As someone who has spent the best part of two decades testing hi-fi products, I don’t need anyone to sell me the benefits of having a system made up of hi-fi separates.

Having one box dedicated to each specific job in the audio chain is, in an ideal world, the best way to maximise sound quality.

• View all the Prime Day deals on Amazon

But I’m also a realist. And I have heard many all-in-one systems in my time that do a spectacular job of delivering convenience and excellent sound quality.

And one of those systems, the sensational Sonus Faber Omnia, is currently heavily discounted, with a whopping £600 off at Peter Tyson.

Sonus Faber has been responsible for some beautifully finished speakers over the years, so it shouldn’t come as a surprise that the Omnia oozes style.

Its elongated, curvaceous shape gives it serious room presence, as does that classy walnut top panel. The panel is also decorated with four light strips that illuminate it and act as a display.

The strip closest to the front changes colour depending on the input being used; it is flanked by two dots which you can tap to change volume. It sounds simple, but it makes for an enjoyable user experience.

Omnia means ‘everything’ in Latin, and the name hints at the features on offer. This is an extremely versatile box of tricks and supports AirPlay 2 for transmission from Apple devices, Google Cast for one-tap playback from several services such as Deezer, YouTube Music, Apple Music, and Amazon Music on an Android device. You also have Spotify Connect and Tidal Connect on board.

It can help boost your TV’s sound via HDMI ARC and can accommodate other audio sources through its dongle-like MiniDin switchable phono/line-input adapter. There’s also Bluetooth aptX HD for quick and easy music playback from a smartphone.

Give Omnia a little room to breathe (Sonus Faber recommends leaving at least 10cm of clearance between it and a rear wall) and you’ll hear it performing at its best.

The speakers (two, 44mm side-firing cellulose pulp drivers, two 19mm silk-dome tweeters, a pair of 75mm paper-pulp cone midrange drivers and a 165mm long-throw aluminium-cone woofer) are all integrated beautifully and are driven by a 490 watt amplifier.

In our Sonus Faber Omnia review, we say it is “one of the biggest and most open sounding examples of its type we’ve heard. Close your eyes, and you don't need to stretch your imagination to believe the sound is coming out of a pair of standmounters.”

It doesn’t distort or sound hard when pushed, and it delivers plenty of quality bass at the other end of the frequency spectrum too. In fact, it’s the potent mix of substance and subtlety, especially the sense of pureness you get from the midrange, which many rivals simply struggle to match.

If you want one box that looks sensational and does it all brilliantly for a very attractive price, I think Omnia is well worth the £600 saving over at Peter Tyson.

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It may feel only right that a versatile, talented and great-sounding system that does a lot will also cost you a lot too. But that's not quite the case right now, thanks to this epic deal we've found.

The Triangle AIO Twin is down to just $799 at Amazon. That is just over $200 off its original price. Even better news, that discount is available on all seven colorways to fit in nicely with your at-home setup.

It might look like a pair of regular speakers, but this system combines speakers, amplification, streaming, and connectivity in one budget-friendly package that just got even more affordable.

The Triangle AIO Twin can play just about anything, from Bluetooth streams on your phone, to music files stored on your home network, even to your vinyl records, via the built-in phono stage.

With fully fledged streaming including the likes of Spotify, Tidal, Qobuz and Deezer all supported, it makes this a perfect little system without the need for an external source of amplification.

At 23.5 x 16.5 x 30.4cm, the AIO Twin are smaller than most bookshelf speakers, meaning you've got great flexibility in where you place them. We wouldn't place them too close up against a wall, however, as they have rear-firing ports and need some space to breathe.

Physical connections, meanwhile, include an RCA analogue pair, 3.5mm auxiliary input, an optical input, USB-A for charging your phone, and a subwoofer output if you're keen on boosting your bass via a three channel setup.

And when it comes to sonic performance, they won't let you down either. Our expert testers had this to say about the way they sound: “Given their size, you might be tempted to have the AIO Twin as just desktop speakers, but this system is so talented and capable that it deserves to be placed on dedicated stands. This system is incredibly fun to listen to. It’s an enthusiastic performer, happy to tackle any music genre and recording quality, and simply wants you to enjoy the music being played.”

While fun, they are also tempered by an underlying maturity and composure, offering excellent handling of timing and dynamics.

So, if you're looking for a music system that also sounds hugely capable in hi-fi terms without a big budget to spend, the Triangle AIO Twin is an excellent pick. Especially at this discount, just $799 at Amazon.

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Read our full Triangle AIO Twin review

Check out the best hi-fi systems: CD, vinyl and streaming music players for the home

And the best active speakers: our experts pick the top pairs with integrated amplifiers

Ah, the humble micro system. Yes, they’re not as swish-looking as a modern speaker system, such as the five-star KEF LSX II LT.

And yes, there is an argument that they peaked in the ’90s, when every household usually had at least one kicking around (sometimes with a MiniDisc as well as a CD drive, if you were from a bourgeois family).

But, there’s still undeniably something magical about them, especially for elder millennials like me, who grew up with one. A Panasonic SA-PM37MD powered many a listening session during my teenage years.

In fact, if you walked past my room between the ages of 13-16, there was a very good chance you'd hear one booming Faith No More, Ozzy Osbourne and Pearl Jam on repeat, while my mum optimistically repeated “it’s just a phase” in the lounge.

Ah, the times we had. I still owe whatever deity stopped her ever checking what was in my sock drawer or why my room always had that “funny smell” over those happy, angst-filled years…

Which is why, when Philips unveiled a new FA7 micro hi-fi system complete with modern Apple AirPlay 2, Google Chromecast, Spotify and Tidal Connect streaming smarts, I felt a familiar wave of nostalgia come over me.

The idea’s a simple one. Deliver a tiny, multifaceted stereo system that doesn’t require any knowledge of hi-fi or matching to work, that can play CDs and stream music in hi-res over wi-fi.

And while I’m slightly concerned about the FA7's €600 (roughly £520 / $695) price, the more I thought about it, the more I’m sold on the idea and feel micro systems are due for a proper resurgence. There are three main reasons why.

First, the What Hi-Fi? team has long called for more small, but great-sounding, affordable hi-fi, and micro systems fit that bill – especially the Award-winning Denon D-M41DAB, which is still on sale, floating around the £269 mark at most stores.

As we said in our Denon review, it’s a convenient hi-fi solution for people short on space, that delivers effortless versatility and “a character of performance that could hold its own against groups of separates at a greater cost”.

This brings me on to my second point. Micro systems, like Philips' and Denon's, have a key advantage over most wireless speaker systems: a CD player.

Now, we’ve been promised a CD revival, akin to vinyl’s for some time. In fact, one of my first interview pieces for What Hi-Fi?, three years ago, saw Cambridge Audio’s then CEO saying “it was coming”.

But, according to sales figures for 2025, there’s now some solid evidence to back that claim. Numerous stores, as reported by The Guardian, saw a huge increase in sales at the end of last year, to the tune of a 74 per cent spike in demand for players at John Lewis.

So there’s a demand. But the truth is, players are still quite expensive, at least the good ones. The budget pick in our best CD players guide, the Marantz CD6007, costs £349 at most stores, for example. That's a lot more than our recommended Denon micro system, even before you add the cost of an amp and speakers. So, cheaper micro systems staging a comeback to meet the new demand for CD players makes sense.

And that leads me to my third point. According to these stats, it’s not just oldies like me fuelling the revival. Like the recent spike in wired headphone sales, it’s Gen-fudging-Z pouring gasoline on the fire.

Yes, apparently the kids are getting back into spinning CDs.

To be fair, I shouldn’t be surprised by this. When I interviewed numerous record store owners a couple of years ago, they all said they’d seen a gradual increase in interest in CDs with younger shoppers.

Given the current price of vinyl, I can understand why. The last one I bought, Princess Mononoke Symphonic Suite by Joe Hisaishi, set me back nearly £50 (annoyingly, it seems to have gone down in price since then). Even now, that would get me at least two or three CDs, more if I bought second-hand.

So, to me, a resurgence in micro systems, an affordable, no fuss, convenient solution that will meet their interest in spinning shiny plastic discs, and let them stream as they’re used to, makes perfect sense.

Here’s hoping it happens.

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If you’re strapped for space but still want a host of ways to listen to music, chances are you might have looked at micro hi-fi systems. The good news is that there are some great-sounding ones out there loaded with plenty of features. You don’t necessarily have to spend a fortune either.

This is thanks to systems like the Denon D-M41DAB. We first reviewed the D-M41DAB back in 2017 and it has been a What Hi-Fi? Award winner ever since, owing to its excellent sound and great selection of features for the price, which include Bluetooth, a CD player and a DAB/FM tuner.

Sound good? Well, now this excellent micro system can be yours for less too, thanks to this great deal. It’s currently available for £269 at Richer Sounds, a tasty £30 off its standard price. To get it at the discounted rate you will need to sign up for a VIP account, but that should only take a minute or so.

This deal is for the unit only (RCD-M41DAB), but it should pair well with any good budget speakers, old or new!

The compact Denon RCD-M41DAB unit provides a number of ways to enjoy your audio. Enjoy your favourite CDs thanks to the built-in CD player, or you can hook up a TV or games console to one of the two optical inputs. An RCA line level input also features, so you could even connect a turntable, provided the deck has a built-in phono stage.

You can stream your favourite songs using your chosen music streaming service thanks to built-in Bluetooth, and last but not least, a DAB/FM tuner means a host of radio stations are also at your disposal. It's a breeze to use, too.

On the output side of things, there’s a 3.5mm output for headphone listening, and a connector for a subwoofer, should you wish to bolster the system’s low end.

Whatever way you listen to this micro hi-fi system, your ears will be treated to a presentation that is enjoyably dynamic, insightful and expressive. During testing, we played Hot Chip's Made In The Dark on CD and were won over by the Denon's spacious sound and detailed, nimble presentation. We also found its balance was "pleasantly even, but it really throws itself into the changing rhythms and does so with sprightly confidence".

As the deal is for the unit only, you'll need to supply your own speakers. If the standard Denon SC-M41 pair aren't to you liking or you want to upgrade, we recommend budget speakers such as the Dali Kupid or Elac Debut B5.2 to get the very best sound quality.

Either way, this excellent Denon micro system unit at this discounted price remains a great buy and we strongly recommend you check it out for £269 at Richer Sounds or Amazon.

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Looks can be deceiving. The Triangle AIO Twin may look like an innocent, 'normal' pair of speakers, but underneath the hood is tech that can do it all.

Amplification, connectivity, streaming, you name it, the AIO Twin has you covered.

And you won't have to pay a premium for this versatility – the Triangle AIO Twinis is still available for its record low price of £599 at Richer Sounds.

That's £100 off the test price of £699, and a rather good deal for a talented all-in-one system.

This is a neat and elegant system, with the deal available in all six colours. We were quite taken by the 'abyss blue' hue of our review sample, but all the finishes are suitably smart and classy.

At 23.5 x 16.5 x 30.4cm, the AIO Twin are smaller than most bookshelf speakers, making for a multitude of placement options. We recommend not putting them completely against the wall due to rear-firing ports, however.

Connections are numerous and all-encompassing: Ethernet and wi-fi streaming, Bluetooth 5.0, optical input, 3.5mm auxiliary and a pair of RCA. So whether you want to stream over Tidal, replace your TV speakers or even attach a moving magnet turntable, the AIO Twin has you covered.

Thanks to the excellent AIO app, there's streaming support for all the major platforms, including Spotify, Tidal, Deezer, Amazon Music, Qobuz, as well as internet radio and files on your network. Audio support goes up to 24-bit/192kHz, ideal for those on a hi-res streaming tier or with a considerable digital library.

"This system is incredibly fun to listen to. It’s an enthusiastic performer, happy to tackle any music genre and recording quality, and simply wants you to enjoy the music being played," our Triangle AIO Twin review reads.

"But alongside that dose of fun, there is a mature sense of composure running through its veins that is really impressive."

The AIO Twin system is an excellent starting point for those dipping their toes into hi-fi, but those serious about vinyl might want to consider an external phono stage. When testing the built-in phono stage, we found it to be peppy but lacking the precision and expressiveness of the other inputs.

For a fun, hugely capable music system that is under a grand, there's not much better than the Triangle AIO Twin. Get it for £599 at Richer Sounds and you too will not want to stop listening.

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Also consider the excellent KEF LSX II

Best active speakers: budget to premium

Cambridge Audio is "ready for the fight." So it said when we asked it about going head to head with KEF in the wireless speaker system market.

As Cambridge's first all-in-one active speaker system, the L/R X is a direct challenger to the Award-winning KEF LS 50 Wireless II. Both products offer a pair of standmount speakers capable of amplification and streaming skills, doing away with the need for separates while also incorporating digital music listening.

Cambridge might be full of fighting talk, but is the flagship L/R X model up for the challenge?

Cambridge Audio L/R X vs KEF LS50 Wireless II: price

The L/R series comes in three variants: the entry-level L/R S (which is a pair of powered speakers with Bluetooth streaming), mid-range L/R M and flagship L/R X. The latter is what we're dealing with here, and it will cost £1799 / $2299 (around AU$3600) when it goes on sale this summer.

That's cheaper than the KEF LS50 Wireless II's RRP £2199 / $2499 / AU$4295. Though the KEF system's price does vary – it often costs as little as £1799 in the UK depending on the finish and retailer, and has dropped as low as £1499 during the peak sales period. As the system gets older, more discounts are likely.

Cambridge Audio L/R X vs KEF LS50 Wireless II: design & build

Like the LS50 Wireless II, the L/R X speakers have a clean, minimalist look that's designed to blend into your décor rather than leap out as a statement piece. Though maybe not if you opt for the bold orange finish. We weren't able to try out the LED underlighting during our hands-on, as it wasn't ready yet, but it should be a nice touch to elevate the L/R X above much of the competition in the design department.

Despite being the largest model in Cambridge's line-up, the L/R X aren't so big they'll take up all of the space in your room, and they can still go seriously loud if you crank the volume up to eleven.

A 28mm version of Cambridge's new Torus tweeter lurks inside – bigger than the usual 25mm size we see in the majority of speakers. This extra surface area should mean 25 per cent more air displacement, according to the manufacturer.

The L/R X also have twin 12.7cm woofers and a pair of side-mounted 15cm passive radiators, the latter of which aim to deliver deeper and louder bass from the modestly-sized cabinet.

The L/R X have a more angular look than the LS50 Wireless II, which are nigh-on identical to their LS50 forebears, but we're fans of their slightly more bulbous aesthetic, like they're bulging with sonic tech just waiting to delight.

There's also the contrasting Uni-Q driver array, a signature of almost all of KEF's speakers, consisting of a 25mm aluminium tweeter and a 13cm aluminium mid/bass. That's supported by KEF's 'Metamaterial Absorption Technology' (MAT) which, essentially, uses a maze-like disc to absorb sound waves that radiate from the rear of the tweeter dome for cleaner highs.

They've inspired a lot of imitators since they first launched, which is a sign of how significant the LS50 Wireless II have been and remain.

Their design is practical as well as good looking, with threaded inserts in the corners letting them lock onto KEF's S2 Floor Stands (which cost around £400 / $449 / AU$800 extra per pair).

Cambridge Audio L/R X vs KEF LS50 Wireless II: features

Cambridge Audio wins the battle of power, with 400W per channel of Class D amplification, compared with the KEF LS50 Wireless II's 380W. But of course, there's a lot more to sound quality than sheer oomph.

The L/R X lets you connect the speakers together wired via USB-C, or wirelessly using WiSA HT tech. Both methods support 24-bit/96kHz resolution, which isn't quite as high as the KEF LS50 Wireless II's resolution of 24-bit/192kHz via an Ethernet cable.

In terms of connections, the L/R X boasts a separate USB-C port, RCA stereo and optical inputs, plus a moving magnet phono stage for plugging in a turntable and HDMI eARC for hooking up your TV. There's also a subwoofer output if you want to up the bass with a dedicated woofer.

The KEF system also has all these, minus the USB-C option.

That's physical connections, but what about streaming? The L/R X have Cambridge's StreamMagic Gen 4 platform, which includes UPnP streaming, AirPlay 2, Google Cast, Spotify Connect, Amazon Music, Deezer, Tidal Connect, Qobuz Connect and internet radio. There's also Bluetooth for local streaming and an Ethernet port for a more stable internet connection than wi-fi. Oh, and it's Roon Ready too, for music management using that platform. That's a lot of features.

KEF brings a similar suite of features via its KEF Connect app, including AirPlay 2, Google Chromecast and Bluetooth 5.0. So on paper at least, there really is very little to separate them.

We've used KEF's app extensively over the years, and have found it a breeze. As we wrote in our LS50 Wireless II review: "Loading dense service libraries, navigating its clean and logical interface and switching inputs proves a pleasant and reliable experience." If Cambridge wants to top it, it will have its work cut out.

Cambridge Audio L/R X vs KEF LS50 Wireless II: sound

Of course, the million dollar question is: how do they compare in terms of sound?

We've only heard the Cambridge Audio L/R X in its maker's demo space, rather than our dedicated listening room, and what we heard might not be the finished product. The L/R range isn't due for release until the summer, during which time it could have changed significantly. Since we heard it in Cambridge Audio's London HQ, for example, the firm has fine tuned the audio to reduce some top-end harshness at higher volumes.

But our first impressions were of a clear, clean and rhythmically sound performer. That 400W per channel makes it go very loud for a system of its size, and it retains plenty of textural detail in the process. It displays a good level of musicality, with plenty of space around the distinct-sounding instruments.

The L/R X showed considerable dynamic headroom at loud volumes, and as we hopped between musical genres in our demo – from Alice In Chains to a techno cover of Come Together – a picture emerged of clarity, scale and snappiness regardless of the track chosen or volume it's played at.

We also detected a slightly hard, bright edge among higher frequencies from time to time, but we can't confirm this until we've carried out our own extensive testing in our own listening rooms, especially as this is something which Cambridge has vowed to look at.

Cambridge Audio was so sure of its system that it actually played it side by side with the KEF LS50 Wireless II, albeit very briefly. The L/R X seemed to go louder than KEF's system, although obviously we can't draw any concrete conclusions outside of our own test rooms. Let's be honest, there's a lot more to a system than pure volume.

The original KEF LS50 Wireless gained entry to the What Hi-Fi? Hall of Fame, and the sequel has won an Award for a phenomenal six years running, so we know it sounds superb, but it's worth noting its many, many strengths to gauge exactly what Cambridge is up against.

KEF's Metamaterial Absorption Technology (MAT) helps achieve a clean treble, distinct mids and well-defined bass notes. There's more room within the presentation compared to its predecessor, with more detail and greater separation between instruments.

Listening to Adrienne Lenker's Symbol, the LS50 Wireless II "lay bare more intricacies in the guitar work, while disclosing the distinctive fragilities in her vocal," we wrote in our review. And these characteristics aren't unique to this track. "Similar sharpness and attention to detail is evident as we switch to Peter Broderick's Moment, the piano sequence aching with meticulously written melody as the LS50 Wireless II more deftly define the start and finish of notes."

They have a dose of extra punch too, and more agility, but these extra capabilities never come at the expense of subtlety. Cambridge Audio, the ball is in your court.

Cambridge Audio L/R X vs KEF LS50 Wireless II: early verdict

It's too early to say whether Cambridge Audio has managed to dethrone KEF. Trumping a six-time What Hi-Fi? Award-winner is no easy feat, but the L/R X certainly looks ready to give it a good go: it's a nicely designed, well thought out system that offers many of the same features as KEF's finest.

With similar premium price points, truly, Cambridge is bringing the fight.

But if any music system is up for it, it's the LS50 Wireless II. With multiple Awards to its name, a proven excellent sonic performance, and regular price drops, it's a very tough act to beat. We'll update this with our full verdict once we've reviewed the L/R X in due course.

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Read our Cambridge Audio L/R X hands-on review

And our KEF LS50 Wireless II review

KEF wireless speaker systems compared, from LSX II to LS60 – which one should you buy?

Cambridge Audio is heading into unknown waters.

It's been a while since the British brand has made a pair of stereo speakers, but Cambridge is now breaking completely new ground with its L/R range of all-in-one wireless active speaker systems, the first in the company's history.

