If I had to pick an era for simply being the happiest of my career, I would pick 2008-2012, when I held the roles of deputy editor and brand editor of What Hi-Fi?.

I've been obsessed with music and sound for my whole life, so on the day I became the editor of What Hi-Fi? Sound And Vision, I felt as if I was both reaching a summit and arriving home.

But our association didn't begin there. I had spent the previous 18 months as deputy editor for both the magazine and its newly launched website, whathifi.com, working with the wonderful team of Clare Newsome and (the sadly missed) Andy Clough, to create the first real incarnation of the website.

I will never forget Clare telling me: "We're finally going to have a proper website, so we need branded video. Sort it out, would you?" Never one to object to an ungainly splash around the deep end, I duly began the test-and-learn process of 'creating content'.

That led to much that was completely new to the brand: video reviews, How To's and unboxings, extended video show reports and interviews with industry luminaries (IAG's Peter Comeau and Ken Ishiwata of Marantz were personal highlights), as well as videos such as 'How We Test' (above), which laid out in detail the method and process on which the brand was determined to stake its reputation.

I had, in fact, worked for the magazine even earlier, as both a freelance sub-editor and, before that (2000-2001), as a staff writer and reviewer. That staff writer gig was my first 'proper' job in journalism – the first six months of which consisted almost entirely of listening to music on a ludicrously good reference system with still-technical editor, Ketan Bharadia.

I had begun my career as a journalist later than most (I was pushing 30), having enjoyed a mis-spent youth as a sessions-and-weddings guitar player – one time playing a gig to just two people listening to us in rapt attention, who turned out to be Womack and Womack!

But while the pursuit of great music, unrepeatable musical moments and exquisite sound has led me to all sorts of weird and wonderful, odd and unexpected places and situations, nothing in my career has ever matched such a solid and sustained period of consistent professional enjoyment as the time I occupied senior editorial positions at What Hi-Fi?.

Pivoting in many directions

Those years were a period of huge transition – for the What Hi-Fi? brand, for the technology and music industries, and for the world at large. At a time when traditional hi-fi sales were at an all-time low, the brand had to pivot, and in many directions at once.

Partly it was about content, as we moved, with our brand-new website, to digital, to video, to forums, to blog content and all the rest. But it was also the subject matter and the brand's fundamental mission, which moved first to TV and home cinema, then to headphones and to portable audio, and then to wireless and, above all, to streaming in all its myriad forms.

My main memory of this is that it gave the whole What Hi-Fi? team a renewed sense of purpose. We doubled down, dedicating ourselves to the exploration, discussion and evaluation of literally anything and everything that the consumer might use to enjoy music or movies. That was the core principle – our baseline.

Technological change, by this point, was already moving at high speed. Plasma TV had just given up the ghost, handing the TV field – for a short while – to LCD. Hi-fi streamers arrived and began to change the audio market, with the Naim Uniti winning our Readers' Award in its first year of existence, just as I became editor of the magazine.

3D TV came, floated around for a bit, and disappeared. But not before comedian Tim Minchin had written and performed – as I giggled into my champagne glass – a specially composed song entitled Three Is One Dimension Too Many to the industry at our What Hi-Fi? Awards ceremony. Fun times.

Within months of my becoming editor, we had seen the launch of the Sonos ZonePlayer S5, the iPad and the iPhone 3GS – effectively replacing the iPod – as well as the arrival of AirPlay, and the streamers and DACs market going mainstream.

As 2011 got underway, the tectonic plates of the TV industry were beginning to shift irrevocably away from Japan and toward the Korean companies. Later that year, Spotify Premium won our Readers' Award – signifying further shifts in perception among the public and our readers.

Renewed innovation in home audio continued, with highlights such as the launch of KEF's Concept Blade speaker, which I reported on from that years' Bristol Hi-Fi Show. We didn't know it at the time, but fairly soon, in Autumn 2012, I would leave to take on the role of KEF's UK PR representation, which I would continue through a six-year, multi-Award-winning period.

That the world was changing fast, we at What Hi-Fi? did not dispute. But what wasn't changing, as we always liked to remind people, was our (and your) love of music and movies. As the 2010s began to take shape, that simple idea drove the evolution of the What Hi-Fi? brand.

And it seems to me, happily, that this core value has not changed much in the intervening years. What Hi-Fi? still does the thing it has always done better than anyone else: 1) assemble a group of capable and intelligent reviewers; 2) have them honestly debate and argue about the products until a consensus is arrived at; 3) give the world that honest opinion until a new product comes along which changes the calculus; 4) rinse and repeat.

As a method of delivering useful and reliable information to the public about music and movie tech, I continue to think that's pretty hard to beat.

So Happy Birthday, What Hi-Fi?. And to the whole team, many happy returns!

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Too often, companies pursue low-end depth at the expense of all else. Call it the passing-car-on-the-high-road approach. Or Beats before Apple. But Wharfedale’s new subwoofers don’t fall into that trap; instead, the Nova Series is focused on “balance, texture and precision”, says the manufacturer, from the smallest 8-inch model right up to the 15-incher.

The aim is for bass that is deep and authoritative, but that complements rather than overwhelms the movies and music it’s conveying.

There are four models in the range: the Nova 8, Nova 10, Nova 12 and Nova 15. The numbers indicate the respective main driver’s diameter in inches. So whatever your system – whether it’s a home cinema behemoth, hi-fi leviathan, or diddy micro system – there should be one to fit the bill.

Bass depth and output levels vary according to the sub’s size, of course, but they all share the same approach thanks to the inclusion of new long-throw drivers, passive Auxiliary Bass Radiators (ABRs) and Wharfedale’s tried and tested cabinet architecture.

Let’s start with those drivers.

These feature rigid, lightweight paper cones with a proprietary coating to increase stiffness and self-damping without increasing mass. Thanks to the other components inside the Nova subwoofers, they should maintain stability at high output while allowing substantial linear movements, which should mean “exceptional extension” without sacrificing transient accuracy and composure, says Wharfedale.

Thermal efficiency and power handling are enhanced by a large-diameter voice coil, while the aluminium shorting ring in the motor structure improves linearity and transient response and lowers distortion.

The result? Bass with “greater definition and natural rhythmic timing”, according to Wharfedale.

Each sub in the range has a downward-firing, mass-loaded ABR with a dual-suspension design to extend low-frequency output without a conventional reflex port. Wharfedale claims this avoids issues such as chuffing, compression and unwanted resonance.

Wharfedale also claims a balance of depth and control thanks to each model’s optimised acoustic loading.

The Class D amplifier platform delivers nominal power ratings between 200W and 360W (depending on the model of subwoofer), up to 80V peak output and “substantial” dynamic headroom. The platform is optimised for efficiency, speed and sustained low-frequency control.

Wharfedale also stresses that the amplifier, driver, cabinet loading and Digital Signal Processing (DSP) have all been developed as an integrated system for a controlled, responsive performance free of strain and compression.

Some subs struggle with convincing bass at lower volumes; Wharfedale claims this won’t be a problem thanks to its DSP-controlled dynamic EQ. At lower levels, this should preserve weight and extension – crank the volume up, and it manages driver excursion to maintain clean output. Which should result in a larger, more authoritative performance than the unit’s physical size might suggest.

Wharfedale has tuned the woofers to integrate the bass seamlessly with a range of system configurations and environments. And if you want to fine-tune it yourself, you can, with adjustable crossover, phase alignment and level calibration tools.

The Nova 8 costs £799 / $999 / AU$1299, which is the same as the B&W ASW610, our pick as best overall in our list of best subwoofers. Pricing goes up to £899 / $1199 / AU$1699 for the Nova 10, £1099 / $1499 / AU$2199 for the Nova 12 and £1299 / $1999 / AU$2899 for the Nova 15.

All models launch in late September, and come in any colour as long as it’s black.

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Another week, another quiz and this time we’re going back to a trusty old wordsearch where you’re on the hunt for thirteen hi-fi brands.

This one we’d consider suitable for beginners. We don’t think it’s too taxing, and hopefully you’ll find them easy to track down so you can get a quck enough time to feature on our leaderboard.

Don’t get complacent if you find it too easy – we’ll be ramping up the difficulty level for our next one! Have fun!

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Even casual music fans are aware of the great vinyl revival – but not all will know that there has been a similar resurgence for their smaller successor.

CDs, the last major audio format before the digital and streaming era, are among the physical media seeing a surge in demand. The discs are seeing steady sales growth, with internet searches for “CD players” seeing a five-year high last December.

And here at What Hi-Fi?, we couldn't be more delighted. We’ve been banging the CD drum for years, and continue to review the players still being released and making sure our collections still get some love.

We saw fit, then, to highlight some of the best CD players we have reviewed and recommend, as well as some of our favourite discs to test them with. So whether you’re getting back into CDs and your old micro system doesn’t cut it any longer, or you’re a young Gen Z whippersnapper trying the format for the first time, there’s a little something for everyone.

All of the CD players below have been tried and tested by our expert reviewers, and all have earned at least four stars and are among our top recommendations.

We haven’t reviewed the CDs themselves, but all have made appearances in our test rooms over the years. We’d love to hear what your favourite test CDs are in the comments below (but keep heated music debates civil, please!).

The Marantz CD 70 was released only a month or so ago, but it has already established itself as our go-to recommendation at this level. With clear, insightful sound, solid, tight bass and a solid build, this Marantz is doing an excellent job of keeping the humble CD going strong.

Our CD player Product of the Year – and not for the first time – the Arcam CD5 is a tremendously entertaining mid-price offering with an engaging, muscular sound. It continues to impress our review team, and will no doubt be in the running again for this year’s Awards.

The Cyrus 40 CD is undoubtedly premium in price, but it has the performance to match. Offering subtle detail, rhythmic precision, punch and power but also superb control, the 40 CD is a brilliantly engaging premium player for anyone with the budget.

If you already own a DAC, the Cambridge Audio CXC makes perfect sense. Despite being released more than 10 years ago, this CD transport is still in production and still very much recommended. It offers a smooth, open and enjoyable sound as well as good rhythm and musicality.

The Marantz CD6007 may have been succeeded by the recently released CD 70, but there’s still stock available and at a lower price. And, as a six-time What Hi-Fi? Award winner, this is no sonic slouch – it offers high levels of insight as well as an excellent build and finish.

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German manufacturer Clearaudio has announced a petite new phono stage, Compact Phono, which the company says is “small enough to fit discreetly into virtually any setup”.

The phono stage measures just 2.6 x 11.5 x 8cm (hwd), but Clearaudio says “its compact dimensions belie a serious phono stage”.

Ease of use has been taken into consideration for a new design, which makes switching between moving magnet (MM) and moving coil (MC) operation easier than on the company's previous phono stages – which required the unit to be opened and internal jumpers reconfigured – with a button on the front panel.

At the heart of the unit are “extremely low-noise, high precision operational amplifiers”, with gain split across two stages: the first handling “the bulk” of amplification to “maximise signal-to-noise ratio”, while the second stage uses targeted filters to limit unwanted frequencies.

A 16Hz subsonic filter removes unwanted low-frequency rumbles, while a 70kHz ultrasonic filter “reliably catches cartridge resonances”. Clearaudio says that the new filtering system provides “broader protection against unwanted signals than the subsonic-only filtering found in earlier designs, while maintaining precise RIAA equalisation and complete signal stability”.

The Compact Phono has also been designed with flexibility in mind and will "accommodate everything from entry-level cartridges to extremely quiet MC systems”.

This is done by the inclusion of adjustable input loading, which provides 47kΩ / 100pF for MM and 100Ω / 100pF for MC. Additionally, switchable gain of 40dB and 60dB allows the unit to be matched to a “wide range of systems”.

Clearaudio says that both gain settings are higher than those offered by its predecessors, while MC operation promises a headroom of 29dB, which is “comfortably ahead of previous models”.

The Compact Phono includes an ±18V power supply, which Clearaudio claims delivers an “extremely stable, noise-free voltage supply” in combination with two linear voltage regulators.

According to Clearaudio, “top-quality” components have been used in the Compact Phono’s circuitry, which is all housed inside a low-resonance metal enclosure with isolating feet – which will minimise rumble as you stomp your feet to your favourite records.

The new phono stage is also more efficient than previous models, for a “lighter, cooler running” operation.

The Clearaudio Compact Phono is available now in finishes of black and silver for a price of £490 / €490 / $639.

At this price, the Compact Phono comes up against tough competition, including the similarly well-equipped, but cheaper, Cambridge Audio Duo MC/MM (£299 / $399 / AU$559) and the Award-winning, slightly more expensive, Graham Slee Reflex M (£540 / $960 / AU$1290).

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We’ve noticed an interesting shift of priorities in the high-end integrated amplifier market. Where minimalism once ruled, we now see most major manufacturers producing fully equipped designs that aim to cater to the widest possible audience.

Sound quality is still important, of course, but hi-fi companies are realising that people also want features included, rather than relying on extra outboard boxes to do the job.

In the not-too-distant past, an amplifier like the new Rotel Michi Prestige X430 would likely have been a line-level unit with few other frills, all in the quest for the best performance. But in today’s market, that formula doesn’t seem to resonate with customers as it once did. Understanding this, Rotel has chosen a more pragmatic path with this new integrated amplifier.

The X430 packs a built-in phono stage, digital inputs, HDMI ARC connectivity, Bluetooth and two sets of switchable speaker outputs. We can’t see this Michi amplifier getting caught short, even in more complex stereo systems.

The X430, along with its partnering CD player, the Q430 (£3599 / $3999 / AU$5499), form Michi’s new Prestige range, which aims to deliver all the brand’s traditional virtues at more accessible prices. While £4499 / $4999 / AU$6499 is hardly pocket change, it is still very much at the entry level in the world of high-end amplification.

Build & design

We like to play the ‘Guess The Price’ game at What Hi-Fi?. Our review team has seen hundreds, if not thousands, of products over the years, so they have a good handle on what products should look and feel like at any given price.

This Michi amplifier belies our expectations, coming in at a good few thousand pounds below the price we would have predicted. That comes down to its high-quality build, though we would have liked more than just a black finish option.

The X430’s aluminium casework feels immensely solid and well put together. While flashy aesthetics have never been the Michi way, the care taken in assembling this amplifier is obvious. Every panel lines up perfectly, and the machining is excellent.

The precise yet nicely damped knurled volume control rotates with unusual smoothness, while the power switch moves with reassuring heft. Take a close look, and you will find that the front panel is made of glass. Behind it sits a central display that is crisp, and large enough to read from a distance.

In a move that seems a little out of character for a company as serious as Michi, the display can also show a variety of VU and spectrum meters to add visual interest. We spend a few minutes swapping between the various options, but ultimately avoid distraction by leaving the display in its default mode, showing only the input and signal information.

Take a look inside the chunky casework, and the view is dominated by the large 622 VA in-house manufactured mains transformer and four large smoothing capacitors that total 60,000uF. The power feed to the left and right channels is separate, right down to having dual rectifiers. This kind of design prevents any unwanted interactions from degrading the amplifier’s performance.

The rest of the circuit layout is neat, with much attention paid to isolating critical circuits from electrical noise and mechanical vibrations to maintain signal purity.

Connectivity

We have no complaints about the X430’s connectivity. On the analogue side, there is a moving magnet phono stage and a quartet of line-level inputs, including a balanced XLR pair.

Some might question why the company didn’t go all the way and include moving coil compatibility. That’s a fair point, though in our experience, MC inputs in integrated amplifiers rarely sound great. Such circuits are hypersensitive to their surroundings and are tricky to get right in terms of sound. A really good one would invariably add a hefty premium on the X430 retail price.

The Michi’s digital module is built around a premium ESS Sabre ES9039Q2M 32-bit DAC chip, giving it compatibility with music files up to 32-bit/384kHz PCM and DSD256. The range of connections includes three coaxials, three opticals, a USB-C and an HDMI ARC.

HDMI ARC allows the X430 to be integrated effortlessly into a stereo system based around a TV. The amplifier’s twin subwoofer outputs could well prove useful in such a context.

Bluetooth isn’t our first choice of connection when performance matters, but it is a handy thing to have. The X430’s Bluetooth supports the higher-quality aptX HD codec and connects to our iPhone 14 Pro Max swiftly and without issue.

As for outputs, there are two sets of switchable speaker terminals, a 6.3mm headphone socket on the front panel and a preamp out for those who want to add more power. We can’t imagine many people needing to do so, considering this class A/B design is somewhat of a beast.

Rotel claims that the Prestige X430 delivers 210 watts per channel into an 8-ohm load, rising to a whopping 340 watts as impedance halves. Those huge numbers mean, on paper at least, that this integrated should have no trouble driving any price-appropriate speaker. That translates into use, where the X430 manages to drive everything we connect with a surprising sense of ease.

An amplifier at this level deserves quality partners. Our sources are the Naim ND 555/555 PS DR music streamer and the Technics SL-1000R record player fitted with a Nagaoka MP-200 moving magnet cartridge. We also have our 2026 MacBook Pro laptop on hand, packed with high-res music files and running Audirvana music software to test the Rotel Michi’s digital circuitry.

As for speakers, most of our testing is done with our usual ATC SCM50 reference speakers, but we also spend a good amount of time with the X430 driving the Epos ES-14N and the mighty PMC MB2 SE.

Sound

The biggest compliment we can pay to this amplifier is that it didn’t sound out of place with any of these high-end partners. Given that the likes of the Technics record player, Naim streamer and PMC speakers cost many multiples of this Rotel Michi’s price, that's truly impressive.

As we listen to a range of music from Holst’s The Planets to De La Soul’s Cabin In The Sky, taking in the likes of Radiohead’s Hail To The Thief on the way, we can’t help but admire the X430’s talents.

Irrespective of the partnering speaker, this amplifier sounds clean, crisp and balanced. Tonally, it sounds essentially neutral to us, with no discernible emphasis in any particular part of the frequency range. The result is that voices and acoustic instruments are conveyed with a degree of authenticity that few price rivals can match.

The X430 is a wonderfully composed and controlled performer. The sense of stability is terrific, even when the music becomes demanding. The story stays the same as volume levels move northwards, with the integrated sounding every bit as muscular as its claimed power output figures suggest.

Bombastic orchestral music comes through with pleasing scale and authority. There is a lovely freedom to large-scale dynamic sweeps. Crescendos hit hard and true, with the amplifier refusing to sound edgy when pushed. Feed it something subtler, Ólafur Arnalds’ Broadchurch OST, for example, and it can change gear to deliver the dynamic nuances required for such intimate music.

There is plenty of detail on offer too, and the ability to assemble all that information into a musically convincing whole. Initially, we felt that the Rotel Michi’s presentation erred towards the clinical. The music seemed to be presented in a slightly cool and detached manner that didn’t quite carry us along on the emotional ride. But, over time, that impression fades as the amplifier’s sound grows in sweetness and fluidity.

Rhythmically, the Prestige X430 is surefooted rather than overtly enthusiastic. It still communicates the jaunty feel of De La Soul’s YUHDONTSTOP well, though. Basslines are taut, punchy and tuneful, while the group’s vocals are beautifully textured, coming through with class-leading clarity.

These same talents work equally well with Ludwig Göransson’s The Odyssey OST, where the music’s traditional acoustic instruments are rendered superbly, with a degree of tonal richness and palpability we don’t often hear at this level. The ability to assemble the various interwoven instrumental strands while retaining their timing relationships means that the music carries greater emotional impact.

Stereo imaging is pleasingly expansive. The Michi’s soundstage is layered with care, and populated by instruments and voices that are located with confidence. There is little sense of blurring or instability when the music becomes demanding.

The X430’s digital module is a talented performer. It keeps the balanced character we so enjoy from the line stages, displaying enough dynamic expression and musical cohesion to worry some of the better outboard DACs we’ve heard below the grand mark. There is little to complain about here, as the Rotel Michi switches between file types seamlessly, though occasionally there is a small audible click as it does so.

The amplifier’s phono stage is equally pleasing. This is an insightful and energetic-sounding circuit; one that retains the balance of the line stages and doesn’t introduce too much in the way of hiss, hum or dynamic compression.

Those who listen to headphones are served a little less well. The headphone module built into the X430 has no trouble driving any of the headphones we plugged into it (Austrian Audio The Composer, Grado SR325x and Sony’s MDR-Z1R), but it lacks the transparency and dynamic expression to impress.

This headphone circuit is perfectly fine for occasional use, but we would suggest buying a dedicated headphone amplifier, such as Austrian Audio’s The Full Score, if headphone performance really matters.

Verdict

This Rotel Michi Prestige X430 amplifier is, in most ways, a superb all-rounder. We can’t think of a rival that is as uniformly capable across its inputs as this one. It will drive any price-compatible speaker with ease and has a wonderfully unfussy nature. If you are looking for an integrated amplifier at this premium level, the X430 has to be top of your shortlist.

SCORES

• Sound 5
• Build 5
• Features 5

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iFi has released an even more compact alternative to the five-star Go Link 2, with the Go Cable: a “high performance” DAC and headphone amplifier, built into a USB-C audio cable for in-ear monitors (IEMs).

The British audio manufacturer says that the Go Cable “bypasses the internals of your device”, unlocking “detail, clarity and dynamic range [that] your device alone can’t deliver”.

The Go Cable features a USB-C connection at one end, which runs via silver-plated cabling through the DAC and headphone amplifier to two 0.78mm two-pin analogue outputs, allowing users to connect their chosen IEMs.

For “exceptional audio performance in a remarkably compact design”, the Go Cable is powered by an ESS Sabre DAC, which can support hi-res audio up to PCM 384kHz and DSD256.

The company claims that the Go Cable “keeps distortion under control” using THD compensation and provides an RMS output power of 70mW at 32 ohms.

Transport controls and an echo-cancelling microphone have been integrated into the Go Cable’s design, allowing device-free control of calls, volume and playback. But iFi says that the Go Cable can also be paired with gaming consoles, thanks to support for the Nintendo Switch 2’s GameChat feature.

To make the most of these features, you will need to provide your own IEMs. But iFi has you covered, with a starter kit including a pair of AIRO Astra buds available for an extra £20 / $20.

The iFi Go Cable is now available to pre-order for £79 / $79 (£99 / $99 for the Go Cable Astra Hi-Res Starter Kit), with shipping promised by 21st September.

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One of our favourite small-form radios is getting a makeover.

Not only is the Ruark R1S one of the nicest radios to listen to, but it’s also one of the best looking. Whether kitted out in its Grey, Light Cream or Satin Charcoal finish, the R1S always looks the part.

Ruark has now added to that varied roster of shades with a brand-new Terracotta finish. This isn’t just a new paint job, though; it is, rather, a new limited-edition radio built to celebrate Ruark’s 40th anniversary following its formation in 1986.

Not only do you get a spiffy new finish, but the special edition radio also features an ebonised grille and etched anniversary badge to mark it out as being distinct from the standard edition of the R1S.

Elsewhere, the anniversary R1S is essentially the same as the standard iteration from 2023. Which means it is once again offering extensive streaming support for the likes of Spotify Connect, Amazon Music and Deezer, as well as standard Bluetooth 5.0 powers.

This is a radio first and foremost, let’s not forget, meaning the R1S Terracotta packs FM, DAB and DAB+ support, as well as Internet radio via Ruark’s SmartRadio tuner.

Inside, a Class A/B amplifier drives a neodymium NS+ full-range driver, a pairing that gave the standard R1S its reputation for, as we write in our review, its “articulate and authoratative sound”.

As before, the celebratory R1S has a USB-C port that can charge phones and similar portable devices, as well as a switchable analogue line input and a 3.5mm headphone jack.

The R1S in Terracotta is available now, priced at £319, a small advance on the £299 tag of the standard model.

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It can be nice, sometimes, to sit back and simply let the full production of a track wash over you, to be immersed in a wide soundstage that’s packed with instruments and information for you to soak up. However, there is also nothing quite like hearing a great acoustic track.

Strip away all the bells and whistles, and music immediately sounds more intimate, encouraging a greater connection between listener and artist. Great acoustic tracks allow you and your system to peer in and dig out the subtlest and finest of details and deliver tone and texture the like of which you haven’t heard before.

Our team of expert reviewers have dipped into their box of tracks to pick the acoustic test tracks that they use to highlight a system’s abilities, or shortcomings.

What are your favourite acoustic tracks? Let us know in the comments below…

Fast Car – Tracy Chapman (Tracy Chapman, 1988)

As predictable as it might be, there’s no getting away from the fact that Fast Car is one of the greatest acoustic tracks of all time.

I’ve lost count of the number of times I have heard it emanating from our test rooms while our reviewers have been putting hi-fi kit through its paces. It’s hard to resist, especially if you’ve got a talented pair of speakers sitting in front of you.

The track is a catchy mix of folk and pop, and there’s even a sprinkling of rock for the chorus. It’s an emotional story about one person’s desire and dream to leave their current circumstances for a better life, and there's real beauty in the way Chapman delivers emotion in her vocals. You can really feel the hope and yearning in her voice, and any decent system should be able to communicate this.

Add to the mix the delicate guitar playing where you can hear subtle details such as fingers sliding over strings, and contrasting drums that explode into life during the chorus, and you’ve got an awesome switch of tempo and a great test of dynamic versatility.

