KEF has enjoyed considerable success making active wireless stereo systems.

KEF’s LS50 Wireless II speaker system has become an exemplar of this success, becoming something of a modern-day legend in the process. The five-star system has scooped so many What Hi-Fi? Awards, and been on our list of the best hi-fi systems for such a long while, that it has truly earned its place among KEF’s pantheon of greats.

Now, KEF is kicking things up a notch with the arrival of the LS Luxe, once again integrating amplification and streaming into a compact, easy-to-use stereo speaker package. The LS Luxe is a step above the LS50 Wireless II in terms of price, but is it vastly superior regarding its all-around performance?

Let’s find out.

KEF LS Luxe vs KEF LSS50 Wireless II: price

The LS50 Wireless II came into the world at £2250 / $2499 / AU$4295, but as we know, prices are always liable to fluctuate over time.

Currently, you can find the LS50 Wireless II for £2199, a modest but not insubstantial drop from its original RRP. For US buyers, it’s not such good news: you will tend to see KEF’s established Award-winner sitting between $2500-$2999 at the time of writing.

Wherever you are and whatever prices are doing, the LS Luxe is going to cost a good deal more than its more established sibling. KEF’s new kid on the block arrived at £3500 / $4000 / AU$6375, and given it’s so fresh to the market, we don’t expect to see any major discounts any time soon.

For its more affordable asking price, this is one on the board for the LS50 Wireless II.

**Winner: KEF LS50 Wireless II**

KEF LS Luxe vs KEF LSS50 Wireless II: build and design

Let’s just be super clear about what we’re dealing with here.

Both the KEF LS50 Wireless II and LS Luxe are standmounted active wireless stereo speaker systems, meaning you are getting two separate speaker cabinets with built-in amplification, wireless streaming, and a DAC.

At the heart of each pair of speakers is the 12th-generation of KEF’s signature Uni-Q driver array, in which the tweeter sits in the centre of the mid/bass unit for more even sonic dispersion, improved integration, and better time alignment. With the LS Luxe, the Uni-Q driver assembly is mechanically decoupled from the cabinet to reduce panel vibrations.

KEF’s ‘Metamaterial Absorption Technology’ (MAT), which absorbs rearward sound from the back of the tweeter dome in pursuit of greater treble clarity, is also featured in both.

For the LS50 Wireless II, 100 watts of Class A/B amplification is powering the 25mm aluminium tweeter, while 280 watts of Class D power handles the 13cm aluminium mid/bass driver.

The power split in the LS Luxe is the same in terms of wattage and power class, but the driver sizes are a little different, as we are still dealing with a 25mm aluminium tweeter complemented by a larger 16.5cm mid/bass unit. That, as we shall see, helps the LS Luxe generate more lower-end depth and power.

Externally, our contenders’ cabinets look reasonably distinct from each other. That Uni-Q array aside, the LS50 Wireless II speakers are squatter and squarer, albeit with rounded-off edges and a convex front panel helping to give them a modern, stylish appeal.

The LS Luxe, by contrast, really doubles down on its curvy aesthetic, with a smooth, almost egg-like form that aims to improve performance by reducing the build-up of internal standing waves within the cabinet. They are taller and slimmer cabinets than the LS50 Wireless II, and though the look of the speakers won’t be for everyone, the standard of construction is, inarguably, very high.

That rounded design is thanks to a collaboration with Ross Lovegrove, the Welsh designer with whom KEF previously joined forces when creating the mighty Muon floorstanders, the Muo Bluetooth speaker, and the Mu headphones range.

Around the back, the LS50 Wireless II speakers feature a ridged aluminium heatsink and a flared reflex port. The LS Luxe also features a flared reflex port, with a distinctively curved, more deeply ridged aluminium heatsink designed to offer a greater surface area to more efficiently dissipate the heat generated by the active electronics within.

Both systems use ‘Bulk Moulded Compound’ (BMC) composite material in their cabinet construction; the LS50 Wireless II in just the front baffle, while the LS Luxe’s entire enclosure is made out of the material. BMC is an inert, high-mass material that is highly conducive for use in a speaker enclosure.

In terms of control, the LS50 Wireless II offers a touch-capacitive strip panel for adjusting volume, muting the speakers, selecting volume or turning the whole system on or off.

The LS Luxe doesn’t feature any on-unit buttons or controls, but you do get a nicely made aluminium remote, as well as access to the KEF Connect control app, for managing your listening experience. Do note that the LS50 Wireless II also comes with a remote control and app support.

The LS50 Wireless II houses threaded inserts in the corner of each speaker, allowing them to lock onto the top of KEF's S2 Floor Stands (£400 / $449 / AU$800 per pair).

The LS Luxe can also be fitted to their own dedicated ‘S-Luxe’ stands (£800 / $800 / AU$1230), which you will need to put together and screw into the base of each speaker yourself. Expensive they may be, but if you want to hear the LS Luxe at its best, we think a pair of S-Luxe stands is worth the cash.

One more thing: finishes. You get three options from which to choose with the LS Luxe: Eclipse Black, Dusk Titanium or Mineral White. There are four choices with the LS50 Wireless: Carbon Black, Titanium Grey, Moss Green or Sand Shell.

Not much to grumble about on either side, here. The LS50 Wireless II earns points for its on-unit controls and more compact design, whereas the LS Luxe feels a tad more premium and can draw on more-refined design aspects, such as that more-advanced heat sink design and larger mid/bass drive unit.

**Winner: KEF LS Luxe**

KEF LS Luxe vs KEF LSS50 Wireless II: features

Both of KEF’s five-star wireless speaker systems go big on features, offering a variety of ways to enjoy each.

Around the back of both systems’ primary speaker unit, you will find HDMI eARC, 3.5mm analogue, optical and coaxial inputs, as well as an ethernet port for hooking up physically to the internet. With both the LS Luxe and the LS50 Wireless II, each of the two speakers has a dedicated output for adding a single subwoofer or a pair if you really want to go big on bass.

On the streaming side, both use KEF’s W2 Wireless Platform, granting access to popular streaming services such as Tidal Connect, Spotify Connect, Amazon Music, Qobuz Connect and Deezer, along with internet radio.

If you’re not keen on spending much time on the dedicated KEF app, there is also the further convenience of AirPlay 2, Google Chromecast and Bluetooth for both, with the LS50 Wireless supporting Bluetooth 5.0 and the LS Luxe bumping that up to the more efficient Bluetooth 5.3.

UPnP compatibility on both means you can stream hi-res music from a connected external NAS drive, and while Roon Ready support is already available for the LS50 Wireless II, it is slated to arrive in 2027 for the LS Luxe.

Hi-res file support depends on how you choose to listen. Either KEF system is able to accept PCM files up to 24-bit/384kHz, with the LS50 Wireless II supporting DSD256 and the LS Luxe maxing out at DSD128.

The LS Luxe also lacks MQA support, something you do still get with the LS50 Wireless II; but, as Tidal dropped MQA a few years ago and the format appears to be in decline, this won’t be a major loss for most would-be listeners.

If you are using a wireless connection between your LS50 Wireless II or LS Luxe speakers, higher resolution files will be internally downsampled to 24-bit/96kHz. Connecting the master and slave speakers using the included interconnect cable will bump playback up to 24-bit/192kHz.

As far as apps go, we’re rather keen on KEF’s ‘Connect’ platform, from which you can control and set up your wireless system. You can tweak the sound yourself using the on-board equaliser and use KEF’s ‘Room EQ’ digital signal processing to fine-tune your sound to your listening room – something we recommend to get the best sound possible for your given space.

While the LS50 Wireless II does enjoy the benefit of KEF’s Uni-Q array and innovative ‘MAT’ technology, the LS Luxe is packed with more recent technological advancements that see it outpace its established counterpart.

The LS Luxe, for instance, is the first KEF speaker product to feature the company’s ‘Velocity Control Technology’ (VECO), as seen in this year’s five-star XIO soundbar. VECO essentially measures the speed of the drivers’ cone movement, and any differences between that and the expected value are compensated for in real time, resulting in lower distortion levels.

Additionally, the newer, more premium LS Luxe gains the benefit of KEF’s ‘Music Integrity Engine’ tech, which uses digital signal processing algorithms to maintain accuracy and tonality no matter the volume at which the system is played.

Impressive feature sets and plenty of ways to enjoy KEF’s five-star contenders, but the LS Luxe’s more up-to-date technology suite sees it earn victory here.

**Winner: KEF LS Luxe**

KEF LS Luxe vs KEF LS50 Wireless II: sound quality

Even with the LS Luxe coming along and rather knocking it off its pretty perch, the LS50 Wireless II remains a devilishly talented wireless speaker system.

This is a product that has scooped a raft of What Hi-Fi? Awards since it arrived around six years ago, one we dubbed as being among the “most thrilling speaker systems we had heard” for around £2000 / $2500.

In fact, the LS50 Wireless II is still outstanding at its price. As a major step up at the time from the groundbreaking LS50 Wireless, the LS50 Wireless II remains an exemplary choice if you are seeking a system that offers you a clean, admirably precise sonic presentation.

The balanced, uncluttered signature of the LS50 Wireless II’s sound was, and remains, one of its strongest attributes. KEF’s Award-winning system was a serious step up from its predecessor, offering up a more intricate, open and precise soundstage than we had seen with the original LS50 Wireless.

As we wrote at the time: “mids are cleaner-cut and bass more defined, their extra refinement making the originals sound a touch crude. The whole presentation has been opened out, that extra room not only filled with subtler, more precise detail, but also allowing for greater instrument separation that makes its delivery sound much less congested in comparison.”

Clear, balanced and precise the LS50 Wireless II may be, but what has kept it atop the pantheon of great wireless speaker systems has been marrying those qualities with real verve and drama. Authority and poise are wedded to punch and grip, especially regarding the LS50 Wireless II’s meaty, agile bass reproduction and crisp – yet not overetched – treble response.

The LS Luxe may be a good deal more expensive than the established LS50 Wireless II, but, from what we have heard, it fully justifies that considerable price jump.

The LS Luxe does have a similarly balanced, authoritative character as many of its esteemed KEF stablemates, but have it playing at its best and you’ll soon realise it is a considerable improvement on pretty much any product of this type that KEF has yet made.

When really firing, the LS Luxe is a delight, piling on extra helpings of detail and precision to the confident, articulate presentation found with the LS50 Wireless II. When listened to side by side, the LS Luxe takes the LS50 Wireless II’s presentation and elevates it, sounding more precise, muscular and cinematic in a straight shootout.

Reasonably compact the speaker cabinets may be, but the authority, breadth and depth of the sound go far beyond what we would expect from a relatively compact standmounted speaker system.

The LS Luxe can really put on a show when it comes to delivering cinematic fare with authority and scale, with a taut, authoratative bass reproduction acting as its real party piece. That is partly down to the larger 16.5cm mid/bass unit found as part of the LS Luxe’s updated Uni-Q array.

In all honesty, KEF has struck a marvellous balance with its latest model. This is a system that makes rhythms sound expressive and nimble but rarely skittish or overdone, while dynamics are confidently expressed without seeming forced or artificial.

Few, if any, blind spots are to be found. As we wrote in our review, the LS Luxe knits music together “so expertly that even truly demanding tracks can’t catch it napping. Whether it’s the gale-force hurricane of Slipknot’s Before I Forget or the magisterial grandeur of Tchaikovsky’s 1812 Overture, the LS Luxe barely breaks a sweat.”

Sonically, the LS50 Wireless II remains a superb wireless choice, but the LS Luxe really does take everything we liked about that sound and kick it up a notch. In terms of pure audio quality, it’s an obvious – and deeply impressive – cut above.

**Winner: KEF LS Luxe**

KEF LS Luxe vs KEF LS50 Wireless II: verdict

The LS Luxe has not made the LS50 Wireless II redundant.

The more established system continues to excel thanks to its impressive host of streaming features and a sonic performance that, at its more affordable price, remains one of the best we have heard.

KEF has also made no indication that it will be phasing out the LS50 Wireless II, meaning it looks set to enjoy a bright future at its £2250 / $2499 / AU$4295 price point.

What the LS Luxe does is raise the sonic bar to another level. You’re getting most of the same streaming features and ways to listen as with the LS50 Wireless II, but a larger driver and new technologies – Veco and KEF’s ‘Music Integrity Engine’, for instance – see the LS Luxe pull well clear in terms of pure sonic ability.

If you are happy to spend the extra cash, and then fork out a bit more for some dedicated stands, the LS Luxe is the system to pick.

**Overall winner: KEF LS Luxe**

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I arrived at What Hi-Fi? in 2008, fresh from a fast-paced time on men’s magazines and with a haircut to match, thinking that my love of music and tech would mean I could, a) have an easier job and, b) have a quieter life. Neither of these things proved true, though the legendary What Hi-Fi? listening room was an excellent place to have a rest.

Soon after my arrival, I looked at previews of a new 32-page supplement on Blu-ray vs HD-DVD that was just about to go to the printers. I then heard rumours that Toshiba was about to can HD-DVD and give the win to Sony and Blu-ray.

Toshiba may have had a problem but I had a crisis as I was digesting this information in a (mild) panic at London Fashion Week, champagne in hand, looking at new LG TVs as they were the key sponsor of the event.

Needless to say, we cut half the supplement and talked about the death of HD-DVD and added a lot more Blu-ray reviews. It’s amusing to write this at a time when PlayStation has recently announced the end of Blu-ray game discs.

Next, it was a trip to Japan with Sony to see the company's latest headphones and Bluetooth speakers, which included the launch of the Sony Rolly (pictured, below).

This was essentially an egg on wheels that could dance to music and also dance with other Sony Rolly products.

The highlight of the trip was seeing the fabled Sony Walkman room, complete with every model ever made and some of the engineering geniuses dusting the exhibits in the otherwise pristine white room. They were not involved with the development of the Sony Rolly to my knowledge...

Elsewhere in Tokyo, I bumped into Brazilian rock band CSS, who arrived in a club from a ladder located in the ceiling. I still love Japan as well as the fact that Sony can pull something wild out of the R&D lab, even to this day.

There were other notable arrivals and announcements in the office which I enjoyed during my time on the magazine.

Number one was the 2001-style space oddity that was a yellow oval internet radio from Pure called Sensia (pictured, below), which I retain was way ahead of its time in 2009 in terms of style, function and connectivity.

The Sensia had a big touchscreen display, just as the iPhone was taking off, and it felt like the future – so we stuck it on the cover. It was not the future of music (as I, possibly, wrote loudly) but you can trace the Sensia's inspiration in many more recent products from Apple to WiiM, Amazon to Ruark.

In a later review we curiously said, “Once all the promised upgrades are in place, it should function as effectively as a social networking tool as it does as a music-making device.”

In 2008, I also got a short, very corporate press release from Spotify and remember talking with legendary fellow editor Andy Clough about how this was huge – but neither of us could imagine how much it would change things.

Unsurprising, given smartphones hadn’t yet taken over the world and apps (and the App Store) were still in their infancy. The impact among artists is well known but the arrival of Spotify, and the rise of music streaming, was probably the biggest change for audio product development since the launch of CD.

The other huge change in the audio world in the late '00s was the arrival of Beats by Dre, which set a new premium price for mass-market headphones, delivered a blow to the traditional headphone market, and then quickly took it over thanks to great marketing. The brand was soon bought by Apple for a staggering $3 billion.

The boom in over-ear headphones ultimately introduced many people to the idea and excitement of hi-fi sound for the first time, and were a world apart from the free buds that came with early music players, iPods and smartphones. From that day forward, a new audience wanted home audio that sounded as good as their portable headphones.

Looking back through the issues, it’s also clear that we were seeing not only an amazing time for turntable development but the first signs of the vinyl revival, which has only gathered pace in subsequent years. The Clearaudio Concept sounded amazing and looked modern – and that convinced me to get back into vinyl.

The biggest revelation for me on my time on What Hi-Fi? (apart from free pizza on deadline) was how products could really push my digital music collection and deliver astonishing results from CD rips, even when played through giant, revealing Focal speakers.

I was lucky enough to work with the Naim team after What Hi-Fi? and still think so many audio brands owe an awful lot to the people of Naim, and specialist brands like them, such as Arcam, Dali, Grado and PMC.

Towards the end of my time on What Hi-Fi?, audio legend Mark Levison showcased some of his new audio products in London and then joined us at a Morrissey concert.

I don’t remember a great deal from the launch, but I did find a Mark Levinson CD in my jean pocket which consisted of his very own music. It was later issued as a free CD with his limited run of mini hi-fi systems.

I can’t see it on eBay but I swear it’s true. I know of only one other person that carries his own music around with him: Morrissey. Coincidence? Who knows, but I like to think both still read What Hi-Fi?.

I miss my time on What Hi-Fi? but founded an audio PR agency after leaving to stay close to all the kind of innovations I’ve mentioned, and I’m still on the lookout for the next big thing.

And I’m impressed with everyone that has worked tirelessly for decades on What Hi-Fi?, which remains the most trusted, independent voice in tech. In 2026, that’s truly something to celebrate.

Well done Team What Hi-Fi? for 50 years – here’s to the next 50!

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Roksan’s new Caspian 4G range has some big shoes to fill. The previous generation was a firm favourite of ours, winning multiple Awards and gaining plenty of five-star reviews over the best part of a decade and a half.

It is fair to say that Roksan isn’t the same company it was when the previous generation of Caspian products was launched. The brand was bought by Monitor Audio back in 2016, and now no longer makes any of the turntables it was so famous for, most notably the Xerxes.

While we wouldn’t be surprised to see new record players at some point in the future, for now the company’s priority is to re-establish Caspian in the premium sector, and (belatedly) build on the foundations laid by the more affordable Attessa range introduced back in 2021.

Currently, the Caspian 4G series consists of four products: the streaming preamplifier (£3500 / $4500 / AU$7199) and power amplifier (£3000 / $3750 / AU$5999) pairing on test here, alongside an integrated amplifier that’s available with or without a streaming module, retailing for £4000 / $5000 / AU$7499 and £3000 / $3750 / AU$5999 respectively.

Given the excellence of the previous generation Caspian CD player, we have hope that the company will eventually release one to match the amplifiers. Until then, there is no stand-alone disc or streaming source in the range.

Design & features

So, to the products at hand. The Caspian 4G Streaming Pre-Amplifier is in most ways a very well-equipped unit. As the name indicates, a streaming module is included, but this unit also has a phono stage and a good range of digital and line-level analogue inputs.

The streaming module is from BluOS, and will play music stored on any device connected to it or your home network, up to 24-bit/192kHz PCM files. If you have DSD music, then you are out of luck, as the Caspian 4G streamer can’t play it. Other products that use the BluOS module have DSD ability – the Bluesound Node Icon and Cyrus 40 ST come to mind – so we can only hope that Roksan follows suit at some point.

But let us keep things in proportion. While most premium streamers have better file compatibility than this Roksan, it is fair to say that hi-res music files above 192kHz are something of a niche interest; much the same can be said of DSD. We suggest letting your music library dictate whether the Caspian 4G will work for you. In the vast majority of cases, we suspect it will.

The BluOS platform gives access to a range of streaming services, most notably Spotify, Tidal and Qobuz (in Connect form), as well as Internet radio. Apple AirPlay 2, MQA and Roon compatibility are also on the menu. As is usual, the Roksan will connect to your home network via an Ethernet lead or wirelessly. We tend to stick with wired for the extra stability it offers.

We have few complaints about connectivity. On the digital side, there are two optical inputs, a pair of coax, and an HDMI eARC input to make integrating this Roksan into an AV set-up easier. You can play music files from storage thanks to a USB-A socket.

Bluetooth is included too, though given it is limited to the aptX codec, it should be considered a convenience option rather than something intended for serious listening. Connection to our iPhone 14 Pro Max is swift, and the performance is more than good enough for the job.

On the analogue side, there is a trio of line-level inputs that includes a balanced XLR, and dedicated sockets for both moving magnet and moving coil cartridges. The gain levels chosen for both phono inputs (MM is 53dB and MC 73dB) are sensible and will work well with most cartridges. It is possible to adjust those settings by + or - 6dB, just to fine-tune the results.

The phono stage’s electrical loading isn’t adjustable, but the values chosen strike a good middle ground at 47kOhms/100pF for MM and 100 Ohms/470pF for MC. In addition, there is an option of a rumble filter to reduce any unwanted low-frequency noise generated by the record player.

As for the preamp’s outputs, the user can choose between three options: balanced XLR or a pair of single-ended stereo RCA outputs. One of these single-ended outputs can even be configured with a low-pass filter and used for driving a subwoofer.

Take a look inside these Caspian 4G products, and it is hard not to be impressed by the care Roksan has taken with the layout and production engineering; they really are nicely turned-out components. The preamp’s analogue section is fully balanced to keep noise levels low, and the power supply arrangement is generous to ensure a clean, low-noise power feed to the circuitry.

On the digital side, Roksan has used its bespoke ‘Rapture’ DAC circuit; a discrete, dual-mono design that the company claims is capable of high levels of resolution and precise stereo imaging.

The Caspian 4G Power Amplifier is a simpler unit than the streaming preamp. It features a rather generous trio of inputs, mirroring the preamp’s single-ended and balanced XLR connectivity, and, in a nod to tradition, has the same distinctive design of speaker terminal as used on the previous generation of Caspian amplifiers.

It uses a Class A/B circuit and is something of a powerhouse, delivering a claimed 105 watts per channel into an 8-ohm load and almost doubling that to 200 watts as the impedance halves. In bridged mono form, that increases to 420 watts into 8 ohms and 630 watts into 4 ohms. We don’t see this power amplifier having difficulty driving any price-compatible speaker.

Build & set-up

The build quality of both the streaming preamp and power is excellent. Their casework is beautifully machined and elegantly engineered. There are two finish options: black and silver. It is easy to think that Roksan hasn’t been particularly bold with its choice of colours, but that’s what most people buy, even when more adventurous options are offered.

To our eyes, the styling of these products looks understated yet modern. We like the clean detailing and the design language that honours the previous range but moves things on too. That clarity of thought extends to the remote handset, which is a small, solid-feeling unit that is nicely laid out and easy to use.

Nowhere is the evolution of the Caspian range as obvious as it is during installation. Gone are the days when all it took was a couple of pairs of interconnects, some speaker cable and plugging the units into a wall socket. Now, you also need to use an app (available for iOS and Android). Purists may roll their eyes, but it is hard to argue with the degree of flexibility and control this approach offers.

The company’s MaestroUnite set-up app is nicely laid out and intuitive to use. Both the pre and power connect to your device through Bluetooth – the antennas are neatly hidden in the respective caseworks – and then the products can be configured.

The app makes setting up a product as complicated as the streaming preamp pretty straightforward. Inputs can be hidden (if not used), and parameters such as the sensitivity of the MM and MC modules can be fine-tuned to taste. MaestroUnite even includes useful diagrams to help with connections.

There are various DSP modes, including a ‘Tilt’ tone adjustment that pivots the frequency extremes around the midrange, a room boundary adjustment that cuts bass output if your speakers need to be used closer to a back wall than ideal, and the aforementioned rumble filters for the phono stage.

What does the app offer for the Caspian 4G Power Amplifier? It allows you to switch the power from stereo to mono mode, as well as deciding which of its three inputs is selected. It also handles any software updates for the Caspian 4G range as a whole.

In principle, we have no complaints about using an app to set up equipment. Using MaestroUnite on a phone or tablet to set all those parameters is so much easier than trying to do it on the product itself using a (usually small and low resolution) front panel display.

However, early on we did have issues with the app proving slightly buggy in use. Roksan proved quick to react, issuing a software update to fix the problems we had identified, and supplying a replacement Streaming Pre-Amplifier in short order just to make sure.

Once that was done, things worked as well as we had hoped for. There are times when MaestroUnite doesn’t connect to the products as quickly as we would like, but on the whole, using it proves a painless experience.

The well-established BluOS app controls the streaming module, and it works well. In our experience, this is one of the more stable streaming platforms and is relatively easy to use. The layout is fairly intuitive, and the feature set covers the essentials.

