot on your shortlist.

With that in mind, we’ve taken the liberty of checking their current prices, to see if there are any worth snapping up right now. But we’re not about mindless consumerism – if there are products that have been considerably cheaper in the past, then we’ll let you know if it’s best to wait until sales events like Black Friday roll around again. We wouldn’t want any buyer’s remorse creeping in, after all.

Without any further ado, here are some of the best headphone deals worth snapping up (and some to avoid for the time being):

Three great headphone deals

Sony WF-C510

Sony's latest entry-level true wireless earbuds punch well above their modest price tag. Their sound has evolved from previous models, offering enhanced richness, body, and improved clarity in the upper frequencies, and their performance is balanced, expressive, and detailed, bringing out the best in vocals and instruments alike. Despite their affordable status, these comfortable earbuds offer premium features like multipoint Bluetooth, making them a standout choice for budget-conscious music lovers, and worthy Award winners for all these reasons, and more.

Despite having no historically lower price (given their recent release), these earbuds are still a superb buy at their launch price, offering incredible value for money. If you’re after solid performance and aren’t fussed about the lack of active noise cancelling, the WF-C510 is a must-buy.

Austrian Audio Hi-X25BT

Austrian Audio's wireless debut showcases the company’s studio heritage in spectacular fashion. The sound is remarkably pristine, offering exceptional detail, dynamics and tonal accuracy that bring recordings to life. While they may lack noise cancelling, these comfortable headphones excel in pure musical enjoyment, delivering particularly impressive control, definition and precision across frequencies. Their versatility between professional and personal use adds extra value to an already impressive package too, with practically any connectivity option one could wish for – including the ability to use them wired without the need to power them on.

As for why this is a good time to snap a pair up? They’re currently available for £129, which is only a smidge higher than their record-low price of £123, which they reached back in March. With an overall historically average price of £136 on Amazon, it’s hard to dissuade anyone from nabbing them at their current offer price.

Sony WF-1000XM5

Sony’s flagship earbuds represent a significant evolution in Sony's acclaimed series, and continue to offer one of the best true wireless earbud experiences that money can buy. While bass might be slightly more restrained than previous models, they confidently compensate with unprecedented clarity, detail, and insight. The redesigned form factor enhances comfort without compromising their excellent noise-cancelling capabilities, and overall, for listeners seeking the ultimate in wireless audio precision, transparency and refinement, Sony’s offering continues to set a formidable benchmark.

You can currently nab the WF-1000XM5 in a rather fetching silver hue on Amazon for a few pennies under £193, which isn’t too far off its historically low Amazon price of £189. This is currently the cheapest place to buy these earbuds in the UK, with other retailers like Argos still listing them at a considerably higher price of £219.99.

Four headphone deals to avoid (for now)

Sony WH-1000XM5

Widely regarded as one of the absolute best wireless headphones for most people, Sony's reimagined flagship headphones demonstrate that change can be positive. While its design tangent may have divided opinion during its launch, the sonic improvements it brings to the table are undeniable – offering enhanced clarity, precision, and detail across all frequencies. Their musical presentation combines beautifully with class-leading noise cancelling, excellent call quality, and comprehensive features to create a premium package that continues Sony's dominance in the wireless headphone market.

Having lavished it with praise though, we’d say that this isn’t the best time to pick up a pair. Currently listed on Amazon at just under £299 (or £274.08 for the silver variant), they’re a long way off from their record-low price of £239, which they reached in January. Not only that, but they were down to £259 just a few weeks ago, making the current price hard to stomach. Our recommendation? Wait for Black Friday to pull the trigger, as there’s a very, very strong chance that the current price will plummet back to a more favourable level once again.

Bowers & Wilkins Pi8

B&W's top-tier wireless earbuds justify their premium positioning with exceptional audio performance. Their new driver technology delivers remarkable clarity, sophistication and detail, while practical features like effective noise cancelling ensure they excel in daily use. Though the price tag is substantial, the sound quality puts them in a class of their own, making them a worthy option for discerning listeners who are willing to pay for the undeniably superb experience that they provide.

On that note, we wouldn’t hold it against anyone willing to grab these earbuds at their current full price. Given their recent launch, it’s too early to expect any discounts, and if you’ve been waiting to treat yourself to one of the best wireless earbud listening experiences around, we’re certainly not going to discourage you. Having said that, there’s something to be said for exercising patience and holding out for Black Friday if you can, as we do see examples of other Bower & Wilkins headphones going on sale.

Sony WF-C700N

Occupying a sweet spot in Sony's lineup, these wireless earbuds combine premium-like performance with everyday practicality. Their sound strikes an excellent balance between detail, dynamics, and musicality, while the noise cancelling performs admirably for the price point. The compact, well-thought-out design and strong feature set make them a natural choice in this competitive segment, making them worthy Award winners.

Given their current fairly palatable just-shy-of £79 price tag, you could very well pick them up now without much guilt, especially as their average Amazon price hovers around the £86 mark. They have been as low as £67 though, and weren’t far off that price back in August, which means that Black Friday could bring a further discount worth waiting for.

Sony WH-CH720N

These mid-range wireless headphones demonstrate Sony's knack for democratising premium features, with a sound signature that packs real authority, particularly excelling with bass-heavy genres while maintaining enough delicacy for gentler acoustic tracks. With effective noise cancelling, impressive battery stamina and robust construction, they make a compelling case for anyone seeking high-performance wireless headphones without breaking the bank.

Currently available for £77 (a decent saving on the £99 RRP), you’d be forgiven for rushing in and adding them to your basket. Having said that, they’ve been as low as £65 before (as recently as September), so if you want to squeeze the maximum possible savings, we’d recommend holding off for a little while longer.