Akin to the likes of the Award-winning KEF LS50 Wireless II or KEF LSX II LT systems, which incorporate amplification and streaming capabilities within a pair of standmounts, the new Cambridge range consists of three distinct models: the entry-level L/R S, the middle child L/R M and the more premium L/R X, all of which tease "the maximum possible performance" from a "room-friendly" setup.

Leading the charge for the L/R X and M models is Cambridge's new 'Torus' tweeter which, as you'll have perhaps guessed at if you're keen on geometry, utilises a ring-shaped design with a tapered horn inside the rear chamber. The Torus employs a dual radius configuration, with a flatter top and steeper sides, alongside a large rear chamber for better clarity and direction.

• We've had a first listen! Read our Cambridge Audio L/R X hands-on review

The L/R X and L/R M both feature a 28mm tweeter, with Cambridge promising that this increased surface area results in 25 per cent more air displacement than the more traditional 25mm dome.

For the L/R X model, this tweeter is complemented by twin 12.7cm woofers working alongside a pair of side-mounted 15cm passive radiators, while the smaller M harnesses dual 10cm woofers working alongside twin 12cm passive radiators.

Both active speakers feature Class D amplification, with the L offering a total of 800 watts of power, while the M model delivers 300 watts.

The smaller L/R S version, meanwhile, doesn't have a Torus driver, instead using a 21mm aluminium tweeter working in tandem with a single 7.6cm woofer, both fed by 100 watts of power.

Cambridge Audio envisions this range to be flexible enough to work with a range of sources, from TV to CD player to turntable. All three models offer RCA line-level inputs, while the X and M models house twin USB-C ports – one for handling audio and the other for the speaker interconnect link – as well as digital optical inputs.

Both feature a built-in, moving magnet phono stage for connecting to a record player, as well as an HDMI eARC input for hooking your speakers up to your TV or home cinema setup. There’s also a subwoofer output if you want a three channel system boosted with more bass.

Being the most affordable member of the family, the L/R S doesn't offer HDMI eARC or a phono stage, but optical and USB-C inputs are still on the menu. All three models grant Bluetooth connectivity, and while there's no wi-fi streaming capabilities for the smallest S model, it is the only system capable of supporting the aptX HD Bluetooth codec.

Conversely, the more premium L/R X is the only system capable of supporting a wireless connection between both speaker units, although you can use a USB-C tether as you would across the entire range.

The L/R X and M models' streaming powers are driven by the fourth generation of Cambridge’s StreamMagic platform, offering support for the likes of AirPlay 2, Google Cast, Spotify Connect, Tidal Connect, Amazon Music, Deezer and Qobuz Connect. There is also support for UPnP, Roon Ready and internet radio.

The StreamMagic platform is one we've generally got on well with in the past (as evidenced in the CXN100, EXN100 and MXN10 streamers), so we're hoping for a similarly smooth experience with the new speaker systems.

There’s also a seven band equaliser for personalising your sound, while Cambridge’s ‘DynamEQ’ algorithm works to ensure that the speakers maintain their tonality and character at any volume.

The Cambridge Audio L/R speaker systems will be available in six colours: blue, green, orange, black, white, and a real walnut veneer.

They will be available from the following dates and at the following prices:

- L/R S: £399 / $549 / €499, from March 2026 (£449 / $599 / €549 for Real Walnut)
- L/R M: £1199 / $1599 / €1399, from July 2026 (£1299 / $1699 / €1499 for Real Walnut)
- L/R X: £1799 / $2299 / €1999, from June 2026 (£1899 / $2399 / €2099 for Real Walnut)

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Also consider the Triangle Twin AIO

Cambridge Audio's entry into a new market sector is undeniably exciting. The new L/R range of wireless stereo speaker systems represents a brave new expansion for Cambridge, and while there's strong competition about from the likes of KEF and Triangle, the market for feature-laden, all-in-one speakers with streaming capabilities and built-in amplification is certainly ripe.

We've had the chance to listen to the new range's most premium model, the L/R X, at Cambridge's London headquarters in December, with a view to discovering whether the hi-fi brand's considerable pedigree and heritage can translate from amplifiers and music streamers to this versatile speaker system format.

The competition for the flagship Cambridge L/R X (priced at £1799 / $2299, out in summer 2026) comes predominantly from the Award-winning KEF LS50 Wireless II speaker system, whose price varies from £2199 to £1799 depending on the finish and retailer chosen.

With the appeal of do-it-all compact systems only set to grow, Cambridge's expansion therein could prove to be a savvy strategy for a whole new audience beyond traditional hi-fi. It just needs to make sure that the sound performance is up to scratch.

Build and design

The new speakers opt for a clean, minimalist design that, depending on your preferences, can be daubed in a choice of colours ranging from pristine white to a bold, arresting orange. The L/R X also features some rather nifty LED underlighting if you're keen to set the mood, though this feature wasn't available to witness during our demonstration.

These speakers are the largest in the lineup, yet they don't appear so vast that they'd look out of place in a relatively modest listening space. Their reasonably compact size belies their ability to go seriously loud when the time calls for it, thanks to their considerable 800 watts of total power (that's 400W per channel), courtesy of Class D amplification.

Unique to the X model, you can choose between a USB-C wired or a fully wireless (WiSA HT technology) interconnect between the two speaker units themselves. Both methods support playback up to 24-bit/96kHz resolution.

The L/R X features Cambridge’s patented Torus tweeter, which as the name suggests, uses a ring-shaped design with a tapered horn inside the rear chamber. The Torus tweeter uses a dual radius configuration, with a flatter top and steeper sides, and a generous rear chamber for better clarity and direction.

The L/R X uses a 28mm Torus tweeter, with Cambridge promising that this increased surface area results in 25 per cent more air displacement than the more traditional 25mm dome size we see in most speakers.

Alongside, you get twin 12.7cm woofers working with a pair of side-mounted 15cm passive radiators, the latter of which have been chosen in pursuit of deeper, louder bass from a relatively modest cabinet size.

Features

Around the back of the left speaker unit you’ll discover two USB-C ports – one for handling audio and the other for the wired speaker interconnect – as well as RCA stereo and optical inputs.

The L/R X also has a built-in moving magnet phono stage for plugging a turntable in directly, while a HDMI eARC input is available for connecting the speakers to your TV. If you want greater bass, there is also a subwoofer output.

For all your streaming needs, the L/R X features Cambridge’s current StreamMagic Gen 4 platform, which gives you access to UPnP streaming, AirPlay 2, Google Cast, Spotify Connect, Amazon Music, Deezer, Tidal Connect, Qobuz Connect and internet radio. We've generally found the StreamMagic platform and app easy to get along with in the past, so we're hoping for a similarly smooth experience when we get hold of our own test samples for a full review.

You'll naturally spend most of your time listening to the L/R X via wi-fi, but standard Bluetooth is on the menu for listeners who just need a quick and simple way to get their tunes firing. Along with wi-fi, there is also a wired Ethernet port available for a more stable connection.

Sound

During our launch preview at Cambridge's HQ in London, we managed to enjoy a decent amount of listening time with the L/R X, but we also need to make some important disclaimers at this point.

We listened to the L/R X in an unfamiliar demo space that is different to our dedicated What Hi-Fi? listening rooms, for a short period and without the comparative rivals against which we normally judge sound quality. Any concrete assessments, therefore, are reserved for when we can get a review sample of the L/R X into our own listening rooms and assess them under our own controlled conditions.

It's also worth noting that our initial experience may not be fully reflective of the finished product, either. Since our demo, Cambridge has made some audio tuning tweaks to the L/R X, including adding two filters in a bid to take a little top-end harshness out at higher volumes.

With that in mind, our demo ran the musical gamut, from peppy pop to ear-melting heavy metal (often with the volume cranked firmly towards the red zone), so we do have an initial idea of what the L/R X is capable of.

All songs during the demo were streamed using Spotify Lossless (24-bit/44.1kHz) from an Android smartphone.

Our first impressions are of a clear, clean and rhythmically sound performer, one which is capable of bringing out ample helpings of textural detail while going loud and proud in the process. The first track we’re served is Prince’s 1+1+1 is 3, and we note how the track’s funky underpinnings are well serviced by L/R X’s sharp and punchy sense of rhythm.

It’s always a nice surprise to hear Alice in Chains pulled out during a hi-fi demo, and an even nicer one when the grunge gods are given such a generally positive rendition. The L/R X seems to bring admirable detail and musicality to No Excuses, offering a great feeling of space and clear delineation around instruments and the track’s intertwining vocal strands.

To showcase how the L/R can handle large-scale dynamics, we are treated to Hans Zimmer’s Mountains from the Interstellar soundtrack.

There’s no question that, as the volume is cranked to eleven, the L/R X has considerable dynamic headroom – how naturally it shifts between more subtle dynamic fluctuations, however, requires further investigation on our end.

Not many stones are left unturned in the music department, and whether it’s Steely Dan’s Peg or a techno rendition of Come Together courtesy of Urbandawn and Tyson Kelly, our overall impressions don’t alter much – all of that clarity, scale and snappiness remain in evidence no matter the track chosen or the volume at which the system is played.

Certain quirks or potential limitations also remain consistent from tune to tune. It might be that this is an early sample we're listening to, or the loudness at which many of songs are demoed, but we do detect a slightly hard, bright edge that threatens to detract from our listening fun.

Whether it’s the lean snare on Peg or Prince’s vocals on 1+1+1 is 3, we’re left wondering if this excessive brightness could be a potential sticking point.

Again, further testing and running in – and possibly some tinkering with the speakers’ EQ settings – will reveal a more concrete answer, and this might well be something that Cambridge's subsequent tuning has rectified. The L/R X may also sound more forgiving when given a run out in our own test rooms, especially when they're granted more time to run in and warm up.

Most of the demonstration is performed in isolation, although there's a brief period during which the KEF LS50 Wireless II are wheeled out in order to demonstrate how much louder the L/R X can go when compared with their closest rivals, a head-to-head that's performed using Bleed from Within's headbanging In Place of Your Halo.

Yes, the Cambridge system wins out easily in the volume stakes, yet we'll need more dedicated time to gauge which speaker system wins out when it comes to the finer subtleties of rhythmic cohesion, dynamic prowess and overall emotional impact.

That’s a head-to-head we are looking forward to exploring in more depth when we get a full review sample in for testing. For now, the L/R X has left quite the impression, and it's always a good sign that, rather than having had our fill after an hour, we're curious to hear more.

Initial verdict

We can certainly see the appeal of all-in-one speaker systems such as this, and it's high time that more hi-fi brands joined this category. The likes of the KEF LS50 Wireless II and LSX II LT, and the cheaper but also Award-winning Triangle AIO Twin, demonstrate the appeal of proper hi-fi heritage housed in a modern, easy-to-integrate and lifestyle-friendly format.

Cambridge Audio's L/R X initial performance, ample feature set and compact design footprint, even in our limited demo time, has given us a solid impression of the new system's potential, but whether the L/R X has the full range of talents to topple the current class-leaders will require a good deal more investigating.

MORE:

Read our KEF LSX II LT review

And the KEF LS50 Wireless II review

Check out the best hi-fi systems we have tested and rated

The Q Acoustics M40 are something a bit different, and we're all about celebrating differences here at What Hi-Fi?.

Touted as a "powered micro-tower wireless audio system", they're essentially a pair of scaled down floorstanders that come with the considerable bonus of Bluetooth, built-in amplification and some handy extra physical connectivity options.

They gave a lot for your money when retailing at their full £749 RRP, but the M40's pound-per-sound value has vastly increases now that they've dropped by £250 to just £499 at Richer Sounds and Peter Tyson.

The best Q Acoustics M40 speaker deal

No, the Q Acoustics M40 have nothing to do with the British motorway linking London, Oxford and Birmingham (as far as we know).

Instead, they're a pair of compact, Bluetooth-enabled floorstanders with amplification built in, making them, essentially, a neat little system in their own regard which simply requires a decent source to get you up and running.

They've also got the bonus of being placeable in almost any domestic space, giving them further appeal as a flexible, undemanding set of speakers.

There's no wi-fi connectivity, but wireless streaming is taken care of via Bluetooth 5.0 with aptX HD and aptX Low Latency support (up to 24-bit/48kHz resolution). For physical connections, you can use the analogue input to connect a CD player or a record player if you have a phono stage, while laptops and TVs are supported via a USB-B and an optical input respectively.

Whatever you end up plugging the M40 into, you'll get a decent amount of sonic sophistication for your money. They're smooth. easy-going performers with a discreet, subtle sound, the sort of profile that can be listened to for hours at a time without highlighting any unwanted aspects of a recording.

A little more weight and dynamism wouldn't go amiss, but on the whole they're balanced and insightful without feeling analytical or emotionally removed from the action.

As our review concluded: "If you want a speaker system that’s flexible, undemanding and easy to get along with, the Q Acoustics M40 won’t disappoint. From their sound to their small, unobtrusive form, they can fit into places where larger floorstanders might fear to tread".

At £250, they're well worth considering. Head over to Richer Sounds or Peter Tyson if you're tempted.

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Cyber Monday might have officially taken over from Black Friday, but there are still plenty of hi-fi deals to take advantage of if you're lucky enough to be in the market for an upgrade or a completely new setup.

Truth be told, if you were so inclined, you could build yourself a tidy system of separates from all the Cyber Monday deals still live, but what if you need your next hi-fi system to be a little bit more convenient?

I've seen two deals on all-in-one set-ups that tick the convenience box, but only one of them has the performance and sound quality that I can get behind.

The Technics SC-CX700 and KEF LS50 Wireless II both offer such a solution, and both look like great prospects on paper. I’ve tested both, though, and think only one of these is where my money would go this Cyber Monday.

Currently, the KEF LS50 wireless can be yours for £1499 at Peter Tyson and Smart Home Sounds, which is £700 off their usual £2199 asking price.

The Technics are available for £1499 at Peter Tyson and Sevenoaks S&V, which is a big £900 saving on their £2399 launch price.

Both systems have a streaming engine at their heart. If you’re looking to buy a system like these, you’re likely to be using Tidal, Spotify, Qobuz or Amazon Music as your main source of tunes, and both pairs of speakers accommodate all manner of streaming options.

However, having tested both side-by-side, I can’t really look past the KEF pair.

The Technics look good from a distance, especially with their fancy microfibre-clad side panels, but get closer and the plastics used look and feel cheaper. The back panels are a little untidy, and the touch controls are a little unclear.

Contrast this with the KEFs, which look and feel more premium, with neatly highlighted touch controls on their top panel and smooth, curved heat-sinks. To my eyes at least, the KEF Uni-Q driver looks more striking than the Technics’ similar coaxial arrangement, too.

The Technics pair offers auto-calibration to help you get set up quickly, but I actually found it made the speakers sound worse than going through the process manually. It’s manual all the way with the KEFs, but it’s pretty straightforward to add their positions.

Both pairs use a very similar-looking control app, but it's the KEF Connect app which feels slicker and less laggy – you need to take this into account as you could be interacting with it quite a bit.

I’m not completely down about the Technics, though. When I heard both pairs together, I was impressed with the quality and quantity of bass the Technics can produce. In my opinion, they sound more powerful and better defined when spitting out beats.

However, I also found they sounded a little rough around the edges and lacking dynamism, which takes the shine off what they do in other areas.

As we said in our Technics SC-CX700 review, “The combination of that troublesome coarseness, mixed with a lack of dynamic thrust and finesse means they don’t really encourage you to hang around and wait for the next track to play."

The KEFs, on the other hand, sound more refined, sophisticated, and they create a wonderfully expansive stereo image. In our KEF LS50 Wireless II review we said they sit among “the most thrilling speaker systems we’ve heard”.

High praise indeed, and with £700 off for Black Friday at Peter Tyson and Sevenoaks S&V,, I think anyone looking for a convenient, and ridiculously capable all-in-one hi-fi system should give the KEFs serious consideration.

MORE:

Technics SC-CX700 vs KEF LS50 Wireless II: which streaming system is better?

Our pick of the best Cyber Monday deals 2025

I’ve been waiting all year for Technics’ Award-winning earbuds to get a decent discount – and it’s finally happened

Black Friday quick links

• Amazon: browse all of today's best deals
• B&W speakers: save £200
• Bluetooth speaker: 48% off five-star JBL
• Bose QC Ultra Earbuds: save £100
• Bravia 8 TV: save 34% on 55in Sony TV
• Denon AV receiver: save £500
• Dolby Atmos soundbar: down to £299
• ELAC Debut 2: five-star speakers now £199
• Headphones: Sennheiser Momentum 4 now £169
• LG C5 55-inch: lowest-ever price at Richer Sounds
• JBL soundbar: now better than half price
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• Sony headphones: now just £29
• Stereo amplifier: Cambridge Audio now £299
• TVs, movies, home cinema: browse the best deals
• Vinyl: 3 for £66 at Amazon
• Wireless earbuds: Award winners now £75

Many enjoy the convenience of all-in-one music players, and the Cambridge Audio Evo One is a good option if you’re in the market for one. It sounds composed and spacious, while it is well made and has plenty of clever features.

And now, in a Black Friday deal, you can pick up the Evo One for £999 at Richer Sounds – which is a chunky £300 off the original price. That’s a great saving for a solid, versatile all-in-one system.

Cambridge Audio’s Evo One all-in-one music system may not ultimately offer the same dynamism and punch as its five-star rivals, the Ruark Audio R410 and Naim Mu-so 2, but it’s still a highly appealing prospect in its own right.

The one-box music system boasts 700 watts of power, offering an expansive soundfield. During testing, we noted it “produces a sound that’s similarly bold and broad in terms of its size and scale, spreading music evenly and confidently across our test room.” It’s also fluid and controlled with dynamics, and has a spacious presentation that easily fills a room.

Such sound quality is achieved thanks to a total of 14 drive units in the Evo One, consisting of six 70mm woofers, four 57mm aluminium cone midrange units and four 25mm silk-dome tweeters.

It offers plenty of listening options, too, with Tidal Connect, Spotify Connect, Deezer and Qobuz available for direct streaming via the Evo One’s easy-to-use StreamMagic platform. The app also offers a seven-band EQ for personalising audio to your taste.

Hi-res audio files up to 32-bit/192kHz are supported, while connectivity options on this Roon Ready system include Bluetooth 5.1, AirPlay 2, Google Cast and wi-fi. If you prefer a wired network connection, an ethernet port is also present.

And that’s not all: the Evo One has a built-in phono stage so you can connect a turntable to it directly, and an HDMI ARC input for using it as your TV’s sound system.

We really liked the Cambridge Audio Evo One when we tested it at its full price of £1299 back in February. With that price now dropping to £999 at Richer Sounds, it’s an even better proposition than before. So, if you’re after a solid all-in-one system that sounds spacious and has versatile talents, we encourage you to check this deal out.

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Black Friday quick links

• Amazon: browse all of today's best deals
• B&W speakers: save £200
• Bluetooth speaker: 48% off five-star JBL
• Bose QC Ultra Earbuds: save £100
• Bravia 8 TV: save 34% on 55in Sony TV
• Denon AV receiver: save £500
• Dolby Atmos soundbar: down to £299
• ELAC Debut 2: five-star speakers now £199
• Headphones: Sennheiser Momentum 4 now £169
• John Lewis: £500 off LG and Sony OLED TVs
• Richer Sounds: browse Black Friday deals
• Sevenoaks: £150 off Award-winning speakers
• TVs, movies, home cinema: browse the best deals

Looking for an all-in-one speaker system on a budget as we head into Black Friday?

We may have found the answer: the Triangle AIO Twin.

Don't be fooled by the AIO Twin's appearance – while it might look like a regular pair of speakers, this is a fully fledged music system that combines speakers, amplification, streaming and connectivity into one package. A package that won a 2025 What Hi-Fi? Award, we might add.

We were already blown away by the system's incredible value when it launched at £699 – but it can now be snagged for £599 at Richer Sounds. That's the lowest price we've seen!

The deal is available on all six colours, all of which suit the smart and classy design of the cabinets. They're considerably smaller than most bookshelf speakers too, meaning you can be pretty flexible in where you place them.