Words by Andy Madden

Take On Me – A-ha (MTV Unplugged: Summer Solstice, 2017)

I first stumbled across this track whilst doing a recce of the Bristol Hi-Fi Show a few years ago. I can’t remember the exact system I was listening to at the time, but I distinctly remember thinking that although the tune was familiar, I had never heard this particular version before. So I pulled up a pew, sat down and proceeded to be blown away.

I suppose because the video for Take On Me is so iconic, you sometimes forget about the actual song itself, the lyrics and composition, so to hear it stripped back to just a vocal, piano and a guitar gave me a newfound appreciation for Morten Harket.

His vocal is beautifully controlled and shows some extremely subtle dynamics, while the natural texture of each instrument shines through. An intimate performance that’s just as memorable as the track’s original 1984 music video.

Words by Andy Madden

S P E Y S I D E, Bon Iver (SABLE, fABLE, 2025)

Bon Iver’s comeback track after a five year hiatus delivered all of the raw emotion I’d hoped it would, and that’s mostly down to the raw, minimalist acoustic production.

This track features minimal instrumentation, with an acoustic guitar taking an equally important role to singer/songwriter Justin Vernon’s delicate and emotionally charged falsetto vocals. Everything is underpinned by a sweeping viola that is woven in throughout the song.

It’s a dynamic showcase, with moments of near silence permeated with Vernon’s harmonised vocals. It’s a delicate balance, and it requires a system that can handle low-level dynamics with finesse for the track to truly shine. Furthermore, the stripped-back production is best served by headphones, earbuds or speakers that lean towards the natural and un-coloured end of the spectrum.

I have used this track to test soundbars, speaker packages and smartphones, as it’s a sure-fire way to find out if a product knows how to handle nuanced dynamic shifts and convey emotion.

Words by Lewis Empson

Old Churchyard - The Wailin’ Jennys (Fifteen, 2017)

If you have looked for folk music tracks on streaming services, then you have most likely come across the Wailin' Jennys. The trio is known for their stripped-back approach, and Old Churchyard from their most recent 2017 album Fifteen, is no different.

It begins with the soft drone of an accordion, setting the foundation for the intimate track to build upon. One voice is introduced, delivered with remarkable expression and delicacy. Then the rest of the vocal harmonies are added gradually; and it’s then that the hairs on your arms will truly stand to attention.

The sense of closeness brings you back to a time when music was one of the only ways we could share stories, as the song is a version of a long-told folk tune that has survived for generations.

The barebones approach will certainly not make for a floor-shaking sound experience, but it should challenge your sound system even more as it calls for a good level of subtlety and refinement.

Words by Robyn Quick

Dancing on My Own – Robyn (Radio 1 Live Lounge Vol. 5, 2010)

I first heard this version of Robyn’s electro-poppy floor-filler in the car, and even listening to it through the subpar speakers in my Vauxhall (that’s Opel for our non-British readers) Astra I was almost moved to tears, such was the quality of Robyn’s performance.

Ditching the pop backdrop for simply a piano and her bare vocal was a genius move and one that completely transforms the emotional intensity of the track. Slowed down, the vocals shine and hit you like a sledgehammer. The delicacy of her tone and the piano play paint such a vivid picture that your attention never wavers. It’s truly heartbreaking to listen to, but in the best way possible.

A word of warning, though. This version of the track is impossible to track down on streaming services, so you’ll need a copy of Radio 1 Live Lounge Vol. 5, which was released in 2010. Kings Of Leon also covered this track for the Live Lounge, and although not quite up to the level of Robyn’s performance, it’s still definitely worth listening to.

Words by Andy Madden

Hurt – Johnny Cash (2002)

Johnny Cash’s rendition of Nine Inch Nails’ Hurt remains the cover to end all covers.

With nothing but an acoustic guitar and a single death-knell of a piano stroke chiming under the 70-year-old country legend’s croaking voice, Cash’s rendition was such a powerful and poignant reinvention that it is often misattributed as his own original composition.

While the excellent Nine Inch Nails original employs the more industrial, eerie soundscape which was to define much of 1994’s The Downward Spiral, Cash’s cover stripped everything back, spotlighting the bleak nature of the central vocal performance and its accompanying lyrics of despair and regret.

For a cover that’s actually quite a long way from a wholesale reinvention, it’s striking just how much Cash’s reinterpretation affects the track’s mood and message. Trent Reznor sounds as though he is still fighting his demons; the wearier Cash – more confessional yet composed – seems to have accepted them.

Words by Harry McKerrell

Good Riddance (Time Of Your Life) – Green Day (Nimrod, 1997)

I’ve lost count of how many times I have seen and heard this track used in a nostalgic montage. It tends to be used to help add a layer of emotion to a major sporting occasion, or it’s inserted to try to reduce the audience to tears near the end credits of a TV programme. But I never get bored of it.

The track kicks off with just an acoustic guitar and Billie Joe Armstrong’s instantly recognisable tone holding the track together, but it’s the injection of slow, sweeping strings into the performance which really elevates it to another level.

They rise and fall, complementing Armstrong’s expressive guitar playing. It all rolls along at quite a rate of knots before the guitar starts to slow before fading to black right at the end. It’s a real test of fine detail, timing and low-level dynamics which can be tricky for even the most capable of hi-fi systems.

Words by Andy Madden

Free Fallin’ – John Mayer (Live at the Nokia Theatre, 2007)

John Mayer loves playing the guitar. In fact, his attachment to the instrument as a teenager became such a concern for his parents that they enlisted the services of multiple psychiatrists to diagnose what they perceived to be an increasingly unhealthy obsession.

Whether you love Mayer or loathe him, there’s no denying that those isolated hours of adolescent practice paid serious dividends. The man’s guitar work, even among credible blues and rock circles, is held in truly high regard; it’s a talent onto which the spotlight fully shines during Mayer’s 2008 live album Where the Light Is.

Recorded at the Nokia Theatre in Los Angeles, the concert features Mayer performing as part of a trio and a full-scale band, but it’s his acoustic opening salvo – particularly his acclaimed cover of Tom Petty’s Free Fallin’ – that really merits close attention.

Petty’s tune was already a well-worn classic, but the acoustic Where the Light Is rendition gives it an intimate melancholy and vulnerability that now feels lacking from the original recording. Wherever John Mayer goes and whatever he does, his most beloved tune may end up being one originally penned by somebody else.

Words by Harry McKerrell

Change – Big Thief (Dragon New Warm Mountain I Believe In You, 2022)

Big Thief have been a major player in the modern alternative scene since the release of their 2016 album, Masterpiece. Over the decade since, the band has gradually embraced a more acoustic, earthy sound than their indie folk beginnings foretold. Their recordings are often roomy, littered with characterful imperfections, and feel – to put it simply – very real.

Of course, a no-frills recording makes a solid live performance all the more essential. Thankfully, Big Thief have no trouble in this department, and Change from Dragon New Warm Mountain I believe In You sees the band shine as a unit, by way of a simple, heart-rending arrangement.

The recording style does much to serve the song, with a substantial kick-drum delivering a healthy dose of room ambience, while close-up vocal harmonies and Buck Meek’s trembling guitar solo contribute a sense of vulnerability and emotional potency.

“Would you smile forever, never cry,” sings Adrienne Lenker – not very easily while this tune is playing.

Words by Ioan Hazell

Michael Hedges - All Along the Watchtower (Watching My Life Go By, 1985)

Michael Hedges is one of the quintessential acoustic guitarists of his time. Featuring an atypical style, for me, he did to acoustic what Eddie Van Halen did for electric guitar in the ’80s.

His revolutionary style features heavy percussive elements and atypical, at times outright bonkers, tunings; even now, there really has been nothing else quite like him. He was also a stellar live performer to boot, as evidenced by the above video.

But despite his diverse portfolio, which kept evolving right up to his tragic death in 1997, for most people it’s his iconic cover of Bob Dylan’s All Along the Watchtower, especially the performance from his Live on the Double Planet album, that gets recognised.

In true Hedges style, it sees him masterfully use a mix of percussive slapping on the guitar, which is in an atypical D A E E A A tuning, and left-hand hammer-ons and pull-offs to create an enthralling, dynamic rendition of the classic song that is entirely unique.

And the version captured on Live on the Double Planet is a personal favourite. It captures the nuance and dynamism of his playing in a way most other recordings, including the studio version on his Watching My Life Go By album, fail to match. I highly recommend any guitar player or fan of the song give it a listen if you haven’t already. You won’t be disappointed.

Words by Alastair Stevenson

MORE:

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I'm not really one for nostalgia – not only is it misguided, it's pointless too. (Also, it's not as good as it used to be.) But when my brother messaged me about a 20-year-old MP3 player I gave him, I confess I did feel a little pang of excitement.

The player in question is the Acer MP340 pictured above, which came out in 2006 when I was in my first journalism job. This was before the financial crash, in the days when companies would occasionally let us humble journos keep the odd review sample. And so, being the generous sort that I am, I must have sent it to my brother (possibly in lieu of a birthday present, but let's not dwell on that – I blame the first-job wage).

Anyway, I'm sure he got a lot of enjoyment out of it, despite the tiny 1.8-inch, 160 x 128 TFT display (don't zoom in on the photos of it, or you might fall into the gap between the on-screen pixels). It had two headphone jacks for sharing audio with a friend, voice recording, and could display photos as well as playing videos (albeit only in H.264). It even had playable Sudoku built-in! And if that's not the most early noughties thing ever, I don't know what is (the 2020s equivalent would be a Covid face mask with built-in Wordle, I suppose).

But, life being life, the MP340 soon found its way into my brother's garage, where it remained for well over a decade.

He recently started clearing out this garage, and found the MP340 nestled among the old family photos and pointless receipts. And to his – and my – amazement, it switched on on the first attempt. This is despite lying unused in his lock-up for at least the last 13 years (he can trace this back to when his first child was born).

Which made me think: was the MP340 a marvel of engineering? Were all portable music players of the time this durable? And would today's players pass the same test? I put on a 2006 playlist and went in search of answers.

A changing musical landscape

The MP340 launched in a digital music landscape that's unrecognisable to today's. Back then, downloads ruled the roost, led by iTunes, Rhapsody and Napster in its second, legal incarnation. Spotify was still two years from launch.

The fifth-gen iPod Classic was the player to beat (though this was before Apple started calling it the 'Classic'). And for any serious player offering a significant amount of storage, hard drives were the order of the day.

It's not just the landscape that's changed drastically – the players have too.

The MP340 had 20GB of storage, which you could expand using an SD card. Nowadays any portable player worth its salt supports streaming, though for those of us who prize sound quality, local storage never really went away. The FiiO M21, for example, has 64GB onboard (although as with all modern players, it's flash memory rather than a hard drive) as well as taking microSD cards up to 2TB, as does the pricier – but Award-winning – Astell & Kern A&norma SR35.

Apple did sell an iPod with 160GB of storage, which since became something of a collectible. But that's still paltry compared to today's 2TB-via-expansion options.

Industry experts put the jump in storage down to the introduction of hi-res music downloads.

"The early generation of portable players was built around a simple idea: downloads and on-board storage. You filled a device with files you owned, and those files were usually compressed – a CD rip was about as good as it got," says Dave Jang, Business Lead at Astell & Kern (which grew out of iRiver, so has been in the portable music player market ever since MP3s were a thing).

"When high-resolution downloads arrived, that changed the equation completely. Hi-res files are many times larger, so the demand for storage grew with them."

One other area the MP340 lags behind today's players is battery life. While its headline figure of 10 hours doesn't look too shabby initially, it certainly does once you realise that's with the screen turned off. Keep it switched on, and you'll only get a paltry 3-5 hours. Which is laughable by today's standards (though don't tell that to anyone who's pre-ordered the latest AirPods).

For more serious music fans

The rise of streaming completely changed how people consumed music, while smartphones mean everyone has a pretty sophisticated music player in their pocket at all times. As a result, "A dedicated music player had to justify itself all over again: it needed to offer a genuinely higher-quality alternative to listening on a phone, while still delivering the convenience and usability people had come to expect from their phones," says Jang.

Cheaper players fell by the wayside – why would anyone buy an iPod Shuffle when their phone can do all that and more? As a result, the market was reshaped as a more premium product category aimed at those more interested in sound quality.

While Bluetooth became a given (something missing from the MP340), today's players mostly support wired headphones as well, to provide higher-quality sound – which we welcome, of course.

The MP340 might be a relic of a bygone age, but the fact it still works after so long left unused is seriously impressive, let alone that it's held its charge for all this time.

So is this a one-off? Or were players just hardier in those days?

"That story is very familiar to us," says Jang. "We still see people using our first-generation players today, and when they get in touch, it’s rarely because something has gone wrong." Rather, they're after a new battery to replace the worn-out one that came with the player.

And would today's generation of players still turn on if left untouched for that long? I'll let you know in 2046.

MORE:

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Read our Astell & Kern A&norma SR35 review

What do you think when you hear the word ‘Topping’? Maybe it conjures images of pizza toppings, or reminds you of the sort of thing Bertie Wooster might exclaim after receiving a rare slice of good news. Maybe the name was chosen because, like its range of DACs, amps and accessories, this is a company that aims to add a delicious extra layer – or ‘Topping’ – to your music.

Having only been founded in 2008 – making it a relative newcomer in hi-fi terms – the Chinese outfit has wasted no time in spreading its net as wide as possible, from desktop DACs to stereo amplifiers, preamps and network music players.

There have been signs of real quality, too. We recently reviewed the more premium Topping D900 DAC, and while it stopped short of the full five stars, its combination of versatility and appealing audio ability hinted at a brand heading in the right sonic direction.

The Topping DX1 II is smaller and cheaper than its D900 DAC counterpart, but if it can showcase a similar range of abilities, it could confirm Topping as one to watch for the future.

Build & design

Thanks to its neat design, the DX1 II DAC and headphone amplifier doesn’t take up much space. Viewed from the top down, it’s barely larger than your average wallet, and it’s only slightly bigger than the diminutive Chord Mojo 2 by virtue of its greater height. If you’re relatively au fait with DACs, the DX1 II sits somewhere between the smaller iFi hip-dac 3 and the larger Chord Hugo 2 on the size chart.

This is a purely desktop DAC, so you’ll need to have it plugged into a power source via its USB-C port in order to use it. That USB-C port doubles as an audio input, meaning you can use your laptop as both your audio and power source, or enhance your gaming sessions by plugging the DAC into a PlayStation 5 or Nintendo Switch. A mere iPhone, however, won’t be able to power the DX1 II on its own.

Alongside its dual-purpose USB-C port, the Topping houses an optical input and output, while analogue outputs include stereo RCA and balanced 4.4mm. For personal listening, standard 3.5mm and balanced 4.4mm headphone outputs are also provided, but you can’t connect via Bluetooth.

For seeing exactly what you’re playing and how you’re playing it, the DX1 II has an LED display, from which you can view your source’s file rate, current inputs and the volume at which your tunes are playing. That display is easily legible even from a distance, and the rotary dial is responsive and precise in its operation.

Adjusting key parameters such as volume and your desired inputs can be performed via the dial, but we’d recommend using the supplied remote instead, as doing so via a single rotary knob can be fiddly and requires quite a bit of practice before you become familiar with its various functionalities.

Features

The DX1 II supports hi-res PCM files up to 32-bit/384kHz alongside DSD256. Internally, the digital-to-analogue stage is built around an ES9039Q2M ESS DAC chip, featuring a dual-DAC architecture which combines twin digital-to-analogue converters to process left and right audio channels independently. This, says Topping, helps reduce noise and distortion, thus improving the resultant sound.

The Topping also harnesses a 16-core XU-316 XMOS chip to handle input-signal processing, aiming to deliver “exceptionally high dynamic range and ultra-low noise” while minimising channel crosstalk. The analogue stage features a fully balanced architecture, again with the aim of minimising unwanted audio distortion.

To make the most of your experience, it’s worth using the Topping Home Web control platform, which can be done by plugging the DAC into your computer and accessing the platform online. From here, you can perform the standard tasks of adjusting your volume, inputs and gain settings, as well as accessing the eight provided digital filters.

That’s a lot of filters, and it’s worth experimenting to find the one that suits you and your headphones best. We prefer the well-balanced, forgiving profile of the standard ‘Minimum Phase’ option for our testing. The DX1 II also provides a headphone gain button to match the power sent to your headphones with their sensitivity.

The Topping desktop app lets you tinker with a 10-band parametric equaliser, from which you can also adjust frequency, gain and bandwidth across left and right channels, all while saving three of your chosen profiles to the DAC itself.

This is all rather in-depth stuff that may be beyond the needs of many of the DX1 II’s more casual users, but it’s impressive to have such a comprehensive tuning tool for a DAC that costs less than £150 / $150.

Sound

At this kind of money, we’re not expecting the DX1 II to be paired with the most expensive wired headphones you can get your hands on. To ensure we test the full range of connections, we do connect a pair of high-end Sony MDR-Z1R over-ears to the provided 4.4mm balanced output, as well as a pair of Beyerdynamic T1 (3rd Gen) (£699 / $999 / AU$1599) plugged into the 3.5mm port.

Still, the bulk of our testing is performed using more price-compatible headphones, such as the closed-back Røde NTH-100 (£149 / $149 / AU$249) and the open-backed Beyerdynamic DT 990 Pro X (£189 / $199 / AU$399).

With the Topping DAC connected via USB-C to our Lenovo ThinkPad laptop at one end and a pair of the ever-revealing DT 990 Pro X slotting into the 3.5mm output, it’s time to see what the Topping can do. The DX1 II and DT 990 Pro X combine to produce a sound that benefits from ample textural detail and a refreshingly uncluttered presentation, providing a noticeable improvement over the performance of the Lenovo’s built-in DAC chip.

If a clean, analytical sound is what you desire, then the DX1 II does a decent job. The DAC digs into the myriad textures and twists across alt-J’s Every Other Freckle playing at 16-bit/44.1kHz via Tidal, revealing those fuzzy hums, meaty synth pulses and clattering percussive hits with considerable precision.

That said, we plug a pair of the DT 990 Pro X straight into a MacBook Pro 2026, and in terms of pure detail resolution, it’s actually a pretty close-run thing. The Topping might be a little more spacious and analytical, but the MacBook actually delivers a more articulate and expressive midrange than the budget DAC can manage.

Resolution levels aside, the DX1 II operates across a clear and uncluttered soundscape. We switch to the closed-back Røde NTH-100, and while the resultant signature is a little less open than before, our music remains open, well ordered and easy to follow.

This is a DAC that leans towards poise and precision, yet be warned that this can come at the expense of full-blooded thrills. That analytical leaning becomes starkly apparent when we play a DSD64 version of Michael Jackson’s mega-hit Billie Jean. We all know how this one goes – it should sound snappy, propulsive and relentlessly effervescent – but the Topping struggles to express the tune’s vivacious energy as enthusiastically as Jackson originally intended.

To get that feeling of energy and effervescence, you’ll have to spend a little more cash and spend £149 / $149 / AU$249 to grab the five-star iFi hip-dac 3 or the former Award-winning AudioQuest DragonFly Cobalt (£179 / $200). On both Billie Jean and a 24-bit/96kHz recording of Daft Punk’s Get Lucky, the hip-dac 3 grants a richer, smoother performance than that of its Topping rival, while the portable DragonFly Cobalt injects more energy and spark into the music we feed it.

This, then, is where the DX1 II’s limitations become most apparent. There’s something to be said for the Topping DAC’s clean, clinical reproduction, but its key rivals’ more engaging handling of rhythms and dynamic shifts leaves the DX1 II sounding somewhat listless and mechanical by contrast. As a result, the plucky Topping fundamentally fails to engage with us on an emotional level.

We can accept that the DX1 II might fall short against costlier rivals, but even in absolute terms, it doesn’t offer enough over a laptop to justify the outlay. Even at its reasonable price, a DAC such as this needs to have more dynamism and expressiveness to be worth considering.

Verdict

The Topping DX1 II shows signs of promise. Like its more premium D900 counterpart, it’s a versatile, well-made DAC that earns plaudits for its clear, uncluttered and reasonably detailed reproduction.

Where it falls down is with regard to its flattened dynamics and poor sense of timing, both of which limit the extent to which we feel engaged by our music. It may be an appealing budget proposition on paper, but a lack of drama and musicality prevents us from giving the DX1 II our full seal of approval.

Review published: 11th September 2026

SCORES

• Sound 3
• Build 4
• Features 4

MORE:

Read our review of the AudioQuest DragonFly Cobalt

Also consider the iFi hip-dac 3

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Pro-Ject’s Debut range of turntables has been on quite the journey.

The original Pro-Ject Debut broke cover at the end of the 1990s, carving out a stellar reputation as one of the best-value decks for buyers who wanted a terrific budget turntable that delivered that coveted combination of reliability and simplicity.

Like a young executive upgrading their home as they climb the corporate ladder, the Debut line has become steadily more premium over time, with 2023’s Award-winning Debut Pro making the transition to a more upmarket price of £699 / $999 / AU$1079 to significant acclaim.

At a not-trivial £999 / $1499 / AU$2349, the new Debut 10 Reference turntable once again moves the price needle upwards. Sporting a similar overarching design to the Pro-Ject Debut Pro, this new iteration incorporates a new tonearm, platter and sub-platter as it looks to compete in the higher echelons of vinyl society.

The Debut Reference 10 has traded Cup-A-Soup for caviar, but in moving even further upmarket, does Pro-Ject still remember its Award-winning roots?

Build & design

We have few complaints about the construction of the Debut Reference 10. Certain ‘blingier’ design elements won’t be for everyone, but there’s little question that this is a turntable of admirable build quality.

Those blingier elements include a rather whopping aluminium bearing block and counterweight attached to a carbon fibre tonearm, contrasting starkly with the matte finish of the MDF chassis. The turntable is only available in the satin black finish of our review sample, a colourway that, in our experience, is susceptible to attracting fingermarks.

The Debut Reference 10 incorporates a good deal of shining metal in its construction, from the various milled aluminium components – including an optional record puck and that massive shining counterweight – to the height-adjustable damped feet at its base.

The main platter of the belt-driven record player is made from acrylic, designed to contribute to what Pro-Ject describes as a “natural, liquid sound signature” while reducing the need for additional damping materials.

The main platter is paired with an aluminium sub-platter, machined to add mass to the ensemble and further reduce unwanted sonic resonances, sitting atop a main bearing that uses a stainless steel axle with a bronze bushing.

Setting the Debut Reference 10 apart from its forebears is a new 10-inch tonearm – a good deal longer than the 8.6-inch model of the Debut Pro – made using a carbon-fibre and aluminium sandwich construction. According to Pro-Ject, this longer arm helps reduce tracking and inner-groove distortion, thus improving the resultant sonic fidelity.

At the end of the tonearm is Pro-Ject’s own Pick It Pro Balanced moving magnet cartridge, a revised version of the brand’s Pick It model, and built for reduced noise and interference via its balanced signal transmission.

Nothing here is tricky to set up or to use. The cartridge comes accurately aligned in the tonearm’s headshell, while a detachable acrylic dust cover clicks in and out of place without much trouble. You’ll need to attach the small anti-skating weight and large counterweight to set the cartridge’s recommended 2g tracking force, and while there aren’t any numbers marked on the arm to assist you, Pro-Ject thoughtfully provides a stylus weight scale in the box.

Pro-Ject also provides a decent-quality detachable tonearm lead, which allows an avenue for future upgrading, meaning you can try different leads depending on your personal preference. There is also a mini XLR cable provided to make a balanced connection with Pro-Ject’s own suitably equipped phono stages.

Internally, the Debut Reference 10’s 15V AC motor is decoupled from the rest of the turntable and housed in its own substantial base to prevent vibrations from transferring to the chassis. A small switch on the left-hand side of the deck controls your turntable’s speed electronically, with a click to the left setting it to 33⅓ RPM and a click to the right setting it to 45 RPM.

If you want to go up to 78 RPM, you’ll need to attach the alternative round belt to the outer edge of the deck’s larger pulley, and then move the speed changer to its right-hand setting. The belt does slip off a couple of times as we test out our test turntable’s 78 RPM rotation, but after a few tries, we manage to get everything spinning at the speed we require.

Sound

There’s a weight of expectation sitting on the Pro-Ject’s shoulders as we connect it to our trusty Naim Nait XS 3 stereo amplifier and a pair of five-star Epos ES-7N standmounts.

We need to know exactly what this player can do, so to fully spotlight the extent of the Debut Reference 10’s abilities, we also spend time listening to it plugged into our reference Burmester 088/911 MkIII pre/power combination and a pair of the super-revealing PMC MB2 SE loudspeakers.

These choppy waters aren’t short of rival sharks willing to take a chunk out of the Debut Reference 10, including the Award-winning Rega Planar 3 RS Edition (£1099 / $1795 / AU$2399) and the new Technics SL-1500CS (£1099 / $1800 / AU$2499).

We don’t let the Debut Reference 10 off lightly as we spin our first records, either. We flit between Beethoven’s challenging Ninth Symphony and Dirty Diana from Michael Jackson’s Bad, yet the Pro-Ject takes everything admirably in its stride. Beethoven’s Ninth is handled with precision, authority and stability, while Dirty Diana is suffused with bite and ample lower-end grip.

So easily could the former have sounded muddled and the latter hurried, but Pro-Ject’s impressive performer gives each track just the right amount of rope – not too much for the music to sound strangled and restricted, not too little for things to become slipshod or hurried.