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

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

• Listen to the best tracks by The Beatles on Tidal

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

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

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

Buy A Hard Day’s Night on Amazon

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

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

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

Buy Help! on Amazon

Nowhere Man (Rubber Soul, 1965)

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

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

Buy Rubber Soul on Amazon

Rain (B-side, 1966)

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

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

Buy Rain on Amazon

Tomorrow Never Knows (Revolver, 1966)

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

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

Buy Revolver on Amazon

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

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

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

Buy Sgt Pepper’s Lonely Hearts Club Band on Amazon

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

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

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

Buy Magical Mystery Tour EP on Amazon

While My Guitar Gently Weeps (The Beatles, 1968)

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

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

Buy The Beatles 1968/The White Album on Amazon

Happiness is a Warm Gun (The Beatles, 1968)

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

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

Buy The Beatles 1968/The White Album on Amazon

Hey Bulldog (Yellow Submarine, 1969)

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

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

Buy Yellow Submarine on Amazon

Come Together (Abbey Road, 1969)

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

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

Buy Abbey Road on Amazon

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

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

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

Buy Let It Be… Naked on Amazon

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

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

I need a dedicated portable audio player

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

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

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

Sony's new Walkman could be a winner

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

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

But there's one slight issue

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

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

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

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

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

Astell & Kern gets it right

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

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

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Read the full Sony NW-A306 review

And the Astell & Kern A&norma SR35 review

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Price

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

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

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

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

• The best deals on all AirPods

Design & comfort

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

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

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

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

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

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

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

Features: ANC, call quality, iOS

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

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

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

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

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

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

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

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

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

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

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

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

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

Battery life

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

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

Sound quality

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

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

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

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

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

SCORES

• Sound 5
• Features 4
• Comfort 5

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Our pick of the best wireless earbuds: budget and premium

Regular readers will know that we’re big fans of Dali’s Oberon series. The smallest floorstanders of the range, the Oberon 5, are particular favourites. These compact Danish towers have a combination of entertaining sound and fuss-free nature that has earned them five-star reviews and multiple What Hi-Fi? Awards, in both stereo form and as part of a multichannel set-up.

The range-topping Oberon 9 we have under test here super-size their successful siblings by adding a much bigger cabinet, a three-way layout, and not only extra but also larger drive units into the equation. Does that make them better speakers? We’re about to find out.

Build

The Oberon 9 are huge speakers by price standards. They stand no less than 117cm tall, dwarfing most of their competition. Visually they will dominate all but the largest of rooms. At 26cm, they’re wide too, making it possible for Dali to pack in a pair of dedicated 23cm bass drivers. 

Being a three-way design, the Oberon 9 also have a dedicated midrange unit – an 18cm cone – and partner that with the 29mm soft dome that we’ve already heard and liked in other Oberon speakers. The midrange and bass drivers all make use of Dali’s trademark wood fibre cones. This distinctive material is claimed to offer a good balance of low weight, rigidity and self-damping, and has been a staple in the company’s more upmarket speakers for many years.

A true three-way design is relatively rare at this price and means that the midrange and bass units can be properly optimised to work in their specific part of the frequency range. The crossover points are relatively conventional, being set at 780Hz and 3400Hz. In contrast, the mid/bass unit in a two-way configuration is inevitably compromised by having to accommodate a broader spread of frequencies. Of course, a two-way has a simpler crossover network and so gains an advantage there.

That large cabinet is nicely made from MDF and covered in a laminate. While other models in the Oberon range are available in four different finishes, the 9 has to make do with just two: black ash and dark walnut. We have no issue with the quality of the build or the finish, though do note that quite a few rivals at this price level are available in real wood veneers.

The cabinet is split internally to give separate compartments for each of the bass drivers and the midrange unit. Each of these partitions is angled to reduce the build-up of internal standing waves and also acts as a brace to reinforce the cabinet. Add further, dedicated internal bracing into the mix and the result is a rigid and well-controlled enclosure given the size and price.

Compatibility

The Oberon 9 are relatively sensitive speakers at a rated 90.5dB/W/m, and so deliver quite a loud sound for a given signal input. Note that they are claimed to have a nominal impedance of 4 ohms, which places more of a demand on the partnering amplifier than some rivals do. Most price-compatible amplifiers should be fine with this, but it’s something to note when thinking about system matching.

We use our usual reference set-up of Naim ND555/555 PS DR and Linn Klimax DS3 music streamers and a Technics SL-1000R record player, all feeding a Burmester 088/911 MkIII pre/power combination. We also plug in the Naim SuperNait 3 integrated amplifier to see how the Oberons work with more price-compatible equipment.

It comes as absolutely no surprise to find that the combination of a huge cabinet stuffed with two beefy 23cm bass drivers needs a larger listening room to work properly. Put them in a space that is too small and the lows will become overbearing, spoiling the overall presentation. Given space to breathe, these floorstanders turn in a surprisingly balanced performance that in some ways belies expectations.

We end up with these floorstanders around a metre away from the rear wall, firing straight into the room. Dali has long designed its speakers so that they sound best when not angled in towards the listener, claiming that this approach gives a broader, more even spread of sound. We experiment with the Oberon 9 set at different angles but eventually finish following the company’s recommendation to the letter. Who’d have guessed that the company that makes the products knows how they work best, eh?

Sound

Given a suitably capable system, the Oberon 9 will deliver a sound of huge scale and authority. We’ve heard little else at this level that comes close to matching the Dali’s wall of sound when they’re in full flow. We listen to Hans Zimmer's Interstellar OST and they pound out the album’s myriad of low-frequency pulses, drones and beats with enthusiasm. It’s not just the muscle at these frequencies that impresses; the Oberons display an unexpected level of agility in this region too. Bass is precise and taut – something that isn’t always a given.