The Triangle AIO Twin has pretty much every connection you might need: ethernet and wi-fi streaming, Bluetooth 5.0, optical input, 3.5mm auxiliary and a pair of RCA that you can toggle between line level and phono inputs. That means the AIO Twin can double as speakers for your TV; and the built-in phono stage means you can connect a moving-magnet turntable without the need for extra boxes.

The AIO app supports all major streaming platforms, including Spotify, Tidal, Deezer, Amazon Music, Qobuz, as well as internet radio and files on your network. And audio support for files up to 24-bit/192kHz will be good news for those subscribed to a hi-res streaming tier. In short, the Triangle system can play from just about anything.

And it's an engaging sound. In our five-star Triangle AIO Twin review, we say: “This system is incredibly fun to listen to. It’s an enthusiastic performer, happy to tackle any music genre and recording quality, and simply wants you to enjoy the music being played.”

The AIO Twin is balanced across the frequencies, with an admirable level of control, precision and subtlety, and bass performance that is surprisingly taut and shapely for such compact speaker cabinets.

The main downside is the phono stage; we recommend that vinyl lovers get an external phono stage to plug into the AIO Twin to make the most of their records.

Overall, though, the Triangle AIO Twin is incredible value for money, offering an entire hi-fi system in one easy to use and live with package. There's a reason it has won a What Hi-Fi? Award for the past two years – and now it can be yours with a handy £100 off at Richer Sounds.

MORE:

Read our review of the Q Acoustics M20

Also consider the excellent KEF LSX II

Best active speakers: budget to premium

Hi-fi systems come in all shapes and sizes, and the What Hi-Fi? Awards 2025 has a spread of multi-talented options which will suit a wide range of demands.

As is traditionally the case, not all of our winners are new entries – there are a few familiar faces in there, but some stunning new all-in-ones have left their mark on the test team this year too.

Five winners return from 2024, but there’s a trio of new arrivals, all with one thing in common. They combine streaming and amplification in one box, so all you need to do is add speakers.

The first of those is the Ruark Audio R610 (above), a compact, beautifully made streaming amplifier which we said, in our review, “delivers a wonderfully modern hi-fi performance”. It does all the basics extremely well and performs superbly whether you’re using it for vinyl, streaming, CD or radio.

Next up on the price ladder is the NAD C 3050 (with MDC2 BluOS-D module) (above). Another system that gives off strong retro vibes, the NAD impressed us with a charming performance across the board. It's a mighty fine amplifier, but the presence of the MDC2-BluOS-D’s streaming module catapults it to the top of the class.

Arcam continues its assault on the What Hi-Fi? Awards 2025 with the SA35 (below). The British hi-fi brand has won gongs this year for its A5+ and A15+ stereo amplifiers and its ST25 music streamer, so its ability to build an Award-winning streaming amplifier perhaps shouldn’t come as a huge surprise. The Arcam is so good that it sees one of our previous winners, the Naim Uniti Atom, exit stage left.

Moving on from that trio of debutants, KEF continues to have a significant presence in the hi-fi systems category with two winners in the shape of the flexible, fun-sounding KEF LSX II LT speaker system, which returns for the second year in a row, while its pricier, more capable sibling, the LS50 Wireless II remains undefeated at its price point for yet another year.

Slotting in beneath the KEF LSX II LT is another pair of stereo streaming speakers, the Triangle AIO Twin (below), which deliver all the streaming skills you would want at its price point.

The Technics SA-C600 makes a return as our “Best hi-fi system £500-£1000” and slots just beneath the Ruark set-up. It too has streaming smarts and a CD drive built in for those of us who have stacks of the shiny discs at home.

Last, but by no means least, is arguably the great-grandfather of this category. The Denon D-M41DAB micro system has become part of the furniture over the years as our main entry-level recommendation.

For anyone who wants a more traditional CD-playing all-in-one with speakers and is happy with just Bluetooth streaming, you really can’t go wrong.

MORE:

See all our What Hi-Fi? Awards 2025 winners

An influx of excellence from Acoustic Energy, Dali and PMC has shaken up the standmount speaker market

What Hi-Fi? Awards 2025: Fyne Audio makes a splash in the floorstanding speakers category with two talented winners

What Hi-Fi? Awards 2025: JBL is still the portable king, while Apple and Audio Pro cement their wireless speaker credentials

KEF is no stranger to stylish speaker systems – just take the excellent LS50 Wireless II and LS60 Wireless as two examples of the brand’s ability to create fantastic all-in-one solutions with streaming at their heart.

And don't forget the cheaper, more recent LSX II desktop system, which is another five-star favourite of ours.

Well, it now appears another KEF hi-fi system is set to arrive on the scene next week, with a focus on not just streaming but vinyl, too. LSX II TT, anyone?

Subscribers to KEF’s newsletter have been sent a teaser e-mail which includes an image showing the top of a new speaker, with a physical record lurking in the background. It’s not exactly subtle in its placement.

The e-mail also tells readers to mark their calendar for next Tuesday, the 21st of October.

And, if you click through to the preview page on KEF’s website, you’ll find more information on what we can expect from this new system…

“We are crafting something special. Imagine experiencing the profound depth of HiFi, a speaker designed for a direct, plug-and-play connection that brings your turntable to life with impeccable clarity. Then, shift seamlessly to the untethered freedom of wireless streaming.”

The “plug-and-play” reference points to a turntable – perhaps the system will include a moving magnet and/or moving coil phono stage built in.

The page continues, “It’s designed for those who cherish the authentic crackle of a record but also demand the seamless convenience to stream anything else, anytime. Prepare to hear your favourite songs – and your cherished vinyl collection – like never before.”

We are intrigued to see how he system looks in the flesh. We are big fans of the LS50 Wireless, LS60 Wireless and LSX II, although the teaser image shows perhaps a slight departure from the smooth front baffles of those setups.

Hopefully, all will be revealed next Tuesday, and needless to say, we’ll be covering any announcement here on whathifi.com.

MORE:

Read our KEF LS60 Wireless review

And our KEF LS50 Wireless II review

I don’t think the KEF LS60 Wireless floorstanding speakers get enough credit – here's why

Our pick of the best hi-fi systems you can buy

• We rank the best hi-fi systems money can buy

The high-end and the luxury heights of hi-fi are currently proving the most successful of sectors for those companies that dare to venture into such lofty realms. But one of the truisms of the luxury market is that you’ve gotta look good, as well as sound good. Many moons ago we recall interviewing Antony Michaelson, then owner of Musical Fidelity, who told us that his company’s high-end amps might be built significantly more cheaply, but then nobody would buy them, because they really have to look like they’re worth it, as well as sounding like it.

In this regard, we recently reviewed Meridian’s Ellipse wireless speaker at £1900 / $3000 / AU$4999; it sounded great, performing as we might expect a speaker at such a price to perform. But its design was so surprisingly minimalist and plain that it looked, well, perhaps smart enough, but not really your five grand’s worth.

Compare that with the Marantz Horizon here, a wireless speaker that we have to say really does go a long way towards looking its price. And feeling it too: it weighs 15kg in the box, and 12.5kg out of it, much of this contributed by a large base made of marble – yes marble! (see below). That circular corona of black’n’gold seems to float above the base, even as it glows softly from across the room. It’s very effective, genuinely stylish.

And in just one example of Marantz’s emphasis on luxury presentation, that marble is the real deal, sourced from either Italy or Spain depending on which of the three available Horizon finishes you choose: the ‘Moon Ray’ Horizon comes with Italian Carrara marble, the ‘Marantz Champagne’ model pictured below gets Beige Serpeggianto marble, while the ‘Midnight Sky’ (which we had for review) has dark but delicately inverse white-veined Nero Marquina marble from Spain. Each base will be unique in its natural marbling, while the material is more than mere decoration; its weight also keeps the tall circle safely anchored – you’d have to tilt it well past a full 45-degrees to have the Horizon tip over.

There’s also an optional arty tripod-style stand available (pictured in a lifestyle image below), attaching under the marble, though adding an extra £649 / $700 / A$1500 to the bill.

While the Horizon seems a sizeable feast, there is also a ‘Grand’ Horizon – Grand in having even more (or at least larger) bling than our common Horizon, perhaps also considered Grand in the Yorkshire sense (“Ee, that’s right grand, lad”), and certainly at its even higher price asking several Grand more of your hard-earned to take home – although given the Grand’s boxed weight of around 25kg, we might recommend you get the thing delivered. The Grand Horizon is just too heavy to go on the tripod stand for the smaller model.

Ring of gold

While the Grand is bigger as well as heavier, the standard Horizon is hardly dinky. Yet it managed to avoid being intrusive visually, particularly our ‘Midnight Sky’ review unit, with its outer black silhouette circle of 36cm diameter receding into the shadows while its illumination hovered above the top shelf of our equipment rack on that base of black marble. Its outer ring is wrapped in a cloth covering of “360° Seamless Ecofiber”, tucking behind the central circle.

Followers of the brand will have noted the ‘interference pattern’ motif introduced by Marantz on its recent amp and receiver releases; it appears here too, and highly effectively shines as a subtle pattern etched on the white curved ring which recedes behind the branded circular front plate. This plate covers the big central front driver, leaving about a centimetre of space around the edges for the driver’s sound to escape. A ring of light on the back of this front plate illuminates the soft circle with its interference pattern, while outside that is another ring, black most of the time but illuminating with up to 100 LED segments which form a touch-sensitive volume-control ring; this detail is lovely, with each volume gradation marked not by a line or a dot but by a tiny elongated rhombus.

This volume ring illuminates when you approach the Horizon (kinda, see below), inviting you to interact and change the volume using this illuminated ring. Which is nice, though we’d have appreciated a remote control as well. Not getting one is a glaring omission at this price, leaving you either to fire up your phone and proceed to the HEOS app each time you want to change volume, or to walk across the room and do the finger poking thing (see below). Where’s the luxury there?

Drivers & power

Nearly all our words so far have been focused on the Horizon’s looks, with not so many yet about the technologies.

And to be fair, that’s in keeping with Marantz’s current incarnation under Masimo Consumer, where it has been redefined as a luxury brand, thereby differentiating itself from sister products by Denon, which has now been defined as a ‘performance’ brand. In a recent Marantz presentation, company representatives repeated a mantra that now “Marantz is about putting beautiful objects into people’s homes.”

This is very different to the traditional Marantz brand epithet “Sound Matters”, but it is to be assumed that the modern mantra of beauty extends to both looks and sound. Circles and spheres are certainly excellent shapes in acoustic terms (there would be many more spherical speakers in the world if they weren’t so dastardly expensive to build compared with a six-walled box) and Marantz even attempts to claim that this circularity is a deliberate reimagining of the classic Marantz amplifier ‘porthole’ display “as the core element of each speaker’s unique circular form”.

Yeh sure, if you like – though the Horizon only partially leverages the true power of the circle: this is not like a Cabasse sphere with multiple drivers positioned concentrically within each other. Instead that dark fabric around the outer circle conceals five drivers (see below): three 5cm (2-inch) mid-cones bravely described as ‘wideband’, and a pair of one-inch tweeters for high frequencies.

Then in the centre is the large 16.5cm (6.5-inch) bass driver behind that frontplate, and since almost nothing in the Horizon gets away without a buzzword or neologism, this has been called a Marantz ‘Gravity’ driver, despite being vertical, and thereby fighting gravity rather than utilising it in any useful way.

The larger Grand Horizon has room for more and bigger drivers: it boasts an eight-inch central ‘Gravity’ driver, four 3-inch midrangers, and three tweeters.

We should also compliment the thick braided mains cable here for its quality, providing a long-life and safe pipe to provide power to the Horizon’s amplifiers.

Gallium-nitride power

One further buzzname goes to the amplification inside the Horizon, which is called ‘Rise’, a title which may be derived from the fast rise time of the gallium-nitride FETs (field effect transistors) used therein.

If you haven’t yet encountered GaN, you can expect to hear more of it in our hi-fi futures, as it provides an alternative to silicon in transistors. Gallium-nitride allows Class-D amplifiers to do their PWM switching at far higher frequencies (typically 800kHz for GaN, about double that possible with silicon Class-D); among advantages from this is that a simpler filter can be used, almost eliminating phase shifts in the audible band and up to 30kHz. Early examples of GaN designs have had their sound compared with low-wattage Class-A or even single-ended valve amplifiers.

One potential brake on GaN development may be that gallium mining is dominated by China and Russia – but happily we have some of the stuff here in Australia, too, with several local companies already feeding the GaN transistor market.

We note, however, that Marantz hasn’t leapt to GaN for its high-end amplifiers, and in a recent online briefing the team indicated that it considers the Purifi ‘Eigentakt’ circuits used in its recent Model 10 amplifier to be well superior to the Horizon’s power circuits.

But what if Purifi itself were to implement GaN?, we wondered. So in a slight digression from our review, we contacted our friends at Purifi in Denmark to ask them about that. Purifi’s Claus Neesgaard responded.

“While GaN FETs offer faster switching speeds – approximately twice as fast as traditional silicon devices at 150V – their impact on distortion reduction in typical home audio class D amplifiers is incremental, given the extensive refinements we already achieved in our Eigentakt designs”, replied Claus. “We believe that GaN’s true advantage lies in high-voltage, high-power applications (above 200V), where silicon FETs struggle, making GaN the practical choice for demanding scenarios such as 1kW+ amplifiers. Consequently, our approach is to adopt GaN technology judiciously, leveraging its strengths in areas where it truly enhances performance rather than relying on it as a mere buzzword. In any case, some truly exciting Purifi developments lie ahead.”

So now you know. Anyhoo, GaN debate aside, the resultant output power for the Marantz Horizon is a generous 310W, this quoted under specifications governed by the FTC (which is the US Federal Trade Commission, assuming it hasn’t been fired yet) which measure continuous power across the full 20-20kHz band allowing a figure of 1% THD. This figure of 310W is far higher than an equivalent hi-fi rating (measured with, say, a lower 0.01% limit on THD) would yield, but it is lower than European AV ratings, which can take place at 10% THD on items like soundbars.

It’s nigh impossible to compare between such numbers sensibly, so the only true comparison is with the Grand Horizon, whose power under the same regimen hits 370W. Other comparison points between the two include the quoted maximum SPL of 104dB continuous and 114.5dB peak for the Horizon, compared with a significantly higher 111dB/122dB for the Grand Horizon (remembering that 3dB is a doubling of effective acoustic or electrical power), and also the low frequency response, quoted to 30Hz at -3dB and 22Hz -10dB for the Horizon, but with a few extra notches from the Grand to drop to 28Hz at -3dB, and 18Hz at -10dB.

Inputs are available...

It is probable that many users will never connect a source to their Horizon, since streaming is the thing these days, and the Horizon is fully equipped with the Denon/Marantz HEOS streaming and multiroom platform, wrapping any number of streaming and networked options within its easy-to-use app: TuneIn internet radio, iHeartRadio, Amazon Music, Soundcloud, Deezer and more. There is both Spotify Connect and Tidal Connect native playback (Qobuz Connect was added after we had sent it back), so you don’t even need the HEOS app for those: just use the Spotify/Tidal apps as you normally would and select the waiting Horizon as the ‘speaker’.

You can also access network shares of files via HEOS and play them up to 24-bit/192kHz PCM and double-DSD (5.6MHz). Rather interestingly the specs say it can also play multi-channel PCM up to 7.1 channels – and indeed it can; this proved the first streaming unit we’ve ever had successfully stream a multichannel test file of Wish You Were Here with all its bits intact!

It even has Atmos decoding (primarily from its HDMI input (see below), though how it spreads these potential additional channels around its drivers is hard to guess; it seemed to treat the multichannel Floyd evenly and purely, with no attempt at fakery to throw stuff around.

There is also both Bluetooth here, and AirPlay 2 available. While the Bluetooth profile is a thoroughly up-to-date version 5.4, the actual music transmission is limited to the lowest-level SBC codec; AirPlay 2 streaming of Apple Music will also be limited (by Apple, presumably for robustness) to 256k AAC streaming. So we’d suggest you use these only for temporary convenience playback, because it’s easy to get tunes over from your device at much better quality.

Instead open up the HEOS app and find ‘My Device’ or the equivalent, and play tracks that way, because this path should use UPnP at full file quality.

You can, incidentally, use either the Horizon’s Wi-Fi for networking or attach an Ethernet cable to the rear, alongside the inputs, all of which are cable-managed behind a nice magnetic backplate. The rest of the inputs offer an analogue RCA pair, a USB-C socket for file storage devices (FAT32 NTFS-formatted sticks or drives), an optical input, and finally that HDMI-ARC socket.

So while either of the last two sockets could be used to play back audio from your TV, doing so via optical would be pretty frustrating, as you’ll have no remote control to adjust volume. Using the HDMI-ARC socket, however, you’ll have both the possibility of Atmos decoding and, if all works properly, easy control via your TV remote.

The idea of using the Horizon for TV sound prompts the obvious question of where you might put it – it’s too big to go with a benched TV, so would really suit only TVs that are wall-mounted quite high, where the Horizon could go in the middle underneath. You might buy two Horizons and use the HEOS app to create a stereo pair either side of your TV – but the manual does warn of possible sync delays when combining HEOS speakers, so perhaps not.

Unboxing & AuraControl

So as mentioned, Marantz has done a fine job on the perceived value front. There’s the initial proxy reassurance of weight. The unboxing itself is next-level, the container having TV-box-like release clips around the base so you simply raise the carton upward in a grand reveal (or a standard reveal, in our case), unveiling the Horizon there inside in a soft case with a handle that allows you to safely lift it out and position it where you will, without getting your fingers all over it.

Although you are soon encouraged to do so (put your fingers over it, that is), or at least around the control strip that surrounds the illuminated ring. This is called (incoming buzzword) Marantz AuraControl, and includes “unique” on-board proximity sensors which “magically” bring the speaker to life, activating 100 “carefully-concealed” (and yet remarkably visible) LEDs with ambient light sensors. You then touch the illuminated ring around the central subwoofer to indicate your preferred volume.

The sensor detects your approach and illuminates the control ring. Or at least it does so reasonably quickly if the ‘status light’ ring is already illuminated. Once it slips into its unilluminated standby mode, it is rather slower to react. We could walk up to it and wave our hands in front of it for two to three seconds before it would wake up.

In the settings you can change a ‘power saving’ setting to ‘quick start’ to avoid standby (“device will respond immediately… however it will consume more energy”) which then leaves the Horizon always more ready to detect, taking perhaps a second to react.

We found using that control strip rather disappointingly non-intuitive. We can pretty much guarantee that anyone meeting the Horizon for the first time will try to control it as follows: once the circle of LEDs illuminates, they will put their finger where indicated and drag the volume control to where they want it. It’s the natural thing to do. So why Marantz’s much-vaunted design team didn’t make it work in this obvious way is something of a mystery. You can’t drag the volume indicator – as you would a volume slider on, say, your phone, or indeed on any other volume slider we’ve ever yet come across. Instead Marantz wants you to ignore where the volume currently is, and just poke the control ring at the place you want it to go.

Got that? Poke, don’t drag.

There’s also an entirely invisible button below for Play/Pause (single tap), Skip Forward (double tap), and Skip Backward (triple). Making this control button entirely invisible at the bottom of the control ring is similarly dim thinking from the design team; we only found it quite late in the review when reading through the full manual.

Marantz’s local team made the fair point that this is all a ‘WYKYK’ thing (when you know, you know), but at the beginning you don’t know, so that the hidden buttons, the waiting thing and the poke-don’t-drag thing combine to let down the AuraControl system. The purpose of design is not just to make something beautiful, but also to make it functional and intuitive; it’s a disappointment when things don’t work as you might expect.

Listening sessions

When you’re streaming, however, you can initially use your phone to control the volume. This is the easy way to use the Horizon: just open the Spotify, Tidal or Qobuz app, assign the output to the Horizon, and you’re off.

The Horizon immediately revealed an ability to roll out some impressively phat bass as Tidal played Nardo Wick’s I Wonder; it’s rather unpleasant rap, distinguished only by big synth bass notes which go mighty low, and which the Marantz nevertheless rolled out with some impact, while keeping everything above clean and tight: a good start.

Acoustic instruments can sound fantastic: the saxophone lead through Eden Ahbez’s arrangement of Nature Boy (which he wrote) sounded full and nuanced; a recent solo cello piece sounded perfectly rosinous and scratchy, with even its small church acoustic evident through the Horizon’s tweeter complement.