Products at this level demand a talented partnering system. Our sources are the Technics SL-1000R record player fitted with either the Kiseki Purpleheart MC cartridge or the Nagaoka MP-200 moving magnet, and the Naim ND555/ 555 PS DR music streamer. The Naim performs as our analogue line-level and digital source along with a Cyrus 40 CD CD player.

As for speakers, our usual ATC SCM50 are pressed into service for much of the testing, but we also use the Epos ES14N and Fyne F1-8 standmounters to see how the Roksan pairing copes.

Sound

In the event, it copes rather well. The Caspian 4G’s streaming section seems a logical place to start, and our impressions are positive. There is a good balance to the sound. It is tonally neutral but avoids the sterility that many similarly tuned products suffer from. The natural warmth of Curtis Mayfield shines through on the hauntingly sad Here But I’m Gone; his voice sounds thoughtful and fragile, yet is as clear and palpable as we have heard at this level.

The backing instrumentation is laid out with care. It is easy to follow individual instrumental strands or just sit back and enjoy the whole. We like the Roksan’s surefooted approach to timing. The song’s steady rhythm track is secure and is delivered with a good measure of drive, letting the music’s easy-going feeling of forward momentum shine through.

We switch to the bass heavy charms of Billie Eilish’s bad guy and enjoy the Roksan pairing’s powerful and articulate bass. Lows hit hard and true as the power amplifier takes a firm grip of our ATC speakers.

The Caspian combo sounds big and powerful, showing plenty of composure even when pushed to high volume levels. However, we notice a touch of reticence with dynamic expression, which robs the music of a bit of drama and involvement.

The sound through the digital inputs retains much the same characteristics. The built-in DAC is a good one, broadly on a par with the better outboard offerings around the £500 / $700 mark. It is an even-handed and textured performer that delivers a good sense of clarity and articulation. Could it be more expressive and exciting? We think it can.

Good as the Caspian 4G combo has been, things get notably better when we switch to analogue. The line level inputs sound great when fed with either our reference Naim streamer or the Cyrus CD player. The level of clarity improves over the built-in streaming module and dynamics gain in verve.

As we work through De La Soul’s Cabin In the Sky, Lux by Rosalía and Rachmaninov’s Symphonic Dances, we are surprised at just how good this Roksan combo sounds. It bristles with energy, balancing excitement with control superbly. The level of organisation is impressive, as is the way the Caspian 4G duo still sounds stable and composed when the music becomes difficult.

Despite the high level of insight, these are not fussy performers. Their transparency means that any shortcomings in the source or source material are easy to hear, but such is the level of refinement that the Roksan duo never makes a meal of things. They prefer to highlight the quality of the music rather than focus on how well the recording engineer did their job.

Stereo imaging is impressive. These units render an expansive soundstage that is populated by nicely focused instrumentation and voices. Sounds are nicely layered, and on suitable recordings, we hear a convincing sense of depth.

The good news doesn’t stop there. The built-in phono stage is excellent, retaining all the positives of the line stages. The level of clarity is impressive while noise and hum levels are pleasingly low. It works equally well for moving coils as it does with moving magnets, which isn’t always the case.

A word of warning, though: while the rumble filter does a job, we found it degrades the sound quality a little too much for our tastes, robbing it of dynamics and transparency. We switched it off pretty quickly.

Verdict

The Roksan Caspian 4G Streaming Pre-Amplifier/Power Amplifier pairing is well made and packed with useful features. It can be a thrilling listen with the right recordings and has a nature that is forgiving enough to keep poorer recordings enjoyable.

The preamp’s analogue stages are excellent, as is the phono module. The latter is good enough that we doubt many owners would be tempted to opt for a dedicated outboard phono stage when the time for upgrading arrives. The streaming and DAC capabilities aren’t quite as impressive, but they are still competitive for the class.

This well-thought-out package suggests that the future is bright for the Roksan brand. We can’t wait to see what it comes up with next.

Review published: 4th August 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Best stereo amplifiers: 8 class leaders chosen by our review experts

Technics’ latest turntable, Bose’s new Dolby Atmos soundbar, and Cambridge's most powerful streaming amp are all in for review this month

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 affordable amplifiers, as the multiple awards won by various generations of the company’s 6000 series integrateds prove.

The Model 70 is a reimagining of the excellent, long-running five-star PM6007, featuring a more stylish appearance and improved connectivity. The result is a stereo amplifier that is more useful and flexible than its predecessors ever were.

Make no mistake, Marantz has been aggressive here, pitching the Model 70 directly at the class champion. Is that the right move? We've tested both amplifiers against each other to find out.

Arcam A5+ vs Marantz Model 70: price

The Arcam A5+ costs £749 / $1199 / AU$1595, while the Model 70 retails for £749 in the UK and in Australia, AU$1600 (excluding VAT). Marantz has decided not to sell the Model 70 in the USA, feeling other products in the range cover similar ground in that market.

Given the parity of pricing in other territories, it is fair to say that Marantz firmly had Arcam in its sights when setting the price for its new amplifier. The two can’t really be split in either the UK or Australian markets.

**Winner: draw**

Arcam A5+ vs Marantz Model 70: build & design

The Arcam A5+ has been on the market around three years now but remains a fresh-looking design. We like the simplicity of its clean front-panel layout, even though the display could be a little crisper. Indeed, integrated amplifiers further up the Arcam ladder have a much better display.

The two rotary control dials on the front are decently responsive and precise in use, and the A5+ works intuitively. It is easy to set up, even if that display is a little small.

We have no complaints about general build, as the A5+'s casework feels suitably substantial. The quality of the fit and finish is as good as we would expect at this price. There is only one finish option, black. The supplied remote is a small, basic plastic affair, but it is simple enough to use.

This amplifier should have no problem driving any price-compatible speaker. It is rated at 50 watts per channel, just like the Marantz, and while that number isn’t unusually generous, it is more than enough to do the job.

Over the years we have used the Arcam amp with just about every type of speaker, and it hasn’t let us down yet.

The Model 70 is another well-made product. We like the fresh look. To our eyes, the Marantz amp is distinctive and stylish regardless of whether it is finished in black or silver.

Our positive impression is reinforced by the sturdy yet precise feel of the various front-panel controls. They have a heftier feel than those on the Arcam, and we like that, particularly as they turn with a pleasant smoothness.

The remote is good, too. It is more comprehensive than the one supplied with the Arcam, but remains intuitive in use and feels solid.

We are less happy with the Marantz’s casework. The lid feels thin and rattles when we tap it, while the back panel flexes notably when we plug and unplug the speaker leads. Nothing falls off, of course, and we suspect that the Model 70 will have as long a service life as any of its rivals. However, it does feel more like the budget PM6007 than we would like given its higher price point.

**Winner: Arcam A5+**

Arcam A5+ vs Marantz Model 70: features

These two amplifiers are hard to split when it comes to features and connectivity, and should be able to slot into even the most complex of systems with ease. Both have moving-magnet phono stages, three line-level inputs, a headphone output and digital inputs. They both offer a preamp out for those that want to add an outboard power amplifier.

There are small but significant differences, though.

The Marantz adds an HDMI ARC to its coax and optical digital inputs, and has a dedicated subwoofer out. The Arcam’s second coax input and inclusion of higher-quality aptX Lossless Bluetooth codec and Auracast may balance things out for some people. The Marantz is limited to aptX HD Bluetooth.

The Arcam's digital section is built around the well proven ESS Sabre ES9018 DAC chip, and can handle datastreams of up to 24-bit/192kHz PCM, just like the Marantz (which uses the ESS Sabre’s ES9020Q). Neither amplifier offers DSD compatibility.

Each offers a choice of digital filter options, and as is usual, the best one comes down to system matching and taste.

There used to be a time when amplifiers such as these offered the option of connecting two sets of speakers. That time has gone, with only a single set of speaker outputs available on each amplifier.

**Winner: Draw**

Arcam A5+ vs Marantz Model 70: sound

The Marantz Model 70 is a capable performer. There is no doubt in our minds that it is a clear step ahead of its PM6007 predecessor. The new model sounds clearer, more detailed and stable. The Model 70 has more grip and punch at low frequencies too, making the older Marantz amplifier sound soft and blurred in comparison, though we can still relate to its easy-going nature and fluid delivery.

Up against the Arcam A5+, we can appreciate the Model 70’s more even tonal balance and marginally tauter bass. It produces a controlled and well balanced sound that is sure to work well in a wide range of systems.

We are pleased to report that the Model 70 doesn’t drop its standards across any of its inputs. The phono stage is pleasingly capable, being a relatively low-noise design that retains the positive characteristics of the line stages.

It isn’t unusual for there to be a notable drop-off in clarity between the phono stage and the line-level inputs in amplifiers of this price, but that doesn’t happen to any great extent here.

The sound with records is clear, articulate and balanced. Much the same can be said of the digital inputs. Given the amplifier’s price, the digital module is a good one, broadly on a par with some of the better outboard units around the £150 mark.

Moving to the Arcam reveals its richer tonal balance. This isn’t overdone by any means, but it results in lows that are slightly less taut. But, it is also fair to say that the Arcam is the clearer and more expressive performer. It doesn’t matter whether you listen to Debussy’s Clair de Lune or Eminem’s Recovery set, the A5+ consistently sounds more insightful and dynamically expressive.

While the Marantz seems to prioritise balance and control, the A5+ proves better at bringing out the energy and drama present in the recording. Play Eminem’s No Love and the Arcam delivers doses of emotion and drive that the Model 70 can’t match.

The result is that, while we can admire the Marantz’s many sonic qualities, we find ourselves enjoying the music more through the Arcam, and for us, that is the most important thing.

**Winner: Arcam A5+**

Arcam A5+ vs Marantz Model 70: verdict

One of these amplifiers is good. The other is great. There is plenty to like in the Model 70. It is a well-conceived and nicely balanced product that should work well in a wide range of systems. The feature set covers all the essentials and then some. Slightly thin casework aside, it is pleasant to use and, we suspect, to own.

However, the move up in price has put it up against sterner competition than its PM6007 predecessor ever faced. Good as the Model 70 is, it doesn’t quite manage to offer the Arcam A5+’s breadth of sonic talent, and so doesn’t pull us into the music as effectively.

The A5+ is our current Award-winner at this price point and deservedly so. It is a great all-rounder that manages to tick every box we would expect from an amplifier at this level. If it were our money, this is where it would go.

**Overall winner: Arcam A5+**

MORE

Read our full Arcam A5+ review

And our Marantz Model 70 review

Check out the best stereo amplifiers we've tested across all budgets

How do you follow an Award-winning product? If you're high-end portable music player specialist Astell & Kern, you beef up the specs no end. The new PD5 follows the Award-winning A&norma SR35 with eight hours of extra battery life and twice the number of DACs.

Like its predecessor, the Astell & Kern PD5 can switch between the number of DACs at work. But whereas the SR35 could only switch between two and four, the PD5 can go from four to eight.

Using all eight Cirrus Logic CS43198 DACs unleashes the device's full sound quality, while dropping down to four will help extend the battery life.

Astell & Kern quotes a total battery life of 28 hours (it hasn't said how long it lasts with all eight DACs firing). Thanks to PD 3.0 charging, it only takes around 2.5 hours to juice it up to full capacity.

A new feature called EnviroTune analyses your surroundings and optimises the sound for the level of ambient noise detected. So your music should stay perfectly clear whether you're walking past lots of traffic or relaxing in a quiet cafe.

Like the SR35, it supports up to 32-bit/384kHz PCM and native DSD256 files.

Its octa-core processor and Android OS-based platform pack enough power and smarts to handle music streaming, and while Astell & Kern hasn't confirmed which services it supports, we assume that Tidal, Qobuz, Amazon Music and Apple Music will all be compatible.

In terms of wireless tech, it has dual-band wi-fi and Bluetooth 5.3, and supports the Qualcomm aptX HD, LDAC and LHDC codecs. Which means plenty of options for high-resolution wireless listening.

A lot of details are still to be confirmed, including its price and release date. The SR35 launched at £799 / $799 / AU$1299, so we would imagine the same or a little higher.

The Astell & Kern PD5 will go on show at the Hong Kong AV show this weekend, and then continue its tour at China's Shenzhen International Audio Show (SIAS) from 14th – 16th August and the US' CanJam SoCal 2026, from August 29th – 30th.

We'll bring you a review as soon as we can.

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Read our Astell & Kern A&norma SR35 review

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KEF touted its LS Luxe wireless active speaker system as its “most ambitious creation to date”, and it has certainly been a success in our test rooms.

Costing £3500 / $4000 / AU$6375, the LS Luxe is a more premium proposition than the established £2199 / $2999 / AU$4295 price of the LS50 Wireless II, but the clear step up in performance means that, to our ears, the LS Luxe justifies that considerable extra outlay.

Boasting a distinctively curved aesthetic designed in collaboration with artist Ross Lovegrove, the LS Luxe has ticked all of the right boxes, and gained five stars from us across the board for its excellent standard of construction, vast feature suite and refined, authoritative sound.

To explore the process that brought KEF’s latest creation into the world, delve deep into the technologies behind it, and discover what marks the Luxe out as distinct from its stablemates, we spoke to KEF’s Senior Vice President and Chief Technology Officer, Dr Jack Oclee-Brown, to shine a light on the five-star LS Luxe.

KEF’s journey to active speaker systems

To understand how we arrived at this point, a brief history lesson is in order. After its founding in 1961, KEF’s first speaker was the K1, a three-way monitor with a polyester ‘Melinex’ dome, followed soon after by the original Celeste bookshelf unit and, in the 1970s, the legendary BBC LS3/5A studio monitors.

In the late 1980s, KEF released the C35 standmounter, the first of its speakers to use the now-iconic Uni-Q array, the same array (subsequently refined and amended over the years) that you will find at the heart of the LS Luxe.

More immediate heritage naturally stems from KEF’s recent success in producing full-blooded wireless stereo systems, starting in 2018 with the LS50 Wireless and refined a few years later with the Award-winning LS50 Wireless II.

Housing amplification, streaming and an extensive connectivity suite into a pair of speakers clearly came rather naturally to KEF since the launch of the LS50 Wireless, with later models, such as the LSX II and LSX II LT, garnering further plaudits.

KEF’s success at blending performance with streaming features and built-in amplification is established, and it’s the lessons taken from the successes of the brand’s active streaming speakers which have been instrumental in the development of the LS Luxe.

According to Dr Jack Oclee-Brown, “We’ve always had a strong belief in the technical advantages of active speakers. A key tenet of this is that active and passive loudspeakers shouldn’t necessarily have the same configurations of drivers or technologies.

As he explains, the development of KEF’s active and streaming-capable speakers requires bespoke technologies and design concepts: “We have an aggressive research plan that’s targeting technologies for active speakers. The algorithms are continually improved and are several generations more advanced than in our early active speakers. Our aim is to widen the performance difference between active and passive.”

So, why active wireless systems? It might seem like an odd question, but it’s a big part of KEF’s present and, most likely, its future.

Oclee-Brown explains that part of the reason is ease of use for the consumer. “Active systems are simpler; they don’t require the customer to have any prior experience of hi-fi and no other partnering equipment. The customer makes one purchase, and that’s all they need.

“I believe KEF appeals to hi-fi fans who are looking for cutting-edge performance and the very latest acoustic technology. There are many people who enjoy music and, at KEF, we are also trying to make products that will allow this audience to enjoy their music more deeply. This has been one of the driving factors behind KEF’s active streaming loudspeaker push over the past decade.”

There are advantages on the side of the manufacturer, too.

“From a technical perspective, active speakers have huge advantages, which allow us to make active speaker systems that can outperform a traditional hi-fi system of the same total price.

“It’s even more true today because we have spent the past ten years developing new acoustic technology specifically for active loudspeakers, such as ‘Uni-Core’ and ‘Velocity Control Technology’.” We’ll get to those in a moment.

A smooth operator

It’s hard to talk about the LS Luxe and not mention the design. Before you have listened to a single note from KEF’s new system, you’re probably going to have strong feelings about its curved, almost egg-like speaker cabinets.

We keep our egg-based comparisons to ourselves when asking KEF about its choice to once again collaborate with Ross Lovegrove, the Welsh designer with whom KEF previously joined forces when developing its big-money Muon floorstanders.

According to KEF, the LS Luxe’s design is a blend of the functional, the luxurious and the natural. Says Oclee-Brown: “Ross’s style is very organic, and he uses a lot of shapes inspired by nature. For the LS Luxe, his was an excellent match and resulted in a form that works extremely well from a performance perspective.”

That last part is crucial, as the speakers’ design goes beyond mere looks. Those curved edges seek to improve performance by reducing build-up of standing waves within the cabinet, while durable ‘Bulk Moulded Compound’ (BMC) composite material reduces the need for excessive internal bracing, allowing for greater internal volume within the speakers to aid their low-frequency response.

Oclee-Brown gives us a more detailed explanation as to just how much difference the speakers’ rounded form makes. The smooth shape “reduces diffraction, where sound tends to scatter from sharp edges, and this gives much smoother on- and off-axis performance, leading to the impressive and three-dimensional soundstage.”

For KEF, those rounded exteriors are key to both the LS Luxe’s look and sound.

A Luxe for life

While the LS Luxe has been a success in our test rooms, we are keen to hear how the team behind it perceive their latest creation.

In terms of prospective buyers, KEF believes “there is demand for a higher-performance stand-mount active wireless speaker that is a step up from LS50 Wireless II,” allowing for the introduction of technologies such as VECO and the implementation of that more distinctive design.

The LS Luxe is clearly billed as a step up from the LS50 Wireless II, but what’s interesting to hear is how KEF’s perception of the LS Luxe during its development marries closely to the resultant sound we experience in our listening rooms. We press Oclee-Brown to see if there is such a thing as ‘KEF’ sound, something which he describes as “wide-bandwidth, low colouration and evenly balanced”.

Admittedly, that matches up with what we have heard during our test time. We describe the LS Luxe as being “gratifyingly unfussy about placement” thanks to its “supremely well-integrated sound”. It’s a quality that tallies with KEF’s aim during development “to produce loudspeakers that work well in a wide range of rooms and with a wide range of music”.

Oclee-Brown expands upon that tuning philosophy further, explaining that a KEF speaker “can be listened to for long sessions without being fatiguing. All KEF products follow the same tuning philosophy, and as we develop new technologies or improve our facilities, the KEF sound evolves, but we still have the same overall target.”

We wonder if the tuning of this latest project in any way diverged from that established KEF philosophy, sensing a desire for evolution rather than revolution.

As KEF’s CTO further explains: “The specifics of each product, such as the size, shape, drivers, and technology package, do have an impact on the final tuning. However, we do try to remain faithful to our KEF tuning philosophy, and the outcome is that the sound signature is broadly consistent across the whole KEF speaker range.”

Again, that comes as little surprise. The LS Luxe may outshine the likes of the LSX II and the LS50 Wireless II, but the sound still exhibits the even, balanced, and refined signature of its more affordable antecedents.

The technical innovations behind the sound

A lot has gone in to creating the LS Luxe, and we get a sense that after six years of research and development, there was a desire to push beyond the boundaries of what came before.

KEF has either integrated new technologies or refined its established designs to do so. The integration of its 12th-generation Uni-Q driver array is at the heart of each speaker; it is backed by KEF’s heralded Metamaterial Absorption Technology (MAT), which absorbs rearward sound from the back of the tweeter dome.

If you’ve already read our review, you might have noticed that each speaker draws on two distinct types of amplification. With our nerdy engineer’s hat on, we probe for an answer as to why:

“One of the huge advantages of an active speaker is that there is one dedicated amplifier for each driver. We use a Class D amplifier for the low-frequency driver, which means we can have high power and high efficiency.

“For the high-frequency driver, we are using a class-A/B amplifier, which avoids switching artefacts and gives a very wide bandwidth. In both cases, the amplifiers are highly customised to the driver they are connected to.”

Notably, this is also the first speaker or speaker system to feature KEF’s ‘Velocity Control Technology’, as seen in the brand’s five-star XIO soundbar. ‘VECO’ measures the speed of the cone movement, compensating for any differences between that and the expected value in real time to reduce distortion levels.

The implementation makes sense. With KEF touting its new system as a simple, easy-to-use solution that can handle the demands of a separates hi-fi system while filling up a listening room, the Luxe needs to be able to handle the sonic demands placed upon its rounded shoulders.

As Dr Oclee-Brown explains, Veco technology has “the dual target of increasing bass output from small speakers, or reducing distortion in conventionally sized speakers such as the LS Luxe.

“In addition, it allows us to use current-output amplifiers, which also give a significant midrange distortion reduction and eliminate power compression.”

We get a feel for that ability in our test rooms. As we say in our review, “the scale and authority showcased belie the Luxe’s compact form, serving up a rendition of Hans Zimmer's Why Do We Fall? that soars… with power, scope and grandeur.”

Integrated systems, be they active, wireless stereo systems or all-in-one units, are becoming ever more popular at a time when modern music fans are increasingly seeking a blend of performance, convenience and ease of use.

The LS Luxe feels like the culmination of KEF’s desire to “appeal to hi-fi fans who are looking for cutting-edge performance and the very latest acoustic technology” in a more user-friendly design.

And we think it might have a hit on its hands. The LS Luxe is undoubtedly pricey, but from what we have heard, it’s an impressively strong alternative to an equivalent separates hi-fi system that could quite easily cost a good deal more.

MORE:

Read our review of the more affordable KEF LS50 Wireless II

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Picture, if you can, a man of entirely average fitness on a bicycle, wheezing his way up a steep rural hillside in a pair of cycling shorts that are rather too small, carrying a ‘work’ rucksack containing Roberts’ new outdoor radio, the SolarDAB 99.

Besides the exciting tech in his bag, it isn’t a particularly charming scene, is it?

Well, let me tell you, it’s even less charming when you are that man. But, having committed to putting the radio manufacturer’s new outdoor-friendly offering to the test, I wasn’t going to give up without a fight.

I arrived at the campsite just before sunset, and much to my delight, found it deserted. On my cycle over, I had worried that it might be too busy for me to test the radio’s volume controls in good conscience. But, without a soul in sight, the sonic landscape was ours for the evening.

So, after pitching my one man tent, I got down to business.

First impressions

Right off the bat, I liked the look of this radio. Like a sleeker, smaller version of a Makita job site radio, it has a rugged, no-frills appearance that is refreshingly out of step with some of Roberts’ more retro-styled lifestyle radios that we have tested. Around the radio’s edges, Roberts has included sturdy bumpers to protect the main body.

With its handy carry strap and various powering options (solar panel, hand crank, USB-C, and a rechargeable battery), the multi-tool approach taken to this design is hard to miss – but it’s well integrated and tasteful.

Pulling the SolarDAB 99 from my bag and setting it down in the dry, yellowing grass, I was also pleased by its weight. On my journey over, I hadn’t felt that I was carrying any excess, but in hand – and despite its plastic casing – the radio feels just bulky and solid enough to give a real impression of quality.

Once I switched the radio on and extended its lengthy telescopic antenna, I was pleasantly surprised at the ease with which I was able to set it up.

Despite being fairly well in the middle of nowhere, I encountered no trouble scanning for and tuning in to a broad selection of DAB, DAB+ and FM stations – more of them, indeed, than I was ever going to get time to listen to.

Connecting via Bluetooth was also a breeze, and the radio appeared in my iPhone 15’s Bluetooth settings almost immediately after I selected pairing mode.

Into the woods

By the time I had spent a while exploring the SolarDAB 99’s features, the sun was bowing out below the horizon. So I thought I had better go for a wander, lest my evening in the wild be wasted.

Clipping the radio to my bag via its robust carry strap, I set off into the woods to the soundtrack of BBC Radio 4.

As it got darker, I turned on the radio’s useful flashlight. This features options for a wide beam of white light, a more narrow, focused beam and a red light. Each setting is available in two brightnesses, and as a flashing SOS signal or a regular flashing mode.