These speakers are happy to play at high volume levels, displaying little signs of strain even when pushed hard. We give up before they do, which is impressive. Large-scale dynamics are delivered with force and there’s no denying the composure on offer. Move away from the muscular aspects of music replay and these towers continue to rack up the plus points. There’s a good, though not class-leading, level of detail, and that information is organised in a musically cohesive way. It’s easy to focus on the musical experience rather than the mechanics of hi-fi, which is always a good thing.

The Oberon 9’s tonal balance is pretty even, and that soft dome tweeter displays all the bite and refinement we remember from other members of the family. Provided you can sit at least three metres away from the speakers, the array of drive units integrate well and blend seamlessly. Sit too close and the presentation becomes disjointed, but that’s no surprise considering the physical distances between the various drive units.

Get it all right, though, and you’ll enjoy the Oberons’ bold presentation and nicely focussed stereo imaging. The soundstage isn’t as ‘out-of-the-box’ as some rivals manage and remains latched onto the speakers a little more than we’d hope for, but that’s not unusual for something of this size.

We switch to Nick Cave’s Carnage set and the Dalis respond with a pleasing midrange that’s clear and explicit. There’s a convincing texture to Cave’s gravelly tones and a nice sense of solidity. The Oberon 9 don't quite capture dynamic nuances with the skill of the class leaders, nor do they match them in rhythmic precision when it comes to songs like Hand Of God. But there’s no denying that we’re still having fun.

Verdict

That’s the thing with these towers; they’re an artful balance of muscle and enthusiasm that’s hard to dislike. If you have a large listening room and like it loud, but still value the subtleties, these Oberon 9 are well worth a listen. We wouldn’t be surprised if you fall for their considerable charms.

SCORES

• Sound 4
• Build 4
• Compatibility 4

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Best floorstanding speakers 2022: budget to premium

Here at What Hi-Fi?, the arrival of a new pair of AKG Y-series headphones is usually a cause for celebration. The latest addition to the range, the AKG Y400, are closed-back on-ear wireless headphones, and while positive words about the range won’t come as a great surprise to those familiar with the line, will it be fives across the board for this model too?

Comfort

The new Y400 are slightly smaller than the previous and rather splendid Y500, but aside from that, things feel reassuringly familiar when we first handle AKG’s newest arrival. However, much has changed too.

There’s a 36mm driver in each earpiece here, which is smaller than the 40mm drivers in the previous model. The newer Y400's closed-back circular earcups are smaller too, and very much on-ear – they rest on, but do not entirely cover your shell-likes.

The Y400 earcups rotate to lie flat and fold up inside the headband for transport, making them even more portable than the older model. They are well-cushioned and, because the extension point is situated lower on the new, thinner headband, the clamping force on the Y400 isn’t too tight and is easy to adjust.

In terms of controls, it’s a familiar set-up, apart from a new USB-C charging port on the left earcup. This sits between the 3.5mm jack (there’s a supplied cable, complete with in-line mic) and play/pause button, which is below the useful volume slider. On the right earcup, there is a power switch and a dedicated Ambient Aware button.

If the Y500 felt demure compared to the funky Y50BT model they superseded, the black version of the Y400 headphones we have on review here is even subtler. There are few accents, just the small white branding on the earcups and a new brushed metal arc across the top of the headband.

The build is durable, light, comfortable, finished in cool metal and resoundingly classy. And if you prefer a splash of colour, the Y400s are available in shimmery pink, green, blue and goldish-yellow finishes.

Build

AKG’s Ambient Aware feature is present again here, and it works well. When activated, a tone is issued and playback is subdued. External noise seeps into our ears, making us aware of our surroundings, such as dogs in the park and passing cars.

The wearer-detection feature, which pauses playback when you remove the headphones from your ears, has been improved and is far more reliable on the Y400 than on older AKG models. This neat battery-saving perk can be switched off by long-pressing the Ambient Aware and play/pause buttons on the earcups simultaneously for five seconds, but we’re not sure why you’d want to.

Bluetooth has been updated to 5.0 status in the Y400 (rather than 4.2 in the Y500) and pairing is effortless and the wireless connection never falters during call-handling or while listening to music. The play/pause button on the left earcup can also be pressed twice to access Bixby or Siri voice assistants.

There’s no app support for the AKG Y400 and therefore no scope for EQ alterations. Active noise cancellation isn’t a feature either, but at this affordable price-point, we wouldn’t necessarily expect such costly extras.

One minor disappointment on the spec-sheet is the battery life, which at a claimed 20 hours, is down from the more impressive 33 hours of the Y500. Of course, this should still outlast even the longest journeys, and the good news is that juicing up from completely empty takes just two hours, rather than two and a half.

Sound

We start listening to the Y400 and immediately note that there’s much to like. Despite any reservations we may have regarding the smaller drivers and earcups, it’s an open, layered and zealous presentation. We listen to Bruce Springsteen’s My Hometown and the drums, woodwind and tambourine are pleasingly spacious and three-dimensional, timing nicely around the Boss’s textured and central vocal.

Switching to Viper Woman by Bitchin’ Hour, we are treated to the deft and precise handling of Leonie Wilson’s soulful high belt alongside Beth Chapell’s persistent thunder crack and rumbling stormcloud of drums. It’s an energetic and cohesive mix, with each musical passage given the room to be impactful.