This finely judged balance isn’t the only weapon in the Reference 10’s arsenal. The Pro-Ject’s delivery sounds clear, organised and authoritative, and its presentation is open and spacious, too. Resolution levels are impressive, be it the punchy percussion scattered across Bad or the hazy basslines that are the trademark of Nas’ Illmatic.

The Debut Reference 10 has won us over, but how does it shape up against its key rivals? The Technics SL-1500CS sounds more powerful and authoritative thanks to the deck’s considerable sonic brawn, whereas Rega’s raucously entertaining Planar 3 RS Edition continues to lead the pack when it comes to rhythmic and dynamic expression.

In a pitched battle against the Debut Reference 10, the Rega outguns its Pro-Ject rival, bringing so much snap and verve to Jackson’s Dirty Diana that the Reference 10 can’t quite keep up. For making you want to don your white suit and bust out your best Moonwalk, the Rega remains the king of this particular castle.

That doesn’t, by any means, render the Pro-Ject obsolete or unworthy of praise. This is still a terrifically talented turntable, and with the Rega’s recent price hike taking it from £999 to £1099 in the UK, one that costs a not-inconsiderable chunk of money less.

Drop back to something a little slower-paced, such as Tom Jones’ Did Trouble Me, and the Pro-Ject is back in its element. Jones’ voice is as rich and smooth as a cigar soaked in malt whisky, and the Debut Reference 10 has the requisite weight and warmth to give the gospel tune that lovely feeling of soulful sincerity.

Verdict

Amid such strong competition, there was always a danger that the Pro-Ject Debut Reference 10 might become lost among the crowd. After all, when you’re up against the likes of Rega and Technics, you’re always going to have your work cut out.

Fortunately, the Debut Reference 10 is talented enough in its own right to grant it significant appeal. For its expertly judged blend of sonic authority and spaciousness, not to mention its quality build and ease of use, the Reference 10 is a smart choice for customers not willing to break the £1000 / $1500 barrier.

Review published: 9th September 2026

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Rega Planar 3 RS Edition

Also consider the Technics SL-1500CS

Read our Rega Planar 3/Nd3 review

Best turntables: top record players tested by our expert reviewers

We're rather fond of Marantz's Melody (MCR) compact systems that combine CD player, radio, amplification and network streaming into one stylish box. Previous models in the range – such as the M-CR610 and M-CR603 – nabbed What Hi-Fi? Award wins for their user-friendly design, breadth of features and enjoyable sound.

The new Marantz MCR 60n DAB aims to keep that same compact concept going, but is now a much more elevated affair, with plenty of new features, a classy design, and a new price.

The MCR 60n DAB continues to feature a CD player, DAB/FM radio, Bluetooth and AirPlay 2, and it is now joined by a moving magnet phono stage owing to turntables’ continuing popularity.

The system is powered by Marantz's HEOS streaming platform, which brings with it support for popular music streaming apps, which include Tidal Connect, Qobuz Connect and Spotify Connect. There is also an optical input and a 3.5mm headphone output.

Hi-res streaming support has been extended to 32-bit/384kHz PCM and DSD 11.2 MHz, while low-latency LE Audio and two-way Bluetooth is also on board. It's Roon Ready, too.

For seamless TV audio playback, it now boasts an HDMI eARC input, which supports 7.1 channels and Dolby Digital/Dolby Digital Plus decoding via built-in DSP, and can play up to 24-bit/192kHz PCM audio.

These are substantial feature gains over the previous model, the four-star M-CR612 (also called Melody X) that we reviewed in 2019. The HEOS platform and app has been updated since, with Marantz saying the onboarding set-up process should be even better than before.

The sound quality has been improved, too. There is an updated power supply for higher and more stable current delivery, while the power rating has been increased to 65W per channel (into 4 ohms) from a previous 50W. Marantz says the extra headroom will result in better power delivery and better sound quality overall from the Class D amplifier. Additionally, there are new custom components in the circuitry to further help deliver a clean, powerful and low-noise performance.

The bottom chassis of the unit features an additional plate to help reduce vibrations coming from the CD mechanism, while the feet have a high density structure and felt cushioning to also help with damping and deliver a more stable bass performance.

The MCR 60n DAB can also be used as a preamp or with active speakers thanks to fixed and variable outputs, while the subwoofer output now has adjustable crossover filters in 10Hz increments from 30Hz to 250Hz.

The unit is also compatible with Dirac Live Room Correction, although you'll need to buy a license separately to make full use of the calibration software.

A new feature is the ability to save four 'Smart Selects' that store your favourite sound configuration for a certain source. For instance, you may want to employ different volume and tone settings and a Dirac-calibrated profile for when watching TV/movie content compared with listening to music via streaming or from radio, and this lets you choose your pre-set sound profiles accordingly.

These can be easily accessed from the button on the unit itself, or by using the updated remote control.

The design of the MCR 60n DAB is inspired by the Marantz Model M1, with a more minimal and luxurious design than before, but it retains the same compact footprint.

The Marantz MCR 60n DAB will be available for £800 / €900 / AU$1,700 from 15th September. This DAB version is for the European and Australian markets and is available in Champagne Gold and Black finishes, while the non-DAB version will be available for $1000 in the black finish only.

That's a substantial jump in price over the previous M-CR612, which we tested at £630 in 2019, while older MCR units tended to cost £500. With all the new features and proposed improvements for the MCR 60n DAB, we're hoping it will be more than justified.

MORE:

Read our Marantz M-CR612/Melody X review

We have a "Rega Special" turntable, a new Dolby Atmos soundbar and TCL's flagship Super QLED in for testing this month

The Linn LP12, Mission Cyrus One or a humble WiiM Pro Plus: what product got you into hi-fi?

The phrase ‘appearances can be deceptive’ could have been coined for the new Technics SL-1500CS turntable. Despite the notable price difference – the standard SL-1500C costs £899 / $1499 / AU$1899 – there is nothing obvious to distinguish the pair on first viewing, bar the new deck’s Metallic Grey finish.

At first we thought the SL-1500CS was intended to replace the original, but Technics sees it as the next step in its turntable hierarchy, with the standard model continuing in production.

Build & design

What’s the difference between the two? It comes down to the direct-drive’s motor controller circuit. The new SL-1500CS design repurposes the company’s Delta-Sigma Drive technology, as seen in its digital amplifiers, to give the motor a purer signal feed. The result is a motor that spins more smoothly and accurately. This may not sound like much, but it affects every aspect of the record player’s performance.

Elsewhere, everything feels reassuringly familiar. The robust-feeling plinth remains a sturdy mix of aluminium, ABS and glass fibre to deliver a rigid, low-resonance structure. It is only available in a single finish, Metallic Grey, and to our eyes at least, looks smart.

The resonance-control theme continues with the SL-1500CS’s platter. It is made of die-cast aluminium and heavily damped with rubber on the underside to produce a more inert support for the record.

The record player’s ‘S’-shaped tonearm is a well-proven aluminium design. Its bearings are smooth and relatively play-free, while the detachable headshell makes cartridge swapping a breeze. The easily adjustable arm height is another tick in the Ease-Of-Use column. The lift/lower lever works well enough but doesn’t feel particularly precise or positive in use.

Technics has included an Ortofon 2M Red moving magnet cartridge as part of the package, and it is a good choice. This much-respected design is an unfussy yet capable performer that tracks securely at a steady 1.8g.

Speed switching is easily done at the touch of a button, with the SL-1500CS offering 78 RPM alongside the usual 33 ⅓ and 45 choices. We like the way the platter gets quickly up to speed without the judder and fuss of most belt-driven rivals.

The SL-1500CS is a semi-automatic design. It can be set to lift the arm at the end of a record side. This takes around ten revolutions to kick in, so don’t worry if it doesn’t happen as soon as the stylus tip reaches the run-out groove.

There is also a built-in phono stage, unchanged from the standard SL-1500C. Most included phono stages tend to be stop-gap efforts that are easily bettered by modestly priced outboard units. That’s not the case here.

We think this Technics phono module is good enough to hold its head high against most sub-£200 phono stages we’ve heard. If the urge to upgrade does strike, the circuit can be taken out of the signal path with the flick of a small switch on the back panel.

Setting up the SL-1500CS is easy. Once the deck is out of the packaging, the user just needs to fit the platter, attach the headshell, and set the tracking weight and bias to match. The Ortofon cartridge is already fitted and aligned in the headshell.

A quartet of large spring and rubber feet provide a degree of isolation from external vibrations, though as with any turntable, a level, low-resonance support is still recommended.

The deck’s tonearm leads are detachable. They do the job, but still leave a little too much on the table for our tastes. They would be our first port of call when the urge to upgrade strikes. All the SL-1500CS’s sockets are deeply inset under the plinth. While this makes for a neater installation, making the initial connections is more fiddly than we would like.

A record player at this level demands a good quality partnering system. We get great results with the Technics feeding an Arcam A15+ amplifier and KEF LS50 Meta speakers. We also installed the Technics into our reference system of Cyrus Phono Signature/PSX-R2 phono stage, Burmester 088/911 MkIII amplifier and ATC SCM50 speakers, to really put a spotlight on its performance.

Our benchmarks are the similarly-priced Rega Planar 3 RS Edition and the standard SL-1500C (fitted with an Ortofon 2M cartridge as standard). The comparisons are intriguing.

Sound

How much difference does improved motor control make? It turns out that the answer is quite a lot. Given how similar the two Technics decks are, the sonic differences are surprisingly large in a suitably transparent system.

The SL-1500CS is a livelier and more energetic performer. Beethoven’s 9th Symphony comes through with greater conviction, with more expressive dynamic shifts and a stronger handle on the individual instrumental strands.

The new model sounds composed and organised, making more sense of the music. We’re having more fun too, thanks to an increased sense of verve and drama.

Both Technics decks are supplied with the same Ortofon cartridge, so there is little difference in tonal character. They both sound even and balanced, though the new model offers notably more insight into the recording.

In general terms, the SL-1500CS proves to be an excellent performer for the money. That improved detail resolution doesn’t just better its cheaper stablemate; it is impressive for the price too. Control and composure are also top class.

We love the Technics deck’s sense of power when playing large-scale music. Its presentation is big, muscular and punchy. Crucially, it avoids sounding brutish; there is too much in the way of finesse to let that happen.

However, given appropriate music, the low-end kicks hard with plenty of weight and authority. Bob Marley’s Catch A Fire comes through with its energy and attitude fully intact. Move up the frequency range, and there is a good degree of clarity, with Marley’s voice coming through with natural warmth, body and emotion.

Add an impressive sense of stability coupled to surefooted rhythmic ability, and it is hard to escape the conclusion that this is one of the best record players we’ve heard anywhere near this price.

Our current class leader is Rega’s mighty Planar 3 RS Edition, of course. This comes fitted with the excellent Nd5 moving magnet cartridge, and sets sky-high performance standards for the price.

Unlike the standard Planar 3, the RS Edition features electronic speed change as well as a smarter finish on the plinth. There is no built-in phono stage, so this isn’t quite an apples-to-apples comparison, but it is close enough to prove useful.

Cutting to the chase, the Rega is ultimately the more transparent and insightful performer. It tells us more about the recording and edges ahead when it comes to dynamic subtlety and rhythmic precision. The Technics counters with more powerful, though less articulate bass and a fine sense of stability, so it isn’t all one-way traffic.

Verdict

If you are after the most sonically capable record player at this level, then go for the Rega. It is a superb product that’s beautifully engineered and a pleasure to use. However, the Technics SL-1500CS isn’t short of appeal either.

It too is superbly made, and feels like it will survive decades of use. If you are the kind of person that loves swapping cartridges, it makes that so easy. Factor in the impressive built-in phono stage and there are enough plus points for the Technics to be considered a worthy alternative to the Rega. The SL-1500CS deserves a high place on any shortlist.

Review published: 7th September 2026

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Read our review of the Rega Planar 3 RS Edition

Also consider the Pro-Ject Debut Reference 10

Best turntables: top record players tested by our expert reviewers

British manufacturer Majority has expanded its home audio range with four new products designed for listeners “who want modern music streaming but also want to use their CD collection”.

The new products include the Fitzwilliam trio – which includes the Fitzwilliam CD, Fitzwilliam Amp and Fitzwilliam CD Amp – and the Quadriga Maxi all-in-one system, which combines streaming with a built-in CD player and speakers.

According to Majority, the Fitzwilliam trio has been designed to “let customers choose the right starting point for the equipment they already own, from adding connected sources to an established system, to powering passive speakers”.

First up is the Fitzwilliam CD. This is a slot-loading CD player, which offers support for CD, CD-R and CD-RW formats.

Far from being limited to physical music, the Fitzwilliam CD also features wireless listening and streaming options via Bluetooth 5.2, Spotify Lossless, Amazon Music and Deezer, as well as USB MP3 playback and internet radio. There's even support for DAB, DAB+ and FM radio.

Another analogue source can be connected via stereo RCA inputs, while stereo RCA, optical and coaxial outputs offer a variety of analogue and digital options.

The Fitzwilliam CD’s front panel features an 8cm colour display, showing the station, track and menu information. Users can control the unit wirelessly by remote, through the OKTIV app, or manually using the front-panel buttons.

Alongside the Fitzwilliam CD, the Fitzwilliam Amp provides 100 watts per channel of Class-D power via its Texas Instruments amplifier. Streaming and radio options are built in, with support for Spotify Connect with Spotify Lossless, Amazon Music, Deezer, internet radio and podcasts.

DAB, DAB+ and FM radio are also included, alongside Bluetooth support and MP3 playback from USB drives up to 128GB.

The amplifier has optical and coaxial digital inputs alongside a standard stereo RCA connection. For further listening versatility, outputs include stereo passive speaker outs, stereo RCA pre-amplifier outputs and a 3.5mm headphone jack.

According to Majority, preset EQ modes and customisable ‘My EQ’ controls allow bass, treble and loudness to be adjusted “to suit the room and speakers”.

Last but not least is the Fitzwilliam CD Amp, which pairs a tray-loading CD player with 100 watts per channel of Class D power from a Texas Instruments amplifier.

Like the Fitzwilliam CD, the Fitzwilliam CD Amp supports CD, CD-R and CD-RW, alongside Spotify Lossless, Amazon Music, Deezer, Bluetooth, USB MP3, internet radio, podcasts, DAB/DAB+ and FM.

The Fitzwilliam CD Amp accepts digital and analogue sources thanks to its stereo RCA, optical and coaxial inputs. Outputs include stereo speaker, stereo RCA pre-amplifier, and 3.5mm headphone connections.

The CD Amp has an 8cm colour display screen and can be controlled using built-in physical controls, a remote, or the OKTIV app.

What if you want everything combined in a single box? That's where the Quadriga Maxi comes in. Boasting 200 watts of total power, the 2.1-channel system combines two 7.6cm full-range drivers with a built-in 13cm bass woofer for “room-filling listening without separate equipment”.

The Quadriga Maxi features a slot-loading CD player, with CD, CD-R, CD-RW and MP3 CD support, alongside Spotify Connect, Amazon Music, Deezer, internet radio, podcasts, DAB/DAB+, FM, Bluetooth 5.2 and USB MP3 playback.

The all-in-one system includes optical, stereo RCA and 3.5mm aux inputs. For simple navigation of its extensive feature set, an 11cm colour display is provided, alongside wireless control options via remote and the OKTIV app.

The Fitzwilliam range and Quadriga Maxi are available now. Pricing is as follows:

- Fitzwilliam CD - £180 / €199
- Fitzwilliam Amp - £200 / €229
- Fitzwilliam CD Amp - £230 / €269
- Quadriga Maxi - £350 / €399

MORE

“We know the home, we know audio, we know music” – we speak to Sonos about its operating system rebrand, its "customer-led" focus and app updates

This premium CD player has caught my eye – is this what my beloved disc collection has been waiting for?

Our pick of the best hi-fi systems tested by our expert reviewers

Lyngdorf does things a little differently. Even in the increasingly popular world of versatile one-box streaming amplifiers, the Danish hi-fi brand stands out from the usual suspects with the all-new TDAI-2210.

From the fully digital amplification architecture and unusual lossless volume control to its bespoke app interface layout, this Lyngdorf sits a little adjacent to the mainstream alternatives – and it feels every bit a modern hi-fi product.

Build & design

The Lyngdorf TDAI-2210 may sit in between the brand’s existing TDAI-1110 and TDAI-3310 models, but it is no middle child with hand-me-downs. It is completely redesigned from the ground up, with a new PCB layout, a cleaner signal path and better power supply filtering – and is the most advanced product in the range.

The TDAI-2210’s key technical element is in the name: TDAI stands for Total Digital Amplification, Integrated. This is not a common Class D amplifier, but a fully digital amplifier that keeps the incoming music signal digital all the way through, from the digital inputs up to the filtered speaker outputs; even analogue signals are converted to digital before being processed by the amplifier. This technology is Lyngdorf’s own design and is an evolved version of the first digital amplifier – the TacT Millennium – that we reviewed a quarter of a century ago.

The amplifier’s output is rated at 105W per channel into 8 ohms, and it doubles in power (to 210W) as impedance halves to 4 ohms. This means the amp will drive any price-compatible speakers without any issue, in electrical terms at least.

The unit itself is compact and minimal, coming in a matte black finish that looks rather unassuming at first. Lyngdorf says it wanted to prove you can have a high-performing, high-end product even in a small footprint, and the TDA-2210 fits the brief. The build quality is reassuringly solid, and details such as the ridges on the sides of the unit are finished to a high standard.

Lyngdorf has focused its attention on the high-contact points of the streaming amp: the large full-colour touchscreen display, the “lossless” volume control, and the redesigned My Lyngdorf control app.

Let’s start with the glass touchscreen display, which is crisp and clear, with album artwork and the large icons easy to see from a distance. The glass has a smooth feel that is responsive to every tap and, most importantly, leaves no fingerprints.

We also like how the display screen’s background changes colour to match the album artwork being shown. There is a display option that shows a spectrum analyser, but Lyngdorf bucks the current trend by avoiding any retro VU meters.

One of the TDAI-2210’s standout features is the volume control, which changes the gain from the output stage rather than attenuating the incoming signal as is conventional. This avoids distortion or any issues with channel balance that are inherent in potentiometer-based volume controls.

The volume dial software is calibrated beautifully, with every tiny incremental movement on the dial having an instant visual feedback on the large display. Using it feels organic and rewarding. You can make very subtle and specific adjustments to the level, and spinning the dial faster results in quicker volume changes.

Combined with the My Lyngdorf app, the TDAI-2210 is a delight to use. It’s clear that Lyngdorf has put a lot of effort into how the streaming amp feels to use. The interface layout is clean and logical, and it both looks and feels considerably more modern than the usual lines of text and sub-menus we see in rival systems.

The harmonious way the display, app and controls respond to all our interactions throughout testing is very pleasing. There is a traditional remote control included, too.

The app – and by extension the TDAI-2210 itself – is as straightforward or as complex as you want it to be. You can customise the app and display so it only shows the main information you are interested in, or you can delve further into the settings to find ways of fine-tuning the Lyngdorf’s sound to your heart’s content.

There are rather good ‘Voicing’ EQ presets that you can also customise, treble/bass tonal adjustments, and ICC (Intersample Clipping Correction) settings that deal with potential distortion or ‘clipping’ effects when digital music is converted into analogue sound.

Here, Lyngdorf recommends turning off the default ‘subsonic/rumble filter’ for best sound performance, while we would also recommend disabling the ‘speaker limiter’ for a more open and dynamic sound.

Features

On the streaming side, the TDAI-2210 is well appointed with all the popular ways of playing music wirelessly. There’s support for Tidal Connect, Qobuz Connect, Spotify Connect and global internet radio via Airable. Bluetooth and Google Cast are also on the menu, while AirPlay 2 is coming soon via a software update due in late September. Streaming music using any of these methods is swift and stable.

You can also play music from connected NAS drives thanks to UPnP/DLNA compatibility. At the moment, you can’t access your NAS library from within the My Lyngdorf app, although this functionality will be available in the late September software update. Until then, you can use third-party apps such as BubbleUPnP and MConnect, and it worked perfectly fine for us when streaming WAV and FLAC tracks from our Naim Core server.

Hi-res file support is a standard 24-bit/192kHz PCM across most inputs, while higher 32-bit/384kHz files are supported when stored locally on a USB drive. There is no support for DSD files here, and we can imagine some might be put off by the omission at this premium price.

The TDAI-2210 has a good spread of physical connections, including RCA line level inputs and outputs, a pair of balanced XLR outputs, and multiple digital coaxial and optical inputs. An HDMI eARC input is available for seamless audio integration with a TV, and there are two USB inputs (type A and C) for plugging in media hard drives and laptops, respectively.

Lyngdorf offers two optional modules to add even more connectivity. Our review sample is fitted with the “high-end analog” module, which adds a moving-magnet phono stage and three additional analogue inputs, including a balanced XLR pair, which promise better analogue-to-digital conversion thanks to a higher-quality Asahi Kasai DAC.

This module adds over £500 / $500 to the standard price, but is a useful option for those who require the extra connections. Meanwhile, the HDMI 2.1 module adds two more HDMI inputs and one output, with a much steeper additional cost increasing the unit’s price to £4399 / $5499.

More useful is that the TDAI-2210 comes with Lyngdorf’s own RoomPerfect room correction technology. It’s a sophisticated system that tunes the streaming amp’s sound to the room it’s placed in, via multiple readings taken from random positions of the included mic.

The most complicated part of the process is setting up the included mic stand; the app will walk you through the rest of the straightforward calibration process. It’s worth taking the time to do this during set-up, and you can toggle the saved RoomPerfect settings on/off to hear the differences.

Our dedicated listening rooms are already acoustically treated, and we found that the RoomPerfect setting boosted the bass and added more heft to voices and instruments. But it also takes away too much of the Lyngdorf’s spacious, open presentation for our liking, while voices lose some of their natural expressiveness.

Still, it’s a subtler effect than other room calibration software we have used, and we would recommend trying it out.

Sound

To complete the TDAI-2210 system, all you need to do is add a pair of speakers. We use a variety during our testing, from the Epos ES7N standmounters to our reference ATC SCM50 speakers, while models ranging from KEF LS50 Meta to the PMC Prodigy 5 and even the Acoustic Energy AE300 Mk2 would all suit. We would just avoid pairing the Lyngdorf with any lean, bright-sounding speakers.

We start with Dolly Parton’s Jolene streamed over Tidal Connect. The TDAI-2210 delivers a lively, nimble-footed performance, which keeps us tapping along to the catchy tune. The sweeter edges of Parton’s indelible voice and her personality come through with a good dose of detail and clarity.

The Lyngdorf hews true to Parton’s smaller-scale ’70s-era recording, but it also has no issue expanding its wings and giving a grander stage to Massive Attack’s Paradise Circus and Agnes Obel’s The Curse. Instruments are given ample space and breadth, and the leading edges of notes are nicely defined, while voices are placed centre stage and focused in the airy soundstage.

The Lyngdorf sounds wonderfully clean, crisp and sprightly no matter what music we play through it, making it easy to listen to.

Basslines perhaps aren’t as meaty as rivals owing to the Lyngdorf favouring a leaner presentation, but this does add to that agile sense of rhythm that holds our interest. A greater dose of dynamic punch would render the iconic bassline and outro in Fleetwood Mac’s The Chain more dramatic and impactful, while the physicality of orchestral pieces from John Williams and Hans Zimmer could be more tangible and authoritative. Still, the TDAI-2210’s crisp precision and fluid sense of rhythm deliver just enough snap to remain musically satisfying.

The Arcam SA35 (£2999 / $3300 / AU$6495) is the main rival here and, while it’s not as sophisticated as the Lyngdorf in use, it is the better (and cheaper) of the two when it comes to outright sound quality. The Arcam delivers a more powerful and authoritative sound, along with richer layers of texture and detail around every piano note, plucked string and French horn. Better low-level dynamics and a fuller tone add greater expression to voices, too.

Playing around with the Voicing presets and EQ settings helps to add a bit more body and immediacy to the Lyngdorf, but the differences between the two remain.

Despite the Arcam comparison, we still like the Lyngdorf’s amicable presentation and how it gets across the essence of a song. The switch from a brash heavy metal track to the more intimate, gentler tones of Elliott Smith’s Between The Bars is nicely communicated. Musically, it all hangs together pretty well.

The Lyngdorf’s sound is consistent through all the digital inputs, and we find that they sound better than their analogue counterparts. Plugging our Cyrus CDi CD player into the coaxial and RCA stereo inputs, we find that, while subtler, the analogue connection sounds less forthright and powerful. The analogue inputs on the optional module fare better and sound more fluid, but they’re still a touch soft-sounding compared with the standard digital ins.

Listening through the Beyerdynamic DT 990 Pro X, the sound is also consistently clean, detailed and nimble through the 3.5mm headphone output. We also plug the Rega Planar 3 RS Edition turntable into the optional module’s phono inputs, and it’s nice enough to listen to, but lacks the Lyngdorf’s lively energy that we like so much.

We'd like to hear more dynamic punch and richness to do justice to our records; if you’re serious about vinyl replay, we would recommend a dedicated phono preamp such as the Graham Slee Reflex M or Rega Fono MM Mk5.

Verdict

There is something inherently likeable about the Lyngdorf TDAI-2210. It may not beat the class leaders, but its digital-first approach is clever and appealing, and the way the TDAI-2210 behaves when we interact with it is hugely rewarding.