Soon, having lost myself in the forest, I was relieved to find that the torch’s light was more than bright enough to hike by. Fumbling for the illumination mode button, I accidentally set off the radio’s emergency alarm, which, blessedly, starts off relatively quiet, increasing in volume with each beep.

For those of you planning to listen to the radio and hike with a torch simultaneously (you crazy cats, you), it’s worth noting that the flashing modes do sometimes add white-noise interference when listening to weak FM signals. With a strong signal, however, you shouldn’t have any issue.

The radio’s solar panel also seems to work a treat. While Roberts claims a 20-hour battery life from the SolarDAB 99’s rechargeable battery, with the help of earlier sunlight, I didn’t see the charge drop by more than a single bar (of which there are a total of four) during my trip, despite listening for the entire evening.

Roberts says the hand crank offers seven minutes of playback per minute of cranking, but given that I already had charge, I didn’t get to put that to a proper test. It does, however, have a very satisfying feel for a few spins.

Eventually, by a fusion of pure chance and nerve-soothing radio, I made it back to the tent.

But can Roberts sing?

Day to day at What Hi-Fi?, we are blessed with the work of listening to music on a wide variety of systems, some of which are well and truly top of the line products. As such, I was conscious of approaching the SolarDAB 99’s sound with an open mind.

But, as it happened, this radio had no need for my tolerance. Radio presenters’ voices are delivered with naturalness and low-end authority, especially for a small DAB/FM radio measuring just 11.4 x 20.3 x 8.9 cm (hwd). Music sometimes sways towards the richer side of things, but nonetheless comes across with power and a satisfying degree of clarity.

To get the most out of the radio’s high frequencies, I would suggest tilting the speaker towards your listening position. Conveniently, the rear dynamo crank can be pulled part way out to act as a lean support.

Dynamics – which are often all but lost to the compression processes necessary for radio transmission – are also distinct, making for an expressive and entertaining listen overall.

Perhaps unsurprisingly, the radio’s maximum volume isn’t going to burst any eardrums, but it certainly goes loud enough that, had I been sharing the campsite with anybody else, I suspect I would have been somewhat unpopular. Turn it down low, and the SolarDAB 99 does a great job of holding on to its low end punch.

One of my favourite qualities of this radio, however, was one I discovered by accident.

Leaving the radio playing while I made my way to the campsite’s primitive latrines, I noticed that, although I had been playing music at an eminently hearable volume, mere metres from my pitch, I could hardly hear a thing.

Morning thoughts

Come morning, as I packed away my optimistically labelled ‘one-man’ cocoon, I found myself feeling rather impressed with the SolarDAB 99 radio.

While its roster of adventure-friendly features might seem overkill at first glance, they had each proven useful – occasionally, completely vital – during my trip. Indeed, finding that my smartphone’s battery was nearly depleted, I could even recharge it via the radio’s 5V USB-A output.

In the words of the architect Charles Eames: “The role of the designer is that of a very good, thoughtful host, anticipating the needs of his guests.” In this case, I think Roberts has managed to do exactly that.

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Read the Roberts Stream 219 review

We asked eight sound engineers for their top studio test tracks – here’s what they picked and why

How well do you know your hi-fi history? To put you to the test, we’ve created this quiz to see if you can name the very first audio products from some legendary hi-fi brands, from Wharfedale to Technics to Sonus Faber.

We have focused on just 12 hi-fi brands here – otherwise we’d all be here forever – and we are looking for the exact product name of each brand’s very first commercially available hi-fi product. (If you get stuck, the answers can be found in many of the recent features on the site, as part of our What Hi-Fi? 50th anniversary celebrations this year...)

There aren’t any prizes for getting full marks beyond your own personal pride and our congratulations – but we hope you have fun along the way. Enjoy, and post your score in the comments below!

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We asked 8 sound engineers for their top studio test tracks – here’s what they picked and why

Following its recent global expansion, Australian-owned audio platform, AudioBro, has announced the V2 update for its popular service, representing the “largest evolution of the platform since development began more than three years ago”.

The premise remains the same: in-depth, analytical advice to help hi-fi and home cinema enthusiasts get the best possible sound from their system, without having to resort to buying new equipment.

Where AudioBro has made big strides is in how that advice is delivered. Previously, users of the AudioBro platform would need to select which tool they think will best suit their needs. In the new V2, that’s all changed, as the platform will now take all the guesswork out of the equation.

Users now simply describe the problem they’re experiencing and to upload whatever evidence they have — such as room photos, measurements and calibration data. AudioBro will then intelligently determine which of its tools will best fix the problem, and will recommend “one practical, highest-impact next move”.

V2 also introduces Room Memory, so previous analyses, uploaded measurements, implemented recommendations and verified changes remain connected over time.

To make this process even easier, both Starter and Pro users can now speak naturally to the platform about whatever they’re hearing and discuss uploaded evidence. AudioBro founder Ateeq Sheikh says this makes “the experience feel much more like talking to an acoustic consultant than using traditional software”.

There are differences between the depth of analysis given to Starter and Pro users, with the latter unsurprisingly receiving more curated responses. Starter users can still upload room photos and equipment information, and even speak aloud any issues they’re experiencing, and AudioBro will return guided recommendations.

Pro users can go further, receiving proper two-way conversations with the platform, along with the ability to upload REW MDAT files for analysis. The AudioBro platform also offers more advanced measurement interpretation and deeper optimisation capabilities for Pro users.

And, if you were thinking "surely I can just get the same results from ChatGPT?", think again. As Ateeq explains, "ChatGPT is an exceptional general-purpose AI, but it's designed to know a little about almost everything. AudioBro has been built over the last three and a half years to know as much as possible about one thing: hi-fi, home theatre and room acoustics."

"A good analogy is the difference between visiting a GP and seeing a specialist consultant. Both are knowledgeable, but one has been purpose-built for a specific field. AudioBro has been trained specifically for hi-fi rather than general knowledge."

Full access to the platform requires a subscription, offered in two tiers: Starter at US$24.99 per month and Pro at US$49.99 per month, with annual plans priced at US$199.90 and US$399.90, respectively.

Early adopters, however, can secure lifetime access for a one-off fee of US$199 (Starter) or US$299 (Pro).

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The What Hi-Fi? audio team are used to jetting out each year in June to the High End show, to see what fresh new products we might expect to see and hear in our test rooms in the near future.

This year, though, rather than heading off to Munich, where the show had been held for many years, they turned their attention a touch further east to its new host, Austria’s capital city Vienna.

This year’s festival of hi-fi proved to be exciting and worthwhile for more than just the new location, however. There were a remarkable amount of product launches to attend, which meant our intrepid crew could bring a number of hands-on reviews highlighting some of the delights to come.

If you’re in the market for some premium headphones, you won’t want to miss our round-up of the very best examples available. And, talking of premium, we spoke to the designer of Audio-Technica’s new £10,000 cartridge about his thought processes in creating such a top-level component.

Happiness is a High End show

The High End hi-fi showcase is one of the year’s highlights for hi-fi fans and audiophiles, with the European show perennially revealing new top-end kit from the world’s biggest and most lauded manufacturers.

This year, the action moved from the show’s previous home of Munich to Vienna, and we were on the ground to identify the best of this year’s new high-end product launches.

The Austrian capital hosted the show very nicely indeed, with the massive, sprawling halls of the Austria Center Vienna chock full of the best new high-end hi-fi, including speakers, streaming amplifiers, turntables and more from the cream of the hi-fi industry.

This issue you’ll find our hands-on impressions of a handful of the most exciting products unveiled at the show, from JBL, Bowers & Wilkins, Dali, Cambridge Audio, Ruark and Moon.

Headphones that are ahead of the noise-cancelling pack

Back in 2020, paying over £500 for a pair of over-ear headphones raised quite a few eyebrows. But that year, Apple launched its AirPods Max at £549 – at that time, a price tag massively elevated above the majority of wireless noise-cancelling headphones from the likes of Sony, Bose and Sennheiser. But those questioning their price were quickly silenced as the AirPods Max crossed the line from wireless audio into wireless hi-fi, and consequently kickstarted a whole market sector of decidedly premium over-ears.

Six years on, brands such as the aforementioned Bose, Sony and Sennheiser, as well as the likes of Bowers & Wilkins, Dali and Focal, now have their own takes on premium, noise-cancelling cans – and this month we’ve rounded up ten such Apple-rivalling models for your consideration.

Battle for the Atmos

If you are looking for a way to upgrade your TV’s subpar audio without taking up a lot of space in your home, a soundbar is a great way to go.

There are a range of options on the market, from budget bars to more premium models. The Sonos Arc Ultra is an example of the latter, and it has snagged a What Hi-Fi? Award for its excellent performance.

Since its release in 2024, the Arc Ultra has been relatively unchallenged. But the new Sony Bravia Theatre Bar 7 + S has stepped into the ring. Boasting both a subwoofer and a soundbar as opposed to the Arc Ultra’s all-in-one design, the Sony is a slightly different beast. But which will come out on top?

Meet the man behind a £10K turntable cartridge

Yosuke Koizumi is Audio-Technica’s Cartridge Global Product Manager, and the man responsible for the new range-topping £1K AT-MCD1 moving-coil cartridge.

We sat down with Koizumi at the High End Vienna show to find out more about the technology behind the AT-MCD1, and just what goes into designing a top-end MC cartridge.

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 collaboration between lauded high-end manufacturers Focal and Naim was always going to turn our heads, and the Mu-so Hekla is a soundbar with both pedigree, style and a degree of uniqueness in its proposition. But how does it sound? Check out our review in this month's What Hi-Fi?

Elsewhere this issue we have expert, in-depth reviews of the Sony Bravia 7 II RGB Mini LED TV, Soundcore Nebula X1 Pro projector, Fyne Audio Cubitt 5 active speakers and a new soundbar system from Sony, the Bravia Theatre Trio.

And that's not all, we also had the Bose Lifestyle Ultra Speaker, Roberts Stream 219, JBL Live 780NC headphones and Audio-Technica AT-VM740xML moving magnet cartridge under the microscope.

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

More high-end hi-fi heaven

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

Gryphon's beast of a CD player, the Ethos, ticks all the boxes when it comes to impressing us. It looks great, in a groovy sci-fi kind of way, and most importantly sounds brilliant. At a cool £37,500, it's not just the price that's remarkable.

TAD's ME1TX are standmount speakers that we found impressively detailed. "We think of these speakers as an audio microscope," reads our review. "They allow us to hear low-level detail with class leading clarity."

Find out more 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 September 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

While there still seems to be a modicum of choice when it comes to buying a new pair of entry-level stereo speakers, when it comes to budget hi-fi electronics, your options have shrunk considerably over the years.

This is especially the case when it comes to CD players. More and more people have moved to streaming as their source of music, with others opting to spin vinyl records instead of CDs. Not that we are complaining about any of these forms, of course.

Thankfully, Marantz is one brand that continues to fly the flag for that shiny silver disc. Over the years, it has produced some hugely respected budget CD players, so its latest machine, the CD 70, comes with plenty of attention and a huge dollop of expectation.

It replaces Marantz’s own CD6007, a six-time What Hi-Fi? Award winner, so it has some huge shoes to fill, to put it lightly. Can it keep Marantz’s enviable track record going at this level?

Price

The CD 70 is Marantz’s entry-level CD player now and costs £499 / $750 / AU$1000 (excl. VAT). Given the state of the market, there aren’t many rivals, but the model it’s succeeding is the CD6007, which is still available at the time of writing for £399 / $650 / AU$999, and you can find it regularly discounted too. It won’t be around forever, though.

The only other five-star CD player we’ve tested remotely anywhere near the Marantz is the Award-winning Arcam CD5, but at £699 / $699 / AUS$1495 it’s a significant step above (both in terms of price and performance), and we haven’t seen much in the way of discounts, and don’t really expect to.

Design & build

The CD 70 is the first entry-level Marantz CD player to feature the company’s newer design language.

Gone is the purposeful, industrial look of the CD6007; in its place is a more modern aesthetic with added elements of texture on the fascia, either side of the unit’s chunky mid-section of the front panel.

When the light catches the pattern (the closest thing we can equate it to is the dimples on a golf ball, but much shallower), it’s an attractive look, especially in the silver and gold finish of our review sample, although we still think there’s a certain charm to the way the older model looks.

Build quality feels solid enough for the money. And, although its dimensions are a fraction larger than the CD6007 you’d be hard-pressed to tell from a distance – you certainly don’t need to measure for a new hi-fi rack.

Beneath the CD 70’s lid are a number of new components which Marantz has introduced to improve sound quality. These include an updated power supply, which claims help to reduce noise, and an upgraded digital clock to reduce jitter (digital timing errors).

The big news, though, is that the CD 70 uses a new ES9020Q DAC chip to do all the number-crunching, which is an upgrade over the older ES9010K2M chip used in the CD6007.

You also get a remote control which looks pretty similar to the one that came with the CD6007, but its colour is slightly different, as is the labelling and positioning of some of the buttons. You’re not going to get lost navigating your way around, though.

Features

The back of the CD 70 shows an identical feature set to the outgoing model, with the same sockets in roughly the same positions. There’s an analogue output plus optical and coaxial digital outputs. There aren’t any digital inputs, but that’s hardly unexpected at this level.

Around the front of the unit, you’ve got a horizontal row of controls either side of the dot-matrix display, which, once again, appears virtually identical to the display used in its predecessor.

It can show CD text and track information, and you can also use it to navigate the player’s settings when you bring them up using the remote control. The player supports normal CDs, and can handle CD-R and CD-RW discs too, but not SACDs.

You’ll find skip controls, and one button combining play/pause on the right of the display, with input selection (CD/USB), stop and eject buttons on the left.

To the bottom left of the display is the USB-Type A input, which supports WAV, FLAC, ALAC, AIFF and DSD files should you have them stored on an external hard drive. Resolution compatibility is up to 24-bit/192kHz PCM and DSD 5.6 (DSD128).

To the bottom right is a volume control for the built-in headphone amplifier section – scan a bit further right, and you’ll see the relevant 6.3mm headphone socket. The volume control is noticeably chunkier than that on the older model, which does make it easier to get to grips with.

The Marantz also gives you the option to adjust gain to increase compatibility with different pairs of headphones, which is handy.

Sound

Before we give you the complete picture of how the CD 70 sounds, you should be aware of a couple of things.

As was the case with CD6007, the display can be turned off on the CD 70. Marantz recommends you do this in the manual and claims it improves sound quality… and we have to concur.

The most noticeable effect we find during testing is that it reduces background noise ever so slightly, allowing for a clearer presentation.

You also get a choice of two digital filters to play with (Filter 1 and Filter 2). We found that using Filter 1 delivered the best sound quality – we felt the general rhythm and timing of the music sounded a little off when using the second filter.

We find that the improvement gained from turning off the display is the most immediate and obvious, though; the filter effect is a bit more subtle.

Even without those tweaks, the Marantz CD 70 is an impressive performer for the money. It sounds clear, and punchy, and produces a focused, precise sound.

It’s a slight change in character compared with the CD6007. We find the older model sounds a touch more relaxed, while the newcomer favours a slightly more upfront and forward approach. It’s not shouty or distracting by any means, but it is a noticeable shift in balance.

Play Lupe Fiasco’s Superstar and there’s plenty of sparkle up at the top end; there’s an impressive amount of detail extracted from the screams of the crowd before they fade out of shot, and it has no problem highlighting subtle details either, such as the camera flashes going off in the background. The different layers are picked out and placed on a quiet background where they are given room to shine.

Piano and percussion work harmoniously together as the CD player uncovers an impressive amount of texture.

Lupe’s vocals are solid and expressive and sit over the top of simple, yet taut and hefty bass notes. It’s a nicely controlled bottom end that displays the Marantz’s ability to deliver both quantity and quality.

Switch over to the London Regency Orchestra’s take on Leonard Cohen’s Hallelujah and the wonderfully quiet background once again comes to the fore. The track's slow build-up, first with strings, then with woodwind, as the percussion rings in the background, is organised accurately with tightly defined borders throughout.

The track takes its time to stretch out dynamically, but the Marantz builds up nicely to deliver a fine crescendo of strings before fading away. The older CD6007 might paint the dynamic shifts with a bit more delicacy, but you can’t argue with the CD 70’s newfound sense of precision and power.

Verdict

The lack of any real competition at this level really leaves the Marantz CD 70 in a class of one.

Well, we can call it a class of two until the stock of the CD6007 runs out. But that time will come, and the CD 70 delivers a clear step up in terms of clarity, punch and solidity.

It might not be the most relaxed-sounding player Marantz has ever built, but it’s still a serious performer for the money, and if you’ve got a stack of CDs that need playing, you can be confident the CD 70 will be more than up to the task.

Review published: 28th July 2026

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Also consider the Marantz CD6007

Read our Arcam CD5 review

Best CD players: budget to premium options tested by expert reviewers

For someone who reviews hi-fi products, a major perk of the job is getting to listen to a variety of music on great speakers and systems.

For a sneak peek into some of the tracks we use for testing here at What Hi-Fi?, you can head over to our Now Playing column.

Recently, while listening to music during testing, I started thinking about other professions that require a playlist of test tracks. Having trained as a sound engineer, which meant spending a lot of time in studios, I can recall countless mornings when an engineer would put on a certain ‘familiarising’ tune to settle into a room before the musicians arrived.

Which got me thinking, what are the people who make today’s records listening to?

To find out, I spoke to sound engineers who have worked at some of the UK’s most prestigious recording facilities, such as Air Studios, Real World Studios and Strongroom Studios.

With clientele ranging from Max Richter to Harry Styles, what follows are professional engineers’ favourite test tracks, alongside their reasons for choosing them.

• Listen to the Sound Engineers’ Top Test Tracks playlist on Tidal
• Listen to the full playlist on Spotify
• Quiz! Can you name all the types of hi-fi and AV cables from the photos?

MORE:

We asked top British hi-fi engineers for their favourite test tracks – this is what they said

Now Playing: supercharge your summer listening with the seven best tracks we have been using to test hi-fi

The ultimate music tracks to test your hi-fi system

Marantz has long been a dominant force in the affordable stereo amplifier market, so when it replaces the long-running, five-star PM6007, we can’t wait to have a listen.

After generations of budget 6000-series amplifiers differentiated only by small tweaks, the Marantz Model 70 marks a notable shift in styling and price, if not content.

Where PM6007 originally launched at £499 / $599 and has been available for around £349-£399 in the past couple of years, the new Model 70 has launched at £749 / AU$1600 (exc VAT) – moving it out of the 'budget' bracket. It's also worth noting that this new amplifier won't be available to buy in the US initially, with Marantz stating it is focusing on the "markets where consumer demand can be more effectively met."

Build & design

While the new Model 70 integrated is clearly based on the former Award-winning PM6007, just compare their back panel layout; it is obvious that the company’s engineers haven’t just been twiddling their collective thumbs for the last half a decade.

The big change is the appearance, of course. This now mirrors the aesthetics of the company’s more premium stereo products (such as the Model 40n), and we like it. To our eyes, it looks classier and more elegant than the more function-first approach of the previous budget model.

The symmetry of the front panel is appealing, as is the trademark Marantz ‘porthole’ display. We are pleased to report that the front panel dials for the volume, balance, tone controls and inputs all feel solid and precise in use, while that small display is crisp, though admittedly not particularly easy to read from a distance.

This stereo amplifier, and partnering CD 70 CD player (£499/ $750), are both available in black and silver finishes. The Model 70’s build feels broadly on a par with the outgoing PM6007, which cost £499 / $599 when launched in 2020, but is now available for notably less.

It is nicely finished, though, and reasonably solid, bar the flex we notice in the back panel when plugging in the speaker cables. Arcam’s similarly-priced A5+ (£749 / $1199) feels more substantial in terms of casework panel thickness and overall solidity.

The Model 70 is supplied with a system remote that also controls the partnering CD player. It looks like a tweaked version of the older amp’s handset, and works well on the whole, being nicely laid-out and easy to use.

There is a bit of give and take when it comes to features compared to the PM6007. The Model 70 gains an HDMI ARC input, Bluetooth (aptX HD) capability and a preamp output over its predecessor. However, it loses one of the two optical inputs, the second set of speaker outputs and the fixed line output.

In general, we have no complaints about the new amplifier’s connectivity. It has three line-level inputs, a moving magnet phono stage, as well as coaxial and optical digital ins.

The addition of HDMI and Bluetooth is a definite step in the right direction, making the amplifier more versatile than before. As with the older amp, there is a 6.3mm headphone output on the front panel.

Inside, you will find that the changes over the PM6007 continue with a different DAC chip (ESS Sabre’s ES9020Q rather than the ES9010K2M), electric rather than potentiometer-based volume control and higher-capacity power supply capacitors (15,000uF vs 12,000uF). Those smoothing capacitors have been moved closer to the power amplifier to reduce resistance. Together, all these changes aim to improve transparency, bass performance and sonic stability.

The use of Marantz’s discrete HDAM amplifier modules, in this case the SA3 version, continues, and power has risen slightly to 50 watts per channel, up from the PM6007’s 45 watts.

A stereo amplifier at this price has to be flexible enough to work in a wide range of systems. It should be forgiving and balanced enough to make the most of budget sources and speakers, while having the sonic stretch to shine with more capable components. The Model 70 certainly meets that challenge well.

We use a range of sources from the Marantz CD 70 and Cyrus CDi CD players right through to our Naim ND555/555 PS DR music streamer. Record playing duties are carried out with a Technics SL-1000R turntable fitted with a Nagaoka MP-200 moving magnet cartridge. As for speakers, we use our reference ATC SCM50 along with the KEF LS50 Meta and Acoustic Energy AE300 Mk2.

Sound

Our first port of call is a comparison of the Model 70 with its predecessor. The PM6007 remains a fine performer for the money, delivering a smooth and fluid presentation that still holds our attention well. However, the new model is clearly better despite sharing a similarly refined tonal balance.

As we listen to Hans Zimmer's The Battle from the Gladiator OST unfurl, it is the Model 70 that sounds clearer and more composed. As the piece builds, the amplifier remains impressively stable, tracking low-level instrumental strands with ease while allowing the listener to sit back and enjoy the whole, if they desire.

In comparison, the PM6007 sounds a little soft and muddled. It manages to reveal the energy and feel but isn’t as tidy in the way the music is presented. Low notes lack impact and definition, while dynamic shifts are more muted.

The Model 70 rams home its advantage when we play the Back On The Block album by Quincy Jones. Here it comes across as the more insightful and revealing performer, beautifully highlighting the wonderful vocal talents of Chaka Khan and Siedah Garrett on The Places You Find Love. We hear more in the way of vocal and instrumental textures, and greater finesse across the board.

The Model 70 retains its predecessor’s forgiving nature thanks to its innate refinement and smoothness, but adds more authority when delivering hard-hitting basslines and challenging dynamic contrasts.

You can add the moving magnet phono stage and digital inputs as additional plus points. With records, the Model 70 retains a good degree of clarity. It delivers Mary J Blige’s No More Drama set with verve and detail, while tonality is nicely judged. It helps that the phono stage’s noise levels are relatively low, too.

The digital inputs are equally capable. The Model 70 is compatible with PCM files up to 24-bit/192kHz and shifts between file resolutions seamlessly. There are two filter options – Slow Roll-off and Fast Roll-off – and while the sonic difference between the two is subtle, we consistently prefer the Slow option as we work our way through a variety of tracks. It just sounds more fluid and natural to our ears. As always, try it for yourself, as much depends on taste and system matching.

The positives continue with the new amplifier’s Bluetooth performance. While this input doesn’t rival any of the physical connections for outright quality, it still produces musically enjoyable results when we feed in music from Tidal and Qobuz using our iPhone 14 Pro Max.

So, it should be clear by now that the Model 70 is a talented performer. Its superiority over the PM6007 is obvious; however, it also costs a lot more than its predecessor. That move up in price puts it into a different performance ballpark and up against some remarkably capable opposition, most notably the Award-winning Arcam A5+.