We nod our heads throughout Eric Clapton’s Cocaine as Slowhand’s guitar is driven into our ears with determination and drive across the frequencies, and his lyrics come in centrally with detail and sensitivity. Switching to the Y500 for comparison, we hear marginally greater separation and an extra ounce of sonic detail from the newer model. Considering those Y500 headphones gained a five-star review, that’s no small feat.

We play Stormzy’s Vossi Bop to hear how the AKGs traverse its bass-heavy grime riffs. There’s impeccable timing throughout and the headphones deliver bass weight and power in spades. It's zealous to the point that some might prefer a slightly leaner listen, but in our eyes (and at this level) the Y400 get the balance just about right.

Verdict

These Y400s represent a top budget wireless buy. They’re supremely comfortable and portable, well built, and have an energetic, expansive sound that sets a new standard at this level.

Despite a reduction in size from the company’s previous on-ears, the cheaper Y400 don’t represent a step down in terms of sound. If that 20 hours of battery life is acceptable, this is a hugely talented and thoroughly recommendable pair of on-ear headphones.

SCORES

• Sound 5
• Comfort 5
• Build 5

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LG already makes rollable TVs, and now it's working on a rollable phone. The company briefly teased the device – officially known as the LG Rollable – during its virtual CES 2021 event, where it also introduced its innovative 2021 TV lineup.

The footage (below) shows a smartphone with a display that expands sideways to create a tablet-like device. The phone's screen smoothly expands into a larger one by rolling out from the opposite edge (02:07). LG wraps up the CES broadcast with another glimpse of the Rollable – this time closing slowly (28:27).

LG revealed its development of a rollable handset back in September, but the new teaser video confirms the name of the device and gives the first clear front-view of the snazzy, bezel-busting display in action.

LG is yet to share any information about the device aside from that it comes with a “unique resizable screen” and is part of the company's Explorer Project, which aims to provide an exploratory look at what the future of technology may bring.

LG's not the only firm working on a rollable phone, mind. The LG Rollable bears a striking resemblance to TCL's rollable concept phone, also on display at CES 2021. The TCL version is driven by a small motor that can be trigged using gesture controls.

According to TCL, "the portable 6.7-inch AMOLED Rollable Display... can be extended from 6.7-inches to 7.8-inches with a simple tap of the finger". LG hasn't confirmed whether its device will feature a similar control mechanism.

In other 'rollable' news, LG has confirmed a brand-new rollable OLED TV – the R1 Rollable – detailed in our breakdown of the LG 2021 TV line-up.

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These wireless noise-cancelling headphones came to us from Altronics, the 44-year-old Perth supplier which still produces the chunky great mail-order catalogue which graced the shelves of every electronics hobbyist back in the 1980s. Altronics has also now moved online, of course, offering 9000+ products with everything from tiny parts to full consumer products, many of which appear a bargain.

Take these wireless noise-cancelling headphones, for instance. They're listed on Altronics site simply as the C9021A, although they are identified there and on the packaging as being the ANC7S by Ausdom, a company founded in California, with manufacturing and assembly in Shenzen, China.

Their price is just AU$139, making them far more affordable than premium noise-cancellers like the others in the market today. The question, then, is how much of that experience they can bring, and how much is lost in the compromises required to hit the wallet-friendly price.

• Best wireless earbuds in Australia for 2020: budget and premium in-ears

Design

The Ausdoms certainly feel light, weighing in at 216g, and while this may reflect lower quality componentry, it also keeps them light on the head during wear. The main headshells are plastic, the over-ear cushions a comfy and soft fake leather tucked into a red ring, and the outer surfaces are slightly pliant and covered in a cloth layer patterned with light reflecting zigzags, as is the headband. 

The headband is steel with plastic ratchets, though we found its maximum extension only just enough to get the headshells low enough for the biggest of our testers’ heads. They pivot flat for storage, although lack the extra hinge to fold inward to the foetal position. The Ausdoms come with a soft cloth bag and minimal packaging, a sensible place to save the pennies.

Controls are simple headshell buttons, straightforward to interpret — an on-off power switch, volume/skip buttons, and an on/off slider for noise-cancelling. There’s no variability available for the noise-cancelling, nor any ‘ambient passthrough’ mode, as is now the norm on premium models. Nor is there any ability to personalise their response via an EQ profile, and no smart extras like a button to invoke your phone’s voice assistant, or auto-pause when you remove the headphones. 

We can’t say we much missed these extras, and indeed there’s something to be said for keeping it simple. The one easy early mistake is to turn off the noise-cancelling switch when you mean to power them down. But you quickly get used to that.

They charge via a micro-USB socket on the left headshell, and on power up there’s a lo-fi voice prompt to welcome you as the Ausdoms autoconnect to the last paired device, or on first use go straight into pairing mode. Their connection to our phone stayed strong throughout use.

Audio and features

Sound quality varies significantly when you turn noise-cancelling on. Without NC, they can sound a bit brash, their upper frequencies bright, the midrange leaving vocals in a boxy acoustic, and the bass underplayed. The opening twin basses on Lou Reed’s Walk On The Wild Side had none of their real resonance and depth, while Lou himself suffered a sibilant boxy vocal. 

On a less acoustic mix like Tyler, The Creator’s Earfquake the synths sounded fine and fizzy, but the massive descending bass notes lost their lowest octave entirely, and again the vocal was strangely boxed in tone.

Flick the NC switch on and the tone is drastically softened, the mid and highs flattened down so that the bass regains something closer to its rightful position, though there’s a sense of compression and a general muffling of the overall openness. 

The NC mode we found a reasonable listen over the rumble of a daily commute; it doesn’t assault your ears, and the music can make it through. The noise-cancelling circuit itself is actually rather noisy, with a light hiss as soon as you throw the switch, not that you’ll hear this if you’re in the noisy environments where the circuit is required.