We backed up in time to Aretha Franklin’s Respect; the Horizon gave this recording an edge and an almost surprising spaciousness, with a deep cut-through to Aretha’s vocal and the horns, while Donald Dunn’s bass felt full and funky right down its range.

Compare this with Marlena Shaw’s Davy (1974, Blue Note), which starts with her vocal and piano, well worth turning up through the Horizon, though only until verse three, when the band joins in and the level rises: behind this more complex arrangement the vocal began sounding recessed and processed, with only the drums and right-channel guitar really cutting through the slightly mushy whole, as if the complexity was preventing some elements being fully rendered.

We endeavoured to fix this with placement. We had already toyed with the ‘placement EQ’ options (under Settings in HEOS), which offer a choice of free space, single wall/shelf, or corner positioning: the latter settings drop the bass slightly to counter the wall reinforcement. We found the best response across material came from the free space setting, with the Horizon given at least a metre of space all round. If you can give the Horizon these conditions, it greatly clarifies the performance by prioritising its direct sound, and not pushing it to its volume extremes.

Alex The Astronaut’s earlier material can sound soft on some systems, but not here with the free space setting employed. The disturbing words of I Like To Dance were all too clear, no hint of sibilance, the simple backing perfectly posed and supportive, the emotion fully served by a front-and-forward vocal. It also managed a fairly powerful delivery of The Flaming Lips’ All We Have Is Now, this time without surrendering to its considerable complexity; it sounded suitably giant and unconstrained.

Good so far, then, but with some artefacts. At one point we were playing a classic 10CC track from an old network share (to test the ‘Server’ function in HEOS), and though the track sounded full and fairly pop-tastic, the balance was just a little edgy.

We looked for redress. We had been all through the HEOS settings, but noticed now a separate EQ button that appears only when you’re in the fullscreen ‘Now Playing’ mode. This accesses a ‘Sound Mode’ selector.

We had been, by accident rather than default, it seems, in ‘Sound Master’ mode, an EQ setting presumably tuned by Marantz’s current Sound Master. From this showing, he/she seems to like his/her sound slightly pumped, boxed and brightened, as changing the Sound Mode back to ‘Auto’ softened the excess on the 10CC track nicely, and went on to transform everything that followed.

So we went back to Marlena Shaw: the bass rolled out more deeply now, and the vocal – heavens, tranformed from boxy to pure, no longer lost, no longer confusion.

With ‘Auto’ EQ, Aretha suddenly sounded like Atlantic soul instead of something slightly processed. A strange thinness to Elton’s piano on Tower of Babel changed to a completely natural tone; his vocal was similarly purified. Pearl Jam’s Last Exit now positively thundered from the Horizon with masses of space in which to fly. In a word: transformative.

So that ‘Sound Master’ EQ seems to be like a ‘showroom mode’ on a TV: superficially impressive, perhaps, but don’t use it at home! Thankfully Marantz confirms that Horizons ship with the ‘Auto’ setting as the default EQ, not ‘Sound Master’.

You can also build your own EQ using a setting called ‘MyMirage’ – MirageDSP being the buzzname for the EQ in the Horizon, itself with three entertainingly-named adjustments: ‘Warmth’, ‘Spaciousness’ and ‘Clarity’, which we’re sure are entirely unrelated to bass, mid and treble, and probably took several meetings (it would have been lunches in the old days) to decide upon. We played with these, but in the end we just stuck with ‘Auto’; it’s great.

So with all this sorted, we were thoroughly enjoying the Horizon. Don’t get us wrong – there’s plenty that a proper hi-fi system would deliver over and above the Horizon’s circle-bound drivers. Stereo imaging is minimal from any distance, depth of soundstaging likewise; the performers are not truly summoned to life in your room in the way a good hi-fi system might achieve. But for the upper wireless speaker market where this unit sits, we doubt that anyone swayed by the Horizon’s visual charms will be less than satisfied by its aural ones.

It’s notably good with spoken voices as well, and we listened with great pleasure to many hours of podcasts and Audible books through the Horizon. Radio too – there’s no FM or DAB, but the HEOS app includes TuneIn internet radio for a world of varying bit-rate stations to which the Horizon is well suited for playback.

HEOS also allows easy multiroom operation and ‘whole-house playback’ with other HEOS units, should you have any, or plan to get them later – HEOS options run from small wireless speakers to class-leading multichannel AV receivers, so there are plenty of options for expansion.

We did plug it in via HDMI, and used it below a projection screen where there was room to fit its rising bulk. It did a great job with TV and movie dialogue (again, stick with ‘Auto’ sound mode; the ‘Sound Master’ setting slightly phases up dialogue), and stood ready to punch out some excellent music concerts. Don’t miss the magnificent 1975 Springsteen London gig on SBSOnDemand (in Australia) if you haven’t seen it: a two-hour recording of the E-Street Band just on fire at the Hammersmith Odeon, which the Horizon rolled out entirely enjoyably at a fair old level (one occasion of several when we found we were playing up at the Horizon’s maximum). There was full hair-raising and eye-welling at the entry of Born To Run, so it must be doing something right.

A few small operational glitches, almost inevitable on a product of this functionality: Tidal Connect worked from our laptop but not always from our iPhone (the Horizon was visible there, but unresponsive); the Horizon didn’t behave when playing via AirPlay from an AppleTV 4K media player, resisting volume control other than by manual poking, and dropping its AirPlay link after only a relatively short pause of playback. But this was an early (though full production) Horizon unit, and firmware updates will no doubt iron out some early creases like this.

Verdict

There are plenty of ‘wow’ moments with the Marantz Horizon – the weight, the marble, the ring of gold, and of course the cough-inducing price.

Those wedded to the merits of a traditional hi-fi system should not trade that idea for the Horizon: its sound is good, strong, powerful, even pure when in its ‘Auto’ EQ mode, suitable for medium-sized rooms. But of course it has the characteristics of a single-unit system: its sound lacks the width and soundstaging of real hi-fi.

Yet it is well-cast for its chosen role: the Horizon really does look the part. Its control system is seamless via a smart device running HEOS, Spotify or Tidal, and while we found the AuraControl ring to be non-intuitive upon first meeting, it’s fun enough once you’ve learned how it works.

We must assume that anyone shopping for a wireless speaker at this price has sufficient money to expend on Marantz’s now “luxury” line of “beautiful objects”, and we can reassure these well-heeled consumers that the Horizon also comes with a strong dose of the company’s formerly inherent focus on sound quality.

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Amazon Prime Day isn't traditionally great for “hi-fi”. Indeed, our hi-fi and audio editor actually found most of this week's best discounts on stereo speakers, amps, CD players and the like elsewhere.

Keeping up this trend, I’ve managed to find a deal on an Award-winning just-add-speakers system on Richer Sounds that other retailers aren't beating – or even price-matching.

The five-star and What Hi-Fi? Award-winning Technics SA-C600 streaming amplifier is just £759 thanks to a giant £140 saving on the original price and £10 less than you'll find on Amazon.

Despite launching a few years ago, it remains the best hi-fi system for most people looking for a neat, convenient audio solution around its level. Hence why it’s still top of our buying guide and bagged our 2024 Product of the Year trophy in the Best Systems category.

For your money, you get an easy-to-use and discrete system with all the streaming smarts you will need, a built-in CD player and an atypically capable integrated phono stage. The latter – a rarity on such systems – make it quick and easy to add a turntable to your setup without the need for yet another box.

I can also personally attest to its charms, with it acting as the beating heart of my living room’s hi-fi setup, where it regularly blasts out hi-res Tidal streams of everything from Faith No More to John Coltrane, driving a set of Q Acoustics 3030i standmount speakers.

As our reviewers said when we updated our review last year to reflect our latest comparative testing after running it against new rivals:

“Usually, such systems are all about looks and features but Technics has shown that it is possible to add great sound into the mix. It is a really well-conceived product and fully deserves the What Hi-Fi? Awards wins that have followed. Highly recommended.”

We don’t give praise like that often.

Trust me when I say that to do better, you will have to pay a lot more. The only unit to come close to tempting me away from the Technics is the recently reviewed, five-star Ruark Audio R610, which will set you back £1199.

If the Technics is too rich for your blood, the next best option we can recommend is the WiiM Amp Pro. This cheaper streaming amp is on sale at Amazon for £319.20 right now (save £78.80), though its sound doesn't come close to matching the Technics' and it has far less physical connectivity – hence its four, not five, star rating.

MORE:

Amazon: browse all of today's best deals

John Lewis: lowest prices on Apple, Beats, Bose headphones

Peter Tyson: save big on Q Acoustics and Wharfedale speakers

Richer Sounds: save up to £499 on hi-fi systems

Sevenoaks Sound & Vision: up to £1800 off home cinema packages

The hi-fi system I use every day has had its price slashed, making it a solid option for any music fan on the market for a non-fussy, just add speakers system.

The Technics SA-C600 is available at Peter Tyson and Sevenoaks Sound and Vision for £759, a decent £140 saving on its regular price.

The system, which came out in 2022, is one of the best on the market. A repeat What Hi-Fi? Award-winner – it bagged our 2024 Product of the Year trophy in the Best Systems category – it also holds a place, not surprisingly, in our best hi-fi systems buying guide.

Highlights include a compact, unassuming design, with all the wireless connectivity you need for hi-res streaming, as well as an integrated CD player and solid moving-magnet phono stage that vinyl fans can use to add a turntable to the system.

Most importantly, it sounds excellent and is wonderfully unfussy when it comes to matching speakers.

I use the system every day connected to Q Acoustics 3030i standmount speakers, and can pay testament to the fact that its expressive, entertaining sound and punchy dynamics are among the best you’ll find at this price.

As we say, in our Technics SA-C600 review's verdict:

“Technics has hit a real sweet spot with the SA-C600. It is sensibly featured, easy to use, and sounds surprisingly musical.”

We have just two minor notes of caution when recommending this current deal. First, this is only the second-best price we have seen this year – the system briefly dropped to an even cheaper £699 at the start of the 2025.

With Amazon Prime Day coming up, while the current price is great, it's quite possible that it could drop even further in July, so those who can might be better off waiting a little longer before pulling the trigger.

Second, if money really is tight, there are a number of even more affordable options out there.

If you just want to stream music, for example, the WiiM Amp Pro is significantly cheaper, and worth considering – though it has far less physical connectivity and doesn’t sound quite as good, hence its four, not five, star rating.

MORE:

These are the best bookshelf speakers we have reviewed

We rate the best music streamers money can buy

Our picks of the best stereo amplifiers

If you are looking for a fantastic value, just add speakers system to elevate your home audio experience, then we would strongly recommend checking out the Technics SA-C600.

The system, which is a multiple year What Hi-Fi? Award-winner, is still selling for its Black Friday price at Richer Sounds. That means VIP Club members can grab the Technics SA-C600 for £689 – a £210 discount on its regular price.

If you’re not a VIP Club member don’t worry, all you have to do is sign up for a free account to take advantage of the discount.

The SA-C600 is one of the products we recommend in our best hi-fi systems buying guide. It’s also our current Product of the Year winner for the best systems category.

If those two facts alone weren’t enough to catch your eye, the SA-C600 is the system our editor (me) uses in his lounge every day.

Despite its low cost the amp features solid specifications. For streaming, the unit supports all the usual suspects including Spotify Connect, Tidal, Deezer and Amazon Music. There’s also Bluetooth, Chromecast and AirPlay 2 functionality baked in.

Hi-res support up to 32-bit/384kHz is a welcome addition and its 30 watts per channel performance makes it surprisingly unfussy and means it will work well with most appropriately priced speakers.

But most importantly, the SA-C600 sounds great. During our checks the system uniformly offered an entertaining sound with expressive and punchy dynamics.

This, plus its increasingly stellar value, are the big reasons we continue to recommend it and stand by our reviewers’ conclusion:

“Usually, such systems are all about looks and features but Technics has shown that it is possible to add great sound into the mix. It is a really well-conceived product and fully deserves the What Hi-Fi? Awards wins that have followed. Highly recommended.”

If you want a stellar system that won’t break the bank we would wholeheartedly recommend the SA-C600 as a result, especially at its current price.

MORE:

These are the best bookshelf speakers we’ve reviewed

Our picks of the best music streamers

These are the best speakers we’ve tried and tested

For many of us, a music streamer is a very modern piece of kit. But things move quickly in every aspect of life – and certainly in hi-fi. While they may seem new, streamers have been around for many years; consumers are using the likes of Tidal and Spotify much of the time, and the compact disc is, perhaps, a dying medium.

Which is why the music streamer is becoming a fundamental part of every hi-fi system. And, if you are yet to embark on the voyage to serious hi-fi streaming, you should seriously think about it. Our round-up of affordable music streamers highlights six of the best that will bring real hi-fi sound to your streams and the downloads and digital files you have stored on a NAS drive.

Another thoroughly modern sub-set of the home entertainment universe is the portable projector, which allows you to take some super-large images anywhere you want, with truly decent quality. We bring you our top picks for every budget in the April issue of What Hi-Fi?.

Bargain streamers can be hi-fi too

Quite simply, if you stream music and want the best possible sound quality from your digital library or streaming service of choice, then a dedicated network audio player (aka music streamer) is a must-have for your hi-fi system.

Streaming music is convenient, versatile and space-saving. Whether you have meticulously curated hard drives full of hi-res digital downloads and CD rips, or enjoy streaming in high quality from Tidal or Qobuz, playing music and internet radio from one box using a wi-fi or wired connection is a great experience.

Budget models from the likes of WiiM, Cambridge Audio, Audiolab and Bluesound are gaining in popularity and, as you’ll see from our round-up this month, can perform very admirably in your set-up.

Whether you’re listening to ’80s synth pop, hard rock, hip-hop or indeed any genre, you’ll find something at this level that will make you, and your wallet, very happy.

Portable projectors for anywhere movie experiences

Recent tech advances have paved the way for vast improvements in quality and sparked a flood of good, affordable portable projectors. In short, today’s portables are genuine go-anywhere devices that produce impressive results and are simple to set up. That holds true whether you are looking to take one with you on a weekend away, or simply want the flexibility of being able to move it from one room to another at home.

Modern portables are also well featured, with many having streaming smarts for access to Netflix, Apple TV, Disney + and the like. If you are looking to buy a portable projector, this issue we have chosen five models that we think will bring a smile to your face. In fact, we predict that you’ll soon be beaming – in more ways than one.

Rega's classic turntable gets an upgraded model – which should you buy?

The legendary Planar 3 turntable has taken up a fair amount of the Rega engineering team’s attention recently. In 2023, an upgraded, limited-edition version of the mid-range deck was announced as part of the company’s 50th-anniversary celebrations. Then last year, the deck’s original cartridge partner changed from the long-running Elys 2 to the new Nd3 (at no extra cost), enhancing the performance enough to earn the turntable a Product of the Year What Hi-Fi? Award. And now, Rega has unveiled the Planar 3 RS (Rega Special) Edition, imbued with technology and elements taken from the company’s higher-end models and fittingly plugging the significant price gap between the ‘standard’ Planar 3 and the next-model-up Planar 6.

The Planar 3, then, is already superb at its price level, but now that we have reviewed the pricier RS Edition, can we say that its upgrades justify the premium? Here we compare the price, design and performance of each to ascertain which is better value.

First with reviews

Once more, our First Tests section is filled to the brim with in-depth, impartial and expert verdicts on the very latest hi-fi and AV gear.

All-in-one systems are becoming increasingly popular, as a way to get hi-fi sound from a more convenient form factor – and now Cambridge Audio has stepped into the fray with its new Evo One system. How did it fare when it passed through our test rooms this month? Find out in this month's mag!

And there's much more besides. This month we take a look at LG's latest LCD TV, with the Korean giants changing tack with a different panel type that aims for better contrast. So, will this be enough to bring all the stars to our in-depth review of the set this month? Again, you'll have to pick up a copy of April's What Hi-Fi? to find out!

Elsewhere we run the rule over the Activo P1 music player, a classy pair of over-ear wireless headphones from Dali, the IO-8, a new ultra short throw projector from Xgimi, a pair of Technics buds, the EAH-AZ100, that are good enough to trouble the class leaders, and finally the Klipsch Flexus Core 200 soundbar.

See what our review team thought of all these products in April's What Hi-Fi?

Top-drawer hi-fi with a price tag to match

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

Expensive is, of course, relative, and this month we have an integrated amplifier that we think fully justifies its higher price tag. The 40 AMP is part of a new range of hi-fi products from lauded brand Cyrus. How did it fare in our test rooms? Our reviewers found that "the way the 40 AMP conveys rhthmic drive is terrific, delivering a lovely sense of momentum" to tracks. Read the full review in April's What Hi-Fi?

Then, at just a quid short of ten grand, we have the Epikore 3 standmount speakers from Danish hi-fi brand Dali. We found these to be "surprisingly smooth and refined, sounding full bodied and naturally rich in nature". Find out more in this month's mag!

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 2024's What Hi-Fi? Awards. If you’re looking to purchase anything from a pair of 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 April 2025 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

We’ve got a reassuringly old-school magazine for you this month – at first glance, that is. No matter how hi-tech the front-end of a hi-fi system gets – think the change from vinyl, through tape and the compact disc, to digital files and streaming – certain things inevitably have to remain the same. And the loudspeaker is absolutely one of those constants. No speakers, no sound.

There are some stunning upgrade options available for the music aficionado to indulge in, starting at very reasonable (especially when you consider the amount of use they will be getting) prices. Our round-up of bargain stereo speakers kicks things off at just shy of £200, and includes a couple of floorstanders as well as the more anticipated standmounts.

To complement those speakers, we have a head to head of the two beasts in the world of sub-£500 stereo amplifiers with Marantz’s mighty PM6007 taking on Rotel’s new A8. And, to bring us right up to date, some premium streamers that will do any digital music files proud in a serious high-end set-up.

Our pick of bargain stereo speakers

There is good news aplenty for anyone looking to buy a pair of affordable stereo speakers. For starters, the market is awash with products of varying designs and specifications, so there is plenty of choice. Second, the overall quality of speakers in the sub-£1000 price bracket has come on in leaps and bounds in recent years.

Advances in design and technology have meant that not only do today’s budget speakers sound significantly better than their equivalents from 20 years ago, they are also constructed from better-quality materials and are built and finished to higher standards. Improved production processes also mean it is easier and more cost-efficient for manufacturers to incorporate drive-unit materials found in their more premium speakers (the trickle-down effect) spelling another win for the buyer. That means larger speakers can go louder and deliver better bass, while smaller ones get to benefit from potentially greater agility and better cohesion.

To help you make your choice from this bargain basket we have whittled things down to our top 10 and included our full verdicts on each of them in this month's magazine. Our selection includes eight standmounters and – for those with a little more space to play with and a bit more cash to spend – two floorstanders.

The best open-backed headphones

An open-back pair of headphones doesn’t have an enclosure behind its drivers, which means that sound is fired both towards and away from the listener’s ears. This has advantages in producing a much more dynamically expressive and generally more emotive sound than their closed-back cousins, with a clearer, more revealing sound that is also usually more spacious. The downside is that they leak sound as a result of not having that enclosure, and also have next to no isolation from environmental noises. In a room full of people, they’ll hear your music in a tinny sort of way, and you’ll still hear their chatter.

This, as you can imagine, makes them less than ideal for the commute or office. But, your home listening space is where they really are at, um, home. This month we bring you our pick of open-back models from leading headphone manufacturers Grado, Austrian Audio, Beyerdynamic and Sennheiser. Whichever pair suits you best, and whatever genre you’re listening to, your personal listening will feel that bit more open and emotive through these cans.

Higher-end music streamers

Despite our ongoing love of physical formats, streaming music wirelessly is convenient, versatile and space-saving. Whether you have meticulously curated hard drives full of hi-res digital downloads and CD rips, or enjoy streaming in high quality from Tidal or Qobuz, playing music from one box using a wi-fi or wired connection is a versatile and high-performance experience. As a result, dedicated music streamers are increasingly a part of any audiophile’s set-up.

While there are now many fantastic budget models on the market, there are also options higher up the price ladder for those who want to wring out every drop of authenticity and insight they can from their digital music.