With its fresh, modern outlook and lively sound, the TDAI-2210 is a great alternative to the mainstream options at this premium price, and is worth an audition.

Review published: 4th September 2026

SCORES

• Sound 4
• Features 5
• Build 5

MORE:

Also consider the Arcam SA35

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

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

Esoteric has launched the N-01XE, its latest music streamer which promises to blend an "exquisite metal construction" with high-grade components for an "authentic, emotionally engaging sound".

At its heart, the N-01XE incorporates Esoteric's Master Sound Discrete DAC, boasting the brand's second-generation 'G2' architecture for what it teases as a "breathtakingly powerful" and dynamic performance.

The DAC chip itself uses a dual-mono configuration with independent power transformers for left and right channels, contributing to what Esoteric describes as "a smooth, natural, and remarkably analogue-like sound".

The Discrete DAC G2 has been built using high-precision 'MELF' resistors and Esoteric's board-mounting technologies for a more powerful, musical and dynamic audio signature.

Further, Esoteric's own 'Network Engine G4' promises "top-of-the-line" processing power thanks to its powerful CPU and dedicated linear power supply, a configuration that aims to reduce distortion and contribute to the new player's "smooth, richly detailed" character.

The N-01XE is capable of supporting mega-hi-res files up to 48-bit/768kHz PCM alongside DSD512. In pursuit of digital-to-analogue conversion that matches the characteristics of both DSD and PCM files, dedicated digital processing algorithms have been independently developed for each format.

The new unit boasts a wide-ranging connectivity suite, including coaxial, optical and USB-C digital inputs alongside RCA and XLR analogue outputs. The N-01XE is Roon Ready, while wi-fi connectivity grants access to the likes of Tidal Connect, Qobuz Connect and Spotify.

On the outside, the network player's multi-layer chassis is built to prevent interference between the various circuit components, while a semi-floating top panel has been designed to contribute to the streamer's sonic openness. A set of isolation feet provides a stable foundation for the N-01XE's "focused, open soundstage".

The Esoteric N-01XE is available now, priced at £22,999 / $28,000 / €26,500. We've previously tested Esoteric's N-05XE streaming preamp (£13,000 / $13,000 / AU$17,000) and was mightily impressed with its excellent sound quality and superb engineering, so we imagine the new N-01XE sets an even higher bar.

MORE:

The Linn LP12, Mission Cyrus One or a humble WiiM Pro Plus: what product got you into hi-fi?

Do DACs need Bluetooth? Here's why this popular feature is overrated if you care about sound quality

These are the best music streamers we've heard

What got you into hi-fi? It’s a question people embedded in the hobby get asked a lot.

After all, hi-fi is a time-consuming, sometimes lifelong, endeavour that will see fans design entire rooms from scratch and invest vast amounts of money in the pursuit of sonic perfection – if that even exists.

So from the outside, it can look like a lot of effort for something that, unless you "get it", doesn't seem that important.

There are many answers to this question, even among the What Hi-Fi? team, which includes numerous experts who have chosen to dedicate their professional and personal lives to the endeavour.

But one of the most consistent themes we hear when answering the question is that it all began with a specific piece of hardware.

Which is why, for this month’s Ask The Reader question, we want to know: what product got you into hi-fi?

Maybe, like our editor (me), it was a special turntable your parents had set up in the lounge and let you use to play their (rather glorious) selection of classic rock LPs?

Or was it a set of speakers you bought in college out of the back of a van at a car boot sale, not knowing the treasure you’d just stumbled upon?

Perhaps you’re a bit younger and discovered the magic of hi-fi after adding a streamer to a classic separates set-up you inherited?

Whatever the answer, we want to know!

You can post your answer in the comments section of this page, or in our forums. Just make sure to tell us what the product was and why it was so special.

Maybe it was the album it was playing? Maybe it was the company you kept, or the place you heard it that made it so special?

As always, at the end of the month we’ll publish a new piece collating your most interesting answers! So please make sure to keep your language PG-13 and stick to our community guidelines for a chance to be included.

MORE:

Check out the What Hi-Fi? Hall of Fame

We rank the best turntables for music fans

Our picks of the best speakers

While it may have forged much of its reputation on its budget hi-fi separates, including the outstanding A8 integrated amplifier, Rotel's premium Michi product series has produced some real gems. From the Michi X3 amplifier to the Michi Q5 CD player, Rotel knows how to operate in the higher echelons of the hi-fi market.

Now, the Japanese brand is adding to its more premium collection of separates with two new additions to the Michi lineup: the Michi Prestige P430 preamplifier and the Michi Prestige S430 stereo amplifier.

According to Rotel, the S430 stereo amp is aimed at listeners who want to step up to a fully fledged separates system, delivering 230 watts per channel into 8 ohms.

The new amplifier uses an advanced architecture which combines an oversized in-house-manufactured toroidal transformer, large bulk-storage capacitors, isolated signal routing and multi-stage push-pull output transistors, all of which combine for "firm bass control" and outstanding "dynamic impact".

In terms of connections, the Michi Prestige S430 houses balanced XLR and RCA inputs alongside dual 5-way speaker binding posts. Externally, the S430 features an aluminium chassis and a front-panel display with selectable metre displays and a backlit power toggle.

Also arriving is the Michi Prestige P430 preamplifier, designed to bridge the gap between traditional and modern sources for listeners who want ample connectivity options alongside the performance of a separates set-up.

Central to the new preamplifier is an ESS SABRE ES9028PRO 8-channel DAC which, says Rotel, renders recordings "with pristine clarity, natural detail, and an open, precisely focused soundstage". The P430 is capable of supporting PCM files up to 32-bit/384kHz, as well as DSD256.

Further, the new preamplifier has been built to preserve signal integrity via its transparent signal paths and refined power-supply architecture, resulting in a sound which balances "exceptional control and musical insight".

The P430 boasts balanced XLR and RCA inputs and outputs, coaxial and optical inputs, and HDMI ARC for connecting to a home cinema set-up and a moving magnet phono stage for partnering with a turntable.

Further connections include dual subwoofer outputs, a 6.35mm headphone port, and wireless Bluetooth connectivity with aptX HD codec support for streaming files up to 24-bit/48kHz.

The Michi Prestige S430 stereo amplifier and Michi Prestige P430 preamplifier are available this September. The S430 will set you back £3599 / $3999 / €3999, while the P430 is priced at £3599 / $3999 / €3999.

MORE:

Read our Rotel Michi Q5 CD player review

New issue of What Hi-Fi? out now: vinyl made easy with simple yet sensational turntables

Best stereo amplifiers: budget to premium options tested by expert reviewers

The remarkable resurrection of vinyl over the past decade or so shows no sign of abating. Quite the contrary, in fact. Indeed, there are plenty of people, apparently, who are getting into record collecting even before they own a turntable!

That is a situation that we at What Hi-Fi? feel obliged to address. In this issue, then, we have some excellent suggestions for turntables that will make living with a record deck and enjoying your vinyl collection as easy and fuss-free as possible. Whether it’s fully automatic functioning, an incorporated phono stage or Bluetooth capabilities so you can link in with your wireless system, it’s all there for you.

We also have a remarkable Group Test of floorstanding speakers from £900-£1200, where Dali takes on established favourites from Acoustic Energy, Fyne Audio and Monitor Audio. And we round-up premium standalone soundbars, showing that a single unit can get much of the way towards delivering a full surround-system’s sound.

Turntables that make vinyl replay a doddle

Perhaps you’re just considering dipping your toes into vinyl waters for the first time, but don’t necessarily want the fuss of a purist approach, where manual speed control – physically changing the belt over between 45 and 33⅓rpm – is just the tip of the audiophile iceberg. Or, maybe you’re an old hand with vinyl, but are pining for the simple life.

What you may be looking for is the tactility and fantastic, warm sound of vinyl that you’ve heard about, but with a little more simplicity and convenience. And for that, any of the turntables we are recommending over the following pages will suit you very nicely.

The decks we round up this month are designed to be as fuss-free as possible. Automatic speed control is, thankfully, present on all these turntables. Some have auto start/stop functionality, some even have Bluetooth so you can beam your vinyl music wirelessly to your chosen set-up.

Make no mistake though, every record player here, regardless of convenience, feature set and ease of use, sounds great – as you should expect from some of the world’s foremost turntable manufacturers. There’s a brace each from Sony and Audio-Technica, and Dual, Pro-Ject and Technics also make our list of seven.

What each of these turntables aims to do is get you playing your vinyl quickly and easily – whether it is your first deck, you’re dusting off your record collection for the first time in years, or you’re somewhere in between.

Premium soundbars round-up

The very best soundbars will take your home-cinema sound to the next level, without the need for multiple speakers.

Their compact nature makes them the ideal solution for those without the space for a full surround-sound set-up, with fronts, surrounds, subs, AVRs and the whole shebang. While there really is no substitute for such a set-up, it’s just not always practical.

But, if truly immersive cinematic sound is a priority, and your budget allows, a premium soundbar such as those featured here will mean less of a compromise, while still avoiding the trailing wires and need for placement of multiple boxes.

We have four premium soundbars for your consideration this month, from KEF, Sennheiser, Canvas Hi-Fi and Focal. None of these audio systems is cheap, of course, but each is a viable option for rivalling a full surround-sound system with a smaller footprint.

See if your next home cinema sound update could be found in this quartet of rather impressive soundbar solutions, only in this month's What Hi-Fi?

Budget stereo amplifier head-to-head

The sub-£1000 integrated stereo amplifier market is a tough nut to crack. Such amplifiers need to be forgiving enough to work well with budget sources and speakers, while having the sonic stretch to shine with higher-quality partners. Arcam’s A5 has been the dominant force in this sector since its introduction in late 2023, and the revised, current Award-winning A5+ version has simply reinforced that superiority.

The arrival of the Marantz Model 70 could be a problem for Arcam, though. Marantz is a recognised master of entry-level stereo amplification, and make no mistake, the company has been aggressive here, pitching the Model 70 directly at the class champion. We’ve tested both amplifiers against each other to find out.

Floorstanders group test

When it comes to floorstanding speakers, those in the £1000 ballpark face a difficult challenge: maintaining a mid-range price tag while matching the performance of higher-end separates. They should shine in use alongside premium gear, while giving budget options their best shot at success.

The Fyne Audio F501E are our current Award-winners in this bracket, with a powerful sound that justifies their significant proportions. However, they have recently come up against aggressive competition from the Dali Sonik 5, which, for speakers of their relatively modest size, bring with them a host of competing talents.

The priciest of our quartet of floorstanders, the Acoustic Energy AE309 Mk2 are hotly pursued by the Monitor Audio Bronze 300 7G, which land dead centre of our price range at £1000.

Which of these pairs of towers is our top recommendation at this level? Find out in this month's mag.

First with reviews

As always, our First Tests section is where you'll find What Hi-Fi?'s considered verdicts on the very latest hi-fi and AV gear.

A new affordable stereo amplifier is always interesting, and this month past masters Marantz return with the Model 70. Will it impress as much as the outgoing Marantz PM6007 has?

The Model 70 isn't the only Marantz separate to have entered our test rooms this month. The CD 70 is, as you might guess, a CD player – with CD sales reportedly on the rise, this could be a timely move for Marantz in a market that hasn't exactly been awash with players in the last few years.

Elsewhere we have reviews of the KEF LS Luxe active speakers, Denon AVR-X2900H home cinema amplifier, Grado SR325 Classic headphones, Q Acoustics 3050c 5.1 speaker package, Hisense XR10 projector, Samsung S85H OLED TV and Acoustic Energy AE Active speakers.

Find all these reviews in October's What Hi-Fi? – out now!

High-end and mightily tempting

Our Temptations section of the magazine is where you'll find the highest of the high-end of hi-fi and AV products.

The Roksan Caspian 4G Streaming Pre-Amplifier and 4G Power Amplifier combination "bristles with energy, balancing excitement with control superbly". Our reviewers also note that the units "render an expansive soundstage". Tempted? Deep pockets? Find out more this month!

Marten has named its latest standmount speakers after jazz legend Charlie Parker, and indeed the Marten Parker Duo Diamond edition are musically rather special. "These speakers sound neutral while still displaying natural warmth and richness," we say in our review. Find out more about these classy speakers in this month's What Hi-Fi?.

Finally, don't forget to check out our Buyer’s Guide, featuring a definitive and freshly updated list of all the best home entertainment kit you can buy – including winners of 2025's What Hi-Fi? Awards. If you’re looking to purchase anything from a pair of the best wireless headphones to a home cinema speaker system, this section will tell you where to spend your money wisely.

Whatever you do, don't miss the October 2026 issue of What Hi-Fi?. Grab a copy today, or simply download it onto your tablet or smartphone. Enjoy!

You can subscribe or buy the latest issue here, or buy the digital edition on iPhone, iPad, Android devices or Kindle edition

The Expert Imaging and Sound Association (EISA) has announced the winners of the EISA Awards 2026-2027, marking the 44th edition of the world's longest-running and most respected awards programme for consumer electronics. Across five categories, Hi-Fi, Home Theatre & Vision, Photography, Mobile Devices and In-Car Electronics, this year's winners represent the products that EISA's expert groups judged to be the outstanding performers of the year.

The winners were selected through EISA's rigorous, long-established judging process. Over several months, editors from more than 50 specialist technology magazines and websites in 27 countries tested hundreds of new products from every major manufacturer, comparing notes and, in the case of most categories, meeting in person to debate and vote on the strongest candidates in each category before reaching a final consensus.

This year's list of winners spans everything from loudspeakers and mirrorless cameras to flagship smartphones, home theatre systems and in-car infotainment, reflecting both the breadth of EISA's expertise and the pace of innovation across the consumer electronics industry over the past 12 months.

“The EISA Award is the award with the greatest tradition in the world,” said EISA president Ljubiša Miodragović. “It is given by a group of the most respected technology editors on the planet, people who spend months carefully judging and reviewing every device before a single winner is chosen. That is what sets these awards apart, and it is what makes today's announcement so meaningful for the winning companies and for our readers alike.”

Australian Hi-Fi participated in judging the hi-fi categories, while Sound+Image helped judge home theatre and vision devices. In both cases, the process involves nominations, short-lists, online presentations, listening sessions and extensive lab testing, before conducting a lengthy final voting session between all the relevant EISA expert group editors.

The Awards were presented at the EISA Gala on September 4th at the Hotel Palace in Berlin (pictured above), with Sound+Image Editor Jez Ford attending alongside the full EISA editorial contigent and representatives from the global winners collecting the enormous EISA trophies on stage.

You can view the full list of all the hi-fi products that won a ‘Best Product’ prize in 2026-2027 EISA Award categories here, including the final Judges’ Citation explaining why each won.

To see all the AV winners, you can head here for Sound+Image’s presentation of the 2025-2026 EISA Home Theatre and Vision Award categories.

A full list of EISA Award winners in all ther categories such as mobile devices and photography equipment can be found on EISA's new website www.eisa-awards.org.

As a final quick disclaimer, please also note that What Hi-Fi? magazine and website have no official connection with EISA; it's the Australian-based Australian Hi-Fi and Sound+Image magazines which have the longstanding EISA connection, dating back to the organisation's expansion from a European to a global perspective on audio, AV and wider consumer electronics categories. For more information, visit www.eisa-awards.org

Earlier this week, Naim launched its new premium Uniti Star Lite streaming amplifier, which retains all the extensive features, connections and design of the original Star – but loses the CD player and ripper.

This is a blow to CD fans, but it was unavoidable due to issues sourcing the original drive mechanism and an inability to find a suitable alternative.

Naim's solution therefore was to cease production of the original Star and introduce the Star Lite as a streaming-focused unit. All sensible, to be fair, especially at the lowered price of £3199 compared with the now-discontinued Star's £3499.

With all the specs, amplification and streaming features being pretty much identical, we had also assumed that the sound quality of the two units would remain the same as well. That would be no bad thing, as the original Uniti Star got an effusive five-star review from us when we tested it back in 2018.

However, Naim has now confirmed to us in a statement that the new Star Lite will actually have a "better audio performance" than the outgoing Star.

Developing the Star Lite gave Naim's engineers the opportunity to tweak elements of the hardware, circuitry and software under the hood, all of which should result in "a cleaner signal path, with improved transparency for a more refined listening experience."

Here is the full statement from Naim below:

"The Uniti Star Lite was developed as a replacement for the Uniti Star following the discontinuation of the CD mechanism. However, during development, we identified some performance benefits resulting from this simplified architecture.

"By removing the CD mechanism, we were able to reduce electrical noise within the product. Combined with software optimisation and a more focused hardware architecture, the result is a cleaner signal path, with improved transparency for a more refined listening experience.

"In short, Uniti Star Lite is not simply the original Uniti Star without a CD drive; the simplified architecture has enabled us to achieve a more optimised electronic with a better audio performance."

So that's more positive news than we initially thought, and credit to Naim for not resting on its laurels. While many will mourn the loss of the integrated CD player, it looks like those investing in the Star Lite will potentially benefit from better sound, too.

MORE:

Naim's Uniti Star Lite streaming amplifier launches with extensive features – but it is missing one key ingredient

Quiz! Can you name the first film in these home cinema formats?

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I've recently been testing the iFi iDSD GR 2 DAC/headphone amplifier, and while it's a perfectly decent performer, it has left a question buzzing inside my mind like a wasp trapped in an upturned glass: why does a DAC need a Bluetooth input?

A seemingly innocuous question, perhaps, but one that won't leave my brain. Let's be clear that the iDSD GR 2 will set you back £529 / $529 / AU$849 at the time of writing, a product that's likely going to be driving all manner of respectable wired headphones.

If you're buying a DAC to improve the sound of your laptop-stored digital music files, then sound quality is likely to be top priority, so what's the appeal of throwing much of that out of the window on a less efficient means of audio transmission? Why have a Bluetooth option at all?

The curse of the unticked box

Part of the answer stems, I imagine, from one very simple motivator: consumer expectation. As we've seen with the rise of wireless headphones and Bluetooth speakers, customers expect a well-stocked spec sheet, and as soon as certain boxes aren't ticked, alarm bells are set ringing.

It feels as though Bluetooth speakers now must have Auracast, while wireless headphones must deploy in-depth noise cancelling and some form of spatial audio. If they don't, a rival brand will, and that's where a potential buyer might instead head.

Omitting a given feature, even on a more premium or audiophile-centred DAC, might smack of an oversight on the part of the manufacturer, even if said omission was actually a strategic one designed to redirect resources elsewhere.

Try explaining that to an increasingly voracious customer base.

Let's not ignore the fact, either, that having a Bluetooth input is exceedingly convenient. As a means of wire-free transmission from your source (such as a Bluetooth-equipped laptop or smartphone), it's incredibly easy to access and generally very stable, and many users enjoy the freedom of having a source that isn't tethered to headphones or, in this case, their DAC. Like William Wallace fighting at the Battle of Stirling in Braveheart, it's all about freedom.

Bluetooth is also a universal language, and that extends beyond the purely technical. If you've got a friend who wants a quick connection to your fancy new DAC to hear your Tidal playlists in better quality, it remains the king of convenience. Everyone knows it, everyone uses it, and everyone understands how it works.

Plus, the quality is good, and getting better. The iDSD GR 2, for example, offers Bluetooth 5.4 with higher-quality codec support in the shape of aptX Lossless, aptX Adaptive and LDAC, which essentially means the chance of streaming files up to 24-bit/96kHz using Adaptive and 32-bit/96kHz via LDAC. Such files can be accepted via Bluetooth, but as we’ll see, this is still a compressed and lossy streaming method which comes with serious drawbacks.

It’s still worth pointing out, though, that the DAC is still the thing doing the audio decoding, not your phone or laptop, so you're still getting some of the benefit of your dedicated device when playing via Bluetooth. Note, of course, the word "some".

Bluetooth(less) audio

No matter the strides that the likes of Qualcomm and Sony have made in improving Bluetooth as a means of audio transmission, there's no question that those trusty old wires still rule supreme when it comes to listening to hi-res files, as it guarantees lossless audio transmission.

As we wrote in our review, "the iDSD GR 2’s (Bluetooth) performance is perfectly capable, as evidenced by its sure-footed handling of a 16-bit/44.1kHz rendition of Goose’s Dripfield, but if you want to make the most out of your DAC – and indeed, the headphones you’ll be partnering it with – (it) should be seen as a nice bonus rather than a primary means of listening."

The problem is, when the DAC is wirelessly connected to your source, the Bluetooth part becomes the weak link in the audio transmission chain. No matter how good your wired cans are, how high the file resolution is, and how firmly you've got them jammed into the very real, very physical headphones socket, this lossly wireless connection to the source will become your limiting factor.

Plus, if you've spent all this money on a DAC, you're likely to be using a decent pair of wird headphones to partner with it, from the Røde NTH-100 (£149 / $149 / AU$249) to the open-backed Beyerdynamic DT 990 Pro X (£189 / $199 / AU$399), the Grado SR325x (£330 / $295 / AU$419) or, at a push, the Beyerdynamic T1 (3rd Generation) (£899 / $899).

Bluetooth has drawbacks which can rob the audio of its initial lustre, the main one being the problem of compression. LDAC, for instance, has a data rate of 990kbps, and while impressive compared with the 328kbps rate of standard SBC, it’s a lot lower than the 1411.2kbps provided by CDs.

Plus, if you've bought your not-inexpensive DAC to use primarily with wired headphones, not using a wire between source and said DAC seems somewhat redundant when the headphones provide a physical tether anyway. The supposed freedom provided by wire-free Bluetooth rather goes out the window, as you're still using a physical connection between your DAC and headphones anyway.

The question you have to ask is whether you'd miss Bluetooth if it weren't there. The Award-winning Chord Mojo 2 DAC doesn't have a Bluetooth input, but for sound quality, it's a cut above, and not once have we listened to the Mojo 2 and wished for wireless connectivity. That, in itself, tells you all you need to know.

It's admirable that iFi, or any other brand, would want its products to be as feature-laden as possible, but the idea of Bluetooth on a premium DAC designed to service the ‘sound-first’ market doesn’t make sense to me.

If you’re willing to spend what is still a considerable amount of cash on a DAC such as this, you’re going to want to get the best sound possible for the money. Bluetooth may be convenient, but the sonic sacrifices you’ll make feel unjustifiable given that the purpose of a DAC such as the iDSD GR 2 is, ultimately, to make your music and headphones-based listening sound as good as possible for the money spent.

MORE:

Read our review of the Chord Mojo 2

From legendary turntables to cutting-edge DACs: 33 debut products that defined hi-fi history

Best DACs: USB, desktop and portable digital-to-analogue converters

Yamaha has expanded its streaming-capable hi-fi lineup with the unveiling of two new products: the WXA-70A streaming amplifier and the WXC-70A network music streamer.

Both fresh-faced additions aim to build on the legacy of the 10-year-old WXA- & WXC-50, with Yamaha promising a potent blend of compact streaming convenience and engineering which delivers "a level of musical satisfaction that approaches full-size hi-fi components".

The WXA-70A streaming amp boasts 70 watts of Class D amplification per channel into 8 ohms. At the heart of both new models is an ESS Sabre ES9039Q2M DAC working in tandem with Yamaha’s high-precision internal processing and stable output architecture, designed to offer "expressive bass" alongside a natural, energetic tone.

Both products employ high-precision internal digital signal processing and clock-rebuilding 'ASRC' technology, designed to help maintain "clarity, timing accuracy and spatial precision". Yamaha’s proprietary 'YPAO' room calibration tech, meanwhile, seeks to optimise playback depending on your given listening environment.

The WXA-70A and WXC-70A are well-equipped with connections, offering optical, line-level and auxiliary inputs, as well as HDMI eARC for integration within a TV or home cinema set-up. For boosting your bass, a dedicated subwoofer output is provided on both, with the WXC-70A streamer also offering optical and coaxial outputs.

On the streaming side, both are powered by Yamaha's 'MusicCast' streaming platform and app, granting support for AirPlay 2, Google Cast, Spotify, Qobuz and Tidal Connect, as well as multi-room audio and Roon Ready certification.

The larger WXA-70A and more compact WXC-70A are housed in a rigid aluminium enclosure that promises to be a vibration-resistant structure, which further helps to give each model a "cleaner and more expressive sound".

The Yamaha WXA-70A streaming amp is priced at £1199 / $1300 / AU$1999, while the WXC-70A streamer will set you back £859 / $1000 / AU$1599 with both models set to be available from November.

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These are the best stereo amplifiers we've tested

High-performance preamplifiers that pack streaming smarts have become a bit of a burgeoning hi-fi category in recent years.

And McIntosh has a new offering which not only delivers both but also packages them using the company’s trademark design cues.

The CS7500 features a signature black glass front panel, illuminated logo and precision rotary knobs, plus an elevated chassis and custom-machined brushed end caps.

It’s also an amplifier of two halves, boasting a mirror-polished stainless steel lower chassis, partnered with a hairline-brushed black titanium stainless steel upper chassis.

And it wouldn’t be a McIntosh without a splash of colour from its iconic blue meters, which peer out of the front of the amplifier like a pair of demonic eyes.

The CS7500 offers a broad range of connections as you’d expect and includes six analogue inputs, including two balanced, three unbalanced, and a dedicated phono stage for connecting a turntable.