Its effect is nowhere near class-leading, but it successfully reduces the lower frequencies of background rumble or aircraft drone, giving a quieter bed for your listening.

You can connect a cable should the quoted 12 hours of battery life fail you, but this is one pair of headphones where we won’t say that a better quality is delivered by cable; there’s more level available, certainly, but the sound was brighter still, and discouraged us from turning it up. The sound profile seems to have been optimised for Bluetooth use, and sensibly so, since that’s how they’ll be used the vast majority of the time.

Final verdict

So we found the sound not satisfying enough for a full recommendation here. As a commuting headphone, or to get you through the long-haul, they’ll do the job and deliver tunes or in-flight entertainment against a noise-reduced background. But they don’t deliver well-balanced music in quieter environments, so we wouldn’t recommend them for extended home or office use; you could get a far better sound for this money by going for non-NC from the major brands. 

• Best wireless noise-cancelling headphones 2020

The Audio Pro A26 powered speakers are the first standmounters the Swedish company has added to its popular multi-room range. Alongside the A36 floorstanders released at the same time, they break new ground as the first dedicated stereo pair in the series.

Armed with an impressive array of connectivity, including an HDMI ARC input to turn them into speakers for TV sound, the A26s are positioned as an all-round sound system for the living room.

They are fitted with the latest low latency Bluetooth codec, Spotify Connect, the Audio Pro app featuring all the major music services and networked streaming abilities. On paper, at least, the A26s have more or less everything you could wish for.

Build

The A26s are a design departure from the Addon range, which has featured the same, koala-like face for years. The new aesthetic is not terribly exciting, though.

The charcoal covers feature a metal Audio Pro logo but, apart from that, there are only smooth surfaces. Remove their grilles and our black review sample looks rather plain on the eye, though the alternative, white finish has a more classily Scandinavian look.

The two drive units are also black. On top is the 25mm textile dome tweeter with the 11.4cm woofer on the bottom. Inside one of the rear-ported boxes is a pair of 75W Class D amplifiers – one drives the master speaker and the other is for its passive partner. The two speakers are connected by an included speaker cable. 

Connectivity includes Bluetooth 5.0 aptX, optical, HDMI ARC and an analogue aux. There’s also an RCA subwoofer connection in case you'd like to add some extra bass.

Audio Pro makes a set of dedicated wall brackets that costs a fairly reasonable £29 per pair. The A26s work best when placed close to the wall, so these brackets should help the speakers deliver something approaching their optimum sound.

Compatibility

You can leverage all the wireless potential of the A26s through the Audio Pro Control app, which integrates the likes of Tidal, iHeartRadio, Napster, Qobuz and Deezer in one place. You can play any locally stored audio files, including podcasts, through the app as well. The A26 speakers also work with Spotify Connect.

The Audio Pro app itself is a little rudimentary compared to some, but also fairly well thought out. It's responsive and not over-complicated, which is important if you’re using the A26 as part of a larger Audio Pro multi-room set-up.

There is a straightforward EQ control in the form of bass and treble sliders, although these are generally best left flat. There’s also an audio virtualiser mode to help create a soundstage especially for movie-watching and a night mode to enhance dialogue clarity while keeping the main volume and bass as low as possible.

You won’t find all of those options on the dedicated remote control, though. This pleasing aluminium zapper offers volume, input selection and playback controls, but these won’t necessarily work for every single source device. For example, it doesn’t skip tracks when plugged into our laptop playing FLAC files through VLC.

Sound

We start with Mozart’s Violin Concerto No.3 In G Major, K.216, and get an immediate feel for the space and scale that this two-speaker solution offers. There’s an impression of openness with a soundstage that’s broad enough to deliver a strong sense of the orchestra. 

The audio is still centred on where the speakers sit, but there’s enough to get a clear idea of positioning of the first violin in the foreground and the rest of the string section behind and to the right. 

The dynamics are decent, if not inspirational. The sound doesn’t drop down to a deep silence but there’s a clear difference in the scale between the first violin fiddling away to the tune compared to the rest of the strings bowing out the bed of music in the background.

We play something a little faster with Radio Free Europe by R.E.M on FLAC, played hard wired to the A26s, and we’re immediately impressed with the size of the sound for such little speakers. The kick drum is like a heartbeat thumping through the track from first to last. 

It’s not a long way off a room-filling performance and certainly enough to feel the bass in our bodies. However, it’s a soft-edged sound, missing the precision to convey a good sense of the pulse of the music.

There’s a reasonable tonal balance to the track. Michael Stipe’s voice is clear and there’s plenty of detail including the wangling guitar that drops in and out of the song.

Right at the top, there are plenty of sounds from the metal parts of the drum kit but they’re not sounds we particularly enjoy. The treble notes are unsophisticated and the tweeter sounds too messy. The hi-hats, the snares and the cymbals are hard to differentiate, which rather spoils the pleasure of Bill Berry’s work.

What really kills the track, though, is its lack of rhythmic drive. The A26s struggle to create a definite onset and end of notes to mete out a sharp, clear sense of purpose to every strum or percussive hit.

Combined with the less than stellar dynamic ability and soft bass, it makes for a murky and disappointing climax to the track. That becomes quite hard on the ears when listening to a whole album of songs with attack. 

We take it down a gear with Respect by Aretha Franklin and the speakers respond well to this less complicated recording. The track is simple and staccato enough to hold a better sense of purpose. It’s enjoyable enough and there’s an even balance of the guitar with the lead and backing vocals. All the same, the feel of the song isn’t quite translated.