The streamers we recommend in our product round-up this issue are not the most premium options out there, but they do represent a good step-up from entry level. Sitting above £1500 but under £3000, these are fantastic options from some of the biggest names in hi-fi – Cambridge Audio, Naim, Audiolab and Technics.

At this level, fine build, a wealth of features, broad connectivity and reliable digital platforms are to be expected, as well as, of course, extensive file compatibility. Basically, if you play music digitally and the quality of that music is of paramount importance, it’s well worth taking the plunge and investing in a step-up streamer such as those we detail in March's issue of What Hi-Fi?.

First with reviews

Once more, our First Tests section is filled to the brim with in-depth, impartial and expert verdicts on the very latest hi-fi and AV gear.

This month we have a smorgasbord of great new products for your consideration. First up is the Technics SC-CX700 streaming system. Fewer boxes in your set-up can only mean more space in your living room, and here everything you need to stream music is included in just two speaker cabinets. This is an increasingly popular type of product, so can Technics deliver a worthy contender to market? Find out in this month's mag!

Elsewhere we have a five-star home cinema projector from Sony, the Bravia Projector 9, which impressed us mightily. Just when we thought it couldn't get much better at the price than the Rega Planar 3 turntable, Rega has unleashed the RS Edition – an upgrade on that turntable that has earned another full set of marks for the Rega deck.

TCL's huge 98-inch Mini LED TV is a beast, but can the TCL 98Q9BK deliver at its very affordable price point? Find out in What Hi-Fi? this month. We round things out this issue with reviews of the LG CineBeam Q portable projector and Bowers & Wilkins' Pi6 in-ear headphones.

See what our review team thought of all these products in March's What Hi-Fi?

You know you want them...

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

First up this month is the Diva Utopia speaker system from French firm Focal. Unique looks and some serious engineering make these towers a five-star proposition. Of course, they do have a price tag that matches their quality, but if you've got the funds, you might want to check them out.

Then we have Copland's highly-covetable CTA407 integrated amplifier. As we say in our review, "There is precision in the way it locates instruments; few rivals can transport you to the recording venue so easily." Sound like something you'd want? Of course it does. Read the full review in March'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 2024's What Hi-Fi? Awards. If you’re looking to purchase anything from a pair of 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 March 2025 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

“There can be only one.” “One Ring to rule them all.” “He is the One.” “I am the one and only.” Maybe we’re reading a little too much into it, but Cambridge Audio’s latest all-in-one music system makes a subtly bold claim. The cultural and literary canon is full of allusions to chosen figures who can alter the course of history as they forge their singular destinies, and such a seemingly small word can be interpreted in a few different ways; as ‘One’ box in which multiple functions and tasks can be performed or, perhaps, the ‘one’ and only all-in-one system that’s better than all the others.

Outperforming those others isn’t an easy task. While the world of all-in-one systems such as these isn’t as overstuffed as the land of Bluetooth speakers or wireless earbuds, there’s quality competition to be overcome. The Naim Mu-so 2 has been around for over five years yet continues to earn plaudits at its ever-reducing price, whereas the stunning Ruark Audio R410 is the bruiser to beat on this block. Some decent alternatives abound, but is the Evo the ‘One’ for you?

Price

Convenient as it may be, the Cambridge Audio Evo One doesn’t come particularly cheap. Clocking in at £1299 / $1499 / AU$2499, the Evo One is around what we’d expect for a product of this type. The Naim Mu-so 2 launched at £1299 / $1599 but has dropped to around £899 / $899 these days, since it debuted in the summer of 2019, whereas the new Ruark Audio R410 clocks in at £1299 / $1699 / AU$2599.

Build & design

Built like a sort of scaled-down Brutalist structure, the Evo One’s careful blending of a rectangular exterior with that dominant front grille makes for a pleasing fusion of hard and soft. It’s a classy system and, when put up against the retro-modern aesthetic of the Ruark Audio R410 or the industrial looks of the Naim Mu-so 2, demonstrates that there’s more than one way to skin this particular metaphorical cat. The Ruark’s crafted wooden grilles are arguably on another level of drop-dead gorgeous, while Naim’s metal finish and illuminated control dial has a touch more je ne sais quoi, but the Evo One is far from an ugly stepsister.

It is a bit of a beast, measuring 12.9 x 67.5 x 29cm (hwd) and weighing 14.5kg, so you’ll need to make sure you have a sturdy, robust and sufficiently capacious surface on which to house it. Beastly it may be in terms of dimensions, but there’s beauty to be found as we cast an eye, and indeed a hand, over the Cambridge’s particulars. The removable honeycomb grille sits tight to the main unit, whereas that smooth walnut top panel – very much the star of the show – lends a premium feel. Squat down and you’ll notice that the Evo One is mounted on a recessed base stand, allowing the speaker to stand above its surface without detracting from the frontage’s bold aesthetic – again, that’s a nice touch.

To keep you in the picture and grant you hands-on control of your chunky all-in-one unit, the Evo One furnishes you with a 17cm colour display screen sitting above a decent array of slightly cheap-feeling physical buttons. That display screen grants access to the likes of album artwork, track information or a pair of virtual VU meters, whereas the accompanying buttons handle playback, volume control, play/pause and information selection.

For access at a distance, Cambridge Audio has provided a utilitarian but decently furnished plastic remote control for managing the same range of functions as handled by the on-unit buttons. If that seems a bit too 20th-century, the StreamMagic app will perform the same range of functionalities while also granting access to the Evo One’s built-in array of streaming services, platforms and source inputs.

Features

Audio can be personalised in the StreamMagic app via a seven-band equaliser. We get on well with the StreamMagic platform, finding it to be reasonably intuitive and easy to use once you become accustomed to its particular layout. It’s worth taking some time to familiarise yourself with the app, too, as key functions and customisation options – such as picking which inputs can be accessed via the on-unit display – are there to be discovered amidst the more main-event settings and services.

Speaking of services, the StreamMagic platform allows for direct streaming via Tidal Connect, Spotify Connect, Deezer and Qobuz, with support for hi-res audio files up to 32-bit/192kHz over wi-fi or an ethernet connection. It's even Roon Ready, while connectivity options come courtesy of Bluetooth 5.1, AirPlay 2 and Google Cast – naturally, we’d recommend streaming over wi-fi for a sound that’s superior to the performance offered over Bluetooth.

If you want to go wired, an HDMI eARC means you can hook up to a TV and use the Evo One as a rather chunky soundbar, while a moving-magnet phono stage lets you hook up directly to your chosen turntable. A line input for analogue sources, an optical digital input and a USB-A port round things off nicely.

The Evo One houses a whopping 14 drive units, with four 25mm silk dome tweeters flanking the corners, accompanied by four 57mm aluminium cone midrange units and six 70mm woofers surrounding the entire system. That’s a lot of drivers, configured to produce an expansive, room-filling soundfield and provide a wide dispersion so that the sound balance doesn’t change appreciably regardless of where you are in the room. The Evo One has the power to match its substantial driver array via its 700 watts of amplification, all aided by digital signal processing technology, which Cambridge Audio claims helps to produce a deep, clear and controlled lower-end signature.

Sound

Those drivers unquestionably deliver that promise of an expansive soundfield. The Evo One is a burly unit, and it produces a sound that’s similarly bold and broad in terms of its size and scale, spreading music evenly and confidently across our test room. No matter where you stand, the sonic character you receive remains remarkably consistent, and while scurrying off to a corner of your test chamber doesn’t yield quite the same results as plonking yourself directly in front of the Evo One, the system’s general consistency makes it a fine candidate for accompanying evening soirees during which guests are scattered across your capacious front room.

The Evo One would probably fit in rather nicely at such a well-to-do event. This is a mature, considered performer, the sort of system that wouldn’t be out of place wearing a dinner jacket at a ’50s cocktail party with a Martini in one hand and a cigar in the other. Almost everything about its sonic character comes across as organised, controlled and considered, rounding off notes’ harsh edges and showing enough restraint to rein in any potential of screeching trebles or blobby bass. That said, the Evo One’s lower end can sometimes sound a little disconnected from the rest of the middle and upper frequencies, with the more compact, punchy Naim Mu-so 2 sounding more cohesive and contained when we assess it for comparison.

Rest assured that Cambridge Audio’s all-in-one contender has more to recommend it than just its spacious presentation. We load up a recording of Hans Zimmer’s Up Is Down from the third Pirates Of The Caribbean movie, noting how adeptly the Cambridge system takes a smooth, fluid approach to the track’s tricky dynamic shifts. Rises and swells in volume move as naturally as a ship rocking and riding on an undulating sea, giving the track a natural, unfussy character.

Sophisticated and easygoing the Evo One may be, but this smooth operator doesn’t seem the sort to loosen its bow tie and join in with the more raucous post-cocktail after-party. Up Is Down is certainly fluid and controlled, but we’re always aware of a speaker that’s not quite willing to let loose and really entertain. There’s a slight softness to the overall presentation, rendering Spacehog’s soaring rock anthem In The Meantime as lacking in punch and verve, especially when the crunchy guitars kick in and the chorus takes flight. We crave a little more punch and snap, further noting that the system’s slightly soft approach does rob the Evo One of the propulsive, front-footed assertiveness possessed by the similarly-priced Ruark R410.

Moving away from streaming our favourite Tidal test tracks, Cambridge Audio has been generous enough to provide its sturdy box with a host of connectivity features – this is a do-it-all system after all – so it’s up to us to see how well they perform. We use a Cyrus CDi CD player to test the Evo One’s built-in DAC and find that it is decent but lacks the clarity and transparency of the analogue auxiliary input. We also use the built-in phono stage to hook up a Rega Planar 3 RS Edition turntable, and while the resulting sound is perfectly acceptable, it again feels rather constrained and dynamically stunted. If vinyl playback is important to you, consider a dedicated phono stage such as the Rega Fono Mini A2D Mk2.

Verdict

The Cambridge Audio Evo One is a good all-in-one system, if not quite a great one. If you seek the absolute pinnacle of what a unit such as this can sound like at this price, the Ruark Audio R410’s dynamism and punch make it our five-star pick at the top of the pile, while the Naim Mu-so 2 is a punchier, entertaining alternative made even more attractive thanks to its ever-dropping price.

That’s not to say that we can’t see a place for the Evo One in this area of the market. Its pleasing design, solid versatility and all-encompassing feature set give it broad appeal, while the Evo One’s ability to spread out its sound far and wide will appeal to anyone who needs their room filled with spacious, mature and well-balanced sonic goodness.

First reviewed: February 2025

SCORES

• Sound 4
• Build 4
• Features 5

MORE:

Read our review of the Ruark Audio R410

Also consider the Naim Mu-so 2

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Now Playing: 6 songs we've been listening to in the What Hi-Fi? test rooms

What should a modern hi-fi system look like? If you ask some members of our review team, they will describe a streaming speaker system just like the Technics SC-CX700.

Traditionally, it’s hi-fi separates that have been, and for many people still are, the building blocks of any system. But in a world that is becoming increasingly wrapped up in the convenience of wireless, an all-in-one system that shares similar features to this Technics set-up could be the natural, logical choice for a lot of people.

Everything you need for your listening journey is packed into the two boxes you see here. Driver units? Check. Amplification? Check. Streaming engine with access to multiple streaming services? Check. Enough connectivity options to cater for all your needs? Check. An app so you have all the controls at your fingertips? Check.

The convenience of a system like this is unquestionable. Still, it can be a tricky task to integrate all the various elements into something that produces a seamless and satisfying user experience, and that’s before you even touch on getting the all-important sound quality spot on. So, how does the Technics fare?

Price

The Technics SC-CX700 system is priced at a relatively punchy £2399 / $2999 which sees them a direct rival for the five-star and Award-winning KEF LS 50 Wireless II. The KEFs are the benchmark at this level and continue to impress. We originally tested them at £2250 / $2499 but they do have a slight advantage now because they are around four years old – shop around online you can find them for closer to £2000 / $2300.

Design & build

From the front, the Technics SC-CX700 look like a traditional pair of bookshelf speakers with a couple of eye-catching design elements. First is the two-way coaxial driver used in each cabinet, which sees a lightweight 1.9cm ring tweeter placed inside the throat of a 15cm woofer. Each speaker has a front-firing bass reflex port which helps with positioning.

The second attention-grabber is the colourful Dinamica™ microfiber material which adorns the sides of each cabinet. Technics describe it as a “microfiber material with a soft suede-like texture produced in part from high-quality recycled polyester”. If strokability was a thing and we star-rated it, the Technics would get full marks. In our opinion, it’s satisfyingly smooth to the touch and looks striking in the flesh, especially the Terracotta Brown finish of our review sample. The two other finishes available are Charcoal Black and Silky Gray.

Our attraction to this finish, its refinement and sophistication is in slightly stark contrast to the rest of the speaker, especially each cabinet’s top panel which feels like rather cheap plastic. Each of the rear panels are also dotted with bolts, which is a little unsightly in our view.

In terms of size, the Technics SC-CX700 are relatively compact considering what you’ve got going on inside each box and come in at just over 310mm tall and 200mm wide. Placed next to the KEF LS50 Wireless II, there really isn’t much in it.

The primary speaker hosts all the inputs and controls, and you’ll need to assign it as the right or left speaker before you start the set-up process. The remaining secondary speaker just has amplification built-in and an ethernet socket for when you want to run a wired connection between the speakers. This opens up the native file support to 24-bit/192kHz. Otherwise, the speaker system is limited to 24-bit/96kHz wirelessly, without the umbilical cable.

Inside each cabinet, Technics uses what it calls its Acoustic Solitude Construction. This structural design feature separates each electronic module from the speaker's internal volume to reduce the transmission of vibrations and so minimise their sound-degrading effects.

Each speaker is driven by a high-precision, fully digital amplifier, which Technics refers to as its JENO Engine. It claims one of the big benefits of this engine is that it helps minimise jitter or digital timing errors in the audio signals being processed by the speakers. The power output of the system is 100W per channel.

Features

Technics ticks most boxes when it comes to the features and connectivity options you'd want from a product like this.

There’s an HDMI input (including ARC support) for hooking up to a TV, an optical digital input, USB-C socket and an ethernet socket for wiring the speakers directly into a home network. Turntable owners can even make use of the built-in moving magnet phono stage.

AirPlay and GoogleCast are supported, as is Bluetooth – although there isn’t any provision for aptX or aptX HD. You can however set the Bluetooth connection to prioritise signal stability or sound quality (which is an option you get on some Bluetooth headphones now) and there is a Bluetooth Re-master setting which seems to try and boost low-quality audio files.

All the inputs and controls are on the one speaker. On the top panel, you have a mix of touch-sensitive and physical buttons. Each source gets a touch-sensitive button which is lined up along the top, together with a small LED light which glows when in use. The four physical buttons are for power, turning the volume up and down and muting the sound.

Of course, the primary music source for the SC-CX700 will be a music streaming service and the Technics offer support for Spotify Connect, Deezer, Amazon Music HD, Tidal Connect and Qobuz. No Apple Music is a shame, but in our experience this is still the rule rather than the exception when it comes to music streamers in general. You can also take your pick from an extensive supply of internet radio stations while the speakers are also Roon Ready should you have a digital music library that can take advantage of this functionality.

Although you do get a simple remote control in the box, all of the set-up for the speakers and the bulk of your music playback will be done through the Technics Audio Centre app.

Graphically it’s a little plain, but it is thorough, with the layout not too dissimilar to the KEF Connect app which you use with the LS50 Wireless II. The other thing we notice is that it’s laggier than the KEF equivalent and there’s more of a delay when skipping tracks, navigating playlists and jumping between the different menus. We soon got bored of seeing the ‘Reading…” loading icon and accompanying circle graphic that fills up as the app goes about loading the next screen.

The app is split into four pretty self-explanatory main areas: Source, Favourites, Room and Settings. Source is presented with a scrollable tile arrangement and gives you access to, you guessed it, all your sources, including your streaming services – you’ll need to log in to your service of choice so the app can piggyback your account and access all your music. Favourites gives you quick access to popular content such as your favourite tracks or internet radio stations. Room allows you to see what other devices you may or may not have connected to your local network. Settings is where you’ll need to head to get the speakers set up for your particular room layout.

Power up the SC-CX700 and the app hunts them down so you can put them on your wi-fi network. You’re up and running relatively quickly, but the set-up doesn’t stop there. Next, you need to tell the app how you have positioned the speakers using its Space Tune calibration feature. You have four presets built-in: Free, Wall, Corner and In a shelf. Then you have a custom option which lets you allocate different positions to individual speakers if you have a quirkier layout.

But that’s not all. You also have the option of ‘Auto’ and Measured’. You see, the Technics also have an auto-calibration system which uses either a test tone from the speakers on their own or in conjunction with readings taken using the mic on your iPhone or Android smartphone.

We flit between the different sound profiles and also move the speakers around our test room and settle on Free, with the SC-CX700 sat around 60cm from the rear wall.

We do experiment with the Auto and Measured settings during testing but find both detract from the overall sound. If anything, Measured sounds a bit forced, like the music has been artificially boosted to give greater scale and power, but the trade-off is that you lose a lot of the freedom and clarity that you get in the Free preset mode.

Sound

We kick off proceedings with the upbeat and rather funky Downtown by Macklemore and Ryan Lewis and the Technics explode off the block.

From the first piano strike, there’s an intent and purpose about the Technics’ delivery. Then the bass drops and puts a huge smile on your face. The power and weight on display is extremely impressive for a pair of speakers this size. The track’s playful bassline is deployed tunefully and with laser-guided precision. Besides slamming hard (and harder than the KEF LS50 Wireless II), low frequencies are also wonderfully textured and controlled.

The speaker system also conjures up a large, expansive stereo image. It’s far-reaching across both a horizontal and vertical axis, with the cowbell and repetitive piano strikes coming from either side and the vocal from the chorus soaring high up in front of you. There’s a good level of detail on display too – the Technics are very consistent in this regard.

But something is going on in the frequency range that grates on us. It seems to be in the realm of the upper midrange and lower treble where there appears to be a coarseness and lack of refinement that jars when listening to the track. There’s an uncomfortable edginess up there that spoils the balance of the speakers. We make sure to give the Technics plenty of running in time to allow them to limber up – around 70 hours in total – but it doesn’t smooth this bump in the road.

We switch to an acoustic track – Nothing Arrived by Villagers – where the Technics just have an acoustic guitar and mellow vocal to contend with. It’s a spacious, detailed enough performance but instantly you can hear that lack of refinement which spoils the guitar play. What should be sweet, intimate strums sounds jarring and unnatural. By contrast, the KEF LS50 Wireless II immediately connect with you. The tonal quality is on a higher plane than the Technics, with the delicacy and refinement of the guitar and vocal drawing you in, in a way that the SC-CX700 just don’t.

The Technics also don’t have the dynamic dexterity of the KEFs. They deliver tracks with precision and solidity and they have more firepower in the lower frequencies, but compared to the KEFs they sound more one-dimensional, and this lack of dynamism hinders their ability to gel with us during testing.

Playing End Credits from the Pirates Of The Caribbean: On Stranger Tides soundtrack, the swashbuckling delivery and the sharp rise and fall of the strings lack impact when played through the Technics. The combination of that troublesome coarseness, mixed with a lack of dynamic thrust and finesse means they don’t really encourage you to hang around and wait for the next track to play.

We switch over to the phono stage and connect a Rega Planar 3/Nd3 to see how the speakers fare with vinyl and, to its credit, the phono stage proves to be a solid performer. It keeps the balance and tone of the speakers. It doesn’t extract a huge amount of detail in the grand scheme of things, but it does match the life and energy, speed and punch that the speakers provide when streaming.

Verdict

Given Technics’ form in other arenas such as turntables, wireless earbuds and CD-playing streaming systems, the fact that the SC-CX700 fall short leaves us feeling a little deflated.

Some of the ingredients are there and the speaker system actually does some impressive things, especially where sense of scale and bass performances are concerned, but issues higher up the frequency range are a big turn-off and spoil the listening experience. Add a slightly clunky app, and slightly disappointing build quality for the money, and you have a product that doesn’t quite add up to the sum of its parts.