You also have seven digital audio inputs, which all take advantage of the CS7500’s Quad Balanced, 8-channel, 32-bit digital-to-analogue converter (DAC). The USB Type-B socket on the rear of the preamp supports native DSD512 files and DXD up to 384kHz, while its coaxial and optical inputs support playback up to 24-bit/192kHz.

You can also extract audio from your TV thanks to its HDMI ARC socket.

On the output front, you have two pairs of balanced and unbalanced variable outputs, plus a fixed unbalanced output for connecting different power amp configurations.

The second set of balanced and unbalanced outputs can also be dedicated to a single subwoofer or pair of stereo subwoofers should your room require a bit more boom.

Streaming support extends to Qobuz Connect, Spotify Connect with Spotify Lossless, TIDAL Connect with TIDAL Max, AirPlay, Google Cast, and Roon. There’s also Apple AirPlay and Google Cast for playing music stored on local devices plus Bluetooth aptX HD and aptX Adaptive.

As you’d expect, the McIntosh CS7500 will have a suitably premium price tag of $12,500 / $17,750 CAD when it goes on sale on the 28th August through authorised McIntosh dealers.

MORE:

Our pick of the best music streamers you can buy

And the best stereo amplifiers for every budget

And the best hi-fi systems

FiiO has unveiled the EA13, a full-size vacuum tube amplifier designed to bring the allure of classic valve amplification in a modern, feature-heavy design.

The FiiO EA13 houses six tubes and Class A push-pull circuitry, delivering 28 watts per channel at 8 ohms, with circuitry designed to "preserve both the smallest details and the scale of a performance".

Digging deeper into the amplification, the new model houses two Sylvania NOS PCF80 preamplifier tubes, selected for their "refined, transparent presentation" and an "open, natural soundstage". Accompanying the aforementioned pair are four JJ Electronmic EL34 power tubes to round out that six-tube configuration.

Key to the new amplifier's performance is a low-noise output transformer, built to suppress unwanted vibrations while improving electromagnetic shielding and stability. The result, says FiiO, is a ​tauter, fuller bass reproduction wedded to a refined treble and improved dynamic handling.

On the connections side, four RCA line-level inputs are available. Like most valve amplifier designs, there are 4 ohm and 8 ohm speaker outputs depending on the nominal impedance of your speaker. For personal listening, a 6.35mm single-ended headphone output is found at the front of the unit.

The EA13 has been designed to house classic valve engineering within a modern chassis. The amplifier has a CNC-machined aluminium front panel which has been sandblasted for a more tactile finish, while a solid metal body has been built to offer electromagnetic shielding.

To complete the vintage hi-fi look, the EA13 houses two mechanical VU meters front and centre, flanked by backlit volume and input selector knobs.

The FiiO EA13 amplifier is out now, priced at £769 / $769 / €665.

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Check out the best stereo amplifiers money can buy

Eversolo has launched two multitasking network music streamers, the DMP-A8 Gen 2 and DMP-A8 Master Gen 2. These pack in network streaming, high-resolution DAC, analogue preamplifier and a host of connectivity, with near-identical features and a refreshed design across both products.

How do you tell them apart? Well, the Master Gen 2 model now has a custom top-loading CD player built-in, meaning you can play your physical CD collection along with your digital music library files and streamed playlists from just one multi-tasking box.

The DMP-A8 Gen 2 and DMP-A8 Master Gen 2 otherwise share plenty of the same streaming and connectivity features. They have full network streaming abilities (wi-fi and wired), including DLNA compatibility so you can stream stored digital files from a connected NAS drive.

There's support for popular and niche music streaming services, while Tidal Connect, Spotify Connect, Qobuz Connect and Bluetooth are on the menu.

As before, both Eversolo models pair an AK4191EQ digital processor with an AK4499EX DAC for greater precision, with support for hi-res music files up to 32-bit/768kHz PCM and DSD512.

Updates include a more powerful and faster eight-core processing platform, 8GB of memory and 64GB of internal storage. As we found with the Eversolo DMP-A10, there is an awful lot that an Eversolo streamer and its interface can can do, so the increased processing power in the new streamers will no doubt be welcome, ensuring the interface remains responsive while handling hi-res files, large libraries and switching between various sources.

You can also install an optional internal SSD with up to 8TB of storage on both models, so you can save and access your digital music downloads locally.

Both also function as preamplifiers, thanks to an analogue-domain volume control and a fully balanced analogue output stage. This means you can connect either product to a power amplifier or a pair of active speakers and use the Eversolo as control; or you can use either one purely as a network streamer when connected to an integrated amplifier.

Physical connections include AES/EBU, optical and coaxial digital, along with balanced XLR and RCA line-level analogue connections. There are also USB Type-B and HDMI ARC/eARC inputs, and a dedicated subwoofer output with adjustable crossover settings.

Along with the integrated CD player, the Master Gen 2 features a more sophisticated clocking system than the standard DMP-A8 Gen 2 and adds a 10MHz external clock input, allowing those with "more advanced digital systems the option of connecting the Eversolo to a compatible external clock and using a shared precision timing reference across their digital audio equipment."

The aluminium chassis has been redesigned for both second generations, with a larger 8.6-inch touchscreen display that shows off playback information, album artwork, all sources and apps, as well as display options which include VU meters and spectrum analysers.

Both Eversolo models also feature Eversolo's 'evotune Pro' room correction system, and a 20-band parametric EQ that you can fine-tune to your heart's content.

The Eversolo DMP-A8 Gen 2 is available now and costs £1949 / $1980 / AU$3299, while the DMP-A8 Master Edition Gen 2 will cost you a little more at £2489 / $2590 / AU$4299.

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Read our Eversolo DMP-A10 review

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Ever heard of gallium nitride (GaN)? It sounds like a material from a galaxy far, far away or a dietary supplement used by Wolverine, but it’s actually a type of semiconductor material and an alternative to conventional silicon.

Going for it is the fact that it allows for higher switching frequencies and it can handle power and heat more efficiently. It can also be packaged much smaller too.

The material is already used in some home hi-fi electronics, but the Burmester and Porsche application is claimed to be the first use of the tech in an in-car environment.

Working together with the University of Stuttgart, Porsche has adapted GaN tech for use in the Burmester 3D High-End Surround Sound System.

Here, it uses a chip based on the material to take care of the voltage conversion needed for the 400W subwoofer amplifier.

Because less energy is required and less heat is generated, you don’t need as much cooling, which means you can use smaller heat sinks – Porsche claims it can make them 20 per cent lighter and also make passive components smaller, thus reducing the size and weight of your amplifier.

One of the biggest challenges for car audio engineers is always the system packaging and being able to make the most of the available space in the car, and this seems to be a convenient way of adding extra versatility without sacrificing performance.

Because less aluminium is used, less heat is generated during the manufacturing process, which has the knock-on effect of reducing CO₂ emissions during amplifier production, so it’s good news from an eco perspective, too.

There's no word on which cars will be the first to feature the tech, but Porsche has confirmed that gallium nitride for Burmester High-End Sound will enter series production and make its debut "in a future Porsche vehicle in 2027".

MORE:

Read our Burmester 3D High-End Surround Sound System (2026 Porsche Macan Electric) review

And our Burmester High-End Surround Sound System (2020 Porsche 911) review

Porsche is bringing Dolby Atmos audio to its in-car hi-fis, but there’s a catch

iFi knows its way around a digital-to-analogue converter. From the pocket-sized, pocket-change-costing Go Link through to its mid-range Zen DAC line, all the way up to the flagship iDSD Phantom, the British brand has established itself as a solid option for buyers seeking a capable DAC/headphone amp that performs well for the money.

iFi has billed its latest creation, the premium iDSD GR 2 DAC, as “a legend perfected”. Acting as the de facto successor to the company’s xDSD Gryphon from 2021, the new model promises wholesale changes from its predecessor, including redesigned balanced circuitry, a new Burr-Brown PCM1795 DAC chip, and a touchscreen display.

A lot of promise on paper; time to find out how the iFi iDSD GR 2 performs in practice.

Build & design

iFi’s premium DAC/headphone amplifier feels like a quality item. Constructed using a ridged aluminium chassis adorned with an OLED touchscreen and topped with a metal control knob, the iDSD GR 2 does a fine job of making you feel as though you’re getting your money’s worth.

If out-and-out portability is your primary concern, iFi offers smaller, cheaper alternatives in its arsenal of DAC/ headphone amplifiers, including the iFi hip-dac 3 (£199 / $199 / AU$449) and Zen DAC 3 (£229 / $229 / AU$399), with the iDSD GR 2 designed to straddle that tricky hinterland between desktop use and on-the-go listening.

Viewed from above, it’s about the size of an iPhone, but the DAC’s metal chassis and chunky profile mean you might struggle to get it in your pocket comfortably. 268g isn’t exactly heavy, but when you consider that an iPhone 15 weighs about 170g, you’ll realise that it isn’t feather-light, either.

Battery life clocks in at around seven hours, and there are plenty of ways to connect your headphones and music sources to the premium DAC. It features balanced 4.4mm and single-ended 3.5mm inputs and outputs, as well as a USB-C input alongside a combination optical/coaxial input. You can also accept a signal from a Bluetooth (5.4) source, with codec support coming in aptX Lossless, aptX Adaptive and LDAC flavours.

The iDSD GR 2 features a narrow OLED colour touchscreen, from which you can access volume adjustment, input selection, choose your desired digital filter and see your music’s file rate.

A display is nice to have, and the touchscreen itself is responsive and precise in its operation. Some aspects of operation take a bit of practice, such as holding certain icons down and then swiping across in the same motion to switch the desired gain mode, but we imagine those are things we’d grow accustomed to with time.

Away from the display, a few little usability quirks are worth flagging. The inputs and outputs at either end of the unit aren’t labelled particularly clearly, meaning that we sometimes had to bust out our phone’s flashlight to find our desired connection. Labelling each port with clearly contrasting white text would make legibility a little easier.

The volume control operation also seems counterintuitive – moving the dial forwards with the DAC lying flat turns the volume down a notch, while moving it backwards raises it up. That feels like the mirror image of what we’d expect, but again, we’d likely get used to it over time.

If you’re planning on taking the DAC out and about and want to keep it safe from knocks and scrapes, iFi offers a faux suede protective case, sold separately for around £50 / $50 / AU$79. The case comes with a cut-out so that you can still operate the touchscreen, though we do find that it can make tapping icons near the edge of the screen a bit trickier due to the cut-out being a little too small.

Internally, the iDSD GR 2 employs Class A amplification, in service of iFi’s pursuit of what it describes as a “natural analogue character”. The brand has also refined its new DAC’s circuitry – which is fully balanced from end to end – to reduce noise within the signal path.

The iDSD GR 2 delivers up to a claimed output of 1513m/W RMS – an increase of 50 per cent over the outgoing xDSD Gryphon – to grant more headroom to handle more demanding loads. That matches up with our testing, as from the premium Beyerdynamic T1 (£899 / $999 / AU$1599) to the high-end Sony MDR-Z1R (£1700 / $2100) headphones, we find that there isn’t much that the iFi can’t handle.

Features

The iDSD GR 2 supports DSD512 files and PCM playback up to a sky-high resolution of 32-bit/768kHz, though the chances of any layperson having such ultra-high-resolution recordings are slim. Still, it’s nice to know that, whatever music file you feed the iDSD GR 2, you’ve got a near-cast-iron guarantee it can handle it.

Doing said handling is a new Burr-Brown PCM1795 DAC chip sitting at the heart of the circuitry, which is claimed to produce a "warm, analogue character" with "lower distortion and greater dynamic range". That DAC chip is supported by 'K2HD' technology, a harmonic restoration algorithm built to bring recordings closer to their original character by "reintroducing subtle detail" and restoring musical tone.

iFi’s usual parade of digital filters is on hand for tweaking your sound to your own tastes, with four options consisting of ‘Standard’, ‘Bit-Perfect’, ‘Minimum Phase’ and ‘GTO’. Each will impart a slightly different flavour on your tunes – ‘Standard’ makes music crisper and more sharply defined; ‘GTO’ widens the soundstage a little – but for most of our testing, we stick with the smooth, pleasingly fluid balance of ‘Minimum Phase’.

iFi’s complementary ‘XBass’ and ‘XSpace’ analogue processing features have a more perceptible effect. ‘Xbass’ is useful for adding a good deal more lower-end muscle, even if it sacrifices precision and subtlety in the process, while ‘XSpace’ widens out the soundstage for an airier, less ‘on-head’ experience.

Both are fun to play around with – and potentially useful if you’re seeking to make up for a pair of cans with, say, not much oomph in the bass – but we perform the bulk of our testing with them switched off, as this grants the resultant sound a more natural, balanced character.

Away from filters, iFi’s latest DAC offers a hybrid power mode, meaning that the unit will prioritise mains power when connected to an external supply. If extra power is required, the iDSD GR 2 will utilise its internal battery and then switch to the external supply when the demand drops.

While you’ll likely spend a good deal of your time controlling the DAC using its on-unit touch controls, Android users can connect to iFi’s Nexis app. From here, you can access digital filters, fine-tune your listening profile, select your desired input and reap the rewards of any handy over-the-air updates.

It’s not the most stylish control app you’ll ever find, and most of the functionality can be adjusted via the DAC itself, but the Nexis platform is clear and easily navigable. Just be aware that, to get the most out of the app, you’ll need your source device to be connected physically, rather than via Bluetooth. iPhone users can still use the app via Bluetooth, but it’s a far sparser, more limited affair.

Sound

We use a range of premium and high-end wired headphones to test the iDSD GR 2’s capabilities, including not only the Sony MDR-Z1R, but also the budget-friendly Røde NTH-100 (£149 / $149 / AU$249) and premium Austrian Audio The Composer (£2249 / $2699 / AU$3999). We also make sure to test the full range of connections on offer, although we prefer using the punchier, crisper-sounding 4.4mm balanced output over its 3.5mm counterpart when possible.

With the iFi connected via USB-C to our laptop at one end and a pair of the high-end Sony MDR-Z1R connected to the 4.4mm balanced headphone output at the other, we reach for a 24-bit/96kHz rendition of Muse’s Panic Station. The iDSD GR 2 will give any music you play from a laptop a boost, no matter the quality of the files you use, but there’s no question you’ll really notice its full arsenal of capabilities with suitably high-resolution recordings.

Those abilities include impressive sonic clarity wedded to an ear for detail, all painted across a broad, big-picture soundscape. Panic Station is as crisp and funky as John Travolta’s iconic Saturday Night Fever suit, yet the iDSD GR 2 has the poise and restraint to prevent things from sounding sloppy or ill-ordered. Top-end notes are sharp but rarely bright or overdone, whereas low-end bass tones resonate deeply without sacrificing punch or precision.

A 24-bit/48kHz recording of Fleet Foxes’ Wading In Waist High Water further highlights the iFi’s uncluttered, detail-rich presentation. Tremulous vocals shine brightly as the DAC spotlights Robin Pecknold’s featherlight tenor, all while delicate guitar strums and hazy blasts of brass lull us into a relaxed repose.

We can’t stay basking in the glow of blissed-out indie beats forever, and so it’s time to put out the Bat-Signal and recruit the services of Hans Zimmer to see how the iDSD GR 2 can convey the drama and intensity of The Dark Knight Rises soundtrack (24-bit/192kHz).

iFi’s premium DAC has the poise and refinement to keep the many layers of the epic Rise just where they should be, even if we’re left yearning for a touch more dynamic drama as the music builds to its heroic denouement.

This is where the Award-winning Chord Mojo 2 reminds us why it’s one of the best DACs we’ve tested at this kind of level. At £395 / $725 / AU$899, it’s a good deal cheaper than its iFi rival, yet the bite and drama it brings to these big orchestral numbers are beyond anything the iDSD GR 2 can muster.

To see how both DACs perform in a hi-fi separates set-up, we plug each into our reference system. From our network server, we play Michael Jackson’s Burn This Disco Out (in 16-bit/44.1kHz and 24-bit/176.4kHz) via 4.4mm balanced to XLR feeding into our reference Burmester 088 preamplifier, and the subsequent rendition sounds sparkier and more rhythmically capable via the Chord Mojo 2 than it does through the premium iFi.

The Mojo 2 is already a certified legend in its field, and as we switch back to a DSD recording of Aimee Mann’s Lost In Space, we find ourselves continuing to appreciate the GR 2’s strengths rather than bemoaning its relative shortcomings. Mann’s voice is packed full of personality, and the iFi’s loose, relaxed presentation plays into the tune’s hands to create a pleasingly easy-going rendition.

What about Bluetooth? The iDSD GR 2’s wire-free performance is perfectly capable, as evidenced by its sure-footed handling of a 16-bit/44.1kHz rendition of Goose’s Dripfield. But if you want to make the most out of your DAC – and indeed, the premium headphones you’ll be partnering it with – Bluetooth should be seen as a nice bonus rather than a primary means of listening.

Verdict

The iDSD GR 2 is a fine addition to iFi’s considerable stable of DACs. It’s not as entertaining or dynamically expressive as the benchmark-setting Chord Mojo 2, but its clear, detailed sound and extensive feature set, not to mention sturdy build and strong arsenal of physical connections, make it a fine alternative.

Review published: 24th August 2026

SCORES

• Sound 4
• Build 4
• Features 5

MORE:

Read our review of the Chord Mojo 2

Also consider the Cambridge Audio DacMagic 200M

Best DACs: USB, desktop and portable digital-to-analogue converters

FiiO has unveiled a new cassette player, but it's not the one the brand was originally planning to launch. Confused? Let us explain.

As the company explained in a post on X, plans were initially in place to launch the new CP15 cassette player, but this has now been delayed due to challenges with getting the new ultra-thin loading mechanism to work.

Instead, FiiO has switched things around and teased the CP11, another portable cassette player that will fill the gap left by the CP15. FiiO has a history in this category, cashing in on the retro revival with its CM13 cassette player, which we tried out a few years ago, and its portable DM13 CD player.

According to FiiO, the new CP11 will feature "an all-new ultra-thin mechanism" and a "higher-quality magnetic head," along with a brushless motor, an overhauled circuit design, and Bluetooth functionality for beaming your music wirelessly to compatible headphones or earbuds.

Photos revealed on X show at least three available colours – red, beige cream, and a light turquoise blue – though there could be more beyond the provided images.

As for its official release, FiiO has said "the end of 2026", but no specific price or date has been given just yet. When we get further information, we'll be sure to share it with you.

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Japanese high-end audio manufacturer, Esoteric, has launched a new turntable, the T-01, which includes a contactless magnetic drive system for “uncompromising precision, energy, and realism”.

The T-01 turntable costs £41,999 / $50,000 and includes features from the company’s flagship record player, the Grandioso T1, such as a triple-layer aluminium and MDF cabinet construction and 10MHz external clock synchronisation. The turntable’s clock sync is compatible with the G-01XD and G-05 Master Clock, too.

The turntable also features a Magne-Float platter, which uses magnetic repulsion to reduce the effective mass of the platter from 13kg to 4kg, thereby minimising spindle bearing friction.

The patented drive system, which the company calls “Esoteric MagneDrive” was first used in its Grandioso T1 record player. Esoteric says that the system achieves “extraordinary rotational silence, stability and high-torque performance, revealing music with uncompromising precision, energy and realism”.

According to Esoteric, the “MagneDrive” system was more than five years in the making. It sees a soft Iron induction wheel surrounding the lower part of the aluminium platter, which spins in response to the rotation of a magnetic driver mounted on the drive motor. Consequently, there is no direct physical contact between the platter and motor assembly, keeping the platter isolated from the motor's vibrations.

The turntable has rotational speeds of 33⅓ and 45 RPM, and features a +/- 12 per cent speed adjustment option (in 0.1 per cent increments).

The T-01 consists of a main unit and a power supply unit, which Esoteric says will enhance “sound isolation”.

The turntable will be available with or without a tonearm, priced £38,999 / $46,000 without tonearm and £41,999 / $50,000 with the tonearm included.

Shipping begins in September.

MORE

Read our full Esoteric F-01/PS-01F review

Or I’ve just listened to £250,000 worth of turntables and this is what I learned

You can also stay up to date with our pick of the best turntables for all budgets, tested by our expert reviewers

Another week, another chance to flex your hi-fi and home cinema muscles with a quiz on a topic close to all our hearts.

This time it’s turntables, but we’ve gone down the crossword route – all you need to do is use our playful clues to help fill the squares on the board.

Think you’ve got the knowledge required to complete the challenge? Click play and take it for a spin, and the fastest time will sit proudly on top of our leaderboard!

MORE:

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Quiz! Can you remember when these pioneering AV products first came out?

Quiz! How fast can you solve our turntable challenge? Test your wordsearch skills now

R.E.M.’s sophomore album, Reckoning, is about to get a sonic upgrade.

The 1984 American rock classic is set to be released on 180-gram vinyl, with audio sourced from the album’s original master tapes, on 18th September. The reissue comes as the latest addition to Intercope-Capitol Records Definitive Sound Series.

The original co-producers of the album, Mitch Easter and Don Dixon, were personally involved with the release, which was mastered by Grammy-award winning engineer, Chris Bellman.

According to a post shared by R.E.M on Instagram, the involvement of the original engineers “helped ensure that every decision remained faithful to the warmth, dynamics, balance and distinctive character of the original 1984 recording.”

Upon hearing the upgraded masters, Dixon commented that he was “hearing details within the recording that had escaped him on previous vinyl editions”.

When it was released in April, 1984, Reckoning found widespread critical acclaim. One of the album’s songs, So. Central Rain (I’m Sorry), secured R.E.M. their first ever spot in the Billboard Hot 100.

As part of Interscope-Capitol Records’ Definitive Sound Series, the band’s debut EP, Chronic Town, and debut album, Murmur, have also been reissued as limited editions. Both releases have since sold out.

The Definitive Sound Series edition of Reckoning is available to pre-order now and will be limited to 5000 numbered copies – so move fast if you want to hear So. Central Rain like never before.

MORE:

Quiz! Take on our turntable-themed crossword for a spin and see how quickly you can solve the clues

The ultimate music tracks to test your hi-fi system

Rewind to the 1970s with this Pink Floyd, The Dark Side of the Moon, cassette player boxset

Technics paints it black with The Rolling Stones themed wireless earbuds

Powered by its excellent StreamMagic streaming platform, Cambridge Audio has done a fine job with its Evo range of just-add-speakers streaming amplifiers in recent years.

They’ve delivered convenience and quality in pretty much equal measure, which isn’t always a given when you’re asking a single product to perform multiple functions.

The Evo 300 is the brand’s fourth such system and sits above the Evo 150 SE in Cambridge Audio’s current line-up.

The new model boasts double the power of the 150 SE (300W vs 150W), and the company has gone to great lengths to highlight the fact that it is its most powerful streaming amplifier ever.

But this increase in power comes with an increase in price, which not only makes it Cambridge Audio’s most expensive streaming amplifier ever, but also moves the Evo into new territory, and into the sights of new rivals.

Cambridge Audio has cooked up a solid recipe for its streaming systems so far, but does the Evo 300 have the ingredients needed to impress?

Price

The Evo 300 costs £3499 / $3999 / AU$6399, which places it slightly above our current favourite around that price, the Award-winning Arcam SA35. The Arcam costs £2999 / $3300 / AU$6495 and launched back in May 2024. Despite its comparative age, we haven’t seen much in the way of online discounts on the Arcam.

To give you some extra context, the Cambridge Audio Evo 75 and Evo 150 launched in 2021 for £1799 / $2250 / AU$3299 and £2249 / $3000 / AU$4299, respectively, while the current Evo 150 SE arrived in 2025 with a price tag of £1999 / $3299 / AU$5795. As you can see, that’s quite a jump in price to the new model.

Design & build

If you’re familiar with any previous Evo models, you’ll know what to expect from the Evo 300 on the design front. And it’s overwhelmingly positive.

Cambridge Audio has really nailed the design language – the Evo 300 is a good-looking unit, with styling that should look at home in a wide range of listening environments.

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

On the front of the amp is a large 7.8-inch display, which is the biggest Cambridge Audio has used to date. It’s an inch bigger than the screen on the Evo 150 SE, and it really helps the system stand out.

It’s bright, crisp and punchy when it comes to showing album artwork and track information. The way it makes use of that real estate means you shouldn’t have any problems reading it from your sofa.

You have several display options to cycle through, whether you want one packed with track information or simple album artwork – there’s even a VU meter for those wanting something a little different. Whichever you pick, it’s always legible. The fonts used are clean and crisp and the sizes well-judged.

A small strip of control buttons runs down the right side of the screen – these relate to system set-up, playback and power. At the far right of the screen is Cambridge Audio’s trademark volume dial/control wheel combination.

The outer wheel has a knurled pattern running around it, which makes it relatively easy to grip, although some members of the team thought the edge could be a touch wider. As it turns, the Evo 300 responds with a confident click. The volume dial turns smoothly.

Bonus points, too, for the supplied remote. The neat design makes a refreshing change from some of the dull, generic-looking wands we’ve come across at this and even higher levels. The shape and positioning of the buttons make it simple to grip and easy to navigate.

But it's Cambridge Audio’s StreamMagic app which will be your main point of interaction with the Evo 300. And it's as intuitive and impressive as ever.

The way it integrates all the various features of the system with a plethora of streaming services, and presents them all in a way which is satisfying to navigate, means it’s ideal for beginners and more advanced streamers alike.