There’s not enough expression in the midrange for us to appreciate anything like the depth and desire of Franklin’s demands of her lover. Not even the normally dripping rich ‘oohs’ of the backing singers carry much nuance.

Verdict

These Audio Pros aren’t a bad pair of wireless speakers – they are easy to set up; they can work for both your music and your TV sound; and they are capable of working in a multi-room set-up. They support just about every kind of input and you can use pretty much any music streaming service with them.

The trouble is that they just don’t sound that great. If a pair of speakers doesn’t make you excited about listening to music, they have fallen short in their primary purpose.

If you’re already heavily invested in the Audio Pro ecosystem, you might wish to try them out, but we’d advise you to spend your money elsewhere and buy something more musically talented, such as the Ruark Audio MR1 Mk2s.

SCORES

• Sound 3
• Compatibility 5
• Build 5

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Read our Ruark Audio MR1 Mk2 review

How do you like your headphones? Eye-wateringly expensive and built using more than 40 years of electrostatic design expertise? Showcasing German precision engineering and minimalist design? You're in luck.

High-end audio specialist, T+A, has decided now is the time to launch its first ever pair of headphones, the T+A Solitaire P, and the company's first headphone amplifier/DAC, the T+A HA 200.

Previously concerning itself with amplifiers, DACs and speakers costing four figures and up, T+A is promising a new level of headphone performance from its planar-magnetostatic headphones and Class-A design headphone amplifier.

Joining the company's Solitaire speakers, an anniversary edition pair of which went on sale for £46,000 last year, the Solitaire P headphones use an ultra-lightweight membrane, which covers the whole area of the ear cup and is positioned between the planar magnetostatic drive system. 

The entire surface area of the membrane is driven in this design, with T+A promising a spacious, airy feel. Aircraft-grade aluminium and "the softest leather" aim to apply a finish befitting of the word premium. 

The T+A Solitaire P headphones will be available in March 2020, priced at £4800 (€4800, $6400). 

The HA 200 headphone amplifier and DAC sees the company in more familiar territory (we've previously enjoyed the T+A PA 3000 HV and T+A DAC 8). It uses the company's proprietary T+A True 1 Bit DAC, capable of handling up to 32-bit/768 kHz PCM and DSD1024. 

There are three headphone outputs, each of which can be fine-tuned according to the headphones. Using the company’s HV analogue technology, previously reserved for its flagship range of high-end audio components, the HA 200 has a high-quality power supply with two separate toroidal power transformers to separate the analogue and digital circuits.  

The HA 200 has some eight inputs, with twin optical and coaxial digital inputs, plus AES/EBU and BNC options, and balanced and unbalanced analogue connections. There's also the option to add an HDMI board with twin inputs and an ARC output.

The T+A HA 200 is due on sale in April, costing £6600 (€6600, $8900).

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T+A DAC 8 review

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See all our T+A news and reviews

A lot has happened in the multi-room market since the Sonos Play:1 last entered our test rooms in 2013. Amid the rise of the smart watch and smart TV, smartphones breaking the 7in-screen barrier and the anti-climax of Google Glass, the multi-room market has exploded to astronomical levels, with almost every Tom, Dick and Harry looking to ruffle Sonos’ feathers.

So it may raise an eyebrow to learn that what hasn’t changed is the Play:1’s distinctive charm – you still won’t regret finding a spot for one (or five) in your home.

Sonos brought its entry-level price down with the Play:1 a few years ago, and then added the smart Sonos One to the portfolio, but this little speaker may still be the best bet for many people wanting to get into the world of Sonos.

• Best Sonos deals

Set-up

While it’s the same old rounded speaker, software tweaks have brought improved sound, as well as Trueplay technology and even more streaming services, features that are crucial to Sonos staying at the top of the streaming game.

It’s as comprehensive a list as you could hope for, with the likes of Tidal, Spotify, Pandora, Deezer, Qobuz, Google Play Music and Amazon Music, plus TuneIn Radio for access to thousands of internet radio stations, all integrated into the Sonos Controller app. Of course, it also plucks songs stored on your local network from, say, a NAS drive.

It's designed to be used purely as part of the Sonos system, so the Play:1 still lacks any physical connections for hard-wiring external devices. Bluetooth is still absent too, which is a mark against Sonos. We’d like at least one offline option for when your network’s a bit dodgy.

Build

While arguably looking a little outdated stood next to the more recently redesigned Play:5, the Play:1's solid, sleek design stands the test of time.

It comes in black or white, though only on the chassis’ top and bottom bands does colour come into it - what really defines the Play:1’s look is its smart wraparound steel grille.

Sound

The Play:1's sound is just as weighty and solid as we remember, with plenty of power and punch for a small speaker. It’s hearty enough to get stuck into meaty drums but, at the same time disciplined enough to keep complex rhythms on a tight leash.

Vocals sail over the top with stark clarity and dynamic expression – the Play:1 throwing them into the limelight – and there are acres of space and scale in the presentation for them to fill.

Either side of the midrange, control isn’t lacking, its bass tight and punchy, the treble detailed and refined. It’s an open, clean and balanced listen and one that’s just as happy pumping out Bloc Party as Joni Mitchell.

Only too keen to show that rhythmic fidelity isn’t left trailing, its agile, athletic posture keeps up with the sprightly keyboard cadence in Manfred Mann’s Earth Band’s cover of Blinded by the Light, the cymbal-tapping galloping precisely and punctually alongside.

It’s an enthusiastic rendition that isn’t short of attack, and you can tell Sonos had only one thing in mind when engineering its sonic character: fun. And who can argue with that?