First reviewed: January 2025

SCORES

• Sound 3
• Features 5
• Build 4

MORE:

Read our review of the KEF LS50 Wireless II

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

Bowers & Wilkins and Abbey Road have been working together closely for more than four decades, and their latest venture is designed to give people more of a glimpse behind the scenes of this world-famous studio.

It comes through B&W’s automotive partnership with Volvo. The Swedish giant has a new electric SUV, the EX90, which just happens to feature a 25-speaker sound system that uses various design technologies from Bowers & Wilkins, including its trademark tweeter-on-top design and Continuum cone technology which you will find engineered into many of its stereo speakers.

The most intriguing thing about this new system isn’t in the specific hardware, but the software. This sees users able to access a new Abbey Road Studios Mode which, according to the press release, has been designed to “capture the unique characteristics of Abbey Road’s studio spaces, equipment and processes to create a new listening experience.” So, how has this been achieved?

I was invited to the iconic Abbey Road studio to learn more about the mode and go hands-on with it in the Volvo EX90.

On hand to give us some background on the mode and the project behind it was Mirek Stiles, Head of Audio Products at Abbey Road. Mirek explains the thought process was not so much altering the music that you want to play through the system, more the environment you want to play it in.

“For me personally, the car is interesting from a sound point of view. It's like the perfect blank canvas because it's a known entity and you know where everyone is going to be sitting. On the other hand, it can be quite a claustrophobic environment acoustically as well.

“You're sat very close to speakers, and there are many speakers around you. We were thinking if we took some of the tools I've created that are used in the professional world, and use them to influence how we could introduce this sound into the consumer world, how could we take the sound outside of the cabin – how can we influence the environment of that cabin?”

The tools Mirek is talking about are affectionately known as the ‘compounder’ and the ‘spreader’. Yes, we know they sound like two medieval instruments of torture, but they are in fact devices that were built specifically for use in the studios to help artists tweak the sound of their recordings.

The compounder is actually a Noise Reduction System which was originally patented by EMI in the early ’60s, “a good few years before Ray Dolby patented Dolby”, Mirek points out.

It was supposed to be used for classical recordings to reduce the perceived tape hiss.The pop engineers, on the other hand, discovered that if you just use the encode section and not the decode section, you got this lovely high end shimmery effect, like a high end EQ, but not an EQ.”

For this new sound mode, Abbey Road’s engineers have actually reverse-engineered the design for the Abbey Road Studios Mode so it can emphasize both high and low frequencies.

The ‘spreader’ is the second tool and is still used in the mastering rooms. It allows you to widen or narrow the stereo image. “We tried it in the car, and it just gave this lovely effect of being able to spread the speakers around.”

Mirek also mentions a couple of other ingredients used in the mode’s design. “We have also used original EMI EQ from the ’60s to give a base-level tuning of the overall car, and we've also created acoustic spaces based on the control rooms, the live rooms and the studios.”

Creating the acoustic spaces was done with the help of B&W’s acoustics development engineers such as Dominic Bowers (no relation to John Bowers). Dominic explains that this was a long and extremely thorough process that started back in 2020.

"During the pandemic, we came here and managed to capture over 60 measurements. Basically, the process involves using Bowers & Wilkins speakers and microphones in the different spaces, filling the room with acoustic energy, and capturing that energy with the microphones. What you get is an impulse response. And we use those impulse responses to map different spaces so you get information about size, how sound reflects off the different surfaces and so on. So we took that to the car.

“If you think how we actually captured the data to use to develop the app, we're actually using reverb content from the different spaces in Abbey Road as well. So it's not that we're taking it from any other spaces, it's actually mapped to the sonic fingerprint of this building.” Which sounds pretty cool to us.

So how does it work in practice? We were ushered downstairs and into a Volvo EX90 which was conveniently parked outside the studios for us to have a demonstration of the system and the sound mode in action.

To welcome you to the Abbey Road Studios Mode, owners will be greeted by a brand new user interface. Graphically, it puts you right at the heart of the mastering process. For those who don’t want to get too involved, you have access to four different presets offering different flavours of sound depending on your preferred listening style: Intimate, Open, Energised or Expansive.

Volvo wanted to invite the user to be part of the tuning process – and realises that this might differ depending on what you might like listening to.

If you switch to Producer Mode, you can create your own bespoke listening environment. It’s as though you are sitting in a control room at the studio, but instead of having multiple banks of controls to slide your fingers over, you can use just the tip of one finger with the Volvo’s touchscreen to change the system’s sonic presentation.

This gives you three degrees of freedom: you can slide up to change the room size, which adds more or less reverb, then slide left or right (think of it as the compounder) to shift the tonal balance from a vintage flavour to a more modern tone. Or you can work with the slider (think of it as the spreader) underneath the main interface, which alters the width and spread of sound.

If you slide your finger right up towards the edge, you will see a red zone appear on the interface. It’s not a no-go zone, it simply indicates that the effect this position has on the music might not be ideal.

During our demo of the system, we were played various genres of track, from intimate acoustic indie, to pounding techno, to lively jazz. And, in my opinion, the changes using the Abbey Road Studios Mode sounded less aggressive and more agreeable than just dialling the treble or bass up or down in a car’s traditional sound settings. I could certainly see this approach appealing to users who want a new, fun way to tinker with their car audio.

And the shift in width using the slider was very obvious – but not in a jarring way. I could hear it go from a slightly vaguer expanse of sound to a narrower and more focused image. Similarly, moving the setting from vintage to modern revealed a different emphasis on the recording, with the shift to vintage seeming to favour the texture of mids and highs. The closer you get to the modern area of the interface, the more the lower frequencies seem to be affected. And if you’re not a fan, you always have the option of listening to the music without all this extra processing happening in the background.

So, where could the Abbey Road Studios Mode go next? In the words of Dan Shepherd, VP of licensing and partnerships for Bowers & Wilkins, “this is just the beginning with this car and customer”. Because the system can be upgraded via OTA (over the air) updates, there could be a possibility that more rooms, more spatial controls, more ‘equipment’ to be added further down the line.

Volvo also offers a sound experience based on the Gothenburg Concert Hall – understandable given the company’s roots – but a lot of music genres in my opinion just don’t suit it. I’ll be interested to spend more time with EX90 and see if this mode is more suited to my listening preferences over a longer period of time.

MORE:

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The fact that the more entry-level streaming system we built just before Christmas features a Cambridge Audio unit doing the digital music duties and our step-up system relies on a different streamer further up the brand’s chain should tell you all you really need to know about Cambridge’s excellence in the streaming field.

The British brand's new EX100N is the ideal foundation from which to build a modern mid-range system packed with contemporary convenience and benchmark performance, and here we have paired it with equally talented partnering equipment from Arcam and KEF.

Together, they form an utterly handsome and talented setup for anyone wishing to stream to their heart's content without sacrificing sound quality. Add a turntable, perhaps, at a later date and you have an all-round set-up that will do you proud for many years to come.

The system

• Music streamer: Cambridge Audio EXN100 (£1599 / $1799 / AU$2999)
• Amplifier: Arcam A15 (£1099 / $999 / AU$1995)
• Speakers: KEF Q Concerto Meta (£1099 / $1299 / AU$2000)
• Total price: £3797 / $4097 / AU$6994

Cambridge Audio EXN100

Part of that top performance is down to Cambridge’s proprietary streaming platform, StreamMagic. It is controlled via an easy-to-use app, and we don’t have any issues with playing tracks in many different formats from many different sources.

In terms of file formats supported, the Cambridge EXN100 can handle high-resolution audio files up to 32-bit/784kHz PCM and DSD512, and MQA files. All the relevant sampling rate and file format information can be seen on screen and in the app, for those curious about their music library.

One interesting and useful addition is the inclusion of an HDMI eARC input; this means, of course, that you can hook it up directly to a TV to use this set-up to relay your TV’s sound. Don’t discount that option: clearly you won’t be getting Dolby Atmos functionality from stereo speakers, but the improvement in the sound you will hear will be exponential.

The EXN100 impresses us with a sound that is clear, spacious and balanced. There is a controlled sense of rhythm, attack and drive, but also enough fluidity to the music to make this an easy listen. There is no flab and there’s ample punch, and enough body to the sound that music never comes across as thin but also not overly warm; it simply sounds well balanced.

As we say in the full review, “the streamer delivers spry, composed and room-filling sound. Voices are clearly defined with natural tones and nuances brought to the fore.

“Feed it high-quality tracks and it will perform at its best, but the streamer doesn’t penalise you for playing lower MP3-quality radio stations or Bluetooth streams in the slightest.”

The best praise we can really give the EXN100 is that, if you do want a greater dose of dynamic subtlety and verve, you have to pay a significant amount more for the genuine next step up in performance, the Naim ND5 XS 2 and Audiolab 9000N.

Arcam A15

However good the streamer might be, however, the system as a whole won’t sound good if the parts don’t complement each other. The choice of amplification, therefore, is vital. Which is why we have included the Arcam A15 in this set-up. A two-time Award winner now, the A15 is an absolute bull’s-eye, delivering great clarity, scale and precision while at the same time offering just about as much in the way of features as the modern hi-fi listener could wish for.

The A15 is a wonderfully commanding and controlled performer. It excels in terms of grip and composure, while allowing the drama in the music shine through.

As we say in the review, while listening to Tchaikovsky’s 1812 Overture: “We are impressed by the scale of the sound and the way this still compact design deals with the music’s savage dynamics. There is no shortage of punch and power, but this is no muscle-bound thug. This Arcam is insightful, tracking the music’s multitude of instrumental strands with skill. Dynamic nuances are conveyed with finesse and we love the way it renders instrumental textures with such delicacy.”

Importantly for this system, in terms of dynamics and clarity the digital module matches some of the better affordable DACs that come our way – which is pretty high praise: a stand-alone unit is almost always more capable than a module included in another piece of equipment. Its Bluetooth abilities also are easily good enough for casual listening – pretty much all you can ask for from a medium that is never as good as a wired connection.

While we aren’t using them in this current set-up, it’s good to note that the A15’s phono stage and headphone output are really rather good. Both these circuits tend to be tick-box exercises for most manufacturers, but that’s not the case here. The phono circuit is decently quiet and has enough gain to work well with a wide range of moving magnet cartridges (and most high-output moving coils). Similarly, the headphone output retains the same informative and engaging character we hear from our speakers. So, as and when you want to upgrade your system, the Arcam A15 is ready and waiting for the call.

KEF Q Concerto Meta

The third part of this triumphant trio came in too late to be considered for an Award this year – so we shall have to wait a while to see if the KEF Q Concerto Meta take a gong in 2025. They are, though, certainly up for consideration as it stands.

The Q Concerto Meta is a true three-way design. Its Uni-Q driver array packs a 10cm aluminium midrange, a 19mm vented aluminium dome tweeter and KEF’s Metamaterial Absorption Technology. It is the first time the Q series has featured MAT. This technology takes the form of a highly complex maze-like structure that sits behind the tweeter dome and is made up of multiple channels that are each tuned to absorb a specific frequency. When the channels are combined, KEF claims that MAT absorbs 99 per cent of the unwanted high-frequency sound. Impressive.

And, from our experience of hearing Meta-equipped speakers across the KEF ranges, the technology works impressively well. So well, in fact, that MAT won What Hi-Fi?’s Innovation of the Year Award in 2020.

The in-house comparison with the Award-winning LS50 Meta is interesting. At £1000 / $1499 / AU$2495, the LS50 Meta are close enough to be considered direct rivals. Listen to them side by side and the right choice becomes a matter of taste.

Where the three-way Concerto takes the plaudits is when it comes to low-end muscle and definition. There is so much more authority, grip and scale to music than the smaller LS50 Meta can deliver. The Concerto Meta sounds more comfortable at higher volume levels too. The older model counters with greater insight, refinement and naturalness from the midrange upwards, so it would be worth trying the two to see which pair is more appropriate for your needs.

Whatever the comparison with its smaller sibling, by general class standards, the Q Concerto Meta is superbly balanced. As we say in our review, “these speakers have a smooth tonality that still delivers enough bite to satisfy. You could feed them a diet of White Stripes and Nirvana and never feel short-changed in terms of attitude. Yet, play a grand classical piece such as Tchaikovsky’s Marché Slave Op.31 and they deliver the swelling dynamic shifts and mass of instrumentation with enviable control and composure.”

That all-round ability and control make the Q Concerto Meta an ideal complement to the electronics in this system. For a thoroughly modern two-channel streaming system we struggle to think of a better option at the price.

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We've built a versatile vinyl and streaming system that brings the best of both worlds – but doesn't cost the earth

It’s always fun, after our dizzyingly busy Awards-testing months, to take stock of the new equipment we rate most highly and to match them with like-minded products to produce stunning systems.

Which is what we have done for this issue of What Hi-Fi?. In February's magazine you will find five brilliant stereo systems based on Award-winning kit. It is always tempting to put “Award-winning systems” as the coverline on these issues; but that would be misleading. What we have here are brilliant systems based on Award-winning products – but some of the components, while certainly excellent in their own right, may not be Award winners in 2024. Still, they all combine to create a synergy that we can’t beat for the price. 

Also in this issue, we have soundbar packages that come as close to a separates home cinema package as you can get; and standmount speakers at around £2000 that are absolutely amazing for the admittedly not inconsiderable layout.

Gold-standard stereo systems

New Year diets may have already bitten the dust, but as we look forward to what 2025 has in store, you may be hungry to upgrade your hi-fi system – or even start an entire set-up from scratch.

With all the terrific hi-fi products out there, though, you can be spoiled for choice. But you could do a lot worse than look to our most recent 2024 What Hi-Fi? Award-winners in the hi-fi category. Fresh from choosing our winners and dishing out our gongs, we’ve created five systems, all of which use one or more pieces of Award-winning kit, that could provide the perfect starter. 

Of course, it’s never as simple as just throwing a bunch of highly decorated kit together and assuming it will create the greatest set-up imaginable. A hi-fi system needs to work together to deliver a satisfying experience. This is why we have not only carefully curated our systems this month, but also thoroughly tested each one, and you can rest assured that the synergy that binds these selections will result in years of happy listening.

There are new-to-market propositions included in our serving suggestions alongside more evergreen products, those that have already served their audience well for a little while but remain among the very best of their type and level. From turntable set-ups catering for both larger and more regular spaces to a selection of streaming systems that suit different budgets, each element works beautifully with the other components it has been partnered with.

Our pick of mid-priced standmounters

When it comes to putting together a quality stereo system, there’s little point in having a fine source unit and amp if you don’t have great speakers to provide the final link in your sonic chain.

If you are in the market for a pair of standmounters around the £2000 mark, at this level manufacturers have the budget to include components and engineering know-how that is significantly more advanced than you would find in, say, a £1000 speaker – and often with tech taken from higher-end speakers too. They can also pay more attention to the quality of build and finish. And the proof of the improving is in the hearing.

So, allow us to introduce four of the top contenders in the mid-price standmounter market. Three of them offer their own differing interpretations of the classic two-way design, while the fourth – a rarity in this market – has three drive units. Oh, and one of them is the current What Hi-Fi? Award-winner. We feel sure that our round-up this month will give you all the information you need to make your choice.

Soundbar packages for immersive home cinema

Naturally, all of us movie fans adore the wonderfully immersive sonic experience of sitting in a cinema that has an A-grade sound system, and would love to be able to replicate that experience in our homes. But the fact is that few of us have listening rooms big enough to accommodate the domestic multi-box systems needed to do that. And even the best standalone soundbars fall well short of delivering either authentic surround sound or chest-rumbling bass (remember the crash scene in Super 8?).

Soundbar systems, on the other hand, include a pair of manageably sized, separate surround speakers and a subwoofer – itself usually of modest dimensions – along with the soundbar. Together, these elements provide the missing all-around-with-depth sonic effect without cramming your living room with five, seven or nine large boxes. What’s more, these systems are also wireless, so you don’t have to lay yards of cabling around your skirting boards.

Thankfully, the soundbar-systems market has matured nicely over the past few years, and there is now plenty of choice. Some brands offer complete packages, while others sell the soundbars, separates and subwoofers separately. In this month's mag we have gathered six of the best in a round-up that includes both types to help you find one that suits you.

First with reviews

Once more, our First Tests section is filled to the brim with in-depth, impartial and expert verdicts on the very latest hi-fi and AV gear. 

We kick off this month with a 55-inch flagship TV from Panasonic. We're big fans of the brand's drive for 'as the director intended' authenticity, but can this latest W90A model hold true to that, while using full-array local dimming that aims to compete with Mini LED? Find out in February's What Hi-Fi?

We continue our testing this month with Q Acoustics 3020c standmounters. The latest in Q Acoustics's entry level 3000 series of speakers, we found them taking a new direction sonically - but is that necessarily a bad thing? Find out what we thought of the 3020c in First Tests this month.

Then in another busy old month for our expert reviews team, our test benches groaned under the weight of plenty more new products. Mission's new 750 standmounters, TCL's affordably priced C655K TV, the Apple AirPods 4 with Active Noise Cancellation, the latest 2024 iteration of Bluesound's Node streamer, Bose QuietComfort Earbuds, Apple iPad Air 13in and Earfun's Wave Pro headphones all underwent rigorous testing this month.

See what our review team thought of all these products in February's What Hi-Fi?

Highly covetable high-end kit

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 we take a look at the new Cyrus ST music streamer. Spoilers, it's a five-star cracker that, along with its other new 40 series products, should reignite the Cyrus brand's fortunes in 2025. It's not cheap, but we think it's worth every penny.

We also have a classy headphone amp from Austrian Audio, the Full Score One. Austrian Audio has impressed us in the last few years with its superb headphones, and here we have the perfect partner – though happily it's a great headphone amp with any decent headphones. Read more in February'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 2024's What Hi-Fi? Awards. If you’re looking to purchase anything from a pair of 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 February 2025 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

Denon's D-M41DAB microsystem is the hi-fi product we always recommend to family and friends, especially when they want something affordable, compact, functional and enjoyable.

The full microsystem with speakers included can be yours for xxxx. But you can also buy just the main unit (RCD-M41DAB) that houses the CD player, amplifier, DAB/FM tuner and Bluetooth for its lowest price yet of £239 at Richer Sounds thanks to a Christmas promo code.

We normally see this unit for £269 at Richer and this price still stands for the black finish. But if you apply the promo code XMAS30 on the silver finish, you can get an additional £30 off. We think this is a pretty great deal, as this unit – which has multiple What Hi-Fi? Award wins to its name – can remain for years while you simply upgrade the speakers.

The five-star Denon D-M41DAB microsystem has been ticking along for several years now, and the fact that it is still around is a testament to its impressive ability. Products like this may not be as fashionable these days in light of cutting-edge wireless smart speakers from Sonos or all-in-one streaming systems like the KEF LSX II LT, but the compact Denon has hi-fi heritage running through its veins and getting this kind of performance for such an affordable price is unheard of these days.

Of course, the Denon RCD-M41DAB system makes most sense if you have a CD collection – and there's every evidence that CD discs are still an ever-popular format – but it also features Bluetooth streaming so you can play your Spotify playlists wirelessly too. Add in DAB/FM radio (we've extolled the virtues of radio DJ-curated playlists before), line level RCA and two optical inputs for plugging in analogue and digital sources, a subwoofer output and a headphone jack, and you have a versatile, do-it-all hi-fi system that could challenge most new models costing double the price.

Sound-wise, the Denon is detailed, dynamically expressive and has an agile, spirited way with rhythms. The presentation is evenly balanced across the frequencies, too, and it is as confident with lively, energetic pieces as with softer, moodier tracks. In our original review, we said, "The combination of low-end stability and dynamic sensibilities leaves us with a remarkably human performance for a hi-fi system at this price."

The full system normally comes with Denon's SC-M41 matching speakers, but you can pair the RCD-M41DAB unit with any budget stereo speakers on the market, such as the Wharfedale Diamond 12.1, Dali Spektor 2 (or Spektor 1), Elac Debut B5.2 or something similar. You can always swap out the speakers if you want a performance update in future, too. Even better, you can also use any stereo speakers you might already own or even connect it up to a pair of vintage second-hand speakers you may find – it's a flexible unit.

The Denon microsystem is a great budget buy and is one of the best-value pieces of audio that we are always happy to recommend. Snap up this excellent £239 deal at Richer Sounds on the main unit before it's too late.