Comparison to the Arcam proves a stiffer test, one that shows that the Marantz doesn’t hold all the cards. Up against the A5+, we find that the Model 70 falls just a step behind in most areas, regardless of input. With the Quincy Jones album, it isn’t quite as rhythmic with the title track, diluting the music’s sense of momentum a little.

Dynamic nuances aren’t communicated so convincingly, leaving the emotional impact of great vocalists like Stevie Wonder and Ray Charles slightly diluted. Outright clarity and insight, particularly the interplay between instruments, isn’t as easily followed either.

However, the Marantz is the more neutral of the two, sounding less rich through the midrange and bass, while its lows are just a touch firmer. Absolute detail levels are broadly on a par, and we can still enjoy the Marantz’s lovely top-to-bottom consistency.

Verdict

The Marantz Model 70 amplifier has plenty of appeal. It is well-specified, decently made and works with a wide range of music. Had it been priced closer to the PM6007, we would undoubtedly be proclaiming it a class leader.

However, the move up in price level puts it up against tougher competition and, in that context, it earns a more cautious recommendation.

Review published: 27th July 2026

SCORES

• Sound 4
• Build 4
• Features 5

MORE:

Read our review of the Arcam A5+

Arcam A5+ vs Marantz Model 70: which stereo amplifier is best for you?

Also consider the Rega Brio Mk7

Best stereo amplifiers: 8 class leaders chosen by our review experts

As celebrating milestone anniversaries typically involves reflecting on the early years, it’s only natural that, as part of our 50th anniversary celebrations this year, we have backpedalled to the ’70s with the dedication of a Led Zeppelin documentary.

We have looked back at the first issue of What Hi-Fi?, picked the 50 best hi-fi and AV products since 1976, and asked hi-fi brands for their perspectives on the biggest shifts in music and hi-fi during our 50-year lifetime. But as nice, warm and fuzzy as it is basking in nostalgia, it’s arguably more exciting to peer into the unknown and take an educated guess at what could lie ahead.

It’s difficult to imagine the music and hi-fi landscapes going through as many changes in the next 50 years as they have done in the past 50, where tactile, analogue and vinyl-led listening has largely transitioned into phone-controlled, digital and networked streaming.

But with those industries currently standing at The Crossroads of Innovation, with AI and spatial audio seeming to be the most brightly lit paths, you’d be brave to bet against that. So, what will hi-fi and music playback look like in 2076? We asked a handful of the most forward-thinking figures in hi-fi to rub their crystal balls…

Highly intelligent systems

Today, with varying degrees of success, spatial audio is challenging the stereo format. Music production and playback are no longer strictly ‘channel’-based, whereby sounds are allocated to and played through specific speakers.

Now, through audio-processing techniques, sounds can be ‘placed’ anywhere in an all-encompassing ‘3D’ soundfield, replicating how the human ear hears everyday sounds.

At the same time, artificial intelligence (AI) is brewing up a storm in the music industry by giving anyone the means to use AI music creation software to create full, unique songs with little effort, guidance and, in the traditional sense of music-making, talent.

Such machine-driven algorithms are also driving how we discover and play songs on streaming services, as well as playing an increasing part in how audio systems can adapt playback to their environments and listeners’ EQ preferences.

Both disruptive technologies feel very much in their infancy and will undoubtedly play a significant part in the future, as WiiM’s CEO, Dr Lifeng Zhao, discusses.

“Over the next 50 years, hi-fi will evolve from a collection of fixed components into an intelligent, adaptive acoustic system,” says Zhao. “Speakers will understand the room, the listener's position and even individual hearing characteristics, continuously optimising sound while preserving the artist's intent.

“The most exciting future is not technology that colours the music, but technology that disappears – removing the room, set-up complexity and compatibility barriers between the listener and the performance.”

Touraj Moghaddam, Vertere Acoustics’ CEO, agrees that everyday music playback will be defined by computational intelligence, even envisioning a future audio landscape that wouldn’t look out of place in a new Black Mirror episode.

“I doubt we will ‘put something on’ any more,” he says. “Music will be woven into the environment itself – ambient systems reading mood, activity, even biometrics, and shaping the sonic atmosphere accordingly. Home, car, glasses – even some unnoticeable ‘earwear’ – will simply handle it.”

While AI already curates playlists based on your listening history and voice prompts, Moghaddam believes streamed music will in future be generated in real time to suit specific moments, such as times of day.

“Choosing an album to play while cooking may feel as quaint to future listeners as tuning an analogue radio dial feels to us now,” says Moghaddam. “And I suspect streaming as we currently know it – scrolling through apps and pressing play – will disappear.

“In hindsight, it will likely look like a clunky transitional phase, much as the CD era now appears: functional, slightly soulless and ultimately superseded.”

Interestingly, however, despite envisioning a future shaped by AI and streaming, he believes that human artistry and album concepts will survive – just not as we know it today. “If anything, it will make it more precious,” he says.

“A body of work that builds and develops speaks to something different in us than a shuffled queue. An ‘album’ in 2075 might be an hour-long spatial composition you move through, or a piece that adapts slightly depending on who’s listening and when. But the underlying instinct – an artist making a considered statement – should remain, because artists will always want to make one.”

Moghaddam also predicts a dominance and progression of immersive audio beyond what Dolby Atmos and binaural audio technologies currently offer; an experience that is more personalised to the room and listener, possibly also expanding to other senses.

“Something closer to bone-conduction blended with room-filling soundfields, perhaps with haptic elements,” he foresees.

“An orchestra wouldn’t simply play for you; you’d sit inside it, instruments arranged around and behind you, or even move yourself around for a different perspective. Habitats could even have these built into their architecture.”

Sound quality secondary?

A futuristic picture? Yes, but far from an unrealistic one. Machine intelligence, spatial audio, haptic interaction… but where does that leave sound quality?

Matt Bartlett, managing director of Chord Electronics, recognises the history of the hi-fi cycle “moving from the best-quality listening to simpler systems, but at the detriment of sound reproduction, and then back again once consumers realise what they are missing,” and he doesn’t see that changing in the next 50 years.

“Clearly audio – especially wireless transmission systems – has the capability to improve dramatically,” he says. “Luckily, a large proportion of listeners still strive for different listening set-ups and look for the next best thing, and engineering will have to lead this and provide new solutions and a constant evolution of existing audio components to meet this need.

“Ultimately, the goal of any audio engineering team is to produce a product that can reproduce the original sonic performance in the most accurate way possible. So with advances in technologies, I hope that in 50 years we have the designs to do this perfectly so that the listener cannot tell the difference between the live performance or a recording, and playback.”

Like Bartlett, Paul Neville, senior director of Harman Luxury Audio’s Global Engineering team, also believes higher-quality sound, driven by environmentally sustainable product designs and energy-efficient technologies, will play a major part in the future of hi-fi as melomaniacs and audiophiles look for “time off from the ‘connected’ digital world”.

He envisions more pointed focus “on quality, both in terms of product design and user experience, which is really closing the loop and taking us back to where hi-fi began to try and replicate that live music experience.” A desire to “buy less but buy higher quality”.

A shrinking niche

Hi-fi components haven’t dominated the music-listening hardware market in decades; not since it shifted towards personal listening devices, which has, of course, culminated in the phones and headphones of today.

Karl-Heinz Fink, owner of Fink Audio-Consulting and Epos Loudspeakers, believes mainstream hi-fi is heading in only one direction. “Hi-fi will simply be a commodity, bought in much the same way people buy a toaster today,” he says. “And, much like a toaster, it will increasingly be bought online. The traditional dealer, where customers came to listen and compare before buying, will play a smaller and smaller role.

“Many traditional companies will disappear, and Chinese vendors will come to dominate the market – in the same way Japanese companies did in the 1980s. It is not only the lower cost of Chinese products, but also the technology they have, for example in streaming.

“Their domestic market is so large that they have the volumes needed to bring prices down and to justify developing new technology.”

But while Fink also predicts that an increasingly casual attitude to hi-fi will have a knock-on effect for a shrinking high-end market, he doesn’t predict the extinction of the passionate audiophile anytime soon.

“There will always be a group of enthusiasts who listen to high-end equipment and spend a lot of money on their systems,” he says. “As before, these will mostly be older people with the necessary means, which was already the case when I started almost 50 years ago.

“There will still be fans of turntables, of course, but much like mechanical watches today: we like the way they work, but nobody buys them to get the most accurate time.”

Neville and Moghaddam agree that vinyl will persist. Neville, due to an overwhelming amount of choice in a ruling digital world and a consequential wish to focus on more mindful activities, while Moghaddam doesn’t see it as being as entwined into popular culture or as socially relevant as it is today, but instead as a specialist hobby alongside “the ambient, AI-generated, fully immersive listening” that will dominate everyday life.

“I expect vinyl will sit where letterpress printing sits today: a small, devoted niche with a genuine community and its own folklore – some of it accurate, some exaggerated,” he says.

“There will still be people who insist on vinyl, much like some today insist on shooting film – partly for real technical reasons, and partly because the ritual has simply become part of how the music feels to them.”

He believes that the supply chain will survive to power this niche market, although he makes a point that it could still exist without active cutting and pressing industries due to the permanence of records themselves.

“As PVC doesn’t decompose in any meaningful timeframe, the hundreds of millions of records already out there would still be perfectly playable in 2076 and well beyond. Digital formats depend entirely on platforms, codecs, and infrastructure staying alive and compatible – vinyl just sits on a shelf, indifferent to whether anyone is maintaining it.”

Adapting to a smarter world

The consensus seems to be that an increasing need for ‘disconnected’ experiences in a dictatorial digital age could well keep the tactile hi-fi system as we know it today alive, albeit perhaps in a more niche context.

Even more likely is that the smart digital world will get only smarter, and that the audio industry will have to do what it does now – try to keep up.

Digital hi-fi will have to adapt and find new ways to pander to demands for convenience, while striving for sound quality that gets even closer to the live experience, and becoming intelligent enough to create tailored room- and listener-specific experiences. Spatial audio may even seize the 22nd century.

It’s a tall order, but an exciting prospect.

MORE:

Engineers from KEF, Cambridge, Cyrus and more highlight the biggest technological game-changers in hi-fi during What Hi-Fi?'s lifetime

“Hi-fi is like gardening; it’s never really done” – our readers discuss their life-long quest for audio nirvana

Read more What Hi-Fi? 50th-anniversary features

Somehow, it’s July – and half of 2026 has already gone.

It has been time well spent, however, as the What Hi-Fi? team has spent the time testing some rather brilliant products.

From OLED TVs that give our current favourites a run for their money to long-awaited headphones that live up to the hype, we have seen various updates to many of our Best Buy guides.

So we have rounded up a few of our favourite products of the year into a handy guide. We test and review all products ourselves here at What Hi-Fi?, and all of the products below have been awarded a full five stars.

Don’t forget to check back in November for our annual Awards night, where there will be a full-on battle royale between the new releases and previous favourites to see who gets a coveted What Hi-Fi? Award.

For now, though, take a look at what has impressed us in the first half of 2026.

13. Yamaha C-5000/M-5000

Our temptation pick, the Yamaha C-5000/M-5000 pre-power amplifiers, is certainly pricey but hard to beat when it comes to the blend of build, finish and performance.

Yamaha may not be the first brand that comes to mind when we think of high-end amplification, but this C-5000/M-5000 pairing is as polished and well engineered as they come. If you’re lucky enough to have a listen, we’re sure you’ll agree.

12. Vertere Phono-1 LX

Moving on to the more affordable, but definitely still premium, the Vertere Phono-1 LX phono stage sets new standards for the price, delivering a class-leading combination of insight, dynamic punch and finesse.

It may look the same as its predecessor, the Phono-1 MkII L, but the Phono-1 LX takes a notable step forward in performance. Provided you have a talented record player and a system capable of great transparency, this Vertere phono stage is an easy recommendation.

11. Samsung HW-Q990H

We had high expectations for the Samsung HW-Q990H – its predecessor, the similarly named Q990F, won Product of the Year in the soundbar category at our most recent What Hi-Fi? Awards ceremony.

Luckily, the Q990H lives up to the hype, with subtle under-the-hood refinements that result in a touch more detail and nuance, and place spatial sound effects with even greater precision. Samsung has done it again, continuing to improve on its soundbar package year after year.

10. KEF Coda W

KEF’s wireless active speaker systems have been five-star successes recently, and the Coda W continues that trend. Unlike the brand’s previous models, the LSX II LT and LS50 Wireless II, built-in streaming capability has been replaced by Bluetooth and a moving-magnet (MM) phono stage is now included, but the high standards in sound quality have been maintained – and indeed, surpassed.

While the phono-stage performance could be better, listening via other inputs is a joy, with a clear, detailed presentation and deep, controlled bass. The build quality is rather elegant too!

9. Valerion VisionMaster Pro 2

Valerion is still very much in its infancy by AV standards, having started on Kickstarter only in 2024. That hasn’t stopped the Valerion VisionMaster 2 from becoming a (literal) shining star of the mid-range lifestyle-projector scene, and one of our favourite products of the year so far.

It’s the eye-catching and heavy-duty design that will certainly grab your attention first, but luckily the picture and sound quality is just as impressive. The VisionMaster Pro 2 punches above its weight with features too, with a particular highlight including support for all four HDR formats – including both Dolby Vision and HDR10+, a rarity for a projector.

8. Sony PS-LX3BT

After six long years, we finally have a new affordable Bluetooth turntable recommendation to knock the Sony PS-LX310BT off its perch. It is, however, another Sony offering – the Sony PS-LX3BT is the Japanese tech giant’s long-awaited return to Bluetooth turntable production, and it was certainly worth the wait.

It’s hard to think of a turntable that does so much so well yet costs so relatively little. This plug-and-play automatic turntable boasts Bluetooth powers, impressive ease of use and a sound that is accomplished and enjoyable, making it a perfect pick for beginners, budget turntable buyers or anyone after a great-value Bluetooth record player.

7. LG C6

We recently gave LG’s flagship, the G6, five stars in our re-review, but it’s the step-down OLED that has impressed us most. We don’t usually get too excited about processor upgrades, but the Alpha 11 Gen 3 has blessed the LG C6 with extra brightness and richness, improved upscaling and better shading subtlety than its predecessor, the C5.

Add in a step up in audio performance, LG’s usual awesome gaming credentials and an app-packed, optimised smart platform, and you have the mid-range OLED to beat in 2026.

6. Dali Sonik 5

The Dali Sonik 5 get to have it both ways – they are small enough to fit into most living rooms, but deliver a big sound that transcends their dimensions. Provided you take the time to set them up carefully, you will be rewarded with detailed sound and an expressive dynamic performance.

At £899/ $1800/ AU$1749, they are a pleasing balance between convenience, cost and quality, and a worthy follow-up to the multi-Award-winning Dali Oberon 5.

5. Sony Bravia Trio

Is the Sony Bravia Trio a soundbar or a speaker system? Sony’s deconstructed soundbar concept could have ended up as an awkward compromise between the two. Instead, it takes the strength of both approaches while avoiding their weaknesses.

A 3.0.2-channel system comprising dedicated left, centre and right speakers, the Bravia Trio may seem like a backwards step for soundbars by adding more speakers, but results in one of the finest lifestyle Dolby Atmos systems you can currently buy. Huge scale, impressive cohesion and excellent usability are all combined in one ingenious three-piece package.

4. JBL Xtreme 5

The JBL Xtreme line is beefier and bulkier than ever before, with the Xtreme 5 adding drop-proof to its list of indestructible credentials that include an IP68 waterproof and dust-proof rating. There’s also new colourful, customisable edge-lighting for those who really want to get the party going.

But it’s the elevated sound quality that intrigues us most, with a newfound sense of clarity and greater sonic presence than previous models. Combine that with the solid build quality, and it all spells bad news for any contenders to the Bluetooth speaker throne.

3. Samsung S99H

Samsung’s flagship TVs have been the most aesthetically appealing for some time now, but the Samsung S99H switches things up with a bold new design that takes inspiration from its design-led The Frame range.

But it’s the performance upgrades that wowed us the most. With a refined approach to picture tuning, a feature set that many TVs can only dream of, and a greatly improved sound system compared with last year’s model, Samsung’s latest flagship is the brand’s best TV to date, and the OLED to beat in 2026.

2. Sony WF-1000XM6

Sony has innovated and improved its flagship wireless earbuds time after time, but the Sony WF-1000XM6 was released to the most competitive market yet.

But that didn’t stop Sony from producing a pair of buds with out of this world sound and an all-round performance good enough to worry every major rival at the money. You’ll want to make sure you get along with the ear-tips, but the XM6 offer a new, wonderfully natural sound, noise-cancelling that is up there with the very best and brilliant call quality. Underestimate Sony at your peril!

1. Focal Mu-so Hekla

An “immersive all-in-one system”, the premium Focal Mu-so Hekla straddles the worlds of hi-fi and home cinema in a way that is very fitting for What Hi-Fi?.

So it’s lucky that Focal and Naim’s soundbar is good; not just good, in fact, but fittingly explosive. It handles whatever we throw at it with ease, offering an immersive and authoritative experience when watching movies, but also a finessed performance when fed a delicate piece of music.

If you can afford the high asking price, the Hekla more than justifies the cost.

MORE:

Check out the best Dolby Atmos soundbars

And here are the best projectors

Our guide to the best speakers we have tested and recommend across all budgets and types

KEF is edging ever closer to revealing its latest set of speakers.

The British brand has already teased that a new model is in the works via an Instagram video, which teases the return of the company's much-heralded Uni-Q driver alongside a curved cabinet exterior.

Now, KEF has announced an exclusive launch event at its London headquarters on July 30th, where it will unveil its latest creation.

The accompanying picture gives a little more insight into the form that product could take. KEF has deliberately kept most of the teaser image veiled in shadows, but squint and you'll be able to make out more of that curved cabinet surrounding the unmistakable impression of a Uni-Q driver array.

According to the teaser: "True luxury does not begin with a declaration, but with an absence. A space. A silence. And then, a single note that changes everything." Not a huge amount given away there, then.

What we can say with relative confidence is that the new speaker will be designed in collaboration with Ross Lovegrove, the man who lent his talents to crafting the smooth, curved looks of KEF's Muo Bluetooth speaker and Mu wireless earbuds/headphones.

As we previously reported, KEF is promising "stunning sound clarity, sharper details and an expanded soundstage that fully immerses you in the artist's creative vision".

How much it will take to get that stunning sound hasn't yet been revealed, but with KEF teasing "luxury" from its latest creation, we'd imagine it won't come cheap.

We'll soon know for certain. The new KEF speaker will be revealed on Thursday, 30th July, so you'll only have to wait a week to find out. Stay tuned to What Hi-Fi? for all of the details as and when they arrive.

MORE:

Read our KEF LSX II LT review

And our KEF Coda W review

Our guide to the best speakers we've tested and recommend across all budgets and types

If you've been eyeing a pair of Monitor Audio's statement Hyphn floorstanding speakers, your choice of potential finishes just got a lot more extensive.

That's because Monitor has announced that the Hyphn are now available in over 200 custom colourways. Customers can select from a variety of Matte, Gloss and Metallic finishes across a range of over 200 colours, with each custom-finished Hyphn cabinet painted and assembled by hand in the UK.

For those unfamiliar with the Hyphn, the heavyweight floorstanders were built to commemorate Monitor's 50th birthday. Each speaker boasts a total of 11 drive units in total, including a micro pleated diaphragm tweeter surrounded by six midrange units and four bass drivers.

The cabinets, which you can daub in practically any colour you like, are formed using mineral and acrylic stone and then precision milled, resulting in what Monitor Audio describes as a totally rigid structure "that provides the perfect platform from which the drive units can operate".

The three original Hyphn finishes – Matte Heritage Green, Matte Black, and Pure Satin White – remain available. The Hyphn will set you back £70,000 / €82,500 / $92,500 per pair for the standard paint editions, while adding a custom finish will bump that up to £80,250 / €92,500 / €102,500 per pair.

MORE:

The annual What Hi-Fi? Home Cinema Week is here!

15 legendary hi-fi brands that are still going strong today

Best speakers 2026: budget to premium models tested by our expert reviewers

The Roberts Revival Petite 2 is arguably the best budget radio on the market at the moment, mainly thanks to its lively, engaging sound and, perhaps more importantly, adorable looks.

Right now, the Revival Petite 2 is just £88 at Peter Tyson, a generous 10 per cent discount that sees the Roberts take a rare dip below the £90 mark. Considering it started its life at around £100, you're getting a very tasty £12 discount on a What Hi-Fi? Award winner.

The great thing about the Roberts Revival Petite 2 is that you can plonk it everywhere. On the windowsill, at the corner of your desk, on a bedside table, on a bookshelf, in the garden – no matter how small your space, the Petite 2 radio will fit right in, and sound pretty great while doing so.

Battery life is a considerable 20 hours, and you can charge your radio up via USB-C. The Roberts also comes with a 3.5mm headphone socket so you can listen at night in peace. You can save 20 presets in total (10 x DAB/DAB+, 10 x FM), while Bluetooth pairs swiftly and with no fuss to our smartphone and laptop.

Sonically, the Petite 2 belies its compact dimensions. In our review, we said: "It’s a lively, rhythmically engaging sound that has a surprising amount of weight and punch to it, given the unit's size. The way it handles voices is a highlight, sounding clean, solid and detailed."

We're not expecting big scale or lashings of deep bass from such a petite unit, but there is ample solidity and richness to the detail, along with confident dynamics and toe-tapping rhythm to keep our attention hooked.

The Roberts radio is a well-designed, great-sounding radio that's lovely to use and listen to. For £89 at Peter Tyson, it comes highly recommended.

MORE:

Thinking of buying a soundbar? Here’s a better alternative

Or check out our Ruark Audio R1S review

For all our top picks, head to our best DAB radios guide

In case you missed the news last week, Marantz officially announced the successors to its entry-level CD6007 CD player and PM6007 stereo amplifier.

The CD 70 and Model 70 go on sale on the 15th August for £499 | €600 | $750 | AU$1100 (exc VAT) and £749 | €850 | AU$1600 (exc VAT) respectively.

At the time of the announcement, there was no US pricing for the Model 70, and Marantz confirmed to What Hi-Fi? that this was because the stereo amplifier wouldn’t be available there at launch.

We asked Marantz to comment further, and it has replied with a full explanation for the decision:

“MODEL 70 will not be available in North America at this time. Following careful evaluation, we determined that anticipated market demand in the region would not support the minimum production volumes required for a local launch. As a result, we have made the decision to focus availability for the initial launch in markets where consumer demand can be more effectively met.

"We are confident that we already have other products in our current portfolio that can meet our customer needs for stereo components in North America, including the acclaimed STEREO 70s Stereo Receiver and the compact MODEL M1 Streaming Amplifier. We remain committed to bringing innovative products to North America and will continue to introduce new models that align well with the needs of the region.”

While it might come as a surprise to hear the amplifier isn’t launching in the US, this isn’t the first time a manufacturer has targeted specific markets with specific products and product ranges, nor will it be the last.

Different international markets might have different demands and requirements for products, so it makes sense not to launch something that might muddy the waters. Having said that, undoubtedly there will be some prospective buyers who might be looking forward to experiencing the new integrated amp and disappointed that it won't be making the journey.

The statement does use the words “initial launch”, though, so who knows if Marantz might change its plans further down the line.

We have both the CD 70 and Model 70 in for testing at the moment and will be reporting back with the official What Hi-Fi? verdict soon.

MORE:

End of an era as Marantz waves goodbye to two hi-fi classics and unveils new entry-level Model 70 integrated amplifier and CD 70 compact disc player

Read our full Marantz PM6007 review

Our pick of the best stereo amplifiers you can buy

Roberts has expanded its Revival range with the new Revival Uno Solar radio.

Priced at £199.99, Roberts says the portable radio has been designed for listeners who “appreciate timeless design” and “the simple pleasure of slowing down with great sound”.

The Revival Uno Solar supports DAB, DAB+ and FM radio. Up to 40 presets (20 DAB / 20 FM) allow you to store your favourite radio stations for fast access to entertainment, while Bluetooth support and a 3.5mm auxiliary input let you stream from your devices.