Verdict

If you thought time would have aged the Play:1, think again. It remains a great-sounding wireless speaker, and a decent passage into multi-room for those on a tight budget. 

Other rivals have emerged, and the Audio Pro Addon C3 is a worthy alternative, but if you're set on Sonos, the Play:1 is still a great bet.

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Best smart speakers

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When we reviewed the AKG Y50BTs back in 2015, we were just as impressed by the superb wireless on-ears as by their wired AKG Y50 counterparts. “What you have here is a rare example of headphones that are equally excellent across audio performance, features, design and build quality,” we said.

Three years on and the Y50BT’s successor, the AKG Y500 Wireless, ups the game once more, thanks to a smarter design and a hugely listenable sound.

Design and build

The new Y500s remain on-ear designs, with a cushioned, adjustable headphone band and memory foam ear cups.

Gone is the large-lettered branding on the brightly coloured earcups; instead, the new Y500s come in shimmery green, blue, pink and black metallic finishes that look appealing.

The AKG logo is much smaller and subtler, and a much smarter design than before. The mix of aluminium and plastic leave the Y500s feeling sturdy yet lightweight, and the polished metal edges around the ear cups give the cans a touch of class.

The earcups themselves are soft, but clamp down on your ears a bit too tightly for our liking. It’s possible that they will loosen off over time and use. It’s not so bad that we want to take them off, but it’s something to keep in mind if you wear glasses. You can also fold up the headphones flat, bundling them up small enough to fit into your bag or a large pocket.

• AKG Y50BT review

Features

The controls under each ear cup have been redesigned, too. The power switch has a small blue LED to indicate when the Y500s are switched on and Bluetooth-connected to your smartphone. Subtle beeps indicate when your headphones are paired.

There’s also a button for AKG’s ‘Ambient Aware’ feature, which makes you aware of your surroundings while keeping your headphones on, so you don’t get run over in traffic or miss that train announcement. It works effectively, with music subdued and outside noise seeping in naturally.

On the other earcup, there’s a small button for playing and pausing music (double-tapping it summons your smartphone’s voice assistant) and a neat volume switch that you slide up or down. The controls are responsive, and it takes mere seconds to get used to these controls.

With a standard 3.5mm-ended cable included in the box, and a simple in-line remote for controlling playback, there’s the option to go wired. The Y500s can be charged via the supplied microUSB and battery life is a claimed 33 hours. That’s a big jump up from the previous Y50BT’s 20-hour lifespan – we didn’t need to charge the Y500s up during our week of testing.

Another extra feature is that the Y500s automatically pause music when you take them off. Put them back on, and music starts playing again. It’s a neat feature when it works, but we find it a bit hit and miss.

Sound

What’s clear right from the start is that AKG has opted for a more refined and grown-up sound with the Y500 Wireless headphones. There’s plenty of detail here, and every bit of it is composed and clear.

We play PJ Harvey’s Good Fortune and are met with a bold, solid delivery in a pleasingly spacious presentation. There’s ample heft and punch to the low end, edges of notes are crisply laid out, and her raw vocals are projected with excellent clarity. The Y500s go comfortably loud, too – they never sound rowdy or unruly even when pushed to high volumes. If you want headphones that you can just put on, listen to and enjoy with minimum fuss, these are ideal.

Taut basslines and a confident handling of timing make Massive Attack’s Angels an enjoyable, if not overly demanding, listen, and the Y500s’ silky, crowd-pleasing character make them a more long-lasting listen – they’ll keep you bopping along to songs for hours.

AKG has opted for a more composed and polished presentation that sacrifices a touch of its previous dramatic and energetic flair, but that doesn’t mean these cans aren’t an exciting, involving proposition.

The Y500 Wirelesses are a bit more reined in than their predecessors in the way they handle subtle dynamics and rhythms, but they are well put together, with a level of clarity and organisation you won’t get in rival Bluetooth headphones of this kind and price.

Verdict

Juggling good sound quality, clever features, durable build quality and attractive design in equal measure is no mean feat, but AKG pulls it off while making it look easy.

The Y500 Wireless headphones are hugely appealing to use and listen to – you won’t find a similar wireless headphone experience that wraps every element together so neatly at this price.

SCORES

• Sound 5
• Comfort 5
• Build 5

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See all our AKG reviews

If a projector is a bridge between the big-screen spectacle of the cinema, and the comfortable familiarity of the home, then Epson’s EH-TW6700 straddles the gap perfectly.

Features

The spec sheet for the EH-TW6700 is roughly in line with what we’ve seen from other Epson products at this price.

It has a 1080p chip with a 16:9 aspect ratio, a brightness of 3000 lumens, and a claimed contrast ratio of 70,000:1.

It will give you a 100in image from 3m away, whether that is in 2D or 3D, with a maximum image size of 300in.

Build

Calibrating the picture, the EH-TW6700 is certainly easy to use. The remote control is simply laid out, with easily identifiable buttons for changing inputs, although we would prefer it to be backlit too.

On the top of the projector you have a couple of dials to control the height and direction of the image, as well as navigational and power buttons, while on the back are the inputs: two HDMI ports, one USB, one VGA, as well as a 3.5mm output to connect some speakers.

That 3.5mm output is probably going to be useful, as more often than not you’re going to want some extra audio working in combination with the projector.

While it does come with an in-built stereo loudspeaker, for casual use, it doesn’t have a particularly detailed, dynamic or refined sound.

While it’s adequate for those without a sound system, if you want to take a decent step into home cinema you’ll want to pair the projector with a good AV amplifier and speakers.

MORE: Best projectors

Picture

After setting up the EH-TW6700 – opting for the ‘Cinema’ mode – we tweak the contrast, brightness, and colour saturation levels to suit our testing room.