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Read the full Denon D-M41DAB review

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Best hi-fi systems 2024: CD, vinyl and streaming music players for the home

Just when you thought that 2024 couldn't throw you any more surprises, Denon has decided to close out the year by launching a brand new SACD/CD player – the Reference series DCD-3000NE.

It's been no small secret that CDs and disc players have quietly but surely been having a bit of a revival recently, so a dedicated, high-performing SACD/CD player from a brand such as Denon is cause for celebration for fans of the physical format.

The new player has been meticulously tuned, says Denon, to "reveal unprecedented sonic detail in all of your favorite music."

The DCD-3000NE boasts wide playback support of a variety of digital audio, from CDs and SACDs to MP3 and FLAC files. It can also play CD-R/RWs and DVD-R/RWs, as well as DSD files (2.8MHz and 5.6MHz). Outputs include one pair of analogue RCA, one digital coaxial and one digital optical.

The DCD-3000NE features a 'high-performance' 32-bit/384kHz DAC in a quad configuration along with the brand's own Ultra AL32 Processing for upsampling audio signals, to deliver clean, detailed, spacious, dynamic sound and high-resolution output. Denon's patented vibration suppression drive mechanism ensures that discs load swiftly and spin with precision so that the data is read accurately by the player.

Additionally, high-quality internal components and an advanced master clock aim to deliver distortion-free sound, while a 'Pure Direct' mode turns off the display and digital outputs to prevent any interference from affecting the audio signal.

The Denon DCD-3000NE comes with a remote control, is available in black or silver finishes and can be yours for £2200 / $2999 / €2500.

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One of our favourite hi-fi systems, the five-star, two-time What Hi-Fi? Award-winning Technics SA-C600 received a £100 price drop for Black Friday, but thanks to a surprise price shift, it's become even cheaper since the annual sales event officially ended.

The Technics brings convenience and quality into one seriously attractive package. This streaming, CD-playing all-in-one with built-in amplification is a fantastic option for anyone short on space – and now it's even better value thanks to his new deal which has seen the asking price drop to £769 over at Sevenoaks and Peter Tyson.

It's an ideal buy if you want outstanding sound from a compact, stylish system, and all you have to add is a great pair of bookshelf or floorstanding speakers to complete the setup.

Amazing compact hi-fi systems such as this Technics are hard to come by. It has fine looks and features, but it also manages to add great sound quality to the equation.

In our Technics SA-C600 review, we described it as an “expressive and punchy performer”, with the way it “organises that information into a cohesive and musical whole” really impressing our test team. It’s an entertaining listen and although its power output of 30W is relatively modest by modern standards, we said the SA-C600 “exceeds expectations by sounding surprisingly authoritative and suitably large-scale.”

It has a good list of features too. There’s the built-in CD player, network-streaming capabilities plus support for Spotify Connect, Tidal, Deezer and Amazon Music. DAB/FM radio is also in there as are Bluetooth, AirPlay 2 and Chromecast.

There is also the option of more traditional wired connectivity in the shape of stereo RCA inputs and a suite of digital inputs: USB, coaxial and optical. There’s even a moving-magnet phono stage, which you might expect given the brand’s turntable heritage. A remote control is also included, but chances are you will end up using Technics’ dedicated control app on your smart device.

It’s a beautifully built unit too. Design highlights include the aluminium top panel which feels solid to the touch and the smooth swivelling action of the transparent CD cover on the top, which is very satisfying to use.

All-in-one systems as talented as the Technics SA-C600 don’t come around too often, hence our glowing five-star review and 2024 What Hi-Fi? Award win. And this was at the full asking price of £899. Now that the price has been cut to £769 at Sevenoaks, we think it’s even easier to get behind. An impressive machine.

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Check out all the best Black Friday hi-fi and audio deals

While mixing and matching electronics brands often brings the best results sonically, I think there is something neat and tidy (blame my OCD) about looking at a kit rack where everything matches up.

Indeed, when I joined What Hi-Fi? more than two decades ago, one of the annual highlights was a one-make systems test where we paired a brand’s electronics together and then asked the manufacturer in question for a speaker recommendation to go with them.

I have a slightly different slant with this article, but the general concept remains. Here is a one-make system recommendation which features Arcam electronics as its main building blocks. We have reviewed each product individually and also know exactly how they perform together, so we can guarantee that they complement each other beautifully.

The only difference here is that the speakers aren’t a recommendation from Arcam, they are more the result of our in-house testing. But we are confident the Q Acoustics 5040 are the perfect match for the five-star Arcam pairing of the CD5 CD player and A5 stereo amplifier. All the products mentioned here are also 2024 What Hi-Fi? Award winners and benchmarks at their respective price points.

It gets even better. Each one of these products has received a discount for Black Friday and, as we enter the final few hours of Cyber Monday, I am pleased to report that these prices are still holding firm.

Arcam CD5: was £749 £639 (save £110)
Arcam A5: was £699 £629 (save £70)
Q Acoustics 5040: was £999 £879 (save £120)

Total system price: was £2447 £2147 (save £300)

Arcam CD5

The first building block of this brilliant system is Arcam’s exceptional CD5 CD player. That’s right, dust off your CD collection and get those discs spinning through this superb machine. It looks the part thanks to its sleek and minimalist design and feels well built too. The all-black aluminium body and subtle yellow accents give it a modern yet understated look.

And as for the sound? In our Arcam CD5 review, we describe this player as “tremendously entertaining”, saying it “flows with an assured fluidity and composure that has us hooked”. If we want to have this system sounding good from the off, then the Arcam is a fantastic (and obvious) place to start.

Arcam A5

Not only does this amp match up with the CD5’s aesthetics, but its insightful character makes it the perfect glue to hold this system together. In our Arcam A5 review we wax lyrical about its abilities, describing it as a “superbly rounded performer”. We note that “larger-scale dynamic swings are rendered with conviction and there is a good dose of scale on show too.” During testing, we thought the Arcam actually delivers the kind of performance that we would expect from a much more expensive amplifier which gives you an idea of its breadth of abilities.

The Arcam A5 offers three line-level inputs, plus a moving-magnet phono stage for your record player. On the digital front you get a pair of coaxial inputs and a single optical input, all capable of accepting music streams of up to 24-bit/192kHz thanks to an ESS ES9018 DAC chip. Bluetooth 5.2 with aptX Adaptive is also part of this attractive package.

Q Acoustics 5040

While testing the Arcam we also noted that despite its relatively modest claimed power output of 50W per channel, it should haven’t any problems driving a wide range of speakers, including these five-star floorstanders. Their even-handed delivery will allow your music to shine through, with their expressive and insightful sound the perfect match for the Arcam pairing.

In our Q Acoustics 5040 review it’s fair to say we were impressed, saying “low-frequency notes come and go with little overhang yet lack nothing when it comes to punch and authority. We like the way these towers always sound composed and controlled, and that sense of organisation doesn’t falter when the music becomes demanding.” We weren’t expecting to see a deal on these speakers so soon, so we would strike now before the price goes back up.

Looking for a classic slice of five-star hi-fi this Black Friday? Denon's long-standing D-M41DAB is a tried and trusted all-in-one solution capable of spinning CDs and it's become firm favourite at What Hi-Fi? Towers over the years.

For those who don't want or have the room to fuss about with multiple boxes, and instead just want something affordable, compact and very capable – this Denon set-up ticks all those boxes.

The full system with matching speakers included usually costs £399, but in a surprise Black Friday twist, you can get the whole package for just £250 at Amazon!

This is the first time we've seen such a big price drop for this classic piece of Denon hi-fi. It's a terrific-sounding microsystem too, with multiple What Hi-Fi? Award wins to its name, and its compact footprint means you'll be able to fit it in just about anywhere in the house.

The five-star Denon D-M41DAB microsystem has been ticking along for several years now, and the fact that it is still around is a testament to its impressive ability. Products like this may not be as fashionable these days in light of cutting-edge wireless smart speakers, but the compact Denon has hi-fi heritage running through its veins and getting this kind of performance for such an affordable price is unheard of these days.

Of course, the Denon RCD-M41DAB system makes most sense if you have a CD collection but it also features Bluetooth streaming so you can play your Spotify playlists wirelessly too. Add in DAB/FM radio, line level RCA and two optical inputs for plugging in analogue and digital sources, a subwoofer output and a headphone jack, and you have a versatile, do-it-all hi-fi system now at a ridiculously good price.

Sound-wise, the Denon is detailed, dynamically expressive and has an agile, spirited way with rhythms. The presentation is evenly balanced across the frequencies, too, and it is as confident with lively, energetic pieces as with softer, moodier tracks. We said in our original review: "The combination of low-end stability and dynamic sensibilities leaves us with a remarkably human performance for a hi-fi system at this price."

What's great about this deal is that it includes Denon's own speakers as part of the package. Previously we've seen discounts on the main unit only, so it's great that you're getting the complete set-up and saving money at the same time.

Further down the line, you could even upgrade the system by swapping out the supplied speakers out for another bookshlf model We think something like the Wharfedale Diamond 12.1, or Dali Spektor 2 would all make for great partners. If you're feeling particularly adventurous you could always go for a pair of vintage second-hand speakers from eBay.

The Denon microsystem is a great budget buy and we think this terrific deal price of £249 at Amazon could be one of the best Black Friday hi-fi deals we'll see this year.

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Our pick of the best Black Friday deals live right now

It has been an especially good Black Friday week for Sonos fans so far, as multiple speakers and soundbars from the brand have dropped to their lowest-ever prices. Those looking for an entry-level option can snag the Sonos Ray for just £135, or the step-up Beam (Gen 2) is also an absolute bargain at just £335.

However, if you're after the cream of the crop, then the Sonos Arc for £619 at Sevenoaks (a saving of £280) is the way to go. Yes, the Sonos Arc Ultra is now available (and it is a mighty fine soundbar), but it's unsurprisingly still at its full asking price of £999 on account of how new it is.

I've opted for Sevenoaks over Amazon in this instance as, while the Arc is a whole three pence cheaper for the white finish, the black Sonos Arc is currently being listed at £624 on Amazon.

I've paired the Arc with two more exceptional Sonos deals – the Era 300 which is also down to its lowest-ever price of £329 at Sevenoaks, though we'll need a pair for this surround sound setup, which can easily ordered as a pair for £658.

There is also Sonos Sub (Gen 3) which will add some much-needed low-end oomph. It's now only £559 at Sevenoaks (£240 off the launch price) – however, it's worth noting that Sevenoaks is only stocking the Sub in white, though Peter Tyson has the black finish for the same price if you don't mind shopping around.

This basically creates the Sonos Ultimate Immersive Set with Arc; a bundle Sonos used to feature on its site before it was replaced with the Arc Ultra version.

That bundle costs a staggering £2426 (down from £2696) at Sonos, whereas my version comes in at a much lower £1876. While you're not getting the absolute latest flagship 'bar and sub in this bundle, the existing Sonos Arc delivers a five-star, Award-winning sound that isn't far off the newer model, making this an excellent alternative that costs £550 less.

This trio of Sonos products culminates in a full surround sound setup without the messy wires, without compromising on stellar sound. While we haven't tested the full Immersive set quite yet, we plan to soon, and certainly approve of the Arc soundbar and Era 300 speakers in isolation.

The main benefit of this setup is the Era 300's upward-firing speakers, which will enhance the Dolby Atmos effect with overhead directional sound. The "dynamic, detailed and controlled" sound provided by the Arc is at the heart of the system though, with the support from the Sub (Gen 3) to fill in the low end.

We'd be remiss not to quickly mention the Sonos App; yes, we're well aware it isn't perfect – but the good news is that interacting with the app once you've sent the system up is purely optional as your TV remote can control a majority of the Arc's functions.

If you want a simple, clean and great-sounding solution to make your TV's audio more cinematic, then this Black Friday combo deal (with a combined saving of £760, no less) will be perfect for you.

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As well as the best Black Friday soundbar deals

Read our full Sonos Arc review

It would be easy to write off any new stereo disc player as anachronistic in this streaming-dominated age. However, that isn’t how we see things. We know many of our readers still have huge CD collections and want to get the best from them. And right now, we can’t think of a better way to do it than on Esoteric’s magnificent new K-05XD SACD/CD player. At £11,650 / $12,000 / AU$15,000, it comes in at the top-end of the market – but hey, such quality always costs. And this is the Temptation Award, after all. Tempted, then? You might well be after reading what this talented machine can do.

Rather than simply buy-in the mechanisms from OEM suppliers, as most other companies do, Esoteric has gone down the bespoke route for the K-05XD with its proprietary VRDS transports; the initials stand for Vibration-free Rigid Disc clamping System.

This has always been more than mere marketing guff. In essence, it involves clamping the entire top surface of the disc in a bid to eliminate any resonances and flatten any slight warping so that the laser and its servo mechanism have an easier time when reading the digital data. In theory, this should result in better sound.

This player’s digital-to-analogue section is rather tasty too. Rather than use off-the-shelf DAC chips, as the majority of the competition still do, Esoteric has designed its own circuit that works with FPGA (Field Programmable Gate Array)-based algorithms to ensure compatibility with 32-bit/384kHz PCM hi-res files as well as DSD512 music streams. MQA is also on the menu.

The pay-off for such engineering speaks for itself as soon as we listen to the K-05XD. This player has a wonderfully clean and organic presentation that feels 'just right.' The presentation is as neutral as they come but also avoids charges of sounding sterile by communicating the warmth and emotion in recordings. There is no sense of harshness or over-emphasis on the leading edges of notes. It's very pleasant indeed.

The musical backdrop is beautifully defined and superbly organised, too, with every element distinct and precisely placed while still coming together as a convincing musical whole.

Our in-house reviews team particularly loved the CD player's spacious and neat soundstage, devoid of clutter. "Instruments are layered with care and locked into position even when the music becomes demanding," reads our Esoteric K-05XD review. It elaborates, referencing the playback of Stravinsky’s The Rite Of Spring on SACD: "The Esoteric’s impressive ability to dig up low-level details shines through in the convincing way it places the orchestra within the recording venue. There is nothing showy here, no attempt to make the recording sound more impressive than it is. Just a pleasingly accurate rendition of the original recording."

Whatever we played through the player was delivered with transparency and honesty and therefore was hugely enjoyable to listen to. We can ask no more from any hi-fi component than a good time, and this impressive Esoteric player certainly gave us that.

MORE:

Read the full Esoteric K-05XD review

See all the What Hi-Fi? Awards 2024 winners

Compact Disc’s star has faded, but I like it anyway

We're sure you're the same, but whenever we slip behind the wheel of one of our many supercars, we find ourselves thinking: if only it had a binaural headrest. Yes, an enveloping 3D sound landscape would really finish this trip to the tip nicely.

Well what do you know, KEF has just the thing. This is the KEF Binaural Audio Headrest, and it's to be found inside the Lotus Theory 1 concept car. Absolute Radio 90s will never sound the same again.

KEF claims the Binaural Audio Headrest creates an immersive 3D soundfield by firing sound directly at each occupant, which makes it sound a little terrifying. KEF's Uni-Q drivers play through the headrest's "acoustically transparent 3D lattice".

The flexible headrest cradles your head, and can detect its position to adapt the sound accordingly. So each occupant will get an individualised sound experience.

We're also promised "futuristic" sound effects that complement the car's performance, and a force-cancelling subwoofer that creates bass without shaking the cabin.

As it's just a concept for now, don't expect to see one anytime soon. But elements of the headrest could make their way into production cars, as is often the way with concepts.

KEF previously won the EISA In-Car OEM Premium Audio System award for 2024-2025 for the Lotus Eletre.

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Using our years of testing expertise, we've created a cracking budget hi-fi system that adopts a ‘do-it-all’ philosophy and executes it with aplomb. If ever a system could be described as being more than the sum of its parts, it’s this one. First-time buyers; prick up your ears.

At the heart of the set-up is a current What Hi-Fi? Best System Under £500 Award-winner – the Denon D-M41DAB. This is a complete microsystem in its own right, comprising a DAB radio, CD player, analogue and digital optical inputs (for attaching external sources), an on-board amplifier and a pair of compact two-way speakers. It also offers Bluetooth, meaning you can play music from pretty much any source. And once you have done that a few times, you won’t want to stop, because this multi-tasking marvel seems not to have a weak link in any of its chains.

The system

• Micro system: Denon D-M41DAB (£349 / $461 approx / AU$678 approx)
• Phono stage: Rega Fono Mini A2D Mk2 (£110 / $195 / AU$249 )
• Turntable: Pro-Ject Primary E (£199 / $299 / AU$475 )
• Total price: £658 / $955 approx / AU$1402 approx

Micro system: Denon D-M41DAB

We slide a copy of Hot Chip’s Made In The Dark into the CD tray. At once we are struck by the pleasingly forward presentation. The Denon revels in the urgent rhythms of tracks such as ShakeA Fist and Ready For The Floor, and there’s a surprisingly well defined soundstage along with a good level of detail. Dynamics, too, are far more insightful and expressive than we would expect at this sort of price. That forward presentation doesn’t mean a lack of depth; in fact, it’s a real achievement on the part of Denon to have supplied a sound with such heft and stability – and that’s regardless of whether you have the speakers against the wall or away from it.

Switching to a Spotify stream of Ryan Adams’ Heartbreaker, we discover that the Denon can supply as much grace as it does energy. There’s a sweetly light touch to the fingerpicked acoustic guitars of Oh My Sweet Carolina that nevertheless allows plenty of space to communicate the weight and depth in Adams’ vocals.

It doesn’t take us long to conclude that the D-M41DAB can more than hold its own in terms of sound quality against separates costing much more. If you want, you can, for a reduced price, buy the unit without its supplied speakers (the SC-M41s) and connect an alternative pair, but you will struggle to find compatible boxes that work as well as the SC-M41s without leaving yourself significantly out of pocket.

Phono stage: Rega Fono Mini A2D Mk2

Of course, the one thing you can’t do on the Denon is play records; but adding the Pro-Ject Primary E turntable and Rega Fono Mini A2D Mk2 phono stage is a simple, relatively inexpensive business.

You might think it’s a shame that the Denon microsystem doesn’t have a built-in phono stage (it has just about everything else) but that apparent inconvenience is actually a blessing in disguise; it means you can hook-up the impressive Rega Fono Mini A2D Mk2 – a phono stage of a quality that any Denon on-board alternative would never be able to match, given the D-M41DAB’s compact dimensions.

The turntable here is the Pro-Ject Primary E (more on this below). Not only do the Rega and Pro-Ject work well together as price-compatible models, they also both complement the Denon’s talents beautifully. 

If you are worried about having to accommodate another box alongside the Denon, the Fono Mini isn’t much bigger than a box of extra-long matches, yet it performs out of all proportion to its size.

The Mk2 has a slightly cleaner appearance than its predecessor but the audio circuitry is unchanged. And that is actually a good thing. The Rega’s 47kOhm/100pF input loading is a good match for the Pro-Ject Primary E’s Ortofon cartridge, and the digital output of the unit’s USB connection means you can connect it to your computer and turn the music signal from your records into a digital file. It is time-consuming to digitise vinyl in this way but the Rega makes it an easy thing to do.

Most users of this system, though, will simply be using it to boost the signal from the Pro-Ject so they can listen to their vinyl direct. And in that respect it is a treat. Like the other two elements here, the Fono Mini is decidedly a budget proposition but – like them – it concentrates on getting the important things right. And that means it does a good job of delivering dynamic contrasts, complementing the lively, forward presentation found in the Denon and Pro-Ject, and paying commendably close attention to detail. The really impressive thing here though, is the musically cohesive way in which the Rega organises the information it is given, resulting in a sonic presentation that, for this price bracket, is unusually musical.

Turntable: Pro-Ject Primary E

The fact that Pro-Ject produces deeply competitive decks costing many thousands means it is well placed to funnel all its knowledge and expertise into budget models – and few of those can hold a candle to the Primary E.

Our current Best Turntable Under £200, this deck is our favourite entry-level record player and does everything we would expect from a back-to-basics, budget deck. Equipped with an Ortofon moving-magnet cartridge (a big plus), the Pro-Ject’s priority is entertainment, making it the perfect companion for the Denon’s lively musical presentation. It confidently nails the basics of vinyl replay, from an even tonal balance to a clear, clean delivery, and its sound is spacious enough to give a decent sense of three-dimensionality to multiple strands of music, while organising all the information in a musically coherent way. Add in a spirited sense of drive with rhythms and the Pro-Ject is already looking like great value for money.