Additional features include two independent alarms with snooze, an adjustable sleep timer to minimise battery wastage should you nod off while listening, a 3.5mm headphone output for solo sessions and a 3.5mm stereo line-out connection.

Embodying the company’s love for the outdoors, which recently became more apparent than ever with the release of the SolarDAB 99, the Revival Uno Solar uses a built-in solar panel to supplement its rechargeable batteries, which can also be charged via mains. Roberts says the solar panel “offsets power consumption in naturally lit environments” and “doesn’t rely on direct sunlight”.

With a full charge providing up to 20 hours of portable playback and dainty dimensions of just 16.3 x 21.1 x 8cm (hwd), the Revival Uno Solar should have no trouble fitting into the packed car boot for your next camping trip.

Unlike the more rugged looking Solar DAB 99, the Revival Uno Solar embraces the classic design style associated with Roberts and is available in two finishes: duck egg and midnight blue.

The Revival Uno Solar is available now for £199.99.

MORE

Take advantage of the summer heatwave with Roberts’ new solar-powered radio

Roberts Reva review

Best DAB radios 2026: the best-sounding digital radios we've tested and highly recommend

With age comes wisdom, so it perhaps isn't surprising that many of the oldest hi-fi brands around today are still at the top of their game.

We've delved into the archives to shine a light on some of the industry's longest-running manufacturers that continue to serve music fans worldwide to this day. These are true veterans of hi-fi – all over 70 years old – who we think deserve to be called out.

Some companies have changed hands or been resurrected from the dead, others have been comparatively untouched. But whatever their journey, all are still making great hi-fi products – and that's something worth celebrating.

Thorens (1883)

One of the oldest electronics companies in history, the legendary turntable purveyor actually started out manufacturing music boxes, clock movements and, at the turn of the 19th century, Edison-style phonographs – several decades before the era of the record player would catapult the brand to world-renowned fame.

Founded by Hermann Thorens in Sainte-Croix Vaud, Switzerland, Thorens produced its first turntable in the late 1920s and went on to become one of the most revered manufacturers of record players in the '50s and '60s.

Many notable models – the TD 124, TD 150 and TD 160, to name just a few – helped build that reputation. The Thorens TD 160HD we tested in 2008 even made our list of the very best turntables of our lifetime.

The brand filed for bankruptcy in 2000, before being revived by Swiss businessman Heinz Rohrer and later, in 2018, by former Elac Electroacoustic managing director, Gunter Kürten. Today, Thorens has a number of decks in circulation, including the TD 1600 and TD 1601, which are based on the classic TD 160 design.

• Best record players: best turntables for every budget

Ortofon (1918)

Cartridge manufacturer Ortofon – a portmanteau of the Greek words “orto”, meaning correct, and “fon”, meaning sound – began life as a very different beast.

In Denmark after the First World War, two engineers, Axel Petersen and Arnold Poulsen, began their experiments to synchronise sound and picture on film, which they achieved with their 'Petersen and Poulsen System' in the early 1920s.

The duo later transferred their technological know-how to help create a new cutter head for the gramophone industry – a cutter head that record manufacturing companies around the world soon adopted.

That was followed by a mono pickup (or cartridge) and pickup arm so that records cut with the superior head could be reproduced with decent enough audio quality.

Various models of mono cartridges came to the market and, in 1959, the first stereo cartridge arrived. The rest, so it goes, is history. Over 100 years since its story began, Ortofon is now among the most renowned and celebrated turntable cartridge manufacturers.

• Best cartridges: budget and premium options for your turntable

Celestion (1924)

Celestion is a big name in the guitar world thanks to its decades spent manufacturing guitar speakers, but the hi-fi industry also owes a great deal to the British brand.

Soon after it was founded in 1924 by Cyril French (who was later joined by two of his brothers), Celestion manufactured one of the world's earliest cone loudspeakers, based on the design of Eric Mackintosh.

The company became one of the pioneering speaker driver manufacturers in the decades following. It made drivers for the legendary B&W P1 and Spendor BC1 speakers in the '60s, for example, and, amid multiple acquisitions and name changes, the brand continued to make award-winning designs, such as the ribbon tweeter.

• 22 debut speakers from iconic hi-fi brands

Bang & Olufsen (1925)

When engineers Camillo Bang (the tech guy) and Svend Olufsen (the business man) made the transition from experimenting with making radios in their parents' houses to an actual electronics business in the mid 1920s, success came quickly.

The company's first commercially available product was in 1927 with the B&O Eliminator, which enabled a radio to be powered by the mains, as opposed to the huge batteries which were the norm at the time.

The 1930s saw the company outgrow the family home and move into a purpose-built factory in Struer (where B&O still operates), at which point the brand we know and love today began to show its stylish face.

In 1939 it launched the Beolit radio, kickstarting both a successful line of radios and the famous 'Beo' prefix that's still very much in use today. The company later expanded into TVs with the 17-inch Beovision Capri TV, as well as record players and speakers.

• An inside look at Bang & Olufsen as the company turns 90

Tannoy (1926)

To borrow an excerpt from our Tannoy: after 90 years, what does the future hold? piece, "Tannoy wasn’t always Tannoy. It was the Tulsemere Manufacturing Company in 1926, when broadcasting was in its infancy and the first talking film had yet to be shown.

"Radio sets needed huge batteries, which in turn needed huge chargers. Enter one Guy R Fountain, who came up with a new type of electrical rectifier, with the aim of making home-friendly chargers.

"This did rather well, and Fountain founded a company named after the two metals used in the rectifier: Tantalum and lead alloy. The Tannoy trademark first appeared in 1928 and quickly became associated with inescapable public address systems. They even made it into the British House of Commons."

Having provided PAs to the British Ministry of Defence and RAF airfields during WWII, and inventing the Dual Concentric speaker in the years following, Tannoy finally entered the place most of it subsequent efforts would reside: the home. And it has had a fair bit of success...

Roberts Radio (1932)

While many audio companies started life as a manufacturer of radios before expanding into other areas of hardware, Roberts has stuck at that trade for almost 90 years.

You could say that Leslie Bidmead's decision to sell his motorbike, to enable him and co-founder Harry Roberts to pay for the company's first factory, has paid-off. And then some.

Roberts Radio has become as synonymous with British heritage as Harrods and a cup of tea (it even has three Royal warrants to its name), and has successfully kept up with the fast-moving audio industry over the years.

The company launched the first portable DAB radio just before the millennium, a smart streaming radio in 2007, and the award-winning 'Stream' range in 2014.

• Best DAB radios: portable, Bluetooth, in-car

Wharfedale (1932)

Wharfedale has launched enough pairs of anniversary speakers in recent years to remind us that the British brand is fast approaching its centurion.

The company's first speaker was built in the cellar of the llkley home of founder Gilbert Briggs, who designed Wharfedale speakers over two decades and wrote over 20 books on high-fidelity audio.

The Bronze speaker started life purely as a drive unit (enthusiasts assembled their own cabinets) before being housed in a wooden cabinet a year later as an option for those who wanted an ‘extension’ speaker.

Wharfedale's invention of the first two-way loudspeaker in the 1940s, and the use of ceramic magnets in its speakers, have been among Wharfedale's most notable achievements. The brand went on to be defined by the monumental success of its Diamond speaker range, launched in the '80s and still enjoying success to this day.

Leak (1934)

International Audio Group (IAG), the parent company of Wharfedale, Quad and Audiolab, has recently resurrected Leak after a 40-year hiatus.

Founded by Harold Joseph Leak in 1934, Leak was a British hi-fi trailblazer during the mid-20th century.

Its Point One valve amplifier range from 1945 arrived as the first amp to deliver 0.1 per cent total harmonic distortion; its innovative Sandwich speakers heralded true-piston cone action by sandwiching polystyrene foam between outer skins of stiff aluminium foil; and its 1957 Trough-Line is still considered one of the greatest FM tuners ever made.

Electronics and speaker production ceased under the Leak name in the late '70s as then-owner Rank pulled the plug on the brand after years of struggling to compete with Japanese manufacturers – but the brand returned in 2020 with a classic pair of hi-fi separates.

Quad (1936)

Wharfedale has enjoyed a rather special, 70-odd-year relationship with one other audio brand: Quad.

In the '50s, the two brands embarked on a US and UK tour to allow audiences to experience live versus recorded music first hand, and their current position under International Audio Group (IAG) allows them to continue joint amplifier and speaker demonstrations at industry shows to this day.

Quad (which stands for Quality Unit Amplifier Domestic) has had an illustrious history of its own, of course, perhaps no more so than with its 1957 Electrostatic Loudspeaker (ESL), the very first full range electrostatic loudspeaker.

As we've noted in What Hi-Fi? reviews of the many versions that have blessed this world, such as the Quad ESL-2812, few audio designs have attracted such fanatical loyalty from their owners or such fascination from those who covet them.

Today, Quad still has two ESL models in its catalogue, alongside amplifiers and music systems which have helped the brand remain a formidable force.

Pioneer (1938)

While these days Pioneer perhaps has stronger sway in the home cinema market, the Japanese giant has plenty of two-channel pedigree.

We're talking about a brand that began in 1938 when its founder, Nozomu Matsumoto, released the A-8 dynamic speaker after years of research, and which went on to make a name for itself in car audio.

Pioneer manufactured the world's first separate stereo system, component car stereo and in-car CD player, and was a major player in the LaserVision phenomena in the '80s. What's more, Pioneer plasma TVs remain legendary.

SME (1946) 

While SME (originally The Scale Model Equipment Company) is known today for its exceptional high-end turntables, including the SME Synergy, winner of the coveted What Hi-Fi? 2019 Temptations Award, it was in operation for over a decade before it entered the record player market.

SME was formed in 1946 to manufacture scale models and parts for the model engineering trade, before turning its head to precision engineering for aircraft instruments and business machines.

It wasn't until 1959, when the company's founder, Alastair Robertson-Aikman, needed a pick-up arm for his own use, that an experimental model was built. Upon its positive reception from friends and industry folk, the company started commercially producing tonearms – a business it has only recently stopped in order to focus on its core turntable business. Its first turntable, the Model 30, came in 1991.

In 2018, SME also acquired the rights to the iconic Garrard turntable brand – another revered hi-fi veteran – from IGB Gradiente S.A, a Brazilian firm that took over the brand in the late '70s.

Sony (1946)

Everything and everyone has to start somewhere to get anywhere, and for consumer electronic conglomerate Sony that was with a small company called Tokyo Telecommunications Engineering Corporation.

It built Japan's first tape recorder, the Type-G, and in 1958 changed its name to Sony – a combination of the Latin word 'sonus', meaning sound, and 'sonny', which was seen as a desirable word to describe a young gentleman. Yes, really.

The Sony branding had already been used three years prior on its TR-55 transistor radio, the first of many transistor radios and the first Sony product to be sold overseas (in Canada).

Sony's history is, of course, full of landmarks in radio, audio and TV: its first TV, the TV8-301 8-inch portable transistor, launched Sony's TV business in 1960; the first-generation Walkman went on sale in 1979; and it was one of the leading developers of the Compact Disc and the Blu-ray Disc.

It's pretty remarkable that Sony continues to have such a presence, and success, in almost every corner of the audio market to this day, arguably now most notably by dominating the headphone and wireless earbud market.

Klipsch (1946)

It all started with one man (Paul W. Klipsch) and one idea (horn-loaded speakers). In a tiny tin shed in Hope, Arkansas in 1946, Klipsch designed, hand-built and patented the now-legendary Klipschorn, the only speaker in the world that has been in continuous production for over 70 years – and yes, they're still made in Arkansas, albeit no longer in a shed, and largely unchanged from the original design.

The first commercial production run of 12 units was built by the Baldwin Piano & Organ Company of Cincinnati, Ohio, with another built by hand in a local cabinet shop, before the first actual Klipsch factory (now the company's museum) got up and running in 1948.

Other early Klipsch horn-loaded speakers, such as the Heresy and Cornwall from the late '50s, also continue in modified form in the company's line-up today.

JBL (1946)

You may have noticed by now that 1946 was a noteworthy year in hi-fi history. JBL was yet another now-notable name to come onto the scene in 1946, named after its founder James Bullough Lansing, an audio engineer and speaker designer who, by that time, had already enjoyed success with his Altec Lansing electronics company.

JBL's first products, the D101 15-inch loudspeaker and D175 high-frequency driver, were unsurprisingly, then, mimics of Altec Lansing designs. Soon came the 375 high-frequency compression driver – the first 4-inch diaphragm driver – and recognition from Leo Fender, who chose to implement one of JBL's drivers into its guitar amplifiers.

Lansing tragically died, and in 1969 JBL was sold by vice president Bill Thomas to the Jervis Corporation (now Harman International, owned by Samsung), pushing JBL into the world of pro and consumer audio.

The JBL L-100 speakers were launched at CES Chicago back in 1970 and were a huge hit for the company, not only JBL's all-time, best-selling loudspeakers, but the best-selling system of that decade from any brand. Fortunately for the brand (and fans of it), JBL was able to honour that legacy with the JBL L100 Classic.

McIntosh (1949)

Founded in 1949 in Maryland, USA, McIntosh has been making its iconic products in Binghamton, New York since 1951. Known for consumer and professional electronics, the company's distinctive front-panel teal illumination has meant McIntosh amps are always easy to pick out of a line-up.

Famously used to power Woodstock and the Grateful Dead's 'Wall of Sound', the company also branched out into speakers and turntables, bringing its trademark styling to a new audience.

The signature power meters even made their way into in-car audio in the 1990s, supercharging the next couple of decades alongside a resurgent high-end audio and home cinema market.

The McIntosh Group, including the McIntosh brand, Sonus Faber and Sumiko, was acquired by Bose in 2024, having previously been owned by an American private equity group.

New products continue to appear, with the DS200 streaming DAC showcasing how McIntosh has moved with the times while maintaining their distinctive style and overall brand identity. Long may that continue.

MORE:

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How to buy second-hand and vintage hi-fi speakers

How to build the perfect hi-fi system

Ever felt that you’d like a direct link to the mind of a What Hi-Fi? writer? Well now you can get just that, by joining us on Substack!

Okay, so perhaps we’re not talking about a ‘direct link’ to our minds, but my inimitable colleague Kashfia Kabir and I have launched What Hi-Fi?’s Substack as a way for us to discuss the things that are on our minds, give you more of an idea of our thoughts on specific products and topics, and deliver insights into our processes.

So far, we have written about the unlikely new hero of OLED tech, what it’s really like covering a hi-fi trade show, why we review as a team, and why, of all the amazing products we get to test, a dinky DAC is the one Kash is most excited about.

To be clear, these are articles that you won’t find anywhere else – even on whathifi.com.

But what is Substack? Great question.

Substack is essentially a very cool blogging platform where writers such as us can deliver articles directly to their readers. Subscribe to us on Substack, and you can receive our weekly articles as emails in your inbox.

It’s free to sign up, and we send our articles on a Saturday morning, giving you a lovely extra dose of What Hi-Fi? to enjoy over a weekend cup of tea and some buttery toast.

If that sounds like your sort of thing, head over to the What Hi-Fi? Substack, or simply whack your email address into the box below. Easy-peasy.

And if you have a burning question about how we work, or a topic you’d love to get our thoughts on in a future Substack article, let us know in the comments below. We’d love to hear from you!

We Are Rewind has announced its latest collaboration, which sees the cassette revival champion join forces with Pink Floyd to release a limited edition Dark Side of the Moon box set.

Alongside a Dark Side of the Moon-themed WE-001 cassette player, the set includes an exclusive limited-edition, high-quality cassette of the album’s 50th anniversary remaster.

Retro though this all sounds, cassette sales were up by 53 per cent year-on-year in the UK in 2025, as the physical sales charts saw Gen Z re-engaging with physical media.

But this cassette player is no trip down memory lane, with an aluminium casing and metal buttons for forward and rewind controls, as well as an overall modern aesthetic. Mind you, for those hoping to embrace the old-fashioned look, We Are Rewind also sells a belt clip for £24 / $32.

With Bluetooth 5.1 connectivity for wireless listening, a 3.5mm headphone output, line-in recording capability and a built-in rechargeable battery with up to 12 hours of playback, We Are Rewind says this release builds on the success of its WE-001 cassette player.

Notably, with this model, the company claims it has upgraded the cassette player’s frequency response, quoting the current range as 30-14,500 Hz ± 3 dB.

According to Romain Boudruche, founder and CEO of We Are Rewind: "To call The Dark Side of the Moon a classic album is an understatement [...] We're happy that We Are Rewind can play a part in helping preserve the physical album experience."

The limited edition The Dark Side of the Moon WE-001 box set is now available for £159 / $199.

MORE

Feeling nostalgic? We Are Rewind's limited edition cassette player takes you back to the '80s

My first time using a portable cassette player reminded me of what I love about listening to vinyl

I tried this Bluetooth cassette player so you don't have to

If we’re talking about the best CD players we have tested in the past decade, pound for pound, the Marantz CD6007 has to be in the conversation.

Not only is it a fantastic five-star performer, it has walked away with multiple What Hi-Fi? Awards over the years, too.

But the truth is, it’s a little long in the tooth. It launched back in August 2020 and, following a refresh of Marantz’s other hi-fi and home cinema electronics, it has always been a matter of when not if it would be replaced.

Following the recent unveiling of the CD 70, that time has come. That’s right, when current stock runs out, the CD6007 will be no more.

So what does its replacement have to offer? Should you be looking to swap old for new? We’ll cover all this and more below.

Marantz CD 70 vs CD6007 - Price

Given current market conditions, you won’t be surprised to hear that the CD 70 costs more than the CD6007 did when it launched back in August 2020. The size of the jump really depends on where you buy it.

The new model will set you back £499 | €600 | $750 | AU$1000 (exc VAT), compared with the £399 | €449 | $650 | AU$999 that you have to pay at the time of writing for its predecessor.

The CD6007 can regularly be found discounted across various territories now, though, and it’s unlikely we’ll see anything off the CD 70 for a while. So if you want a saving on a mighty fine Marantz CD player, the old model is the way to go for now.

Marantz CD 70 vs CD6007 - Design and build

The shift to Marantz’s more recent design language is quite obvious, but which you prefer the look of can only come down to personal taste.

Each player offers something different and although the CD 70 might appear the more modern of the two, there’s still a lot to be said for the more industrial and workmanlike appearance of the CD6007.

The CD70 has a chunky front panel with a main section that protrudes from the rest of the fascia and is flanked by textured surfaces on either side.

The CD6007 appears a bit more straightforward and uncompromising in its stance, but there’s still enough character in its appearance to give it presence on your hi-fi rack.

The CD 70 is the slightly larger of the two units, but the difference in dimensions isn’t massive – 10.9 x 44.2 x 35.1cm next to 10.5 x 44 x 34.1cm (hwd).

Inside, the CD 70 uses an upgraded power supply, which Marantz claims helps to reduce noise. The headline news, though, is that the CD 70 gets a new ES9020Q DAC chip compared with the older ES9010K2M chip found in the CD6007. The new model also gets an upgraded digital clock to reduce jitter (digital timing errors).

Marantz CD 70 vs CD6007 - Features

The dot-matrix display on both appears virtually identical, as do the buttons on the front – although the eagle-eyed among you will notice that their positions and functions have changed a little.

The CD6007 has its controls positioned vertically, with individual buttons for play, pause, and stop on the right of the unit, and eject, skip forwards, skip backwards and a button for switching to the USB input on the left.

The CD 70, by contrast, has its buttons positioned horizontally, on either side of its ‘porthole’. Skip forwards, backwards and one button combining play and pause sit on the right; input selection, stop and eject on the left.

Both offer a USB Type-A input to the left of the display and a 6.3mm headphone socket, complete with a volume-control knob positioned on the right.

A remote control comes with the CD 70 and looks very similar to the remote you get with the CD6007, but with a new finish. Look a little closer and you’ll see some of the labelling has changed, together with some of the icons used.

The rear layout of both machines is identical. There is an analogue output, plus optical and coaxial digital outputs.

File compatibility remains the same with both machines able to play CD, CD-R and CD-RW discs, while the USB input that features on each machine supports the same file formats: WAV, FLAC, ALAC, AIFF and DSD.

The CD 70 offers a choice of two digital filters for sound quality, similar to the CD6007, and also the option to turn off the digital outputs and the display if you’re not using them, both of which, Marantz claims, will help improve sound quality.

Marantz CD 70 vs CD6007 - Sound

We are about to put the new Marantz through its paces, so we’ll reserve final judgement on sound quality for when our review team has completed their testing.

On paper, however, Marantz has attempted to improve sound quality for the CD 70 through a number of design improvements, including the use of a new DAC and upgraded power supply.

If it can build on all the qualities of its predecessor then this could be a very special CD player indeed. In our Marantz CD6007 review, we called it a “crisp, open performer” and said ”larger-scale dynamics are delivered with verve and punch”.

Let's hope it doesn't stray too far from a winning formula.

Marantz CD 70 vs CD6007 - Initial verdict

Marantz has introduced a few new components for the CD 70, so we have high hopes for its new-generation disc-spinner. This area of the CD player market has shrunk considerably over the years and rivals are few and far between.

Of course, nothing is guaranteed, and we all know how much of a formidable performer the CD6007 has been over the years.

Will the new model be worth upgrading to if you're an existing CD6007 owner? As soon as we have spent enough time with the CD 70 and done all the relevant comparisons, you’ll be the first to know!

MORE:

Read our full Marantz CD6007 review

Our pick of the best CD players for every budget

End of an era as Marantz waves goodbye to two hi-fi classics and unveils new entry-level Model 70 integrated amplifier and CD 70 compact disc player

Any new product launch from Marantz is sure to grab headlines, and this is one of its biggest yet. The Japanese hi-fi giant has finally unveiled replacements for both its all-conquering and Award-winning PM6007 stereo amplifier and CD6007 CD player…

The Model 70 and CD 70 enter the separates arena with a new look, which brings them in line with the rest of the company’s hi-fi and home cinema electronics.

This means design touches such as textured surfaces on the front of both units and the inclusion of Marantz’s trademark circular ‘porthole’ on the Model 70 amp.

These are not just pretty new faces, either. Marantz has promised multiple internal upgrades, all of which are designed to extract the best sound quality possible.

These include “optimised circuit layouts, carefully selected components and vibration-resistant chassis structures.”

We’ll start with the Model 70 amplifier, which is a Class A/B design delivering 50 Watts of power per channel. It uses an upgraded power supply and preamplifier circuit, plus a larger power transformer than its predecessor.

It also features an electronic volume control as opposed to the analogue design used on the PM6007.

There’s a high-performance DAC on board, a high-quality MM phono stage, aptX HD and aptX Adaptive Bluetooth (including the ability to transmit and receive) and an HDMI ARC connection.

There are also your standard suite of analogue and digital connections, plus preamplifier and subwoofer preouts. The Model 70 includes a new low-phase noise clock to reduce the effects of jitter, i.e. digital timing errors, and deliver more accurate playback of your CDs.

The CD 70 uses the same DAC as the Model 70 and offers a USB (Type-A) input on the front that allows you to connect an external hard drive. It supports a range of file types, including WAV, FLAC, AIFF and DSD.

Also on the front is a 6.3mm headphone socket which connects to the fully discrete headphone amplifier contained within the unit. To help with headphone compatibility, Marantz includes adjustable gain control, which you access through the player’s on-screen menus.

It also features an upgraded power supply, plus a double-layered chassis and rigid isolation feet to keep outside interference to a minimum.

The CD 70 costs £499 | €600 | $750 | AU$1100 (exc VAT), which, given its predecessor launched at £399 / AU$999 back in 2020, isn’t really a huge increase.

The Model 70, on the other hand, costs £749 | €850 | AU$1600 (exc VAT), which represents a larger jump from the £499 / AU$1199 launch price of the outgoing PM6007. Both are available in either black or silver and gold.