Features

Besides 300 watts per channel (into 8 ohms) courtesy of Hypex NCOREx power modules, the Evo 300 has a broad range of features at its disposal.

On the rear of the streaming amp are two sets of speaker terminals should you want to power an extra pair in a different room.

Want to add a subwoofer to your hi-fi set-up? An adjustable sub output is included and, using the StreamMagic app, you can control crossover, level and phase to make integration as smooth as possible.

In the Evo’s audio settings, you have a seven-band equaliser to play with, plus a number of EQ presets for shifting the sonic balance.

We’d also suggest you experiment with the product’s room compensation feature, which allows you to tweak the sound to match the “reflectiveness” of your room. Move the slider across the screen to the corresponding image, and you’ll hear the Evo 300 change its tonal balance to suit either a damped room or a minimalist one full of glass and hard surfaces..

Beneath the unit’s aluminium chassis you’ll find a dual-mono layout, a balanced pre-amplifier stage and an ESS Sabre ES9038Q2M DAC which supports up to 32-bit/768kHz PCM and DSD 512 files, plus the likes of ALAC, WAV, FLAC, AIFF, WMA, MP3, AAC and OGG Vorbis.

As has been the case with previous Evo models, Cambridge Audio has been more than generous on the connectivity front. You have a choice between balanced XLR inputs and the standard RCA line-level variety. There are optical and coaxial digital inputs and a USB-Type B socket for connecting external digital sources.

HDMI connectivity is all the rage on products like this, and the Evo 300 duly obliges with an eARC-compatible socket. You also have a moving magnet phono stage for connecting a turntable.

As we’ve mentioned, Cambridge Audio’s excellent StreamMagic platform caters for all your streaming wants, with support for Spotify Connect, Tidal Connect, Amazon Music, Deezer and Qobuz Connect, UPnP and Internet Radio. The amp also supports Bluetooth 5.4 (including aptX HD), AirPlay 2 and is Roon Ready.

Last, but by no means least, anyone after a more private listening experience can plug a pair of headphones into the 6.35mm headphone input on the front of the unit.

Sound

It really is a case of so far, so good for the Cambridge Audio Evo 300.

During testing, we use the streaming amp with our reference ATC SMC50 speakers, the five-star Epos ES14N and multi-Award-winning KEF LS50 Meta to get a feel for the breadth of the Cambridge Audio’s abilities.

And in isolation, the Evo 300 is a confident, capable performer. We start with a blast of Starstruck by Lady Gaga and the Evo 300 dispatches several meaty, solid-sounding bass notes and crisp-sounding claps before it opens up a spacious, welcoming stereo image.

There's real power and weight behind the streaming amp’s delivery – you’re left in no doubt that the Cambridge has big muscles, and it’s not afraid to flex them given half an opportunity.

There’s good depth and height to the image too, with a decent amount of space around her vocal and the electropoppy, synthy highs that prod around at the top of the frequency range.

Similarly, the switch to Jupiter from Holst's The Planets shows the regimented delivery of the Evo 300. The tightly controlled string sections are neatly arranged alongside percussion and wind, and it’s a pleasant, straightforward enough listen with no hidden surprises.

Highs and lows are nicely balanced – the strings don’t exhibit any uncomfortable, harsh edges and low frequencies don’t overplay their hand and remain well controlled at all times even when pushed to antisocial levels.

But there’s something missing. The track lacks energy. The strings lack sparkle. The Orchestra Symphonique de Montreal sounds like it’s slumped in its chairs instead of standing to attention.

Dynamically, the whole ensemble just struggles to connect with us. Yes, it’s a powerful, robust sound, but the Evo 300 struggles to convey the sense of life with each instrument. Instead of sounding energetic and rising and falling as the orchestra stretches itself across the frequency range, it just sounds a little flat and lacks drama.

We unbox the Arcam SA35, the Evo 300’s closest rival (it’s actually £500 cheaper) and try the same track. Immediately there's a different feel.

The Arcam breathes instant life into the music, aided by a wonderfully quiet background which allows more detail to shine through, more texture for your ears to unravel and, most importantly, it turns the song into a proper orchestral performance with feeling.

Switching back to the Lady Gaga track, the Arcam’s dynamism hits you as soon as that first bass note kicks in. Set against a super-quiet background, the track’s energy and drive shine through.

Not only does the SA35 reveal more detail and texture in the bass notes and synthy highs, but the whole presentation is more infectious, encouraging you to tap along in time. It communicates with you much more clearly than the Cambridge Audio; Gaga’s vocal sounds more expressive and emotive.

The Evo 300 struggles to strike up a real connection across its other inputs too. We reach for a pair of Austrian Audio The Composer over-ears and the headphone output mirrors that of the speaker terminals. It’s a solid enough performance, but we are looking for more at this level.

The Cambridge’s moving magnet phono stage isn’t at the same level as the SA35, either – plugged into our reference Technics SL-1000R/Nagaoka MP-200 record deck, the Arcam produces a more balanced and more convincing sound.

Verdict

As a proposition, the Cambridge Audio Evo 300 ticks several boxes. It’s a smart-looking, well-built, feature-packed unit that comes with a streaming platform and control app which many brands could only dream about creating.

It also produces a weighty, powerful sound with a decent amount of detail. However, in our opinion, despite all that power, the sound it produces falls flat.

Music should take you on an emotional journey where you feel it just as much as you can hear it, but the Evo 300's lack of dynamism and expression leaves you feeling distant. By contrast, Arcam SA35 draws you into the music and keeps you there, and it’s quite a bit cheaper, too.

We had big hopes for the Evo 300, but in that search for more power it feels like something has been lost along the way.

Review published: 20th August 2026

SCORES

• Sound 3
• Build 5
• Features 5

MORE:

Also consider the Arcam SA35

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

Quiz! Take on our turntable-themed crossword for a spin and see how quickly you can solve the clues

The fact that What Hi-Fi? is enjoying its 50th anniversary is an uncomplicated reason for celebration, of course, and is deserving of no little admiration too.

Personally, though, I find it a slightly bittersweet occasion – for no other reason than I was the editor of What Hi-Fi? on the occasion of its 40th birthday. I vividly remember the feeling of excitement and, mostly, relief when that good-looking 40th anniversary issue arrived from the printer – and I’m not going to lie, the knowledge that ten years have passed since then makes me feel even older than I usually do.

I joined What Hi-Fi? as a staff writer at the very end of 2003, and I became features editor and then deputy editor; I became editor towards the end of 2012.

Unlike quite a few people who went on to occupy senior editorial roles at What Hi-Fi? I didn’t start out in the stockroom – part of me thinks that’s because the magazine couldn’t wait to get my copy onto its pages, but the bigger part of me knows it’s because I would have been a rotten stockroom manager. Even back then I had no more than two days per week of lifting and fetching and carrying in me before I had to lie down for an extended period of time.

I was editor for just shy of half a dozen years – and so I am more than willing to take an appropriate amount of credit (almost 12 percent of 50 year’s-worth, if my maths is correct) for the fact that What Hi-Fi? flourished during that period, just as it had done before my stewardship and has continued to do since.

The broad editorial template – to offer readers sincere, impartial and expert advice about a wide range of audio/visual electronics, with the emphasis strongly on value for money – had been established long before my tenure, and I know for a fact it hasn’t changed in any fundamental way since.

It’s a demonstrably successful formula, after all, and it will require a personality considerably more iconoclastic than mine to meddle with it.

The decision to add the words ‘Sound and Vision’ beneath ‘What Hi-Fi?’ on the masthead had been taken a fair while before I joined, and during my time as editor I embarked on a long, concerted and determined campaign of ‘going on and on’ in an effort to get it taken off again.

The January 2016 issue was the first to simply carry the What Hi-Fi? branding since 2001. “Everyone knows we cover video equipment as well as audio equipment,” ran my cunningly simplistic argument, “and the What Hi-Fi? brand is plenty strong enough to communicate that fact by itself.”

But there’s no denying that, for the first few years of my editorship, at least, it was around the video products, rather than the audio products, that much of the real innovation was happening.

That’s not to say audio products were standing still, of course. It was during the period I was in charge that wireless, multi-room, voice-controlled and otherwise smart speakers gained something approaching ubiquity.

Although it would have taken quite a feat of imagination to predict the resurgence of compact disc as a viable and popular storage format, the vinyl revival* was in full swing (so much so, in fact, that our friends at Rega supplied a limited edition of just three ‘What Hi-Fi? 1976-2016’ turntables which we gave away to readers as prizes in a 40th-anniversary competition).

(*I solemnly promise, here and now, I will never use the phrase ‘vinyl revival’ ever again.)

And it was towards the end of 2014 that Tidal launched, turning music-streaming services from highly compressed triumphs of convenience over quality into authentically worthwhile sources of high-resolution audio.

But in video equipment, the market was expanding in all directions at once. And not just in the average size of televisions being sold (which rose from around 36 inches in 2012 to 47 inches in 2018 – and currently sits at around 55 inches, despite the fact that no one’s house seems to have got any bigger).

At the end of 2012, Sony launched the very first ‘Ultra HD’ (quickly rebranded as ‘4K’) television for consumers. The 84-inch KD-84X9000 cost $25k, and came with a custom Dell media player loaded with 10 4K movies – handy, given that no native 4K content was available at this point.

By 2013, though, Netflix and YouTube were offering native 4K streaming, and it only took until the end of 2014 for the first 4K Blu-ray players (and the accompanying discs) to be announced.

It wasn’t until the start of 2016 that What Hi-Fi? reviewed the first 4K Blu-ray player a manufacturer was brave enough to submit for testing. It’s safe to say the Panasonic DMP-UB900 (yours for £600 at the time) impressed us – “the future of home cinema, on disc” and “a devastating first blow” were among the accolades in the review. There may even have been an “oh wow!" in there somewhere.

But, of course, What Hi-Fi? is never going to imply that anything is perfect – “sound could be a little more agile” was the one meaningful criticism we could muster.

LG attempted to democratise both 4K and OLED TV technology at CES in 2013 with the announcement of a 55-inch model (its previous OLEDs had been no bigger than 15 inches) that sold for a mere $10,000. Dolby whipped the covers off Dolby Vision HDR in 2014 and by 2015 it was appearing in the mainstream television market.

And in 2017, Samsung – which had spent the previous five years decrying OLED technology as some kind of bourgeois affectation – unveiled its QLED TV technology. Because if there’s one thing the consumer electronics industry loves to do, it’s to throw as many competing formats at the wall as possible in order to establish if any of them will stick.

Of course, the Holy Grail of consumer electronics is ‘convergence’ – or, at least, it is as far as the actual consumers are concerned.

In 2012, Dolby launched Dolby Atmos spatial audio, upgrading 5.1 and 7.1 surround sound with dynamic, object-based, immersive sound. By 2015, the technology was showing up in AV receivers and soundbars (and those receivers and soundbars were being reviewed by What Hi-Fi?) and the more intrepid streaming platforms were fully on board too.

And by the time I vacated the editor’s chair, Dolby Atmos and Dolby Vision were integrated into television and projectors, while spatial audio had taken its place alongside multi-room sound as a ‘must-have’ for music and movie fans alike. The line between the ‘audio’ and ‘home cinema’ markets has only continued to get more blurred.

It’s safe to say I have never been happier – in my professional life, anyway – than when I was working at What Hi-Fi?. I got to listen, and then paid to write about what I’d heard. I went to places I would never have otherwise been.

And most of all, I met some people – colleagues, members of the consumer electronics industry, readers of the magazine and the website – who I am still in touch with nearly a decade later and some of whom mean a great deal to me.

I realise this is a fairly sentimental way of viewing what was, after all, simply a job at a consumer advice magazine. But the fact that What Hi-Fi? has been around for 50 years lets you know that it has never been any ordinary enterprise.

I don’t doubt for a second that someone (probably as-yet unborn) will be writing with great nostalgia and affection about their time at What Hi-Fi? when its 100th anniversary comes around.

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I edited What Hi-Fi? through the era of plasma TV, SACD and the iPod – and an infamous cover catastrophe

It probably won't surprise you to hear that, here at What Hi-Fi?, we are big fans of turntables and records.

They were, of course, a core part of the magazine when we first launched back in 1976, and no one was more delighted than we were when the format experienced a surprise resurrection starting in the late 2000s.

Now, with physical media as a whole at greater risk than ever before, we are highlighting some of the best turntables that have passed through What Hi-Fi?’s test rooms, as well as some of our favourite records to spin.

All of the turntables below have been tried and tested by our expert reviewers, and all have earned at least four stars to earn our coveted recommendation.

We don’t review records, and of course one of the beautiful things about music is that everyone has their individual tastes and preferences. However, we have selected a couple of our go-to testing choices, old favourites and newer discoveries, covering everything from Steely Dan to Billie Eilish.

Take a look, and let us know in the comments if you have any favourite vinyl discs!

If you're a beginner, have a small budget, or both, then the Pro-Ject Primary E is a great choice. It lacks fancy features such as USB ripping, Bluetooth and automatic operation, but if you're looking for a purist design and great quality sound, then the Primary E can be yours for the cost of only a few records.

If you're considering the Primary One E, the Rega Planar 1 Plus is a very similar offering, but with the convenience of a built-in phono stage. This makes for a fuss-free plug-in-and-play setup, but also superb sound with excellent clarity and subtlety.

A 2025 Award winner, the Pro-Ject Debut Evo Pro 2 is our current mid-range pick. It's highly appealing in looks and sound, with voices and midrange in particular presented wonderfully. If you've got the budget, upgrades such as the High Power it 2 fully grounded power supply improve the sound even further.

If you've really got a budget though, you'll want to consider the Technics SL-1300G. Technics is usually known for its DJ decks, but the SL-1300G shows the audio brand can stand toe-to-toe with the hi-fi competition too, thanks to its ease of use, powerful, punchy presentation and solid build.

We first reviewed the Technics SL-1500C back in 2019, but it remains one of the best record players at its price. It's beautifully made, fuss-free in use and offers a defined, insightful and musical sound. An excellent choice at this level, especially if you'd like a built-in phono stage.

If you're after the convenience of a Bluetooth deck, then few are as appealing as the Pro-Ject T1 Evo BT. Easy to set up, a joy to listen to and lovely to look at, the T1 Evo set new standards for Bluetooth turntables at this price.

MORE:

Hands on: Technics SL-1200/SL-1210 MK7 review

I’ve just listened to £250,000 worth of turntables and this is what I learned

Best turntables 2026: top record players tested by our expert reviewers

On 9th April 1988, 17-year-old Alan Shearer became the youngest footballer ever to score a hat-trick in the English top flight, knocking three past Arsenal during his first full start for Southampton. It was the beginning of a record goalscoring career and, first and foremost, a dream debut.

Not every debut can be heralded as such an enormous success in the moment, but the beauty of hindsight certainly can cement them into the history books – as it has done with the hi-fi products you’ll see below.

As we celebrate 50 years of What Hi-Fi? this year, we've been looking back at the iconic hi-fi debuts in the loudspeaker, amplifier and turntable fields, and enjoyed the task so much that we challenged ourselves to curate a definitive 'Best Of' list across categories – the aforementioned three, plus CD players and DACs, to be more precise.

And while we tried to curate a succinct list of some of hi-fi's great classics, after much deliberation, we couldn’t get it down below 33 products without compromising a good night’s sleep. (Trust us, we – especially the author of this piece – tried.)

For some of us, this exercise has been a nostalgic walk down memory lane; for others, an excuse to learn more about our industry’s earliest successes and, in many cases, their lasting impact. So let’s dive in with decks first...

6 debut turntables

Thorens TD 124 (1956)

Founded 140 years ago by Hermann Thorens in Sainte-Croix Vaud, Switzerland, Thorens produced its first full turntable effort following years of design and engineering in the fields of gramophones, Edison-style phonograpsh, radio receivers and music cabinets (some of which featured built-in record players called ‘discophones’).

The TD124 was an instant runaway success and helped lead the German brand to become one of the most revered manufacturers of record players in the '50s and '60s, earning itself legendary status on the way. So legendary that the now-revived Thorens brand chose to commemorate its 140th birthday by releasing a special anniversary edition of the most recent version of the deck, the TD 124 DD.

Acoustic Research AR XA (1961)

The AR XA was designed by one of our greats, Acoustic Research founder Edgar Villchur, who, after inventing the acoustic suspension loudspeaker, the AR-1, in 1954, went about making as big of a splash in the record player market. The goal: to minimise the relative motion between the platter and tonearm and isolate them from external vibrations and acoustic feedback.

Rather than those components and the motor being attached to the turntable’s top plate, as was customary at the time, the AR XA mounted the tonearm and platter to a sub-chassis beneath it, suspended at three points by springs at equal load points. Villchur liked to demonstrate its effectiveness by hitting the AR XA’s wooden base with a mallet while the record played on uninterrupted.

The deck also used a low-speed, low-powered motor. These solutions were, Acoustic Research admitted, based on ideas by telecoms manufacturer Stromberg-Carlson and others, but Acoustic Research presented it in a package that was immensely good value – so much so that the initial price of $58 had to be raised over subsequent years.

Technics SP10 (1970)

The direct-drive design was invented in 1969 by none other than the Technics brand – specifically, Shuichi Obata, an engineer at Matsushita (now Panasonic, who owns Technics), based in Osaka, and made its debut in the classic Technics SP-10 turntable.

Unlike the idler wheel and belt designs that were around at the time, the platter sat on top of a drive motor that spun at 33 1/3 or 45 RPM – no belts, no wheels, just a hefty production cost. Oh, and a phenomenal sound. The SP-10 was an award-winning deck used by broadcasters around the world, including the BBC.

Anyone familiar with the Technics brand knows that the legendary SP-10 of course spurred generations of the design’s evolution, refining it to reduce vibrations and improve rotational stability and signal-to-noise ratio, the current culmination of which includes the S-1200GR line and the SL-1300G.

Rega Planet (1973)

When Rega owner Roy Gandy was working at Ford Motor Company, training to be an engineer, he was also making and selling speakers in his spare time. Customers would ask him for turntable recommendations to pair them with, but he wasn’t convinced by the quality of those available at the time and so decided to design his own – the Planet.

Gandy once told us that the Planet, with its three-spoke, steel and aluminium platter and Acos Lustre tonearm, ”sold because it looked different, rather than on sound quality”. He worked hard to reduce motor noise, and then, realising that the platter’s three metal discs didn't support the record well enough, ended up switching to a glass platter, which Rega still uses today in turnables such as the iconic Planar 3.

• A hi-fi classic: meet Rega's first-ever record player, the Planet

Linn LP12 (1973)

This initially unassuming belt-driven turntable may have had an initially slow rise to fame, but by the ‘80s it had become the dominant premium record player in the UK market, and today it’s considered the country’s most popular high-end deck of all time, not to mention one of the most capable ever made in any country.

Its current form, while recognisable, has had as many changes over the original as Only Fools and Horses’ Trigger’s beloved road-sweeping broom with 17 new heads and 14 new handles – changes that have kept it at the forefront of turntable performance.

Pro-Ject 1 (1991)

The original Pro-Ject 1 laid the foundations for what has been a virtually unblemished record of success for not only the ongoing line but the Austrian company’s record player output on the whole. It was essentially a modified version of the Tesla NC-500, which was originally made as an affordable turntable for distribution across Central and Eastern Europe, and its success gave then-audio-shop-owner Heinz Lichtenegger the green light to buy the Tesla factory that was closing down, hire 50 staff and begin producing turntables under the Pro-Ject name. Fast forward to today and the brand is still there – as are some of the original Tesla machines.

“It was pretty ugly,” Lichtenegger told Stereo Life magazine, “but in terms of mechanics and sound it was really worth the price.” Indeed that second sentiment could describe any number of Pro-Ject turntables since.

• See our longer list of 13 debut decks from iconic turntable brands
• Want something current? These are the best turntables we recommend

3 debut CD players

Sony CDP-101 (1982)

By Autumn 1982, the CD momentum had been building for a while, but it was on October 1st that Sony launched its first player, along with the first album available on the new format – Billy Joel's 52nd Street. While early versions of CD players Sony had demonstrated loaded the disc vertically, allowing people to see the action through a transparent front, the released CDP-101 sported the horizontal tray-loading style that of course went on to be the more popular one.

As we noted in a 40th-anniversary ode to the disc, Sony could relay all 16 bits of a CD’s audio signal, achieving this ‘by using a single-channel DAC which alternated between left and right channels. The player did not incorporate a hold-circuit which would have allowed a slight delay in the first-decoded channel so they could be output in sync. Some make much of this.

But that particular criticism was simply silly. The delay of one channel compared to the other could be fixed just by moving the speaker carrying the delayed sound closer to you. How much closer? Well, the delay was precisely 11.3 microseconds. Which means 7.7 millimetres.’

Philips CD100 (1982)

It’s hardly surprising that the two companies behind the compact disc format were the first to release CD players. While Sony’s CDP-101 had a front drawer disc tray and 16-bit DAC, Philips’ CD100 was a top-loader that only used a 14-bit DAC.

So what about those last two bits of a CD’s audio signal? Well, that particular gap was bridged with a process called 'oversampling', where three extra samples of the signal were created and then fed into the DAC at four times the original rate, matching the resolution of 16-bit in the process. Clever.

Though that theoretically increased noise levels, the CD100 tended to be the critically better-rated performer, with a naturally smooth sonic character and first-rate error correction, and while many subsequent players adopted Sony’s 16-bit DAC approach, the first players by Meridian and Marantz in the mid-80s, the MCD and CD-63 respectively, followed the CD100’s oversampled 14-bit DAC cues.

• We look back at the very first CD players tested by What Hi-Fi? and the advent of this innovative digital format

Cambridge Audio CD1 (1986)

Cambridge Audio's first player cost a fortune when it launched in 1986 for £1500 (over £5000 / $6000 / AU$9000 in today's money), which was two to three times most others. But you couldn’t argue you weren’t getting your boxes’ worth. The CD1 comprised two – the upper one housed the disc tray and power supply while the bottom housed the DAC.

Like the Philips, it too went down the oversampling 14-bit DAC method, though, keeping with the theme of quantity, incorporated three of them – two worked to nail speed and accuracy, the third took care of error correction.

Playback filters were yet another novelty of the CD1, which had nine options that covered the various pre-conversion filters that studios were using at the time in the absence of any standardisation for digitising analogue master tapes to CD.

4 debut DACs

Arcam Delta Black Box (1987)

A&R Cambridge had been going for almost 20 years before it decided to reinvent itself and change its name to Arcam, and the Delta Black Box DAC was one of the early and most instrumental products to define that transformation.

It was the company’s first of its kind, and really one of very, very few of its kind around at the time – not surprising considering it was a DAC/processor designed to make domestic CD players (with S/PDIF outputs) sound better and arrived just a few years after such players began hitting the market. Sony and Marantz had outboard DACs for their higher-end players, but the Arcam was roughly three times more affordable, retailing at £249.

Co-founder John Dawson said that lots were sold as add-ons to mid-priced players, with sales figures of it and the closely related, Toslink optical input-toting Black Box 2 (1989) exceeding 10,000 units. Unsurprisingly, it also worked with the company’s own (Delta 70 CDP) CD player, which featured the same chipset, namely the 16-bit famous Philips TDA1641A. The Delta Black Box also took advantage of the Philips SAA7220 oversampling digital filter, complementing that architecture with plenty of independent stabilised power supplies and good analogue circuitry.

Also key to the Black Box design was a custom, Arcam-branded integrated circuit, which was necessary to decode the S/PDIF data stream to I2S as no commercial part was available at the time. Dawson notes that it was a 1000-gate array made by Newmarket Microsystems and cost roughly £10,000 to tool, with each chip costing £11, but that it was the first mover advantage the brand needed – no one else had one for at least a year.

• From college-room creations to British hi-fi icons, Arcam’s John Dawson reflects on 50 proud years of electronics engineering

Wadia 2000 Decoding Computer (1988)

With the rise of the CD in the mid-80s, it was only a matter of time before more powerful processors and advanced number crunchers would be required to push digital audio down the evolutionary track. That was the thinking of a bunch of engineers from Minnesota who formerly worked at 3M Corporation and shared collective experience in digital telecomms R&D.

In response to their dissatisfaction with the early CD players’ performance, they founded Wadia Digital and launched what was a seminal product in digital audio’s history – the Wadia 2000 Decoding Computer.

As described by Arnis Balgalvis for Stereophile shortly after the DAC’s release, the 2000 was “a sonic knockout… a development significant enough to reevaluate the status of the Compact Disc medium… for once we can be rid of the perennial qualifier: "It's good...for digital."” The result of years of R&D, it was the first decoder to resample at a 64x rate – much higher than anything else at the time – through the implementation of four AT&T DSP chips (which were replaced by Motorola ones some years later).

Wadia has many claims to fame, from producing the first outboard DAC and introducing glass fibre optics to home audio, to producing some of the most sophisticated CD players ever (like the 581ISE), but for its impact on the digital audio world at that time, the 2000 could well be considered its crowning achievement.

dCS 950 DAC (1993)

dCS’s journey began in 1987 when Oxford University graduate Mike Story and a team of engineers established themselves as an electronics consultancy to companies such as Ferranti, Marconi Avionics and British Aerospace, leading to collaborations with the Ministry of Defence and then, thanks to Story being somewhat of an audiophile, digital audio design.