We put the Auto Iris on Normal, switch on Epson’s ‘Super White’ to temper any overexposed whites, and put Frame Interpolation on Low to adequately reduce motion judder without making movements look too processed.

Turning up the Epson’s noise reduction is also recommended, to remove some of the noise in Blu-ray and DVD images.

However, the downside is that it can reduce fine detail, so it’s worth checking your picture at each increment when using it.

Once it has been calibrated, the results are pretty satisfying.

Kicking off our test with high-action blockbuster Captain America: The Winter Soldier, the EH-TW6700 can track the superhuman leaps and punches of Steve Rogers smoothly and naturally.

Later, when Rogers is talking to Alexander Pierce, there’s a palpable depth between Pierce and the walls and ornaments behind him – the EH-TW6700 conveys a crisp, sharp picture without exaggeration.

Going off-world for Avatar, there’s no doubt that the alien planet Pandora’s lush plant-life and brightly-coloured animals are displayed boldly and with a clear sense of vibrancy.

Epson says this projector is capable of up to just over one billion colours, and we can well believe it.

You also get quite a detailed image, although there is more that could be done.

The surreal exploration of Davy Jones’ locker in Pirates of the Caribbean: At World’s End renders each of Jack Sparrow’s freckles and the wisps in his unruly beard during the close-ups, but the EH-TW6700 does lack a level of subtlety at the ends of the spectrum.

MORE: 10 of the best Blu-ray films to test your system

The translucent woodsprite in Avatar, which floats in the air like a jellyfish, comes across as lacking in texture. The projector finds it difficult to reveal the nuances in the CGI creature.

Similarly, it’s tougher making out the outlines of objects, or differentiating between a black outfit and the background, during dark scenes.

Upscaling could be a little more sophisticated too, when using DVDs. Watching Morgan, the felt on Morgan's hoodie as she is interrogated, or the fabric of the scientist’s jacket, isn’t quite as subtle as we’d like.

Verdict

But on the whole, Epson is known for putting out high-quality projectors and its latest addition is no exception to this rule.

The EH-TW6700 is rich, relatively detailed, and happy to handle even motion-heavy movies. If you’re looking to get a cinema experience into your living room, this projector is a good place to start.

See all our Epson reviews

Chord says the MKII model produces less distortion than its predecessor, for “even greater transparency and fidelity”, and has cleaner power delivery thanks to various improvements to capacitance. Other improvements include enhanced isolation on the mains transformer to help reduce interference.

MORE: Chord Electronics SPM 1050 review

The SPM 1050 MKII again uses Chord’s low-distortion amplifier circuitry with four proprietary lateral-structure dual-die MOSFETs per channel, meaning there’s eight in total. Chord says this configuration means the MKII can drive “even the most demanding loudspeaker with clarity and precision”.

Connections include balanced XLR and RCA phono inputs alongside two pairs of loudspeaker outputs. A single power button adorns the front and two LEDs show the power and relay functions. The casing has been machined from aircraft-grade aluminium which has sonic benefits such as dampening unwanted vibrations.

The SPM 1050MKII also features Chord’s proprietary 2KW high-frequency switch-mode power supply, which can found on all of the company’s amps. The power supply delivers instantaneous power from both power rails simultaneously, which Chord says gives the “perfect balance and dynamic precision for music”.

A bank of energy storage capacitors are ‘recharged’ many thousands of times a second by the power supply, which means the amplifier has huge reserves of power to hand allowing it to react “effortlessly to any signal”.

We were big fans of the original SPM 1050, awarding it five stars in 2007, so we have high hopes for the MKII version.

The Chord Electronics SPM 1050 MKII is available now in black or silver finishes, priced £4950.

MORE: Chord Electronics teases TToby partnering amp for Hugo TT

Sometimes it’s okay to make assumptions. SoundMAGIC’s E10S were crowned champion of in-ears up to £50 at the 2014 What Hi-Fi? Awards.

Surely, then, it follows that the E50S, ten notes dearer, ought be even better.

Build

Physically, they are not left wanting. The design – available in metallic grey, red or gold – is sleek and practical (the twisted cable stops them tangling and reduces noise).

In case you were wondering, the ‘S’ stands for smartphone, meaning it comes with a canny inline mic that, thanks to an A/B switch, works with both Apple and Android devices.

Understanding that a good fit is fundamental to the performance of an in-ear headphone, SoundMAGIC provides eight options of bud – including a pair made from Comply memory foam, like a mattress for your ears.

MORE: Best in-ear headphones 2015

Sound

There is no sleeping, however. Open with The Roots’ Get Busy and immediately you find the build quality is reflected in the sound.

You almost feel for the drums as the kit pounds through the thick coating of grime laid down by the synths; the E50S capture the deep bass from the kick, the stab and bleed of the snare and crash of the cymbals, stretching the arrangement to make it sound at once full and gaping.

That balance simply lets the aggression in the vocal come through naturally, tracking the sharp attack on each syllable.

Attempt something more texturally and dynamically complex, such as Explosions In The Sky’s The Birth and Death of the Day, and the results are equally impressive.

The opening chords are sparse and beckoning, the ritardando timing perfect, leaving you to anticipate the burst of the opening melody which splits like a chasm. The piece feels alive as it soars, gallops, then softly passes away.

Verdict

There is little to quibble about with the E50S; they are perhaps a little less expressive than Klipsch’s Reference R6i, but not enough to be a let down.

The difference is small, and if that extra fiver overstretches your budget, a fine alternative.

Read all our SoundMagic news and reviews

Read all our headphone reviews