One thing you might have noticed is that there is no US price for the Model 70 amplifier. It won’t be available in North America when the products officially go on sale on the 15th August. We have reached out to Marantz for a comment about this and will report back as soon as possible.

It’s fair to say Marantz’s CD6007 and PM6007 have had a great innings – almost six years to be precise – so while it’s obviously sad to see these repeat What Hi-Fi? Award-winners replaced, it’s a change that has been coming, and we are excited to hear what the new models offer.

We currently have both models in our dedicated test rooms and will be reporting back with our official verdicts in the very near future. Keep your eyes peeled!

MORE:

Our pick of the best stereo amplifiers you can buy

And the best CD players

How to choose and set up a stereo amplifier

What is a headphone amplifier and why should you buy one?

KEF has teased that a new speaker is in the works, with an Instagram video showing the brand's iconic Uni-Q driver and promising "a new definition of luxury."

The new speaker is said to have a "sculptural" form designed by Welsh industrial designer Ross Lovegrove. Lovegrove and KEF have a long history of working together. This includes his work on the brand's flagship Muon speakers, Muo Bluetooth speaker and Mu wireless earbuds/headphones, which all have curvy forms that certainly stand out.

In a blog post on KEF's website, the brand teases that the new speaker will take inspiration from these products, promising "a visual identity unlike any other."

There's little else revealed about the speaker beyond the inclusion of the Uni-Q driver, but KEF is promising "stunning sound clarity, sharper details and an expanded soundstage, that fully immerses you in the artist's creative vision."

That's quite a lofty promise, and we're left wondering just how "luxury" these new speakers will be when it comes to their price.

The new speakers are said to be "effortless in sound" and "composed for those who listen deeply." More bass? Large speaker? Your guess is as good as ours at this point.

Will the new speaker be a passive design and follow in the footsteps of the Q Meta and R Meta speaker series? Will there be a long-awaited update to our multiple Award-winning KEF LS50 Meta? Or will this be a new entry in KEF's LS wireless active speaker range, which features five-star products such as the LSX II and LS50 Wireless II?

We've got a couple of weeks to keep guessing, as the new KEF speaker will be revealed on Thursday, 30th July.

MORE:

Read our KEF LSX II review

And our KEF LS50 Meta review

Our guide to the best speakers we've tested and recommend across all budgets and types

You might have heard of Tiny Vinyl, the delightful 4-inch records that launched last year. Well now the company has launched a dedicated turntable on which to play them.

The Tiny Vinyl Player is only slightly bigger than a shoebox, and was built with the sole purpose of playing Tiny Vinyls. It is also completely unnecessary, as Tiny Vinyls play on most full-size 33⅓rpm turntables. But where’s the joy in only doing what’s strictly necessary?

The Player wasn’t part of the initial plan for Tiny Vinyl. Co-founders Jesse Mann and Neil Kohler were keen to make the format as versatile as possible. But once sales took off – they just pressed their millionth Tiny Vinyl in only around a year of being on sale – both fans and their biggest retailer Target were urging them to make a dedicated Tiny Vinyl turntable. So here we are.

No small task

Creating a turntable from the ground up – especially one this titchy – is no small task, no pun intended. But, being based in Nashville, the duo are surrounded by music industry peers only too willing to lend their expertise.

“We hooked up with someone who makes the Marshall Bluetooth line of accessories,” says Mann. “He sent us some amazing initial drawings, and then it was off to the races.”

As you can imagine, it posed a bit of an engineering challenge, not least because it boasts its own built-in speakers as well as Bluetooth for playing your vinyls wirelessly on an external speaker.

“We thought adding Bluetooth would be straightforward, but it was a bit of an exercise,” admits Kohler. “It was worth it though – as well as built-in speakers, we wanted the option of playing on your own Bluetooth speaker for more versatility.”

These challenges also opened the pair’s eyes to the intricate workings of a turntable.

“One of the technical things that was interesting to watch from a testing perspective was the rpm (revolutions per minute),” says Mann. “It had to be calibrated to 33⅓rpm, and seeing it being measured with the calibrator to ensure it ran perfectly at that tiny size, that was really fun to see.”

Broadening vinyl’s appeal

Not all the parts had to be created new – the cartridge and needle are off the shelf (though they wouldn’t tell me who makes them). But lots of elements had to be made especially for this product, including the tiny tone arm, the platter and the control panel. The result is something as fun and adorable as the 4-inch vinyls themselves.

“It’s not something you sit down with to listen to The Dark Side Of The Moon,” says Kohler. “It’s not that kind of product, and it was never meant to be.” Rather, it’s an on-ramp to the world of vinyl, helping to broaden the appeal to those shut out by a traditional deck’s greater complexity or higher pricing.

This accessibility is a big part of the appeal. “When we go to vinyl conferences, we’re always surprised by the number of people who thank us for getting more people into vinyl,” says Kohler. “One thing they always say is ‘Thank goodness they’re not on Spotify!’”

The pair have also launched the Frame for displaying Tiny Vinyls on your wall, and the Crate for storing your Tiny Vinyls. The Player sits on top of the Crate in a satisfyingly space-saving way. They are also launching custom, artist-themed Players next year, making another way for fans to connect with their favourite musicians, and all through the medium of vinyl.

The Tiny Vinyl Player is available now from Target for $50 (around £38 / AU$73), with a UK launch hopefully in the autumn.

MORE:

“Vinyl records will be around for ever” – the Tiny Vinyl founders on the black disc’s enduring appeal

The best turntables – all of which are full size

The best budget record players – all of which are more affordable

Majority has announced a new radio, and it has one feature sorely lacking from the four-star Little Shelford: a rechargeable battery.

When away form the mains, the Little Shelford relies on four AA batteries to provide 15 hours of battery life. As we commented in our review, that could soon get expensive if you're using it on the go a lot. But the Mini Shelford solves this problem with a built-in 2600mAh rechargeable unit that gives you up to 20 hours of runtime.

The Mini Shelford has a shorter, wider design than the Little, but still comes wreathed in retro styling. It too offers Bluetooth connectivity (for beaming content like playlists, podcasts and streaming services to it from your phone) and a DAB+/FM radio.

And if you don't want to go wireless, you can connect wired headphones to it using the 3.5mm socket.

There's a full colour display for showing album art and track info, and you control it using the rotary dial. Other features include a dual alarm and sleep timer.

We were impressed with what the Little Shelford offered for the price, and the Mini Shelford is only a few pounds more expensive. It goes on sale in August for £49.95 (around $67 / AU$97), and comes in Dusty Rose, Olive, Black and Cream finishes.

MORE:

Read our Majority Little Shelford review

Check out the best DAB radios

And the best internet radios

Australian-owned audio platform AudioBro — which promises a smarter, more cost-effective way for hi-fi and home cinema enthusiasts to improve sound quality, without investing in new equipment — has announced it is now available worldwide.

The web-based platform is the brainchild of founder Ateeq Sheikh, who has spent the past three and a half years developing it. At its core, AudioBro aims to identify the weak links in a system — whether that’s room acoustics, speaker placement, subwoofer integration or calibration.

The paid service analyses customer-supplied data, including photographs, room dimensions, speaker layouts (from two-channel stereo through to full surround systems), in addition to calibration screenshots and acoustic measurements from third-party tools such as Dirac Live, Audyssey, REW and Anthem ARC Genesis.

From there, it prioritises the most critical issue and recommends a practical first step to improve performance. Once changes are made, users can upload new measurements to verify the results. As the company puts it: “Improvement is only considered verified after the listener makes a change and completes a comparable retest.”

A suite of tools underpins the platform. Photo Acoustics provides a visual room analysis, flagging potential reflection issues such as large window surfaces, while RoomMatch suggests optimal speaker placement based on the listening position. Tune My Sub offers guided subwoofer optimisation, and Fix My Room delivers a measurement-led diagnosis of the space.

Additional features include BassMap, which helps determine ideal subwoofer positioning based on measurement data; My Rooms, which stores test results across multiple spaces; and Guided Workflows, offering consultant-style reports and step-by-step optimisation paths.

Following its global launch in June 2026, AudioBro has also introduced a standalone Room Review service. Available separately from a subscription, it supports both self-guided optimisation and more hands-on analysis. Pricing starts at $97 for a quick review and rises to $199 for a more in-depth, measurement-based assessment.

The company says Room Review is intended as a room-first advisory tool rather than a replacement for on-site calibration. Users simply upload photos and measurements, after which the AudioBro team identifies the most likely limiting factor, then recommends a key first step and outlines practical next moves — typically within 72 hours.

Full access to the platform requires a subscription, offered in two tiers: Starter at $24.99 per month and Pro at $49.99 per month, with annual plans priced at $199.90 and $399.90, respectively.

Early adopters, however, can secure lifetime access for a one-off fee of $199 (Starter) or $299 (Pro).

MORE:

The best speakers you can buy in 2026

Bad news for Tidal users as the music-streaming service reveals an August price hike

The best stereo amplifiers to buy

Ruark has announced its R410 Anniversary Edition, a limited-production celebratory spin on the brand's established all-in-one music system.

Built to commemorate 40 years of Ruark as a brand, the special edition system follows the same design language as the established R410, exhibiting the same slatted metallic grille and rectangular cabinet design which wowed us when we reviewed the standard model in 2023.

What marks the R410 Anniversary Edition out as unique is its hand-crafted White Oak cabinet complemented by an ebonised grille and inlay.

A new high-resolution colour screen displays vitals such as playback information and album artwork, while Ruark's established 'RotoDial' control returns to take care of volume, play/pause and presets.

Each system is finished with a commemorative anniversary badge to mark out its exclusivity, so everyone will know you've got your hands on something special.

Under the hood, the new system features optimised reflex enclosures within the cabinet to provide "ideal conditions" for the system's twin 10cm long-throw 'NS Plus' bass-mid units. Ruark promises "seamless, powerful and controlled bass through to a natural midrange".

The R410 also boasts custom 20mm tweeters, taken from the brand's five-star MR1 Mk3 powered speakers, for handling the higher frequencies.

As before, the R410 Anniversary Edition boasts an extensive streaming suite, offering support for Spotify Connect, Tidal Connect, Apple AirPlay 2 and Chromecast, among others.

The 40th anniversary edition system boasts a fully active 120W RMS Class D amplifier, while hi-res audio support for PCM files up to 24-bit/192kHz is on the menu.

According to Alan O'Rourke, Ruark's founder and managing director: "The R410 Anniversary Edition brings together everything we care about. Extraordinary sound, considered design and exquisite materials chosen not just for how they look but how they sound. This system is the culmination of 40 years of hard work and it’s something we’re proud to make and hopefully you can be proud to own.”

Limited to just 500 units worldwide, the R410 Anniversary Edition will be available in an Ebony and White Oak finish, priced at £1399 / €1599.

MORE:

Read our review of the five-star Naim Mu-so 2

Ruark Audio R410 vs Naim Mu-so 2: which all-in-one music system is better?

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

Italian brand Volumio has been making waves with its compact streaming products that offer ample features in designs don’t look like traditional hi-fi.

The Primo V3 is the latest iteration of its music streamer and DAC, and it packs quite a number of features into its petite dimensions.

Volumio’s network streaming platform gives you access to Spotify, Tidal and Qobuz Connect, and internet radio services like TuneIn. It is DLNA compliant and Roon Ready certified, and Bluetooth 5.0 is also available.

The updated ESS Sabre 9039Q2M DAC handles hi-res audio files up to 32-bit/384kHz and DSD256, and the unit offers wi-fi and Ethernet connections to your network.

Analogue outputs include balanced XLR and RCA line level, with eight adjustable voltage levels to fine tune the unit’s output to your partnering amplifier or active speakers.

There is a video-only HDMI output for seeing the Volumio OS on a screen, a microSD card slot to integrate your digital library directly without needing a network connection, and there are two USB-A ports for connecting hard drives. Notably, there are no coaxial or optical connections.

You can use either USB-A port as a digital output connected to a compatible USB DAC, via which it can handle ultra high resolutions files: PCM files with a high sampling rate of 1536kHz, and DSD1024.

Volumio says this allows you to “preserve the full fidelity of your music system” and “retain the full resolution of the original recording”. Those files must be rarer than hen's teeth, as we have rarely come across downloadable hi-res tracks beyond 24-bit/192kHz – which the Volumio natively supports.

The Primo V3’s quad core CPU is faster and more powerful than before, while care is taken internally to shorten the signal paths of the circuitry and it uses a linear power supply stage to reduce noise and interference. Combined with a high-precision clock, this helps to reduce jitter and keep the signal as clear as possible.

You can further fine tune the sound of the streamer thanks to eight DAC filters.

The Volumio Primo V3 streamer sports an all-black minimal design, and is available now for £769 / $1049 / €849.

MORE:

Our guide to the best music streamers for all budgets

Now Playing: supercharge your summer listening with the 7 best tracks we’ve been using to test hi-fi

Bad news for Tidal users as the music-streaming service reveals an August price hike

The peak of summer has coincided with the World Cup this year, leaving many of us in a conundrum as to how to keep up with the games while escaping sweltering houses.

Fortunately, Roberts has thought up a solution with its latest DAB+/FM radio with Bluetooth, the SolarDAB 99, which can harness the unrelenting sunshine as a power source thanks to built-in solar panels.

But this portable radio is no fair weather friend. Designed for outdoor use, it also has an IP55 water and dust protection rating, a 20-hour rechargeable battery life and even a dynamo which can be cranked to charge the radio instantly (one minute of cranking will give you up to seven minutes of playback, mind you). In more domestic conditions, USB-C charging is also available.

The SolarDAB 99 supports DAB, DAB+ and FM radio, alongside Bluetooth audio streaming. For easy access to your preferred radio stations, Roberts has also included 40 storable presets: 20 for FM stations, 20 for DAB.

For late-night listening that won’t wake up the campsite, the radio has a 3.5mm headphone output, as well as a USB-A port for device charging. A 3.5mm auxiliary input allows you to connect your own devices to use the radio as a speaker.

The visual display includes a backlit LCD screen showing radio band selection, battery status, signal strength, station presets and alarm settings.

According to Owen Watters, CEO of Roberts Radio, "We’re seeing a real shift in how people are choosing to spend their time - more outdoors, more off-grid, more present, and with that comes a growing awareness of being prepared for the unexpected."

And prepared you will be, because the rugged SolarDAB 99 is even equipped for emergencies, with an LED flashlight, alternating red and white lights with SOS morse code, alongside an emergency siren.

With a weight of 837g and an attachable carry strap, Roberts says this radio will be able to accompany you on your travels, no matter where you end up, “from remote campsites and festival fields to garden days and emergency situations.”

The Roberts SolarDAB 99 radio is available to buy now for £150.

MORE

Roberts announces two stereo portable radios, one of which has Spotify Connect

Roberts Stream 219 review

Best DAB radios 2026: the best-sounding digital radios we've tested and highly recommend

If you've desperately been trying to fill the iPod Nano-sized hole in your life since its demise in 2017, Shanling might just have answered your somewhat niche prayers.

The Chinese manufacturer's latest portable music player, the M0 Pura, puts us in mind of the Nano in its sixth-gen incarnation, offering up a compact design complete with a 1.54-inch colour touchscreen.

It also boasts many mod cons that, back in 2017 at least, Apple's much-loved micro-player wasn't capable of providing.

The M0 Pura is built around dual Cirrus Logic CS43131 DACs, with support for PCM files up to 32-bit/384kHz alongside DSD128. In order to drive more demanding headphones, the new player can offer up to 250mW of output power into 32 ohms when using an optional 3.5mm to 4.4mm balanced adapter.

Shanling claims up to 9 hours of continuous playback from a single charge, while your music collection is handled via microSD card. The built-in slot supports cards up to 2TB in size.

Unlike the now-deceased iPod Nano, the M0 Pura offers two-way Bluetooth, so you can use the player to transmit to headphones and speakers, or to receive and act as a Bluetooth DAC for a connected smartphone or laptop.

USB-C connectivity also enables Shanling's new player to act as a digital transport for external USB DACs.

The Shanling M0 Pura is supplied with a USB-C to USB-C cable, though we'd reiterate that if you want a 3.5mm to 4.4mm balanced adapter, you'll need to buy one separately.

The Shanling M0 Pura is available now, priced at £129 / $129 / €129. Rather fittingly, that makes it a similar price to the 6th-gen Nano, which arrived on the scene for £129 / $149 (8GB) back in 2010.

MORE:

“Never before in our industry has a format come back from the dead quite like vinyl” – turntable engineers discuss all things record-related, including one major flaw that needs addressing

Now Playing: supercharge your summer listening with the 7 best tracks we’ve been using to test hi-fi

These are the best portable music players we recommend

In case you hadn’t realised, vinyl is making a bit of a comeback. Who would have guessed that a plastic disc which first arrived on the scene in 1931 would still be bringing so much joy 95 years later?

Although a lot has changed in the world over that time, the format itself and the techniques used to create it haven’t evolved massively. So, is vinyl currently as good as it gets, or could it be improved upon?

We reached out to some of the best turntable engineers in the business to see what they think about the state of the format in 2026.

Is the humble compact disc about to experience a revival in the way vinyl records have enjoyed over the past few years? While there are some positive signs, we wouldn’t go that far just yet – but it is possible.

Perhaps more importantly, given that more than 200 billion CDs have been made since the format was launched in Japan in 1982, there remain plenty in circulation. There are many people, including us, who still have large CD collections and aren’t about to give them up any time soon.

In such circumstances, and if funds allow, you owe it to yourself to have a listen to the Gryphon Audio Ethos CD player. It is hugely expensive, of course, but shooting for the stars is never going to be a low-cost option.

Build & design

In the metal, this is a mighty impressive beast. We love that Gryphon Audio has been brave with the styling of the Ethos. The company could have easily made this into yet another rectangular box, but instead, it has chosen a striking triangular design that looks like little else on the market.

We like the sci-fi appearance and have something of a soft spot for top-loading CD player designs. There are practical issues with this kind of layout, though. The player can only be placed on the top shelf of your equipment rack, for example, but it also adds ritual to loading a CD that puts us in mind of using a turntable. That’s a good thing in our book.

The loading process is as follows. First, you raise the lid using the small gold lift bar on the attached arm, place the CD over the motor spindle, and then put a small magnetic puck over the centre to hold the disc in place. The lid is then lowered manually. Take care here, because its motion isn’t damped, so it can slam shut rather inelegantly. Gryphon provides a small coaster to place the puck on during the process, which is a thoughtful touch.

Once the lid closes, the Ethos’s transport whirs up to speed. While not overly noisy, it is still possible to hear the mechanism working even when we are a few metres away, something a conventional drawer-loading design would suppress better.

Overall build quality is excellent, just as we have come to expect from Gryphon. At this price, anything less would be unacceptable. The Ethos feels immensely solid and engineered to last decades. Fit and finish are straight out of the top drawer, too.

We even like the partnering metal remote. It is a small unit, but it sits well in the hand and is intuitively laid out.

Features & connections

As is fashionable, Gryphon’s engineers have allowed plenty of leeway for their customers to tweak this player’s sound. There are seven filter options for PCM and three for DSD music files. As is usual, these filters make subtle differences, and the best choice is down to taste and system matching as much as anything else. In our system, the Slow Roll-Off, Minimum Phase option works best for PCM. We left the Ethos on the default Filter 1 setting for DSD.

Then there are upsampling options, and the choice of whether the CD player processes the digital data stream in PCM or DSD. Once again, the differences are small, but we prefer the DSD option at the highest sampling rate. It sounds a touch more natural and fluid to us.

Lastly, there is a Phase-Invert switch. On the surface, this might sound like a fringe concern, but having come across recordings that have mistakenly been recorded out of phase, the ability to correct this allows the listener to enjoy a more focused presentation. It is a subtle effect, but in a transparent enough system, the benefits are clear.

This Gryphon doesn’t play SACD discs, so DSD recordings and high-resolution PCM can only be fed through the Ethos’s DAC via one of its digital inputs. It is equipped with BNC coaxial, AES/EBU and USB Type B connections, and is compatible with PCM files up to 32-bit/384kHz and DSD512.

A pair of ESS Sabre ES9038Pro 8-channel DAC chips (one per side) work in full dual-differential, dual-mono mode, and sit at the heart of the Ethos’s digital module.

On the analogue output side, there are balanced XLR and single-ended RCA options. You will find the left and right channel outputs on opposite sides of the chassis, which is a result of Gryphon’s preferred dual-mono circuitry layout. This kind of arrangement tends to help stereo imaging and prevent unwanted interactions between the left and right signal paths, so improving overall performance.

Add fully balanced operation in both the digital and analogue circuits, something Gryphon has always done, and noise levels are even lower, leading to gains in dynamics and transparency.

Compatibility

The Ethos positively demands a top-class partnering system. We use our reference Burmester 088/911 MkIII pre/power combination driving a pair of ATC SCM50 speakers. We also try a pair of Fyne Audio F1-8 standmounters for a bit of variety. All cables are premium offerings from Chord Company and Vertere Acoustics.

The Ethos needs care in placement. A CD transport is a mechanical mechanism that is easily affected by external vibrations, so a level, rigid, well-damped support is essential.

Make sure it is absolutely level, too. This aspect is important, and Gryphon even provides a rather neat spirit level with the Ethos to help. The player has adjustable spikes that lock into place once everything is set. Such details matter.

Sound

We have long lived in a world where the standard 16-bit/44.1kHz CD specification has been seen as the minimum level of quality digital hi-fi, with hi-res PCM and DSD recordings being cast at the pinnacle of sound. The Ethos proves that there remains plenty of value in the original digital standard.

This player sounds natural in a way that still eludes most high-end music streamers we’ve come across, even if they are playing high-res music files. By natural, we don’t mean the kind of smooth and rich presentation some manufacturers engineer into their products to make them sound less ‘digital’.

Rather, Gryphon has gone for a subtle, unforced approach that rewards over the long term. It is a sound all about texture, physicality and body, rather than focusing on leading edges or the mechanics of the recording.

Play a large-scale classical piece such as Tchaikovsky’s Marché Slave Op.31, and the Ethos sounds wonderfully fluid, uncovering a massive amount of information, without sounding the least bit etched or clinical.

It conveys the scale of the orchestra superbly, delivering the music’s brutal crescendos with enthusiasm, while never losing its composure. We love this player’s sense of authority and its ability to organise the mass of information it uncovers into a cohesive and musical whole.

We can track low-level instrumental strands with ease, yet the Ethos’s sound also allows us to take a step back and just enjoy the spectacle. It is rare to hear a digital source component that combines insight with such a music-first attitude.

The player’s tonal balance is spot on. It is neutral without lacking in warmth and substance. No part of the frequency range stands out unnecessarily, and it all blends seamlessly to the extent that we have to work hard to split the presentation into distinct frequency ranges during analysis.

Stereo imaging is as crisp and precise as you like. We love the solidity of the presentation and the convincing way the Gryphon renders the depth of recordings (provided the recording has depth, of course). The soundstaging remains stable and locked in, no matter how complex the music gets. We find the control and grip of this player hugely appealing.

While the Ethos’s presentation is undeniably refined, there is no lack of bite when the music demands. Listen to Kendrick Lamar’s Humble, and we’re pleased to find that the Gryphon responds with plenty of attack and energy. The song’s bassline kicks with real power, and the player delivers rhythmic drive with conviction.

The story remains equally positive when we try out the player’s digital inputs. We use the digital outputs from our reference Naim ND555/555 PS DR music streamer, a Cyrus CDi and our MacBook Pro (loaded with Audirvana music software and plenty of high-res music), and regardless of source, the Ethos performs excellently.

While the sonic character of the digital inputs remains consistent with the player’s CD playback, the extra information of high-res files is easily heard. Yet, we don’t find going back to the humble compact disc any issue, so good does it sound. The Ethos sounds musically engaging and entertaining, regardless of the source.

Verdict

The Gryphon Ethos is an exceptional CD player. It is beautifully made and is a pleasure to use. While its price puts it out of reach for most people, we’re still glad it exists.