The 900 ADC (analogue–to-digital converter) was the first fruit of that particular labour and the first to use the dCS Ring circuit technology that, evolutions on of course, still lies at the core of dCS designs today. The breakthrough 24-bit design was a hit with professional engineers, including Bob Ludwig, inspiring dCS to launch the 950, the world’s first 24-bit DAC, four years later.

Another hit in the professional market and the inspiration to create the company’s first consumer DAC for home use, the Elgar.

Chord DAC64 (2002)

A good 13 years after Wadia’s first DAC turned up at the Consumer Electronics Show, so did Chord Electronics’. The DAC64 was the first offspring of many from the ongoing collaboration between Chord founder John Franks and audio engineer Rob Watts, and the first to use the FPGA (Field Programmable Gate Array) design which, covering everything from conversion to filtering, has been the beating heart of every Chord DAC since.

The DAC used 64-bit filter and DAC architecture (hence its name) and a crucial part of the design was the Watts Transient Aligned filter (WTA) filter, based on the theory that the timing of transients is better captured by high sample rates and the benefits are audibly discernible.

Speaking of the move to FPGA, Watts told What Hi-Fi?: “It was all about ultimate performance and pushing the boundaries of what was possible. I knew from the work that I had done (notably on the Deltec PDM1024 DAC) that there were serious problems within existing DACs and the only way of addressing these issues was by creating my own design using FPGA technology.” The rest, as they say, is history.

11 debut amplifiers

McIntosh 50W-1 (1949) 

In 1946, Frank McIntosh, a design consultant for broadcast and TV stations, hired Gordon Gow to help him design a high-power, low-distortion amplifier for his clients – something he didn’t believe was already on the market. This amplifier would be – you guessed it – the 50W-1.

The mono tube design utilised a pair of 6L6 output tubes and, pretty remarkably and as advertised (McIntosh apparently had a thing about many amps at the time not meeting their specifications), a frequency range of 20Hz to 20kHz at less than one per cent distortion. The 50W-1 was also notable for introducing the company’s first patented circuit, the Unity Coupled, which is still used in its full-size amplifiers and even its top-line valve headphone amp. It

Exactly twenty years later, McIntosh amplifiers would be used to power the ‘69 Woodstock music festival.

Cambridge Audio P40 (1968) 

Cambridge Audio’s first-ever product was also the first amplifier in the world to use a toroidal transformer – a significant innovation at the time and, considering its ubiquity in amplifiers now, an important one. It just happened to be being manufactured by another local company at the time, and was implemented to help handle the heavy load necessary to produce heavier (rock) music.

The P40 was designed by founders Professor Gordon Edge (after whom the 50th anniversary Edge series is named) and fellow engineer Peter Lee, with the slimline case designed by Roy Gray from Woudhuysen Design.

The P40 was an instant success but proved tricky to produce in large quantities and so the P50 was introduced a year later to address that, arriving with more power under the hood and a unique active volume control that was useful for matching a variety of input levels.

Audio Research SP-3 (1972)

While during the 70s the audio industry had all but moved from using vacuum tubes to transistors (due to their smaller size and lower power dissipation), a fella called Bill Johnson was certain there was life in the vacuum tube in the right hands – or indeed circuity.

With 20 years of experience in audio (he had a store in Minneapolis and had designed custom amplifiers for customers), he founded Audio Research and launched the SP-3 preamplifier, which used six 12AX7s and two 12AX7 LN tubes. At the time, Harry Pearson of The Absolute Sound publication said: “I’d be willing to flatly pronounce this preamp the best.” And he wasn’t alone in extolling its virtues, not just in terms of its performance but also its robust build and classic looks.

Audio Research stuck with vacuum tubes (which went on to have a resurgence in the 80s, of course) and 10 years later would produce one of, in our opinion, the most legendary products of all time, the (15-valve) SP-10.

Naim NAP200 (1973)

In his early 20s, Julian Vereker, then a successful racing car driver and self-taught engineer (super-tuned Minis was his speciality), switched from building his own cars to building his own amplifiers and loudspeakers, primarily out of dissatisfaction with the way recordings he made of musician friends sounded. (A pretty a multi-talented guy, eh?) When the 70s rolled around, designs were in place and he won a contract to supply London’s Capital Radio station with audio equipment, the success of which led to Naim Audio being born.

Vereker and his co-founder Shirley Clarke were directors of their shop in Salisbury, UK (where the company’s products are still built five decades on) and their first consumer product for home use was the NAP 200 power amplifier, using a Vereker design from a couple of years previous.

Anyone familiar with the revered British brand will know that the iconic NAP line is still going strong today, with the current NAP 250 model representing everything it has ever stood for: musical, rhythmic, dynamic sound.

A&R Cambridge A60 (1976)

The year it was founded, Amplification & Recording Cambridge (now Arcam) launched a slimline integrated amplifier that went on to become the go-to middle-market amplifier in the 80s and the natural upgrade from your budget champions such as the NAD 3020 and Mission Cyrus One (both below).

Not only did it deliver a sound that was punchy, rhythmic and dynamically expressive, but it also was well equipped with a handful of inputs (one of which was fed by a capable moving-magnet phono stage) and treble, bass and balance controls, as well as being lovely to look at.

All in all, the A60 was a runaway success througout its 12-year shelf life (it was replaced by the Delta 60 in 1988) and certainly laid the foundations on which the British firm built its success.

• That Was Then... A&R Cambridge A60 (1976) vs. Arcam A19 (2013)

Mark Levinson ML-2 (1977)

OK so, admittedly, the ML-2 wasn’t Mark Levinson’s first product, following a few preamplifier designs, but it was its debut power amplifier, produced from 1977 to 1986 – and a bloody good one at that.

Based on the designs of the company’s first designer John Curl and finished by succeeding engineer Tom Colangelo (who was behind subsequent ML designs until Mark Levinson himself left the company to found Cello and took Colangelo with him), it was a 25-watt (into eight ohms) Class A monoblock design that could double its output as impedance halved (50 watts into four ohms, 100 watts into two), contributing to its nice fit with Quad’s electrostatics at the time. Because of that Class A operation and rate, however, this physical beast of an amplifier (30kg heavy with its giant heat sinks and side carry handles) drew 400 watts of power from the AC (!) and could heat a small living room.

Still, this natural partner to the ML-1 (one of those aforementioned preamps) blew the competition away and made up an equally legendary, tri-amplified reference system called the HQD system, featuring six ML-2s powering four Quad electrostatic midranges, two Hartley woofers and two Decca ribbon tweeters, with two LNC-2 electronic crossovers also present.

NAD 3020 (1978)

We don’t think anyone could really argue the NAD (New Acoustic Dimension) brand was established on the success of the original 3020 amplifier. It was born out of the desire by a group (led by American Marty Borish, who had just resigned as President and CEO of Acoustic Research) to offer hi-fi enthusiasts unprecedented value-for-money performance, and the Class A/B design was the brainchild of the founding group’s Björn Erik Edvardsen (known as BEE and a former Dolby Labs engineer).

This unassuming budget amplifier didn’t measure particularly well, nor would its 20 wat-per-channel output have turned many heads, and yet it could drive speakers better than most of its price-matching rivals at the time, setting the standard for sound quality in a category where most still put specification and features first.

It had a balance that was smooth and full-bodied, which worked well with the less-than-refined budget kit of the time, delivering a good, coherent sound. No wonder it went on to become the best-selling integrated amplifier ever.

Krell KSA-100 (1980)

Just before the 80s rolled in, husband and wife duo Dan and Rondi D'Agostino launched Krell out of their garage. It was named after the scientifically advanced alien civilisation from the classic 50s sci-fi film Forbidden Planet (one of Dan’s favourites from childhood) and made its public debut at CES 1980 with just one product – the KSA-100 power amplifier.

Amplifiers are often referred to as powerhouses, and at that time the Krell would’ve epitomised that label – thanks to a deliberately excessive power supply and output stage, the KSA-100 could drive any load, regardless of impedance, delivering 100 watts of Class A power into eight ohms… or 1600 watts into one ohm!

That was a great deal more than the high-end alternatives from the likes of Mark Levinson and Threshold at the time, and pretty groundbreaking. Not only was the arrival of such a capable power amplifier like the KSA-100 (and subsequent models like the legendary KSA50) great news for audiophiles, but it was also great news for manufacturers of high-end loudspeakers. Designers could concentrate on creating speakers safe in the knowledge they didn’t have to worry as much about the load they were putting on amps.

Musical Fidelity The Preamp/Dr. Thomas Power Amplifier (1982)

Many (including us) consider 1985’s A1 one of the most iconic amplifiers of all time, so it’s pretty impressive that it came just three years and three products after Musical Fidelity was founded.

The company's first two products were a matching pair, with the bare-bones-named preamplifier arriving first, reportedly created out of the dissatisfaction that founder Antony Michaelson had with the TVP-1 preamp made under his previous Michaelson & Austin company. It quickly racked up rave reviews (and not just for its illuminated naming on the fascia), and then came the chunky power amplification partner.

Evidently, its designer, Dr. Martin Vincent Thomas, didn't like the idea of falling in line to make The Power Amp, choosing to take matters into his own hands when it came to establishing a moniker for Musical Fidelity's first power amp. The 120 watts-per-channel Dr. Thomas was a great visual and sonic match, surprisingly powerful too.

• That Was Then... Musical Fidelity A1 (1985)

Audiolab 8000A (1983)

The product that started it all for Audiolab, both literally and figuratively. Audiolab was formed in 1983 by Philip Swift and Derek Scotland, and its debut 8000A integrated quickly earned worldwide acclaim for its standout build quality, box-ticking featureset (tone controls: tick, headphone output: tick, phono stage: tick, separate record selector so that you could listen to one source while taping another: tick) and an insightful performance that could drive most price-compatible speakers with ease.

Knocking the A&R Cambridge A60 off its perch, it was responsible for an overall raising of standards so far as British amplifier build quality and design were concerned, and set the standard for midrange amps for years to come.

Cyrus One (1984) 

Cyrus Audio was founded as the electronics offshoot of Mission Loudspeakers (hence the brand’s early name ‘Mission Cyrus’) and its debut products in late 1984 were two half-width integrated amplifiers – the Mission Cyrus One and, with greater power output and a more sophisticated phono stage, the Mission Cyrus Two.

Despite its modest price of £130 (approx £600 / $700 / AU$1000 in today’s money), the One was very much a product for audiophiles – no balance or tone controls, but plenty of analogue inputs and a sound quality that outperformed pricier rivals at the time.

It was highly musical and had a particularly impressive knack for detail retrieval, surfacing low-level information that other amplifiers, to quote our review, "repressed or simply rendered messy". It’s little wonder, then, how these two debuts launched Cyrus into electronics stardom in the mid-80s.

• See our longer list of 9 debut stereo amplifiers from iconic hi-fi brands
• Check our current guide to the best stereo amplifiers you can buy

9 debut speakers

Wharfedale Bronze 2 (1932)

Wharfedale’s first speaker was built in the cellar of music and audio enthusiast Gilbert Briggs' home in a West Yorkshire town called Ilkley in the valley of Wharfe (known as ‘Wharfedale’, hence the company name). The Bronze was purely a drive unit – in those days, such things were considered cutting edge technology and radio enthusiasts would assemble their own cabinets – but a year later it was housed in a wooden cabinet for those who wanted an ‘extension’ speaker, and shortly after came the Nubian cabinet speaker in 1934.

According to a history by Audio Affair, his wife, Doris Edna Briggs, would wind and solder voice-coils for these fledgling Wharfedale loudspeakers, two of which won first (the Bronze) and second place in the local Bradford Radio Society’s annual competition in 1933. Now with a factory in Bradford and production ramping up to 9000 units per year, Wharfedale Wireless Works (as it was called then) was off to a flier.

A decade later, having produced 40,000 transformers for telecomms company Marconi during World War II, the company marked the first of many milestones: the invention of the first two-way loudspeaker. In 1945, the company combined a 30cm bass driver with a 25cm full-range ‘treble’ unit, using a crossover at 1kHz.

Acoustic Research AR-1 (1956)

Acoustic Research was founded in 1952 by inventor Edgar Villchur and his student Henry Kloss. Based on the acoustic suspension principle patented by Villchur in 1956, its first model, the AR-1, sold for $185 (over £1000 in today’s money).

The AR-1's woofer used entrapped air in the speaker’s sealed enclosure to provide a spring for the diaphragm, enabling it to move back and forth - doing the same job as the more conventional mechanical spring.

That was followed shortly afterwards by the AR-2, but in 1958, the AR-3 became Acoustic Research's landmark speaker, borrowing the AR-1's acoustic suspension technology, but bringing onboard a newly designed midrange driver and tweeter.

Quad ESL-57 (1957)

Despite what this list may have you believe, revolutionary speaker technologies don’t come along often, which makes the exploits of Quad (an acronym for 'Quality Unit Amplifier Domestic') founder Peter Walker all the more significant. In 1956, Walker introduced a speaker that used electrostatic technology instead of conventional drivers for the first time ever, waving goodbye to traditional driver cones and cumbersome cabinets and consequently the obstacles they present (such as cabinet colouration).

In their place was a thinly stretched, electrically charged diaphragm between two metal grilles receiving the audio signal from the amplifier As music played, the electrical charge on the grids changed polarity and through the forces of attraction and repulsion made the membrane move, so creating sound.

That speaker would go on to be called the ESL-57 and marked a huge step up over the moving coil designs of that time (particularly in the rendition of vocals), so much so that garnered worldwide popularity and significance, remaining in production for nearly 30 years and spawning several brand-defining ‘ESL’ electrostatic siblings, the latest of which can still be seen on shop (and show) floors – and many ‘Best Of’ hi-fi lists like this one – today.

KEF K1 Slimline (1961)

After five years working for Gilbert Briggs at Wharfedale (before which he was a BBC trained engineer), Raymond Cooke decided to start his own operations under the KEF (Kent Engineering and Foundry) name. He wanted to move away from the conventional drive unit materials that Wharfedale was using at the time (paper) to experiment with the various plastics that were just becoming available.

The founder also had another desire that went against the grain back then: to achieve outstanding sound quality from a slim, living room-friendly enclosure.

While KEF launched the ‘conventionally’ sized, three-way K1 monitors in ready-built and also kit form (a popular concept in the Sixties), with their 35cm-deep, braced and heavily damped enclosures standing tall at just over a metre high, it also launched slimmer versions alongside them, with cabinets just 12cm deep.

They featured the same innovative drivers with synthetic material cones – the B1814 woofer with its flat rectangular diaphragm of aluminium skinned polystyrene, the M64 elliptical midrange unit with a similar diaphragm construction, and the T15 tweeter with its hemispherical Melinex diaphragm.

B&W P1 (1966)

In the mid-60s, John Bowers started hand-assembling speaker systems in the back of the radio and TV shop he ran with Roy Wilkins in Worthing (the two had met serving in the Royal Corps of Signals during World War II.

When only a year later a Miss Knight, a wealthy Worthing resident and former opera singer who had been impressed with Bowers’ speaker advice, left him £10,000 in her will (nearly a quarter of a million in today’s money), he was able to instil his skills into a business he called B&W Electronics Ltd – and the P1 were released.

The cabinet and filter were B&W's own, but the drivers came from EMI and Celestion – this was in the decade before the company started using the bright-yellow Kevlar woven composite. The profits from the highly successful, highly acclaimed P1 allowed Bowers to purchase a Radiometer Oscillator and Pen Recorder, meaning that every subsequent speaker from the P2 that soon followed could have a calibration certificate. Just as importantly, it put Bowers & Wilkins on audio reviewers’ maps as a British brand to follow.

Spendor BC1 (late ’60s)

Spendor was founded by BBC engineer Spencer and his wife Dorothy (hence its name) Hughes and introduced itself to the world with the BC1, a brainchild of Spencer and co-designer Dudley Harwood (later of Harbeth fame), both of whom had designed drivers as part of the British Broadcasting Corporation’s R&D team.

Bextrene was the material of choice for the speaker diaphragms in Spendor’s first pair of speakers (hence the ‘BC’ (Bextrene cone) name), having featured in the BBC’s LS5/5 studio monitors for which Hughes had been the laboratory technician. In fact, the three-way speakers utilised the only commercial 80-inch Bextrene mid-bass driver at that time, paired with a Celestion HF 1300 tweeter (ranging between 3kHz and 13kHz) and a Coles 4001 G supertweeter (above 13kHz). They were fed by a nine-element crossover comprised of film capacitors for frequency and temperature stability, and radio metal cored chokes that allowed for high transients and low resonances.

The BC1 hit the market in the late ‘60s and found their way into broadcast and recording studios before eventually being available to buy for consumers. Some 600 pairs were supposedly in operation at the BBC at one time!

Wilson Audio WAMM (1982)

Wilson Audio Founder Dave Wilson had a pretty ambitious dream to design speakers that could be configured to the room they sat in. After much experimentation, he was adamant that there was a direct correlation between the acoustic centre of the driver and knowing where and when the sound from each of the drivers arrived at his listening position. Align the drivers correctly to the listening position and the result is far more integrated and thus lifelike sound. The first (of many) Wilson Audio speakers to address that was the WAMM (Wilson Audio Modular Monitor).

Each channel comprised two towers: one sub-bass module with woofers operating below 55Hz, and one with twin mid-bass drivers and an electrostatic supertweeter flanked by twin midrange/tweeter modules. The drivers were precisely placed to reduce timing differenced between them to microsends. Central to the design was the electronic crossover and equalizer.

Perhaps unsurprisingly, the WAMM was the most expensive speaker you could buy at that time at $28,000. The model evolved through six versions from 1982 to 1993, and has since been revived, with the Master Chronosonic and Master Subsonic speakers still current in the company's catalogue.

Acoustic Energy AE1 (1987)

With the introduction of the AE1 Loudspeaker in 1987, Acoustic Energy Ltd was officially born. The concept was to create a compact studio monitor (it measured only 30cm tall and 18cm wide – barely larger than a shoebox) that could handle the high volumes and dynamics of larger speakers. And boy, was that concept delivered.

Acoustic Energy lined its cabinet with a concrete/plaster compound to eliminate as much resonance as possible. It developed a new mid/bass driver made of metal (rare at that time), featuring a 10cm cone of spun aluminium which was thicker at the centre than the edges and anodised to create a ‘ceramic sandwich’. And it also used an oversized magnet assembly that allowed the AE1 to accept 200W of power.

Indeed, while on the smaller side for speakers of their time, the premium bookshelf designs certainly could let rip, capable of delivering impressive punch and dynamic reach. Their huge soundstage, accuracy and speed of delivery were superb, too, as were their staggering levels of detail.

The AE1 was refined over several revisions (including an active pair) until 2016, when its SEAS tweeter went out of production, making it one of the longest-running speakers, as well as one of the most influential. The brand recently reimagined this classic speaker with all-new components in the Acoustic Energy AE1 40th Anniversary, retaining all of the magic of the original.

PMC BB5-A (1991)

After a stint as the manager of BBC's Maida Vale studios, Peter Thomas and former BBC engineer Adrian Loader designed the first PMC (Professional Monitor Company) speakers, the BB5-A (which BBC Radio would go on to choose for their new music studio at Maida Vale). They introduced the company’s hallmark Advanced Transmission Line technology, in which drivers were used to improve bass output.

In an interview with What Hi-Fi?, Thomas recalled being introduced to IMF transmission lines by Tom Barron (now PMC’s business development manager) at the Audio Olympia show in London. “You’ve got to hear these, there’s something very special about their sound,” Barron told him. That was, Thomas said, a “lightbulb moment”.

“Whereas the majority of speaker designers used ported or sealed cabinets, we found that a transmission line system for bass loading, if refined, gave a performance that significantly exceeded conventional bass loading principles.”

Thomas says the BB5 could be his favourite PMC speaker: “ that was the first speaker we produced commercially, and it set us on the road of what was to become PMC. Without that, we wouldn’t be where we are today.”

• See our longer list of 22 debut speakers from iconic speaker brands
• Quiz! Can you name the first audio product from these 12 iconic hi-fi brands?

After a long hiatus, Rotel has announced its return to making passive loudspeakers with the Amora 5 standmounts.

Employing a two-way design, the new speakers have been conceived to integrate naturally with Rotel's established roster of hi-fi separates, deploying what their maker describes as "carefully crafted drive units" held within a compact standmount design.

Alongside their wide frequency response, the Amora 5 have been built to deliver "exceptional resolution and accuracy", low distortion, and an "open, three-dimensional stereo image". To do so, each speaker pairs a 25mm silk-dome tweeter with a 16.5cm woven fibre composite mid/bass driver.

The tweeter is fixed using an aluminium surround ring for a rigid, secure mounting, while a geometrically shaped faceplate aims to minimise unwanted sonic diffraction.

The mid/bass unit, meanwhile, uses a rigid aluminium frame to maintain greater mechanical stability and driver alignment, helping to maintain more consistent driver performance.

Integrating the two drivers is a precision-tuned crossover, designed to deliver a balanced frequency response, clear stereo imaging, and a wide, open soundstage.

The Amora 5 are built using a rigid MDF cabinet, employed to help minimise unwanted sonic resonances. Each speaker also employs a rear-mounted reflex port, tuned to extend low-frequency performance while maintaining a more controlled bass signature.

According to Peter Kao, Rotel's Managing Director: “Rotel’s success has always been built on trusted engineering, long-term relationships, and a shared passion for music. With the Amora 5, we extend the Rotel experience through the final stage of the system, giving our global partners and customers a more complete path from source to speaker."

The Rotel Amora 5 are available now, in a choice of black or white finishes, priced at £999 / $999 per pair.

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From Technics’ iconic turntables to JBL’s Classic standmounts – discover five of the best hi-fi product revivals

These are the best bookshelf speakers around

Sometimes, you just can’t let a good thing go.

Whether it’s a great TV series that just refuses to be cancelled – see Futurama, Frasier and Scrubs – or that pop star who desperately clings to relevancy with just one more comeback tour (we’ll let you decide for yourselves whom that could be), it can be hard to step away from the limelight when you know you’ve had a good thing going.

It’s the same with hi-fi. When a brand strikes gold, it’s natural to want to keep on mining that rich vein of ore for ever. And, while there are always new products to make and new areas to explore, sometimes you just can’t help but resurrect, revive and revisit the legends that helped to make your name.

From limited-run anniversary editions to full-scale revivals of beloved classics, these are the hi-fi revivals that proved that lightning can strike at least twice.

The Technics SL-1200 series turntable

Technics’ SL-1200 turntable series is one of the most famous ever made.

Launching in 1972 and then refined in 1979 through the SL-1200MK2, the direct-drive design became a perennial favourite for professional DJs and DIY mixers thanks to its ease of use, hardy construction and faithful sonic reproduction. It also happened to look really cool, and didn’t cost an absolute arm and a leg.

So revered was the SL-1200 series that Technics’ parent company Panasonic just had to bring it back for the 21st-century listener. Technics relaunched two ‘Grand Class’ models in 2026 as part of its revived SL-1200 series, just two years after Technics itself returned as a brand, with What Hi-Fi? travelling to Las Vegas’s CES show to witness the much-anticipated rebirth of an icon.

Externally, Technics didn’t deviate much from the classic SL-1200 design for its 2016 SL-1200G reboot, opting for a three-layered construction with a gleaming brass top and heavyweight aluminium platter mounted above the direct-drive motor.

Back was the vertical pitch control, sleek metallic chassis and left-mounted on-off button, all signatures of a company harking back to its impressive hi-fi heritage.

From vinyl collectors to almost every DJ who has ever spun a record, everyone knows about Technics and its iconic SL-1200 decks.

Read our Technics SL-1200g review

JBL L100 Classic loudspeakers

The L100 loudspeakers are as integral to the image and heritage of JBL as the SL-1200 series of turntables is to Technics.

When we visited JBL’s Los Angeles headquarters in early 2026, a pair of the L100A were proudly displayed within their own themed booth as part of the US brand’s 80th anniversary celebration showcase. These are speakers of which JBL is, quite rightly, extremely proud.

When JBL revived them in the shape of the L100 Classic in 2019, the new standmounts were designed specifically to emulate their predecessor’s appearance and size, once again sporting that iconic ‘waffle’ foam grille and boxy aesthetic that had been such a staple of the originals.

Inside, JBL did make significant changes to its revived units, bringing in a 13cm midrange unit coated with a polymer for improved resonance-control, alongside a titanium-dome tweeter for crisper, cleaner highs. Titanium tweeters weren’t so much of a thing back in the 1970s.

The original L100 speakers had been born entertainers – the famous Maxell ad of the time showed a man nearly being blown away by his pair – a spirit which was fully revived with the powerful, full-scale approach of the reborn Classics.

Five stars, and plenty of envious glances, soon followed.

Read our JBL L100 Classic review

Musical Fidelity A1 amplifier

The A1 was not Musical Fidelity’s first amplifier, but it was the one that really helped the company establish its reputation.

When the A1 launched in 1985, it cost an enviably modest £189, putting it in direct competition with the Cyrus Two amplifier and, as you’ll see below, the iconic Nait 1. The A1 distinguished itself from its competitors, however, via its Class A-biased circuit, designed by the legendary engineer Tim de Paravicini, alongside its wide, distinctive casework.