This player shows just what is possible with the original silver disc, and we suspect that it is way more than most people would imagine.

Review published: 6th July 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Best CD players: budget to premium options tested by expert reviewers

Our last experience of Burmester in a Porsche was the excellent audio system offered on the all-electric Taycan. We found it to be a big jump up in quality – indeed, a “night and day difference” was how we described it in our review.

Does the optional Burmester system have a similar impact on our ears in Porsche’s best-selling model, the Macan? We plugged in the newest all-electric variant and pressed play to find out.

Price

Your first rung on the optional sound-system ladder for the Macan is the Bose Surround Sound System, which costs £963.

If you want to step up to the more expensive Burmester 3D High-End Surround Sound System tested here, you are looking at a higher price tag of £2916.

System

For the money you get 21 speakers, 21 channels of amplification and 1470 Watts of power. In the front of the cabin you’ll find a trio of Air Motion Transformer (AMT) tweeters, which use ribbon diaphragms.

These are positioned on the top of the dashboard, with one tucked in each corner, and the third partnered with a midrange driver in the middle.

There’s a midrange driver and woofer in each front door and a full-range 3D speaker in the front A-pillars.

Each rear door gets a normal dome-tweeter, midrange driver and woofer, with a pair of surround tweeters and midrange drivers also positioned in the back, towards the rear parcel shelf.

In the boot, under the pull-up floor, is a 400W subwoofer which uses 400 watts of Class D amplification.

The processing modes you get with the system include Sound Enhancer which is designed to improve the sound of compressed music, while Auro 3D processing is there to help with immersiveness.

We would recommend having the sound enhancer turned on – we noticed a small, subtle lift in quality. When it comes to the 3D processing, we wouldn’t stray too far from the first couple of rungs on the ladder when you’re playing with the intensity.

We found it ok having some information coming out of those A-pillar speakers, but any more and it can result in a very messy and confused sound – the speakers start making their presence felt and not in a good way.

There is also an ‘Eco’ mode which crosses over from the Bose system and which we found delivered results that weren’t ideal for sound quality. To summarise, we found using the mode resulted in "a shrinking of scale, diminished dynamics and a more laid-back and less expressive sound".

Sound Modes

While some car systems offer a one-size fits all approach to the sound, with this Burmester option, you choose how to focus the sound in the car. Here you have the option of either ‘symmetrical’ or ‘driver’.

There’s nothing groundbreaking to see here; the former gives you more of an even spread of sound (which is going to be better when you have a car full of passengers) or you can create more of a focused stereo image for the driver, more akin to sitting in front of a pair of speakers.

If you’re the only person in the car, then it’s going to come down to a matter of taste as to which you prefer. Symmetrical gives you a fuller soundstage, pushes the soundfield back towards the windscreen and encourages a greater spread of sound. It sounds a bit more relaxed in its delivery.

Switch to the driver-focused setting and things tighten up. You are aware there is a shift of information from the far left of the cabin to a position much closer to your left ear.

This setting promotes a more up-front, focused sound, and places you more in your own private soundstage. It feels more as though you’re sitting in the sweet spot between a pair of speakers.

Your sound profile choices are Pure, Smooth and Live. Having experienced all three, we think there’s only really one choice. Pure delivers the best sound possible, and doesn't manipulate the signal in any way.

Smooth softens everything, to the point where music becomes less entertaining and more dull and subdued. There’s a real lack of clarity with frequencies at either end of the spectrum sounding rolled off.

Live boosts the top end, and makes music pop more than in Pure mode, but it uspets the balance and highs now sound splashy.

You also have bass and treble adjustment but no mid-range. We left both of these at '0' and left the fade/balance adjustment alone too.

Sound quality

Stick with the Pure setting and you’ll be treated to a hugely entertaining and lively sound. We start with a blast of Orpheus by Ash and the Burmester system gets off to a rock-infused, rhythm-driven start.

The track kicks off with a flurry of drum play and immediately gets you in the mood. The kick drum has impressive impact, and overall, there’s a real sense of energy that springs from the percussion.

Each thwack sounds precise and deliberate, and really helps to convey a sense of pace and speed.

There’s a real sense of drive to the track as it rolls along. Lyrics are delivered with vigour and verve, and there’s plenty of detail extracted.

We switch genres to some old-school soul in the shape of Sam and Dave’s Hold On, I’m Comin’ and the Burmester system does a great job of capturing the song’s funky delivery.

The vibe, detail and texture of the sax as it punches through the sound stage is impressive and showcases the system’s great dynamics. It’s backed up by the solid drum beat, and enthusiastic, expressive vocals which dip and soar in all the right places.

For a quick bass test, we move on to another classic test track of ours: Black Eyed Peas Let’s Get It Started, and the system throws an impressive amount of weight behind the track’s bassline. It’s punchy, powerful and agile. There’s no thick, treacle-like texture here – each note sounds clean and clear but not insubstantial.

During testing, we were fortunate to test it against the standard Bose Surround Sound System, and the Burmester was clearly better all-round. Yes it costs more, but we don’t think you should be in any doubt that opting for the Burmester will get you significantly better sound quality.

There’s much more of a spark to the sound. Music is more invigorating and the step-up system gets your foot tapping from the off. The Bose set-up lacks detail, definition and dynamics when compared with the Burmester, which is more capable and also more configurable.

Verdict

In our experience it can be very hard for a car sound system to sound fun to listen to. It sounds like a relatively simple requirement, but you might be surprised at how many we’ve tested that just fall flat; but not the Burmester 3D High-End Surround Sound System for the Porsche Macan.

Whatever you throw its way, this set-up takes it in its stride. It’s a hugely enjoyable listen worth all five of our stars.

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I used an Eco setting on a car audio system for the first time — and my worst fears were confirmed

I switched from Bose’s surround sound system to Burmester’s 3D hi-fi in the Porsche Taycan, and was blown away

I heard a Burmester hi-fi system bring Elvis back to life, and it blew me away

There hasn't been a buzzword like Dolby Atmos in home cinema audio for some time.

We're happy to report, though, that Dolby Atmos is not just a buzzword, but one of the biggest home cinema developments of the last decade and an immersive experience that will surround you in a bubble of sound.

It's important, therefore, that you get a good Dolby Atmos system that can showcase the technology properly.

So we've rounded up some of the very best Dolby Atmos soundbars we've tested and currently recommend. There's a mix of everything here, from budget to premium, solo soundbars and multi-speaker systems.

And the best news? Many of them are still at their Prime Day sale prices.

These are all soundbars that we've reviewed and rated ourselves, so we can attest to their Atmos abilities. Every product below has earned at least four stars from our expert review team, with a smattering also winning a prestigious What Hi-Fi? Award.

Take a look at the Atmos offerings below – we'll go into detail about why we like them so much underneath.

We declared the Hisense AX5125H to be the Dolby Atmos bargain of the year in our review – and that bargain got even better with healthy price drops over Black Friday and Prime Day. The AX5125H offers amazing weight, scale and spaciousness for the money, and can still be picked up at its Prime Day price.

The Sonos Arc Ultra is our overall pick of the best soundbars, with terrific detail for a soundbar and a clean, precise, spacious and three-dimensional sound. If your budget stretches this far, it's our performance-per-pound soundbar choice.

The JBL Bar 1000MK2 is a Dolby Atmos soundbar with a difference – the surround speakers can magnetically attach to the main soundbar, be used as rear surrounds or taken into another room to be used as a wireless speaker. It sounds pretty good too, with a bold, bassy performance.

If your space and budget are limited, then the Sonos Beam (Gen 2) might be your soundbar of choice. It boasts impressively spacious movie sound that works just as well with music, and is the Dolby Atmos soundbar we recommend at this price point.

Yes, it has a premium price tag, but the KEF XIO has the premium performance to match. For the serious cinephiles out there who want the very best in sound, the KEF XIO is now available with a rare £200 cashback offer. Full details here.

For bassy bombast and room-filling sound, look no further than the Sony Bravia Theatre Bar 6. With a wireless subwoofer included, this mid-range package isn't exactly subtle but comes with a weighty sound and a lot of kit for the money.

Our current soundbar Product of the Year, the Samsung HW-Q990F is our go-to recommendation for a package if your budget stretches this far. It's seen some steep drops since its £1699 test price, so is quite the bargain at well under £800.

For a cheap solo soundbar with Dolby Atmos, we'd recommend the Sony HT-S2000. This five-star soundbar is exceptional value for the money, offering a clear upgrade from your TV speakers and a simple plug-and-play functionality.

If you're a gamer with multiple consoles, then the Sony Bravia Theatre Bar 9 might be for you. The dedicated HDMI 2.1 input supports 4K/120Hz signals, VRR and ALLM, while the sound is up there with the Sonos Arc Ultra, with superb clarity, detail and punch on offer.

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Looking for a bargain? Here are the best budget soundbars

Check out the latest and cheapest Sonos deals available now

And the best TVs for all budgets

You can’t always get what you want in the world of home entertainment. In an ideal world, we would all have a house with a bespoke home cinema, fully kitted out with in-wall and in-ceiling speakers, a serious 4K laser projector and some top-notch amplification.

Sometimes, though, you can get what you need as far as enjoying movies and sport at home goes. And that’s where this month's cover-star soundbar systems come in.

The summer is also a great time to invest in a premium Bluetooth speaker – especially if you want to do your music justice at home, while at the same time being able to take your tunes out and about with you in the fine weather.

Superb soundbar systems for serious home cinema sound

We have often wondered what it would be like to have your cake and eat it.

Of course, that phrase exists to describe the kind of best-of-both-worlds scenario that could never actually exist. Sometimes, though, it really is possible to get the best of both worlds, and in home cinema land, two sonic worlds coalesce beautifully in the shape of the soundbar system.

By supplying a ’bar together with a subwoofer and a pair of satellite speakers set behind your seating position, soundbar systems allow you to enjoy genuine surround sound without having to accommodate a collection of bulky boxes in your living room. Far from being a compromise, for many the impressive performance and neat convenience of such a set-up hits the home-cinema sweet spot.

The key to the neatness of this solution is that, in most examples, both the subwoofer and satellites are significantly smaller than those you would find in a conventional speaker package.

For this month's round-up, we have picked five models from a variety of price points to help you find the soundbar system that best suits your needs and budget.

So make yourself a cuppa, sit down and read on. And have some more cake.

The best Bluetooth speakers to take your tunes on the go

A Bluetooth speaker is one of the simplest and best ways to get your music playing wherever you roam. In fact, these wireless wonders can be stunningly versatile. Perhaps you want one in your office to help your working day along. Or as accompaniment to a sunbathing session in your back garden. Or maybe you’ll want to pop one in your backpack and take it further afield, to the park, the beach, or up a mountainside – or anywhere you want to take your tunes.

There are, of course, a huge number of capable Bluetooth speakers out there, of all shapes, sizes and prices. Here, though, we’re focusing on the upper echelons of this particular product category.

This month, we round up a quartet of our favourite premium wireless speakers from highly regarded audio brands Bose, Dali, Bang & Olufsen and JBL. All impressed our reviewers when we originally had them in for testing, and all remain at the top of their game for their spread of talents.

The models we have brought together for this Group Test add a hefty slice of style to their list of attributes too. Indeed, you may not even want to take them out for fear of getting them dirty – though all of them have been designed with rugged portability in mind. Either way, you’re sure to be the envy of everyone involved in your al fresco music party.

Can RGB Mini LED defeat the best OLED TV around?

There’s a war going on for your living room. The premium TV technology of choice of the last few years – OLED – is under attack from a new, stunningly bright and vibrant foe – RGB Mini LED.

Every major brand has either launched its first RGB Mini LED TVs or is about to. Hisense launched its first such models last year, but those were gigantic, 100-plus-inch sets. Now, though, it has become the first brand to submit to us a proper, mainstream RGB Mini LED TV, the UR9.

We’ve tested the Hisense UR9 and Sony Bravia 8 II side by side, feeding all of our favourite discs and streams into both simultaneously, and judging them on picture quality, sound quality, features, usability, design and price.

Find out which TV tech triumphs in August's What Hi-Fi?

Great prog rock albums that will give your system a work-out

Progressive rock is a staple in hi-fi circles, and for good reason. Explore it, and you’ll find everything from experimental, album-length tracks chronicling epic space wars to short and sweet, gentle ballads celebrating young love on a UK council estate. The only connecting factor between them is a progressive virtuosity focused on pushing sonic boundaries.

And, when done right, this means it’s a genre that can really stretch any hi-fi system, which is why it makes sense that our readers talk about it so much on our forums and social media pages. It’s also why more than a few of the What Hi-Fi? team have a soft spot for the genre and often listen to it for fun as well as work.

Here we offer our two cents on the top prog rock albums for hi-fi fans, based on those we frequently use for testing as well as some of our own personal favourites.

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.

We kick off this month with the return of an iconic hi-fi brand, with the aptly named Onkyo Icon A-50 streaming amplifier. Boasting expansive delivery and an organised sound, does the Icon indeed live up to its name? Find out in this month's What Hi-Fi?

TCL just keeps on reinventing the value rulebook with its TVs – and this month saw another of its crazy-good-value sets, the Q6C, pass through our test rooms. The Wharfedale Diamond name carries an impressive legacy, and the hi-fi firm's latest floorstanders, the Wharfedale Diamond 12.3i got the full review treatment from our team of experts this month.

In August's What Hi-Fi? we also take a thorough look at (and listen to) Sharp's RP-TT100 record player, Samsung's excellent S99H OLED TV, the JBL Go 5 portable speaker, Sony's 1000X The Collexion headphones, Apple AirPods Max 2 and more.

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

Now arriving at Temptation Station

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

This month, feast your envious eyes on the Esoteric N-05XE streaming preamplifier. At £13,000 it's not cheap, of course, but it mightily impressed our reviews team. "Stereo imaging is excellent," they reported, "with a broad and spacious soundstage populated by crisply focused instruments." Got that kind of money? Jump in!

Graham Audio has resurrected a classic, BBC-originated speaker with the LS5/9. Modern speaker design owes something of a debt to classic standmounts like these, and we were suitably awed.

Find out more 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 August 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

Focal has revealed the Scala Utopia Evo M floorstanding speakers.

An evolution of the brand's established Scala Utopia Evo, these new 'M' edition floorstanders are defined by two core innovations: the inclusion of Focal's new 'PRISM' tweeter and a new 'M-profile' W midrange driver.

That PRISM tweeter was first introduced recently in Focal's high-end Diva Alta Utopia wireless speaker system and now makes its way to the three-way Scala Evo M towers. This unit uses a combination of composite materials to strike the ideal balance between lightness and damping – Focals says it achieves an even higher level of rigidity than the beryllium tweeter used in previous generations.

The new M-profile W midrange unit is derived from the Utopia Main professional monitor range, with a structure that teases "exceptional rigidity" and ultra-low distortion. Focal claims this should result in a mid-frequency response that is "more transparent, precise and natural" than before.

The W woofer has also been completely redesigned, and uses a dual-ferrite motor that promises "powerful, deep, controlled bass."

Further technologies that have appeared in other high-end Focal speakers aim to add "balance and coherence" to the new floorstanders.

Focal's 'TMD' driver suspension limits cone deformation and reduces resultant distortion, while the proprietary 'Optimum Phase Crossover' technology diminishes phase issues and enhances the speakers' ability to adapt their tonal balance according to the size and type of the room in which they're placed.

The three-way towers employ Focal's 'Focus Time' configuration, which is an articulated spine structure that arcs the speakers' design towards the listener, aiding with time alignment with the various drivers in play.

The overall aim of the Scala Utopia Evo M is to deliver "even more faithful and dynamic reproduction, capable of revealing the full richness of the most demanding recordings."

Available in five high-gloss lacquer or natural wood finishes, the new Focal Scala Utopia Evo M floorstanders are available now, priced at €40,000 / $46,000 per pair (UK price to be confirmed).

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These are the best floorstanding speakers on the market

They say that you should never judge a book by its cover, and we think much the same applies to hi-fi components. Over the years, we have come across no end of impressively specified products that fail to thrill musically while seemingly prosaic alternatives shine.

What of the new generation Vertere Phono-1 LX? On the surface, little appears to be different on this premium phono stage, bar some cosmetic tidying of the casework. Perhaps, more surprisingly, there are no great claims for the inside either, with the basic circuit design remaining unchanged. So, it is natural to wonder whether the change to LX status offers anything meaningful.

Build & design

Delve into the details, however, and the development work put into this new generation phono stage becomes more obvious. The circuit may be the same, but the main PCB is of higher quality than before, ensuring better contacts at soldered joints and superior long-term reliability.

The performance of any hi-fi component is reliant on the quality of its power supply. Here, Vertere has upgraded components to deliver a more stable, lower noise feed to the audio circuitry. Even the mains power input has been improved by using inductors to reduce the amount of RF energy entering the unit.

Elsewhere, there is a new two-way earthing switch that is claimed to offer a longer service life than the three-way option fitted to the previous generation of Phono-1 MkII L, as well as simplifying the choice for listeners.

Given the hum issues that record players can suffer with, we’re glad Vertere continues to take grounding seriously and understands that a one-size-fits-all solution doesn’t really work in every situation.

As before, the Phono-1 LX is nicely made and pretty compact at 5.5 x 21 x 24cm. It should slot into any equipment rack with ease. This new generation model looks a little smarter than before, thanks to the new textured paint finish on the lid and the removal of the previous generation’s top panel securing bolts.

Put old and new side by side, and it is surprising just how much difference such small details make.

There are now four finish options for the front panel: black, silver, orange, and another black acrylic option styled to match the company’s DG-X record player.

Compatibility

The Phono-1 LX is compatible with both moving magnet and moving coil cartridges, having a gain range of 40-63dB selectable in 12 steps via a series of dipswitches on the base.

While this is enough for most cartridges on the market, if you do have a very low-output moving coil, Vertere has you covered. It is possible to order a high-gain version of this phono stage with an extra 6.4dB of gain at no extra cost.

As far as cartridge loading goes, this Vertere phono stage offers a generous range of resistance (78 ohms - 47kOhms) and capacitance (100pF - 1.02uF) options, so that it is possible to optimise the results from just about any price-comparable cartridge on the market.

Aside from the slight awkwardness of the small dipswitches – the company provides a tool in the box to make using them easier – the Phono-1 LX is about as straightforward as phono stages get in terms of usability.

On the back, there is a single set of connections, both input and output are single-ended, and a couple of earthing posts. The Vertere’s front has just a simple on/off toggle and a small power LED.

Given the price point, this Vertere deserves a top-class record player. For testing, ours is the Technics SL-1000R turntable with a choice of moving coil (Kiseki Purpleheart, Ortofon MC X30) and moving magnet (Vertere Dark Sabre, Nagaoka MP-200) cartridges.

The rest of our system is Burmester’s 088/911 MkIII amplifier and ATC SCM50 speakers. We also try a second, more price-appropriate set-up of PMC Cor integrated amplifier driving a pair of Epos ES-14N speakers.

Sound

We start by comparing the Phono-1 LX with its predecessor, the Award-winning Phono-1 MkII L, and it doesn't take long to realise that, despite sharing so much DNA, the new model is a clear step forward. Considering just how highly we rated the old one, this comes as quite a shock.

Regardless of the cartridge we use, the newcomer sounds more transparent and detailed. As we listen to Beethoven’s Fifth Symphony, it is hard to miss the improvement in clarity.

Instrumental textures are rendered more convincingly, and it is easier to grasp the scale of the orchestra and recording venue. There is little to criticise when it comes to control and composure, even when the music becomes demanding.

Stereo imaging is precise and nicely layered. We are pleased with the stability of the presentation and the Vertere’s ability to convey image depth in an authentic manner. Of course, the partnering record player has to resolve all this information in the first place.

The Phono-1 LX’s dynamics are stronger too, with the orchestra coming through with greater verve and impact, making for a more entertaining listening experience. We are surprised by how much more authority is on offer, with the new generation sounding considerably more solid and powerful through the midrange and lows.

These gains pay dividends when switching to Catch A Fire by Bob Marley & the Wailers. We enjoy the Vertere’s rhythmic drive and cohesion with this album, and the way it delivers Marley’s voice with such finesse and passion. The album’s basslines hit hard but display a pleasing amount of articulation and grip. In comparison, the last-gen version sounds thinner and more tentative.

The Phono-1 LX’s tonality remains convincing and refuses to skew too far off kilter at either frequency extreme when provoked. There is enough top-end refinement here to avoid things sounding aggressive, even with less-than-perfectly produced records, but feed the Vertere something well-recorded, such as Quincy Jones’ Back On The Block set, and it shines.

Verdict

The Phono-1 LX may look much the same as its Award-winning predecessor, but it has taken a notable step forward in performance. It is more expressive and pulls us into the music with even greater ease.

Provided you have a talented record player and a system capable of great transparency, this Vertere phono stage is an easy recommendation.

Review published: 1st July 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Also consider the Cyrus 40 PPA

Best phono preamps: budget to high-end, tried and tested

The road to audio perfection, if there even is such a thing, is a dangerous one. It's a path full of twists and turns that make it all too easy to lose your way (and empty your bank account) without ever getting close to your final destination.

And even if you do manage to get to the end, for many hi-fi fanatics, as Joseph M. Marshall III famously said, "Life is a circle. The end of one journey is the beginning of the next."

Which is why, for this month’s Ask The Reader, we asked: when is it time to stop and be happy with what you’ve got?

And as always with audiophiles, there isn't a simple answer.

Hi-fi and gardening

For many, hi-fi is a passion that requires constant maintenance, meaning it never really ends. This sentiment was neatly explained by regular commentator “binki”, who told us: “It's like a garden; it’s never finished.”

He went on to add that, if anything, even if you finish your own system, the urge to tinker doesn’t go away as enthusiasts will try to share their passion with the next generation, telling us:

“[I] now channel all my ill-gotten gains (just kidding) into introducing my adult daughter to this wallet-draining world. I look at my componentry and realise I am exponentially spending at least four times the amount on my princess.”

But you all agree there is a point you should stop

Despite numerous readers sharing binki’s sentiment, most of you agree there is a sensible end point – even if most of us won’t ever get there.

Some, including commentator “sbrain111”, argued people should stop “when it stops being fun”.

But many of you disagreed, revealing a slightly masochistic streak, arguing you should work through the pain and only stop when you can’t improve the system’s audio quality any further, even with newer or more expensive parts.

Reader “HiFiDoc” summed this up, telling us: “My motto for upgrades: If you can’t hear the improvement over your existing kit, then there is no point in buying it!”

Continuing this trend, regular reader “jimskinner582” was one of the few to report managing this, though he admits it took him over 40 years to do so.

“I started my hi-fi journey in 1980 with my first system, an Aiwa and speakers with a Pioneer PL514X turntable. The bug had bitten! [...] Fast forward to 2024: the upgrade bug bit again. I made a call to do a full upgrade as the kit was getting old and fragile. The mission was about achieving a well-balanced sound across the full dynamic range,” he wrote.

“Enter my local hi-fi expert dealer. After a long journey, we found the right balance; Audiolab 9000A, Audiolab 9000CDT, BlueSound Node streamer mated to the excellent Dali Oberon 9 speakers. It was sit back time!! Then the itch started again, and I tried out a few different amps and CDT. The end game was that none of the upgrade paths provided a significant difference in sound quality across the range. So, in simple terms, mission accomplished and the bug is buried!”

“Andrewwnbanks” was another reader to report coming to the end of his hi-fi journey. But, unlike others, he took a more philosophical view, pondering whether it was due to his age as much as the system itself (which features some very premium parts, including a Cary DMS700, two Pass Labs XA60s, a Music First Baby Ref v2 preamp and B&W 802d speakers).

“It sounds wonderful, but I wonder at the age of 62 whether I can hear everything the system can do? [...] When I had our house built in Thailand, I planned for the hi-fi, with particular power supply and room size requirements. And triple glazing for the one neighbour, a Thai doctor next door to us. Thinking of others! I don’t envisage any additions to this going forward… as good as it can get, really and probably better than my hearing,” he wrote.