At the time, not much else looked like the A1, and not much sounded like it, either. Musical Fidelity truly harnessed the power of Class A amplification with its trailblazing amp, resulting in a sound that suffered from minimal distortion and left most of its competitors struggling to keep up.

When Musical Fidelity brought the A1 back in 2023, Class A amplification was a must. Like its 1980s namesake, the newer A1 also runs very hot, but as we wrote in our review, it does a fine job in echoing the spirit of the original “by sounding wonderfully expressive and fluid in a way that eludes most modern alternatives”.

Musical Fidelity also resurrected that iconic casework for the new iteration, resulting in a modern amplifier that does its utmost to capture the look and sound of an icon. It needs care with partnering, and features are somewhat thin on the ground, but the revived A1 gives you a taste of classic hi-fi combined with the reliability of a new product.

Read our Musical Fidelity A1 review

Naim Nait 50 integrated amplifier

The original Naim NAIT (later called the Nait 1) is a legend in its own right.

Launched in 1983, the Nait was seen as something of an oddity when it landed, sporting a relatively modest power rating and marking itself out as Naim’s first-ever integrated stereo amplifier. This, then, was the first time that the British brand had combined power and preamplification into a single unit.

Naim celebrated its 50th anniversary in 2023 and, to mark the occasion, gave the world the revised, limited-edition Nait 50 to pay homage to 1983’s original Nait 1. While some brands seek to reinvent or repackage a product for general release, the Nait 50 was limited to just 1973 units, each priced at a not-inconsiderable sum of £2699.

As a celebratory product designed to honour a legend, the Nait 50 shares many of the quirks of the original, and while it’s not perfect, its hugely entertaining, somewhat flavoured sound captures the deeply musical spirit of the Nait 1.

We had the pleasure of getting one of the Nait 50 amps into our test rooms a little after Naim announced its release, so if you’re interested in really digging into the nitty-gritty of the revised Nait 50, we strongly recommend giving our in-depth hands-on a read.

Read our Naim Nait 50 hands-on review

Wharfedale Linton Heritage speakers

The Linton were a big deal for Wharfedale. Making their debut in 1965, the three-way standmount speakers continued to run for several iterations throughout the 1970s, helping to establish Wharfedale’s reputation for quality sound wrapped up in an equally dependable package.

The original Lintons were 25-30cm across, depending on the specific model you picked, producing a big, open sound from their large front baffle and the sizeable drivers that could be held within the cabinet.

When you think of standmounts these days, you will probably be thinking of more compact specimens that could perhaps perch on your desktop or nestle into a bookshelf, but the Lintons were full-blooded standmounts with real presence.

The revised Heritage version continue to honour that legacy. Launched in celebration of Wharfedale’s 80th birthday, they followed the overall design language and general template of their progenitors, albeit with larger cabinets, bigger drive units and upgraded components.

The result was worthy of any 80th birthday celebration. As we wrote in our review: “We get a brilliant sense of scale and space from the Lintons. We play John Williams’s The Raiders March – the main theme from the Indiana Jones films – and get a thrilling sense of these speakers’ dynamics.”

They won’t be for everyone, but as we enthused at the time, 2020’s updated Linton are “the best of old hi-fi combined with the best of the new”. A revival done right.

Read our Wharfedale Linton Heritage review

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Technics is celebrating 55 years since the launch of its iconic SL-1200 turntable with a new limited-edition model, the SL-1200 55th Anniversary Edition.

According to Technics, “The model pays tribute to a turntable lineage that has helped define DJ culture.”

Limited to 12,000 units globally, this anniversary turntable will see the conventional SL-1200 design adorned with gold coloured details, including a gold anodised S-shaped aluminium tonearm, a gold-finished tonearm base, a platter with a gold-coloured rim and strobe marks, gold knobs and buttons, and a specially designed gold-themed slip mat.

Each turntable will also feature an individually engraved anniversary badge with its serial number, highlighting the commemorative quality of the release.

The SL-1200 55th Anniversary Edition’s design is based on the standard SL-1200 MK7 DJ turntable, and includes a digitally controlled, single-rotor direct drive, a vertical pitch fader with a range of up to 16 per cent, an adjustable height tonearm, as well as a Reverse Play mode.

Originally released in 1972, the SL-1200 was developed, says Technics, as a “high-performance direct-drive turntable for demanding music lovers”. But the SL-1200 soon found favour among DJs for its reliability beyond the living room, thanks to features such as its die-cast aluminium cabinet, high-torque motor, stable rotation and quick start-up.

The Technics SL-1200 55th Anniversary Edition is planned for global release in September 2026 and will be available in seven colours: gold, blue, red, black, green, white or grey.

The price of this limited-edition model hasn’t yet been confirmed, with Technics saying it will be shared closer to launch.

MORE

Hands on: Technics SL-1200/SL-1210 MK7 review

I’ve just listened to £250,000 worth of turntables and this is what I learned

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Pro-Ject has given Bluetooth powers to its entry-level E1.2 turntable, alongside a new iteration which features a built-in phono stage.

The Bluetooth-capable E1.2BT and phono-sporting E1.2 Phono ape the general design and configuration of the standard E1.2 model, focusing on budget-friendly performance and convenience bolstered by Bluetooth 5.4 streaming or a phono preamplifier, respectively.

The E1.2 BT turntable features a built-in Bluetooth transmitter with hi-res aptX HD codec support, meaning you can wirelessly stream vinyl playback wirelessly to speakers, headphones, or even compatible amplifiers if you so choose.

The Phono edition, conversely, incorporates what Pro-Ject describes as a “high-quality phono preamp for superior signal processing and noticeably improved sound performance”, boasting advanced circuitry designed to reduce noise and distortion while preserving the detail and natural character of your vinyl.

The E1.2 BT and E1.2 Phono share the same heavy die-cast aluminium main platter as their standard E1.2 counterpart, creating what Pro-Ject describes as an “ideal, anti-resonant platform”. In pursuit of more stable playback, the platter has been precision-balanced to grant a more even rotation and improve acoustic performance.

Each new turntable comes equipped with a Pick It MM E phono cartridge, which uses a conical diamond tip to deliver “warm and smooth audio” with low background noise.

The cartridge is attached to a pre-calibrated 8.6-inch aluminium tonearm with a carbon-reinforced headshell and a heavy-mass gimbal bearing for smooth movement during operation.

Both belt-driven players feature electronic speed-switching for 33⅓ and 45rpm via a single button, with Pro-Ject again aiming for a pair of entry-level decks that prioritise ease of use as much as sonic performance.

The Pro-Ject E1.2 BT is available now, priced at £399 / €399 in the ‘standard’ High Gloss Black or Walnut finishes. The five 'Colour' finishes, which include Satin White and a rather sunny Satin Golden Yellow option, will bump that price up to £449 / €449.

The E1.2 Phono is available now in High Gloss Black, Satin White and Walnut colourways, priced at £319 / €359.

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Read our Pro-Ject Primary E review

Five mistakes to avoid when setting up your record player

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When you buy a piece of vinyl, you can be certain of a couple of things. First, it's going to sound better than the version available on streaming. And second, it's yours forever, and won't be taken away from you due to a change in licensing agreements.

But if you assumed your 12-inch would contain all the same tracks – with all the same elements – as the streaming version, then we have bad news for you.

Because recently, vinyl albums have been dropping with glaring omissions, including elements of tracks missing, unfinished mixes, and even entire songs absent. Meaning that the lower-quality version you'll get via streaming services is actually superior in some respects.

Understandably, fans are pretty miffed. And the record labels could be doing a lot more to prevent these mistakes from happening, or at least to communicate to fans that the version they're buying is going to be different.

Should do better

The Guardian recently documented cases of this happening, and it's all mainstream artists from big labels who really should do better: Raye, Charli xcx, Olivia Rodrigo, The Weeknd. It's not just a recent phenomenon: the first vinyl pressings of Beyonce's 2024 album Cowboy Carter were missing five tracks that appeared in its digital incarnation, while other albums (like Lil Wayne's Tha Carter VI) were released in much shorter vinyl versions than on digital.

Why is this happening? It's not just ineptitude on the part of the labels, though that does play a part. Vinyl pressing plants need information like artwork and audio masters from the labels weeks ahead of the album's release date in order to guarantee the place in the queue. The Guardian piece quotes six to eight weeks, but an industry source tells us lead times of eight to 10 weeks are more common at the moment.

That means any last-minute changes – or even entirely new mixes created during those weeks – will miss the cut-off.

Streaming services, by contrast, only need around five days to upload digital files for the audio, artwork and promotional materials.

Another reason is cost. Deluxe double- and even triple-albums cost a lot to release on vinyl, not only because they involve more 12-inch records, but also due to the premium packaging. Though you would think the higher asking price would cover that.

Be careful what you buy

Now obviously it's down to the artists and labels to hit their deadlines, and to make sure they're happy with the finished product before sending it off. Admittedly that can be trickier when it comes to collaborations, as it involves aligning the diaries of lots of very busy people (filmmaker David Cronenberg's contribution to Charlie xcx's album Music, Fashion, Film was one of the most egregious omissions from a vinyl version in recent memory). But that's no excuse.

And if there are omissions from the vinyl album, fans deserve to know about them before shelling out their hard-earned. Vinyl isn't cheap. A new LP costs around £30. To then find out that you're not even getting the finished article is pretty galling, to say the least.

So what's to be done?

Until record labels become more honest and open about any differences between the physical media and digital versions, not much. You can hold off buying an album on release day and wait to see what other fans report, but that's not ideal. Instead, we would petition your favourite artists and labels to make clear any discrepancies so us punters can make an informed purchasing decision. £30 is a lot to spend on an album only to find out that the 'full' version is free on Spotify at a crappy bitrate.

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The rise of China’s hi-fi industry has been meteoric over the last decade or so. The likes of WiiM and Eversolo are now firmly part of the hi-fi mainstream thanks to their aggressively priced but technically accomplished products. It wouldn’t be a surprise to find Topping Audio joining them in short order.

Topping Audio is based in Guangzhou and was founded in 2008, so it is hardly a start-up. Take a look at the company’s website, and you will find that it makes a bewildering range of hi-fi electronics. We counted more than 20 models of digital-to-analogue converters alone, alongside an extensive range of amplifiers, be they headphone, integrated, pre or power.

The Topping Audio D900 on test here represents the pinnacle of the brand’s DAC technology. Along with its junior sibling, the D90MKIII, this converter uses a proprietary, discrete 1-bit DAC design called PSRM (Precision Stream Reconstruction Matrix).

This works by converting the original digital audio stream into a sequence of 1-bit pulses. The density of these pulses, whether weighted towards 0 or 1, represents the waveform level. In contrast, other models in the company’s range employ standard off-the-shelf DAC chip solutions, as does much of the competition.

Features

The D900’s digital design is fully balanced, with 32 discrete high-speed switching voltage references for each channel. The cheaper D90MKIII makes do with half that amount. In principle, PSRM reminds us of the high-end Ring DAC technology developed by dCS.

Given that this Topping DAC sells for a fraction of the price of one of dCS’s converters, the use of such a design is impressive.

File compatibility is excellent, with the D900 happy to accommodate hi-res PCM datastreams up to 32-bit/768kHz and DSD512. We can’t imagine this DAC falling short of anyone’s requirements, at least not for the foreseeable future.

The D900 is well-equipped. It has a wide range of connectivity, including two coaxial, two optical and USB in both Type B and C varieties. The D900 also has AES/EBU and I2S digital inputs, which may prove useful for some. Bluetooth 5.1 is included and is compatible with high-quality LDAC and aptX HD codecs.

On the output side, Topping has gone all in with balanced XLR connections for both its variable and fixed outputs. Those whose systems lack balanced connectivity will have to use appropriate adaptors. Such adaptors aren’t particularly hard to source, but it is still a shame that Topping didn’t find a way to include a pair of standard RCA connectors on the back panel.

Build

This DAC is nicely made and reassuringly solid. We have no complaints about the fit or finish of the metal casework. The multi-function rotary dial on the front feels positive and precise, while the 2in display is crisp, but on the small side for reading at any significant distance.

It is good for adding visual excitement to the front of the DAC, though, and can be made to show an analogue VU meter or frequency spectrum bar graph. The display also makes it easier to work through the set-up menus and the built-in equaliser function. There are numerous parametric equaliser settings, but in our system at least, none is quite as satisfying as the default neutral option.

Take a look inside the D900, and it’s clear that the engineers have taken a great deal of care with the circuit layout and appearance.

Our digital sources for the Topping are Naim’s ND555/ 555 PS DR music streamer, a Cyrus CDi CD player and a MacBook Pro running Audirvana music-playing software and loaded with plenty of hi-res files.

The rest of our reference system is Burmester’s 088/911 MKIII pre/power driving a pair of ATC SCM50 speakers. We also use a PMC Cor integrated and Epos ES-14N combination to hear how the Topping performs in a more price-appropriate set-up.

Our DAC comparisons are Chord’s Qutest (£1249 / £1795 / $2400) and Hugo 2 (£1795 / $2595 / AU$3800) along with recent experience of the Rotel DX-3 (£1399 /$1699 / AU$2199).

Sound

Does the D900’s clever DAC circuitry give it any advantage over those that use more conventional off-the-shelf chip solutions? In truth, we can’t be sure. It is impossible to separate the contribution of the conversion technology from everything else inside. Analogue output stages, power supplies, component quality and signal paths all have a huge impact on the final result.

What we can say is that the D900 sounds unusually talented in some regards.

Regardless of input, with the exception of Bluetooth, of course, the Topping D900 resolves an impressive amount of detail. Give it a complex recording such as Mahler’s 4th Symphony, and it delivers a sound full of texture and subtlety.

We love the sense of space this DAC imparts, even when the music becomes dense, and the delicate way it renders low-level dynamic shifts.

The music comes through with an appealing fluidity that puts us in mind of a good analogue source rather than the usual digital stereotypes. The D900 sounds neutral and unforced; qualities that may not impress on a short demo at a dealer, but we think hold plenty of appeal in the long run.

This Topping DAC is flexible in its approach to music replay. Its insight allows us to dig deep into the fabric of the recordings if we want to; alternatively, we can just sit back and relax, letting the music’s emotional impact wash over us. The D900’s ability to resolve plenty of detail without sounding overly analytical is unusual and welcome.

Stereo imaging is expansive and airy, the Topping layering the soundstage convincingly while delivering a fine sense of scale. There is a good degree of stability too, so that the D900’s focus doesn’t waver as the music becomes more demanding.

Tonally, it is as neutral as they come, with no part of the frequency range dominating. Highs are smooth yet don’t lack in bite while the midrange is as clear and articulate as you like. Bass could be better, though. It digs deep but doesn’t have the tautness or muscularity of rivals.

As we try more upbeat music such as Raye’s Click Clack Symphony, Chicago by Michael Jackson and Zion by Soul II Soul, we can’t help but want a bit more energy and drive in the presentation, too.

This Topping sounds restrained and slightly lacking in authority compared to either of the two Chord DACs. We miss their sense of musical cohesion and ability to deliver dynamic contrasts with conviction.

That said, we are still able to enjoy the D900’s clarity and finesse, particularly through the midrange and upwards.

Verdict

There is no denying that the Topping D900 is a talented DAC. Its detail resolution and fluid delivery are right up there with the best at the price, as is its file compatibility and build quality.

While we think this Topping falls short of being a complete all-rounder, it remains a viable and appealing alternative to the established benchmarks.

Review published: 14th August 2026

SCORES

• Sound 4
• Build 5
• Features 5

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Best DACs: USB, desktop and portable digital-to-analogue converters

Quiz! How fast can you solve our turntable challenge? Test your wordsearch skills now

Marantz's newest CD player, the CD 70, continues the brand's long-held reputation of making entry-level disc spinners that hit the mark, with a performance brimming with insight, power and clarity, and a solid build quality that's easy to use.

But this CD 70 also marks the end of an era. With a new model name, a new design language and a hike in price, the CD 70 heralds the end of the celebrated Marantz CD6000 series, and a new beginning for what ‘entry level’ hi-fi means in 2026.

The CD 70 replaces the Award-winning Marantz CD6007 – a player that launched in 2020 and has been our entry-level recommendation ever since, for its hugely entertaining, cohesive and detailed sound, good spread of features, and superb build quality for its £349-£399 price.

The CD6007 follows in the footsteps of a long line of five-star, Award-winning CD players – it's a lineage that runs through two decades, and we've tested nearly every single model. The CD6006 (and its UK Edition), CD6005, CD6004, CD6003 – put these successive models all next to each other and you might have to squint to find the differences.

The Marantz entry-level CD player has had the same design language ever since the CD6003 launched for £300 in 2009, with a sturdy front panel showing symmetrical buttons flanking the disc tray and display in the middle, and distinctive curved sides.

This design was derived from Marantz’s more expensive hi-fi separates at the time (such as the Reference SA-10 SACD player), and not only meant a very recognisable profile across all Marantz models regardless of price, but also that that these budget Marantz CD players looked and felt far more premium than their asking price and rivals.

That same style and format carried on over the next decade across five models, with each iteration tweaking and refining the sonic formula to be that bit cleaner, more detailed, more dynamic, more open and more cohesive. The build and finish remained reassuringly solid with little changes (CD6005 has "shinier buttons", we noted in our review), with the price staying in the £300-£400 range.

The earlier models remained between £300-£350, and it wasn't until the CD6006 launched in 2016 that we noted the first "meaningful" rise in price to £400.

"A fantastic player and immense value for money. Its predecessor was already a winner, and this has topped it"

Such was Marantz's success in the CD player category in the ’80s and ’90s that its more premium "two-digits" models – the CD-63, -65 and -67 – were released in a yearly cycle. For the CD6000 series, it adopted a two-year cycle – a regularity that feels rather alien in today's hi-fi landscape.

When we spoke to legendary Marantz engineer Ken Ishiwata in August 2011 ahead of the CD6003 being replaced, he said, "We've switched to a two-year replacement cycle in stereo products such as these. However, while we might have been able to extend the CD6003 and PM6003 for another year, our competitors are trying very hard to catch up, so we have to make sure our leading position will be maintained."

Most of the times, the differences between the generations have been minor – changes to the circuitry and power supply layout, new DSP decoder, improved headphone amplifier – but every few generations, there is a greater step change, such as a new CD transport mechanism or new DAC chips.

Of all the features, it's the USB port on the CD6000 series that has seen the greatest evolution.

In the CD6003, it could play MP3 files and charge your phone, but when the CD6004 came around, it was a challenge to charge the larger and more power-hungry iPads that were becoming popular – this was “a tough nut to crack”, admitted Ishiwata during our interview. We noted it was done “properly” in the CD6005 review, and you could also play WAV files up to 24-bit/48kHz.

With the launch of the CD6007, you could play hi-res files up to 24-bit/192kHz and DSD for the first time through the USB port.

"Fresh young challenger"

But the CD6003 wasn’t the first of its family to receive acclaim. The CD6002 launched for £270 in 2007 and won back-to-back What Hi-Fi? Awards, and we noted that while previous Marantz players had always sounded pleasingly rich and detailed, this was the first to really shine when it came to dynamics and punch.

Let's go back even further to 1999, which is when the CD6000 series was first launched. We tested the updated CD6000 OSE in the September 1999 magazine to five-star success. It cost £300. The CD6002 and 6000 OSE look distinctly different from the CD6003-6007 run of models, with the disc tray and display on the left hand side and the buttons on the right.

Even the 6000 OSE looks remarkable different from the even more ’90s-retro design it replaced: the CD 67 MkII SE. In the review of the CD6000 OSE, we said this “fresh young challenger” took its design from the more expensive £3500 CD7. This recurring trend of Marantz's budget models adopting the design language of its flagship models of the era continues with the new CD 70 in 2026.

The 1999 CD6000 OSE player featured a newly developed Philips transport, four Dynamic Amplifier Modules (HDAM – a technology still used in Marantz products to this day) in the output stage, and – as it does today, 27 years on – had RCA line level, optical and coaxial outputs and a 6.3mm headphone port. We said that the 6000 OSE sounds typically Marantz: fluid and full-bodied, "eminently musical" and noted "taut rhythms that are crisply delivered" when playing Stevie Wonder or classical pieces. Although, we said in our review, the CD player needed more teeth and bite with, say, heavy metal music.

Marantz addressed this and upped the sonic game in the next release after a gap of a few years in the CD6002, and it continued to improve the sound quality in every generation since. This forgiving, smooth character is even addressed in the CD6006 from 2016, which we noted had "rather more bite and shine to the treble frequencies than we’ve been used to from 6000 series CD players in the past – which is definitely a good thing".

Sometimes the differences between the generations weren’t big enough to warrant a full system overhaul; if you had the CD6004, did you need to immediately replace it for the CD6005? Not necessarily. We said in our CD6005 review that Marantz has perhaps played it a little "safe" while also acknowledging the "greater sense of space, on top of an already-open delivery" and "lovely free-flowing character that’s fluid but not overly rich".

There's no denying that the CD6000 series carried on flying the flag for budget CD players for well over a decade, with next to no competition for the excellent, last-of-its-name CD6007 in recent years as CD’s popularity waned in light of streaming. It’s a product we would still recommend for CD fans today, especially if you see it at a discount.

"The entry-level hi-fi market isn’t what it used to be"

The new CD 70 carries that Marantz mantle, but it has evolved enough that it ends the chapter on the much-loved CD6000 series. For one, there is a marked increase in price, which has now increased considerably to £499. It’s a sign of the times as the price of quality hi-fi separates has increased across the board (components, materials and supply-chain demands all cost more, which all move the price tag northwards) that this is now considered "entry-level" in today's hi-fi market.

The design language has changed considerably, and that alone marks a clear end of the ‘classic’ CD6000 series and the dawn of the new CD 70 model. This new styling might not be for everyone, but it would be foolish of Marantz to stay stuck in the past and not move things forward.

The CD 70 is even more insightful, clearer and punchier than the CD6007, although it has a more assertive and authoritative character that we're used to hearing – a far cry from the smooth, relaxed sound we said needed more of a kick with the early CD6000 players.

It’s a good CD player even at this elevated price, but even so, we can't help but wave goodbye to the much-loved CD6000 series that was a true bastion of budget CD players.

We said in our CD6005 review: "There’s something admirable about a company that just won’t quit, even after it’s fought its way to the top. We’ve lost count of the gongs the Marantz 6000 series has scooped over the years, yet Marantz keeps tweaking."

It's a drive we hope to see carried on with this new generation of Marantz CD players.

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Read our Marantz CD 70 review

Read our exclusive interview from 2011: Ken Ishiwata talks upgrades, keeping ahead of the game and why there's life in the old CD yet

Quiz! How fast can you solve our turntable challenge? Test your wordsearch skills now

Another week, another opportunity to take part in a quiz designed by the team at What Hi-Fi? Towers.

This week we've put our hi-fi hat on and designed a wordsearch inspired by our love of the turntable.

We’ve hidden several key components from a record player in our grid and sprinkled in a handful of brands associated with the product category to keep your brain spinning.

See how quickly you can complete the search, and let us know your time in the comments below!

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Canadian manufacturer Kanto Audio has just announced the second generation of its first ever turntable, the Obi3, less than a year after the original was released.

The first-generation Obi3, released in October 2025 for £179 / $179, was an entry level belt-drive turntable, featuring a switchable phono stage and built-in Bluetooth.

The apple hasn’t fallen far from the tree between the Obi3’s generations, with features such as a switchable built-in phono stage, Bluetooth 5.3 connectivity and RCA line-level outputs remaining consistent in the new second-gen turntable. The new Obi3G2 even comes with the same J-shaped aluminium tonearm and pre-fitted Audio-Technica AT3600L moving magnet cartridge as the original model.

But there are a few notable upgrades.

The Kanto Obi3G2 is significantly heavier than the Obi3, weighing 5.5kg compared with the Obi3’s 3.9kg. The company says this extra bulk will help eliminate unwanted vibrations from affecting vinyl replay.

To further help with playback stability, Obi3G2 also features a built-in speed sensor, allowing for continuous speed correction as the record plays. Playback speeds supported are 33⅓ RPM and 45 RPM.

Priced at £180 / $250, the new Obi3G2 is cheaper than our current benchmark for a budget Bluetooth turntable, the excellent five-star Sony PS-LX3BT, which is now available for £233 / $350. Like many turntables in this price range, the PS-LX3BT is fully automatic in operation – where the tonearm automatically cues up at the start of the record with the push of a button – whereas you'll have to position the Obi3G2's tonearm on the record yourself.

There is one convenience added by Kanto: when you reach the end of your record, the Obi3G2’s auto-stop feature will kick into action and stop playback, protecting your stylus from any unnecessary wear.

The tonearm on the Kanto has an adjustable counterweight and anti-skate so there is a degree of setting up required, and there is a ±10% pitch control, too. Kanto Audio says the Obi3G2 is designed to be “a proper manual turntable, without stepping up to a specialist unit”.

According to Brett Smalley, Kanto Audio’s director of marketing: “We wanted the 2nd gen of Obi3 to feel like a high-end turntable at an entry-level price, one you can set up, adjust and grow into.”

The Kanto Audio Obi3G2 is available in five finishes: black, white, green, ice blue and walnut. It is currently on sale in North America, while worldwide sales are set to open in early September.

MORE:

Read our Sony PS-LX3BT review

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Best turntables 2026: top record players tested by our expert reviewers

Quiz! How fast can you solve our turntable challenge? Test your wordsearch skills now