Our hot take

Hi-fi is a passion that can easily become an obsession. We understand that at a personal level, as fellow enthusiasts who have devoted significant portions of our professional and personal lives to hunting for the best hi-fi.

We’ve said before: hi-fi is getting better, so to some degree, it is possible to make it a lifelong journey; there's always the potential to improve on what you already have if you have the budget to stretch a little further. But that doesn't mean you have to upgrade, just for the sake of it, or feel pressured into it.

We’d urge readers to listen to some of the more moderate voices in our ranks and remember: it should be fun!

Ultimately, we chase sonic perfection because we love music and want to make it shine on the best system possible. But we don’t want to break ourselves or go bankrupt doing so.

As our technical editor, Ketan Bharadia, constantly says: “If you can’t hear the difference, congratulations – you probably just saved yourself a lot of money.”

Words to live by, if ever there were any.

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It's 10am on a stiflingly hot Monday morning, and a Soundcraft mixer is giving Adrian Nettleship a headache. The sound is only coming out of one channel – the friend who it belongs to thought the XLR port was at fault, but that's working fine, so Adrian and his fellow repairers have connected an oscilloscope to it to follow the signal and attempt to pinpoint the problem. But so far, no joy. "I need a KitKat," Adrian says.

He's part of the Forest Fixers, a group of volunteers who run regular repair cafes throughout the London borough of Waltham Forest. Usually, they’re open to walk-ins – they get a lot of kitchen appliances like toasters and coffee machines – but today it's a closed shop. That's because today is audio day.

We're in the headquarters of the Forest Recycling Project (an unaffiliated group who let the Forest Fixers use their place) in Walthamstow, east London, on a side street between a builders' merchants and Maggy's Slots gambling centre.

Half-empty tins of reclaimed paint line the shelves, along with all kinds of pre-loved fabrics and other materials, all waiting for new homes. But all eyes are on the table in the middle, where audio devices belonging to the Forest Fixers and their friends lay awaiting repair. I'm hoping to learn a thing or two.

Fix up, look sharp

Stumped by the mixer for now, Adrian leaves it in the hands of two other Fixers while he turns his attention to his faulty Pure Jongo T6X Bluetooth speaker. He fires it up and you can immediately hear the problem – the signal is distorted, clipping the bass. He suspects it's the capacitor.

To find out, he opens up the speaker, plays a sine wave through a signal generator app on his phone, and by isolating one channel at a time, he can see where the distortion is coming from – one channel sounds fine, but the other is squelching something rotten. It seems like he's getting somewhere.

The dedication is admirable (though they're only just getting started – one of the Fixers tells me they once spent four weeks fixing an Amazon Basics shredder). But I can't help but wonder, wouldn't it be simpler just to replace it? We reviewed the Jongo range back in 2014, so it's had a good innings.

It's so old that the mobile app is no longer supported – Adrian can only control it using his old phone, which he keeps for this very purpose. But that's hardly the Forest Fixers spirit – this lot love a challenge.

They're not the only ones. Repair cafes have exploded in popularity in recent years. In 2024, the Open Repair Alliance reported that there were over 4000 community repair groups active around the world.

This has been driven by the cost-of-living crisis and a desire to reduce the environmental impact that comes with throwing things away the minute they stop working well. Repair cafes are also a good chance to see friends and meet new ones over tea and biscuits, and – today at least – have a good chinwag about all things audio.

That's what's brought Lukas Kuhn here today (well, that and a desire to get his NAD 3020i amp back up and running). "I love nerding out with people about audio," he says. He's also brought along a Wharfedale Diamond 9.1 standmount – there's nothing wrong with it; he just wanted to bring it along.

The NAD, however, has seen better days. It’s only outputting at low volumes and sounds muffled. A couple of the fuses have blown, there’s a lot of dust inside (as you would expect for a device manufactured in 1991) and the capacitors have leaked. But I can't hang around nerding out too long – there's been a development over at the Soundcraft mixer.

"We were having trouble getting the signal to pass through the fader and come out of the output, and that's because we didn't understand how the board worked," Adrian says.

"But we found a button on the effects side, and now we've been able to reproduce the problem as reported: the left output isn't working. And we can see that because we've got signal on the right-hand side but not on the left-hand side."

Two hours in, and they've confirmed that it's broken. In the world of amateur repairs, this is what progress looks like.

Undaunted, they move on to the next step: opening it up to find exactly where the signal is going wrong.

This is easier said than done, as instead of being secured with a few screws, the top plate is attached by every single fader knob on the unit, as well as multiple nuts complete with washers.

But another volunteer, Karl, a BBC sound engineer for the last 40 years, is happy to take it on. "Now this is a job that AI can't do," he says. Before adding with a grin, "I've got to go soon, so it won't be me who has to put it back together."

We're also getting somewhere with the Pure speaker. One of the capacitors feels warm, so volunteer Stefania Fantini hooks it up to her Yukiloon inductance detector.

The result? Inconclusive. But with the PCB board exposed, Adrian Googles the make and model in the hope of finding a data sheet. He's out of luck, though he does find replacement boards for sale online. But £150? No chance. Maybe another KitKat is in order.

A tricky fix

Organiser Lisa Percival has been running Forest Fixers for three years. She stresses that the volunteers are enthusiasts rather than experts – they're fitting this in among busy work and family lives, and since they lost their council funding, they're all doing it unpaid.

"These devices are more involved than what people usually bring into our repair cafes," she says, adding that they're able to fix about half of what comes through the door. As if on cue, the doorbell rings.

It's a husband and wife with their Gen Z son. The son was bequeathed a record player by a relative, but they can't get it working. While today's event isn't supposed to be open to the public – the Fixers have their hands full already – Lisa lets them in anyway.

The turntable is a Pioneer PL-112D from 1974. The platter won't spin. But once it's taken out, the problem is obvious – it's the drive belt, or lack thereof. It's completely perished over the years.

The motor is running fine, as the spindle rotates without any problem. A replacement drive belt is quickly found online for a fiver. With that in place, the PL-112D should be playing records again.

This isn't the first record player the Forest Fixers have seen (one person didn't realise they had to keep the case lid open to make the deck play). It's not even the oldest music player they've fixed – people have brought in gramophones in the past.

But it's still a win, one that will keep a perfectly good turntable in the family and help a young man enjoy vinyl for years to come. The family leave, elated they've got it working again. That's worth £5 of anyone’s money.

As for the NAD amp, Soundcraft mixer and Pure speaker… when I left, they were still works in progress. But given how much time they dedicated to an Amazon shredder, I’ve no doubt the Forest Fixers will find a way or, at the very least, exhaust all possible avenues.

DIY FYI

So what advice should we take away from this? Well, in most cases, trying to fix a device yourself will invalidate the warranty, so if it's a relatively recent purchase and it's broken through no fault of your own, the manufacturer or retailer should fix it or replace it. But if you're dealing with older devices, here are a few tips.

If there's the option, try a factory reset first, as that often solves a lot of issues. Check the forums online, as often someone will have posted about a similar issue and how they fixed it.

The more common the device, the more likely someone has a solution – I was told that when HomePods fail, it's often the same component, which will help you diagnose the problem (and source a replacement part) a lot quicker.

If you are intent on taking your device apart, I would take time to learn a bit about what you're doing first. Otherwise, you could damage the device beyond repair, or worse, end up injuring yourself. Forest Fixers PAT test all devices to make sure they're safe, and so should you.

Keep plenty of containers (like eggcups) around for storing screws, and take photos of the device at various stages for reference – there’s nothing worse than trying to reassemble something from memory alone. Search online for the data sheet to work from, and get the right tools – a screwdriver with a long handle is a must. And if you get stuck, have a KitKat.

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Topping is back with yet another DAC.

Hot on the heels of its recently announced E50 II budget model, which arrived at just £199 / $189, Topping is once again targeting the more affordable side of the market with the new DX1 II desktop DAC / headphone amplifier.

The new unit’s digital-to-analogue stage is built around an ES9039Q2M ESS DAC chip. It features a dual-DAC architecture which combines twin digital to analogue convertors on a single chip to process the left and right audio channels independently, to reduce distortion and improve audio fidelity.

The DX1 II also uses 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 designed to lower distortion and improve sonic performance.

The DX1 II supports hi-res PCM files up to 32-bit/384kHz alongside DSD256. In terms of connections, the digital side is covered by a USB-C input as well as an optical input and output, while line outputs include stereo RCA and balanced 4.4mm. For personal listening, 3.5mm and balanced 4.4mm headphone outputs are provided.

The new DAC grants access to Topping’s ‘Parametric EQ’ system, allowing for control of frequency, gain and bandwidth across ten customisable bands so users can tailor their sound to their needs and preferences.

Thanks to its compact dimensions and modest weight of 275g, the DX1 II is intended by Topping to be portable if needs be. The manufacturer promises that the aluminium enclosure is robust enough to handle being throw into your bag and taken on your travels.

At the front of the DAC’s body is a multifunction rotary control dial, sitting to the right of a large LED display which shows core vitals such as volume level, file sample rate and input/output selection.

The new Topping DX1 II is available from July in black, white or silver finishes, priced at £119 / $119.

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Two landmark rock albums from the 1970s are now available in the reel-to-reel tape format: Fleetwood Mac and ZZ Top’s Tres Hombres.

Each album was meticulously duplicated in real time from a 1:1 copy of the flat analogue master tapes. This means a “master-quality listening experience that captures the full dynamics of the recording without the surface noise or groove wear of vinyl,” according to the albums’ label Rhino, which is the legacy arm of Warner Music.

So what about the tape itself? The 15 IPS (inches per second) half-track 1/4-inch tape is produced to the IEC equalisation standard on premium RTM LPR90 tape stock and stored on a 10.5-inch metal reel.

To play them, you will, of course, need a dedicated reel-to-reel tape machine.

And the albums? Released in 1975, Fleetwood Mac (also known as The White Album) was actually the second album of that name to be released by the band. It marked a change of course, with newcomers Lindsey Buckingham and Stevie Nicks lending a more pop-driven sound. It wasn’t a huge success at first, but reached number one after a year of the band touring. It has now been certified platinum nine times over.

Tres Hombres came out in 1973, and was ZZ Top’s first gold record. It signalled a mainstream appreciation of the band’s gritty Texas blues-rock sound, with tracks such as La Grange, Jesus Just Left Chicago and Beer Drinkers & Hell Raisers establishing the Top as a major force in 70s rock.

Both albums are limited to 500 copies, and are available only from Rhino.com, where they cost £228 / $300 (around AU$430) each.

Rhino is currently working through the Warner Music back catalogue and releasing select albums on the reel-to-reel format. It recently announced Joni Mitchell’s Blue, and has previously released albums by Curtis Mayfield, The Stooges, Yes and T.Rex. Each comes with archival-grade packaging to honour the album’s original intent both visually and aurally.

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Vertere has upgraded its Award-winning phono stage once more. The Vertere Phono-1 LX is the new and refined version of the excellent Phono-1 MkII L, and features improvements both within and cosmetically, promising to be the product's "most significant evolution yet."

The latest generation of the Phono-1 handles both moving coil and moving magnet cartridges, and features a wide range of adjustments so that it can be used with just about any price-compatible cartridge fitted to your turntable.

The Phono-1 LX's upgrades include a new, higher-quality PCB board that's built for long-term reliability, while retaining the same internal circuit. The internal DC power supply uses upgraded components to deliver a more stable, consistent and lower noise feed to the audio circuitry, while the mains power input has been improved to reduce the amount of interference entering the unit.

Additionally, a two-way earthing switch ('Earth Lift' or 'Earth Connection') now replaces the three-way switch in the older model for easier use and longer service life.

All together, Vertere promises these upgrades will result in less noise, higher dynamic range, "razor-sharp" spatial imaging and "a vocal texture so lifelike, the performance feels present in the room."

Considering we already think quite highly of its predecessor, we're intrigued to find out just how much of a difference these upgrades bring to the performance.

Vertere has also taken the opportunity to further polish up the unit's design, with the aim of offering "a visual presence worthy of the engineering within."

So that the Phono-1 LX is more visually consistent with Vertere's high-end, five-star Calon phono stage and its Award-winning DG-X turntable, the phono stage's casing now has a finely textured metallic finish, the LED power indicator is now a blue-green colour, and the top fixing screws have been removed for a seamless look.

As before, the Vertere Phono-1 LX comes in four finishes: silver, black, orange and black acrylic. The price has gone up a fair bit this time, with the new phono stage now costing £1650 / $2399 / AU$3250.

We have a sample of the Phono-1 LX that we've been testing, so stay tuned for a our full review very soon.

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Assembling a vinyl collection on a budget can be hard work – especially when you’re on the hunt for some wax you’ll really cherish, not just second-hand records with grooves worn thin.

So, as Prime Day rolled around this year, I was eager to see what discounts might pop up on the records that have been missing from my collection.

With all the recent talk of Gen Z’s growing interest in physical formats, I was hopeful that this year’s Prime Day might see a broader spectrum of genres becoming available at a discount. Amazon, surely, are down with the kids… right?

Boy, was I wrong.

Unfortunately, this year’s range of discounted vinyl has been – to put it mildly – disappointing. Better deals were available outside Amazon, such as HMV’s three for £66 bundle, but even still, the bargains were scarce.

Still, never one to give up too early, at least not when browsing records, I trawled through the digital crates so you don’t have to, and came across three Prime Day picks that I think are worth your money.

All Prime Day deals end tonight, so if you’re feeling enticed, now is the time to grab these discounted picks.

We would have liked to provide a more extensive list of vinyl deals, but this year, Prime Day simply hasn’t had much on offer. Either way, we think these three albums will make fantastic additions to any record collection.

Of course, we always advocate for visiting your local record stores, where who knows what deals could be hiding in the crates.

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Above, you can see the Pro-Ject T1 Evo BT, sitting on a bookcase at the back of my living room. It's a fairly recent addition to my system, but one that I've quickly fallen in love with.

A big part of that is because it is, in fact, my very first turntable. I've been involved in lots of turntable reviews in my 19 years at What Hi-Fi?, but it's taken until this year for me to get a deck home.

Honestly, it's pretty much transformed my music-listening, taken me back to the pre-streaming years when I would buy an album and listen to it on repeat until its tracks had been absorbed at an almost molecular level.

My family has been loving it, too: the artwork, the process of placing a record on the platter and lowering the arm, the rich sound quality – it's all so tactile and rewarding.

As you can imagine, though, my vinyl collection is currently minuscule – just eight records – so I decided to add a fairly inexpensive streamer to my system, too.

The WiiM Pro Plus came highly recommended by my colleagues Kashfia Kabir and Harry McKerrell, and I now know why: its detailed, crisp and rhythmic delivery is great for the everyday streaming I'm doing between vinyl plays.

The good news is that both of these bits of kit, both of which I use at home and wholeheartedly recommend, are currently available with big discounts: the Pro-Ject T1 Evo BT is available for £399 at Richer Sounds, and the WiiM Pro Plus is down to just £175 at Richer Sounds.

The Pro-Ject T1 Evo BT is one of the best entry-level decks we've tested.

We awarded it five stars for its wonderfully balanced performance, praising its ability to sound detailed, insightful and rhythmic while remaining approachable for vinyl newcomers. It also helps that it's beautifully made, with a premium finish that makes it feel much more expensive than it actually is.

Bluetooth support is the icing on the cake, giving you the flexibility to pair it with compatible speakers or headphones if you want to – I've got it wireless connected to a pair of KEF Coda W Bluetooth speakers, as it happens.

The WiiM Pro Plus earned the same five-star verdict for very different reasons.

It's an astonishingly capable music streamer for the money, with support for just about every streaming service you could want while delivering a sound that's clean, expressive and engaging. It extracts an impressive amount of detail from recordings, with plenty of drive and precision to keep music sounding lively and entertaining.

What I particularly like about this pairing is that it means you don't have to choose between analogue and digital. When I want the ritual of putting on a record, the Pro-Ject is ready to go. When I just want instant access to millions of songs while I'm lazing on the sofa or working from home, the WiiM takes over seamlessly.

Of course, there are better turntables and better streamers available if you're prepared to spend significantly more. But if you're looking to build a hi-fi system that covers both vinyl and streaming without spending a fortune, this combination is hard to beat.

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Regular readers of this website might be familiar with my turntable journey, where I fell hard for the vinyl revival a few years ago and upended my home system (and rearranged furniture) to make space for a turntable system.

My original system was modest and patched together: a Rega Planar turntable hooked up to the tiny Fono Mini A2D MkII phono stage and then connected to the Ruark MR1 Mk2 desktop speakers I've had for years. It was a lovely little set up and, most importantly for me, I did find myself using it regularly to play my slowly growing vinyl record collection.

But, as someone who loves traditional hi-fi separates, I was hankering for something more ‘proper’, and last year I finally graduated to a pair of Neat speakers and Naim’s Nait 50 stereo amplifier.

The Naim upgrade meant a couple of crucial things. First, it has a fantastic moving-magnet phono stage built-in, so my system actually ended up being neater as I no longer needed that outboard phono stage.

Second, it has a headphone amplifier with a 6.3mm socket. This section is completely new – it wasn’t on the original Nait 1 amp from 1983 – but the 50th anniversary homage adopts the headphone amp circuit from the five-star NSC 222 streaming preamplifier.

While I haven’t taken advantage of it so far, I have been thinking about finally getting a pair of wired headphones. As the summer days get longer, I find myself wanting to listen to my records late into the night while the rest of the house has gone to sleep – but obviously without disturbing my husband, my cat or my neighbours.

I have been eyeing up the awesome Sennheiser HD820 closed-back headphones for ages. We tested these five-star premium audiophile headphones a few years ago, noting their full-bodied, detailed sound and satisfying punch and agility in the low frequencies.

The problem is, the HD820 are way out of my budget even with the discounted price of £1299 at Sevenoaks. As I kept searching for something more in my price range, I found that the Sennheiser HD 505 wired headphones we tested last year are available at a much more wallet-friendly price of £180 at Amazon – and I’m tempted.

It’s not just the price that’s appealing – although that £50 discount off the original £230 test price is pretty good. That they're also an open-back design is what has caught my eye. I do find listening to closed-back headphones quite fatiguing after a while, so an open-back pair – with their more airy, open presentation – might be more amenable to the way I like to listen to music.

We say in our review that the HD 505 headphones’ “top end is wonderfully smooth, with no undue sibilance or brightness – overall this is as easy-going a listen as you could hope for.” That sounds ideal to me. The more budget pricing doesn’t mean Sennheiser has cut corners either. We found these headphones particularly talented in the midrange, with voices delivered with subtlety, clarity and a refinement that’s impressive at this level.

Grado’s SR325x and the Austrian Audio Hi-X65 are snappier, punchier and more agile open-back rivals (and are pricier), but I think I’ll prefer the Sennheiser’s smoother balance and more comfortable, lightweight build quality overall. During our testing, we found the earcups to be roomy enough that over-heating wasn’t an issue, and they weren’t fussy with partnering equipment, which means they should play nice with my Naim amp.

The HD 505 are a great entry point to Sennheiser’s audiophile wired headphones, and the relatively affordable price helps too. Will they transform my late-night vinyl listening sessions? I can’t wait to plug them in and find out.

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I couldn’t really say that Prime Day has been overly generous with dedicated hi-fi deals this year, but that hasn’t stopped me hunting around for hidden bargains.

And, I have managed to piece together a very capable (and discounted) system using electronics from just one manufacturer. After all, who doesn’t like having kit that matches in their hi-fi rack?

If you want to purchase your first hi-fi in one fell swoop, you can pick up the Cambridge Audio AXA35 amplifier with £50 off, AXC35 CD player with £50 off and MXN10 music streamer with £100 off, all at Amazon or Richer Sounds.

That makes a combined discount of £200, which I think is pretty attractive in the current economic climate.

Many of us will have CDs at home, but also want to enjoy the wealth of choice that a music streaming service has to offer, which is why I have added both options to this system.

The AXC35 does a solid job of spinning your CD collection. Budget players such as this are becoming increasingly rare, and this model hits the spot, producing a clear and detailed sound for the money.

The MXN10 streamer is a brilliant box of tricks. A delight to use, it offers a wide array of streaming features and sounds absolutely fantastic for the money.

It offers AirPlay 2, Google Chromecast, Spotify Connect, Tidal, Deezer, Qobuz, Internet Radio. There’s also Bluetooth 5.0 on board, which will come in handy as that’s the only major omission from the amplifier.

Speaking of which, the AXA35 oozes both sonic and all-round appeal. It boasts an even-handed approach to music and delivers dynamics in an impressive, entertaining manner for the money.

The amp also features a headphone output and a moving-magnet phono stage, should you want to add wired headphones or a turntable further down the line.

The only thing missing is a pair of speakers to complete the package – but don’t worry, I have you covered.

As the icing on the cake, I would look to add a five-star pair of speakers such as the Dali Oberon 1. Their unfussy nature and high-quality sound will help allow the electronics to shine. And the best news is that they are discounted from £399 to £299 at Peter Tyson.

If you’re looking to build your first hi-fi system, then I honestly think this combination will serve you well for years to come!

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During Prime Day, I always get asked, “are there any good cheap turntables?”

It’s not surprising given how vinyl, and retro hi-fi in general, seems to be growing in popularity with young people (heck, I caught my niece rocking wired headphones the other day!).

And, because I’m lazy, I have decided to address the sea of questions asking exactly that during this year’s Prime Day, here, in one handy article.

And it’s both good and bad news. Yes, there are two very good cheap turntables available right now that will delight hi-fi newbies or people looking to add a cost-effective record player to their existing system. But the deck we recommend most hasn’t had a Prime Day discount.

First up, for people who value audio quality above all else, but are on a tight budget, we have our standard recommendation, the Pro-Ject Primary E.

This is the cheap turntable we have recommended in our best record player guide for years, and the top option right now. It’s available on Amazon, and pretty much all of the specialist hi-fi retailers, for its bog standard £229 (ignore the save £20 icon on some shops, it’s been that price for ages).

The turntable offers the best audio quality you will find for less than £250, and has a pleasingly simple plug and play nature. That’s why we have recommended it for so long; our review verdict sums it up:

“There is a whole cavalcade of budget turntables flooding the market – from Crosley, Lenco, Audio-Technica, Majority and more – with fancy features, electronic speed change, and built-in preamp speakers in snazzy, trendy-looking designs. We can see their appeal, but remain unconvinced when it comes to their sound quality.

“We have no such reservations about the musically entertaining Pro-Ject Primary E. For a beginner’s vinyl revival path who has this kind of budget and is more fussed about getting the best sound from your records than about features such as record ripping and automatic operation, the multiple Award-winning Primary E could be just the ticket.”

That’s as true now as it was in 2018 when we first wrote it.

And if you’re getting a sense of déjà vu, there’s a reason: I have written a version of this piece every Prime Day since I joined What Hi-Fi?.

The only downside for the Pro-Ject Primary E is the lack of an in-built phono stage. This means you need to have an amp or system with one built in, as well as a pair of speakers, to get it running.

If that’s a problem, I am pleased to report there has been one cool development since my last warning against bogus turntable deals; we have a new cheap unit with a built-in phono stage to recommend.

Say hello to the Sony PS-LX3BT, a five-star entry-level turntable we recommend to proper hi-fi newbies who don’t own, or want, a separate system. The unit has a solid built-in phono stage, an equally easy plug-and-play nature as the Primary E, and comes with the added allure of Bluetooth connectivity.

The unit is available for £220 (save £79) on Amazon, though the retailer is reporting only having one left in stock. The next best price is on Sevenoaks Sound and Vision which is selling it for £223.

The Sony PS-LX3BT is a stellar option for people who want a just-add-speakers set-up – if you don’t already own a stereo pair, we recommend the Award-winning Dali Kupid, which cost £299.

The only reason we don’t recommend the Sony over the Pro-Ject overall, is that, during testing when we ran the two head to head, we found the Primary E is still the top dog for audio quality at this price. If plug and play simplicity is your main priority, however, the Sony is the one to get.

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