On The National’s Trouble Will Find Me it shows its sensitive side, communicating the dreamy instrumental warmth and plaintive vocal of Fireproof nicely. In fact, we are struggling to think what more we could want from a sub-£200 deck – particularly one that is so easy to set up.

Verdict

For anyone looking to step onto the first rung of the stereo-systems ladder, this trio has it all. Not only can you play music from virtually any source you care to mention, that music will sound far better than it has any right to at this price.

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These days, you may know Ruark Audio best for its excellent range of smart, compact radios and music systems. But the Essex-based brand originally started on a more traditional path with passive loudspeakers, launching its very first speaker – Sabre – in 1985, a year after the company was founded. After well-regarded Talisman, Equinox and Solstice models, it wound down the speaker-making side in 2004 to concentrate on its new niche in DAB radios – or 'small audio', as co-founder and managing director Alan O'Rourke called them in an interview with us last year.

Two decades later, Ruark has now returned to its roots with the launch of the Sabre-R bookshelf speakers. Reviving the name from 40 years ago but embracing a modern outlook, the Sabre-R is a two-way design with a 26mm silk dome tweeter and 15cm treated natural fibre cone mid/bass driver. It quotes a sensitivity of 86dB/W/m and can be used with most modern amplifiers outputting 25-100W of power.

The MDF cabinet is braced and damped and features the same slatted wood design detail as seen on its latest range of five-star R1S and R2 Mk4 radios. The Sabre-R are designed both as a celebration of the Ruark's heritage and to "enthral new generations of music lovers", aiming to deliver a "stunning, natural, musical experience" – no pressure, then! The speakers are built and finished to the high calibre we have come to expect from Ruark, who always manages to create products that look good in any home environment.

Also launched in conjunction with the Sabre-R is the matching R610. Ruark calls it a 'music console', and it is essentially a new addition to the R100 line, which includes all-in-one music systems such as the five-star R410 and the larger R810 radiogram. The R610 just doesn't include any speakers built in.

This combination "allows music lovers to build an entire system that looks every bit as beautiful as it sounds,” says O’Rourke, who founded Ruark Audio with his father Brian O'Rourke.

The R610 has a much smaller footprint than its bigger siblings but shares much of their design language, high-quality materials and components, and tactile controls: handcrafted slatted wood grilles, a five-inch, full-colour touchscreen display, and the signature RotoDial control dial on the unit's top (and as a separate remote). Inside the R610 are two Class D amplifiers delivering 75W of power per channel, Burr Brown DACs and a switch mode power supply. 

The R610 can play just about any music from any source, offering immense versatility from a compact music system. It features full wireless streaming with AirPlay, Google Cast, Spotify Connect and Tidal Connect integrated, and is compatible with UPnP network media servers, supporting hi-res files up to 32-bit/384kHz. Bluetooth (aptX HD), DAB/FM and internet radio are supported as well – you'll never be short of music to listen to.

There is even a moving magnet phono stage inside this compact wonder, so you can directly plug in a turntable. You can connect your TV directly too, thanks to HDMI eARC and optical inputs, while a USB port is available for connecting a dedicated CD Drive that Ruark will launch later this year. The disc drive will also be compatible with the R410 and R810.

The Ruark R610 system costs £1200 / $1599 / AU$2299, while the Sabre-R speakers are £699 / $899 / $1499 per pair. Both are available now in two finishes: fused walnut and satin charcoal lacquer. They can be bought together – they are, after all, designed to partner one another both sonically and aesthetically – but there is no package deal price and Ruark says the individual components can work with other brands' products just as well.

Interestingly, the bigger R410 system with built-in speakers, which we awarded five stars to, costs only a little bit more at £1299 / $1699 / AU$2599. We will therefore be curious to find out just how the newer, smaller R610 (with external speakers) will differ in performance to the R410.

The Sabre-R speakers, meanwhile, enter a very crowded and competitive market that is not short of talent, with the What Hi-Fi? Award-winning B&W 607 S3 and 606 S3 (around £549 to £749) their main rivals at this price point. We can't wait to find out how the new Ruark speakers perform.

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Trying to get into vinyl can be intimidating. Not only is the 12-inch disc a fairly fragile piece of brittle PVC, but the record deck itself is a delicate instrument; it simply can’t be treated with a heavy hand. Which means that, for many people keen in principle to enter this particular world of analogue music, even the act of getting their vinyl playing can be a daunting prospect. 

There’s not much to be done about the relative fragility of the vinyl disc itself. Those simply need to be handled and stored with care to get the very best out of them for many years; that is perfectly possible, though – clearly – so we would urge you not to be put off by that. 

Where manufacturers can help the nervous newbie, however, is with the record player itself. If the vinyl-disc debutante can place the record on the spindle and then simply push a button to get things to play (and then stop again), pretty much all the potential pitfalls of playing a record disappear.

The system

• Turntable: Rekkord Audio F110 (£399 / $449 / AU$849)
• Stereo amplifier: Rega io (£420 / $725 / AU$949)
• Music streamer: WiiM Pro Plus (£219 / $219 / AU$339)
• Speakers: Wharfedale Diamond 12.1 (£249 / $399 / AU$699)
• Total price: £1287 / $1792 / AU$2836

Turntable: Rekkord Audio F110

Enter the Rekkord Audio F110 fully automatic record deck. The F110 will cue the pre-fitted Audio-Technica AT3600L moving-magnet cartridge to the start of the record and lift it up once the side has been played, returning the arm to its original position and stopping the motor. This is pretty much the ultimate in fuss-free record replay, and it is easy to override the mechanism if, say, you want to skip from track to track, or start and stop in a different place.

There are, naturally, some inevitable compromises that need to be made with the purchase of an automatic turntable; you are, after all, paying for the extra tech that goes into making it automatic, so there will be other, more hands-on, decks that will give you better sound for the same money. But this Rekkord is one of the few fully automatic decks we have reviewed over the years that is musically satisfying. It is a precise, controlled, balanced performer that digs up a good amount of detail for the price. It’s an enjoyable listen that fully justifies the outlay with the ease of use it brings.

Stereo amplifier: Rega io

We marry the Rekkord deck with the io, a Rega amplifier that we would normally suggest is used with a stablemate turntable. Rega’s decks, however, are very much old-school, hands-on affairs, and so of no realistic value in this ease-of-use set-up.

What the io brings, whichever source you use with it, is a terrific sense of rhythm, and an agile, punchy sound that is sheer fun to listen to. It does, therefore, match up rather nicely with the Rekkord turntable. While you can buy the F110 turntable with a built-in phono stage for around a 10 per cent premium, that won’t be necessary here, as the Rega io amp has a talented moving-magnet stage that would trump the Rekkord offering. 

As well as the turntable inputs, there are also two more analogue inputs, to which you could add, say, a CD player and a streamer (as we have in this system). So, while the io is fairly limited in connections compared with some rival amplifiers, for most users’ purposes it will more than suffice – and its performance makes it well worth considering over many competitors with what is, on the face of it, a broader specification. 

Music streamer: WiiM Pro Plus

There are no issues with connecting the WiiM Pro Plus to the Rega io amplifier – this, after all, is supposed to be an easy-to-use system. Connecting it is one thing; the fact that, for the outlay, it is such a fine performer, though, is the main reason it is on this page. As we say in the verdict of our review of the streamer: “As a first, affordable introduction to the many and various charms of music streaming, the WiiM Pro Plus is hard to lay a glove on at the price.”

There is nothing special about the looks or construction of this paperback-book sized plastic-bound box – but it’s perfectly acceptable for just over £200.

There is a supplied remote control, but the accompanying app is impressive, and most likely to be your main port of call for controlling your music. The little box is powered via a USB-C port; then there is an ethernet socket, a digital optical input and output, a digital coaxial output and stereo RCA line-level in and out. It’s a line-up that really should be more than adequate for most users most of the time – and certainly it is more than adequate in this system, hooking up to the Rega amplifier via RCA line-level. 

Most importantly for a streamer, wireless connectivity is all you could really want of the WiiM. Pretty much every base is covered, with Chromecast, Apple AirPlay, Spotify and Tidal Connect and more on board; it can also access files on a local network thanks to its DLNA connectivity. 

Feed it a lovely big hi-res audio file to do its thing with, and the WiiM Pro Plus will perform admirably; but what impresses us even more, possibly, is its competence with lesser files. Even very compressed files are given a fair crack of the whip, and come across surprisingly clean and detailed.

The midrange (where the vocals generally hang out, of course) is particularly well catered for, and comes across full of conviction and poise. As we say in the review, “the unity of the WiiM’s presentation is impressive, and its powers of integration are always apparent.”

Speakers: Wharfedale Diamond 12.1

The final part of this easy to use quartet is the Wharfedale Diamond 12.1 speakers. There is a reason we fall back on these compact standmounters for many of our less expensive system suggestions; they are superb value for money. They have a surprisingly bold and full-bodied presentation, sounding confident and composed in a way that evades most budget rivals. They top that composure off with a good degree of refinement, being smooth and forgiving while managing to remain nicely balanced, with enough in the way of bite to entertain. As we say in the review, “they have a strong punch and deliver rhythms with a surefooted sense of drive”.

Which makes them perfect to do justice to the excellence of the rest of this simple-to-use, affordable system.

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The new issue of What Hi-Fi?, our November 2024 issue (yes, I know, we’re only half way into September; it’s one of the vagaries of the magazine publishing world I’m afraid – especially when you print 13 issues each year), is out now in the shops. And it is one of our popular “Systems specials” where our expert reviewing team curates a number of set-ups from individual units that will blend together with other like-minded sorts to create a system that makes the very most of the sum of its parts. 

It bears repeating that this really isn’t as simple a process as picking a load of five-star products and bunging them together without a further care in the world. Life, and certainly the world of hi-fi equipment, just isn’t like that. Which is where we come in. 

Sixteen systems of carefully judged brilliance is the result: ten stereo; six home cinema. You should take a look; it’s in all good newsagents (and, no doubt, a few less reputable ones as well) now.

And it got me reminiscing about a time when a magazine was all What Hi-Fi? was. Now, of course, it’s very much a global brand that stands proud as the most trusted hi-fi and home cinema reviewing site on the planet. Just over a quarter of a century ago, however, the magazine was the sole medium for getting our hard work out into the universe. Times have changed.

Manufacturers’ suggestions

Our core ethos hasn’t, though. So I was glad to find, when trawling through the What Hi-Fi? archives the other day, a systems special edition from January 1997. The more things change, the more they stay the same, and so on… More than 27 years ago, however, we got hi-fi manufacturers to do some of the hard work for us. 

Back in ’97, we asked the big brands to suggest which of their products would work wonders together and come up with a system to do them proud. If there were any blank spots in their product manufacturing (if they didn’t make speakers, say) they were to come up with suggestions they felt would work best. 

Some familiar, and reassuring, names

And then we put those suggestions to the test. There are interesting systems from the likes of Linn, Naim, Sony, Arcam, Kenwood and plenty more, and – as I hope you would expect – the What Hi-Fi? team pulled no punches in evaluating the suggestions put forward, with three and four-star verdicts aplenty, alongside a couple of excellent five-star efforts. 

These days, though, it’s down to us to put together systems that we feel work together brilliantly – and that’s what you will find in our magazine this month.

The readers got involved as well

 Also of interest to me in the magazine from 27 and a half years ago was the regular reader-led piece On The Couch. This time, we were investigating the relatively new phenomenon of rear-channel (surround) speakers, and asking if it was worth investing in expensive options. The answer appeared to be a qualified yes. These days, with the great technical improvements in surround sound, and the excellence of Dolby Atmos, I would suggest that those qualifications are less pronounced; the rear (and height) speakers in a system need to match their front three siblings as much as possible to enjoy the best possible home cinema performance.

A great buy is still a great buy

Also in the January 1997 issue was a test of micro systems that turned my mind to an excellent multiple Award-winner from Denon that we are still recommending, and that can hold its head high in today’s world of Bluetooth speakers and streaming. As we say in this recently published feature, it could be the perfect product for the student returning to university this autumn. 

So, on your return to education, don’t discount the old-school just yet in this brave new world of wireless wizardry.   

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If you’re heading off to university this year or returning to your student house for a second, third or fourth year, then you’re probably looking to put together a survival kit.

Besides t-shirts, socks and underwear, if you’re into music, you might be looking for something capable of scratching your sonic itch. Perhaps a five-star Bluetooth speaker with a chunky discount to help you power through those late nights of studying, writing or partying?

That’s a very sensible and simple route to go down and one which I applaud – partnering your wireless speaker with your smartphone and a Spotify or Tidal subscription is a quick and easy way for you or any of your flat/housemates to get the studying/partying started.

But allow me to point you in a slightly different direction, where you will be able to enjoy your favourite music in higher quality, and at higher volume, through a product that will give you greater pride of ownership than a pair of wireless headphones.

Now, I know a full-blown hi-fi system with multiple separates is the dream, and I would love for music-loving students across the world to cram their accommodation with all manner of musical boxes. But I understand that space is at a premium. There is also a distinct lack of what I would classify as affordable, entry-level electronics to help students get on the first rung of the hi-fi ladder. This means that proper system building can get very expensive very quickly.

This is why I’m attempting to spark your interest in an old hi-fi classic. Since the proliferation of wireless speakers and streaming services, the micro hi-fi system has faded so far into the background that some people are forgetting they even existed…

But every so often, a mention or sighting of the Denon D-M41DAB micro system reminds me of the glory days, when these units were a regular sight in our test rooms. And I personally think this system would be the perfect addition to any uni accommodation. This five-star all-in-one has been ticking over in the background for a number of years now and the fact that it is still around is a testament to its impressive ability.

The Denon will be just as happy in your bedroom or living room and you can crank it up to 11 without fear of sound quality taking a hit.

Sure, I’ll be first to admit that systems like this aren’t as fashionable as they once were; but, for the money, I’m not sure why you wouldn’t entertain something like this whether you’re a student or anyone else looking for an affordable, sweet-sounding all-in-one.

Obviously, you will need a solid CD collection to feed it but even if you have succumbed to streaming, I expect your parents will have a collection ready to be raided (with their permission of course). And then you can head over to the likes of eBay where you can pick entire collections for relative peanuts.

In the same way vinyl has come back into fashion, surely it’s only a matter of time before a CD revival comes around, and going for the Denon now allows you to get ahead of the curve. And I know building a CD collection is a cheaper option than starting a vinyl one!

If you still want to stream music, the Denon has Bluetooth connectivity (which you can switch off to preserve audio quality when using the CD player), but the beauty of this set-up is that it truly is a potent all-in-one package. The main unit can be bought complete with Denon’s own SC-M41 bookshelf speakers (including speaker cable). There are also the multitude of stations offered by the inclusion of DAB radio, a headphone jack for private listening, and both optical and analogue inputs should you want to connect any external kit.

The speakers use a 12cm driver/25mm soft-dome tweeter configuration and when we tested them, they were a great complement to Denon’s electronics, treating the listener to a large soundstage and loads of detail. Dynamics are large-scale and expressive too, with the speakers delivering whether tucked up against or set slightly further away from a rear wall.

Now you could just buy the main unit separately and add budget speakers of your choice. And yes, you might get a bit more detail and extra dynamics; but the Denon speakers were tuned specifically for that system's amplifier and I think you would be better off sticking with the complete Denon ensemble.

Last time we tested the D-M41DAB, the system cost £379, and over time the official price has risen up to £399. Should the urge take you, however, you can now buy the system for £349 at Amazon and John Lewis, a decent saving when you consider how long the Denon system is likely to last, which should be through university and well beyond!

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What does a modern hi-fi system look like? From the products themselves to the various ways we can listen to music these days, it has all evolved to such a degree that we now live in a world where everything is connected and integrated, and you can play music wirelessly at the tap of a button. Alongside that, what a music system looks like has gone beyond the shackles of a traditional separates set-up, which is good news for many of us short on space and cash but still wishing for proper good audio.

A blend of modern and retro aesthetics seems to be de rigueur and has wide appeal across generations too, and that’s reflected in our rather stylish, versatile and compact system here. 

Ruark Audio may be famed for its lifestyle-friendly radios, but the top-of-the-range R2 Mk4 is also bestowed with popular internet streaming powers, making it more akin to a premium wireless speaker imbued with hi-fi heritage. Similarly, Grado’s decidedly retro headphones styling both contrasts and complements the sleek Apple iPad for controlling all your music – put together, you have a trendy-looking, modern music system that sounds as good as it looks. 

The system

• Internet radio/streaming system: Ruark Audio R2 Mk4 - £479 / $540 approx / AU$949
• Wired headphones: Grado SR80x - £99 / $125 / AU$179
• Tablet: Apple iPad 10th Gen - £349 / $449 / AU$749 
• Total price: £927 / $1114 approx / AU$1877

Radio/streaming system: Ruark Audio R2 Mk4

The Ruark R2 Mk4 is the centrepiece of this system and fully functions as a music system in its own right. It’s a beautifully made cabinet, with slatted wood grilles and a large bonded-glass full-colour display for at-a-glance track information (and the time, date, station name and more). The elegant unit is larger than most bedside clock radios, but it can sit proudly on a bookshelf, kitchen counter or table, as long as it’s connected to the mains. 

It is a radio at heart, with FM, DAB/DAB+ tuners and internet radio offering thousands of stations across the globe. But it also boasts support for popular music streaming services such as Spotify, Amazon Music and Deezer once connected to your wi-fi network, giving you access to millions of songs from these online catalogues. You can connect any mobile or laptop device to the Ruark using Bluetooth too, meaning you can play music from Tidal, Apple Music, YouTube and many more. An aux input allows you to plug in wired sources, while the USB-C port handily charges up your smartphone or tablet as well. 

Sonically, the Ruark R2 is a delight. In our R2 Mk4 review, our in-house team of expert reviewers said: “For what is a fairly compact unit, the sound that emanates from the R2 Mk4 is surprisingly big and spacious, and it can reach decently loud volumes without getting too strained or losing composure. Even more importantly, the musical cohesion of a song remains intact and a compelling listen even at lower volumes.” 

It’s a full-bodied, expressive presentation with pleasing clarity, detail and natural warmth to voices, the latter being particularly well-suited to playing talk radio, live sports commentary, podcasts and vocal-heavy tracks. Basslines have texture, drive and convincing weight, while there’s ample headroom for high notes to soar. 

Rhythmically, it’s spot-on and hugely entertaining. Whether you’re listening to Absolute Radio’s pop hits, a bit of Classic FM, sludgy grunge tracks or Agnes Obel’s pristine vocals, the Ruark delivers subtlety, dynamic punch and textural depth in spades. It’s a wonderfully satisfying wireless speaker/radio system that can compete with the likes of Apple, Bose, Sonos and more, and while it’s on the pricey side, we find it is absolutely worth it. 

Tablet: Apple iPad (10th Generation)

The Ruark comes with an integrated “RotoDial” controller – a tactile, physical control on top of the unit with buttons and a dial for selecting menus, stations, sources, changing volume and many more options. It’s intuitive to use, but you can also download a third-party app (Undok or Oktiv) to make browsing radio stations, saving presets and playing from any music source much easier. 

You can use any smart device for this, including your existing smartphone, but we’ve picked the Award-winning Apple iPad here, especially if you use multiple music streaming sources and want a richer, streamlined experience for controlling the Ruark and your music. 

The 10th-generation iPad offers Apple's best tablet experience without breaking the bank. The screen quality is sharp, detailed and punchy, it is uber-slick and powerful in use, and it remains a great-sounding source for playing music. Every popular music streaming and podcast service, from Apple Music to SoundCloud to BBC Sounds, can be downloaded, not to mention various video streaming and game apps, should you wish to give all entertainment options an audio boost by beaming the sound to the Ruark R2. 

Wired headphones: Grado SR80x

The Ruark R2 also sports a 3.5mm headphone jack, and we have an excellent pair of wired headphones to complete this mini system. Headphones are a must if you like listening to music late into the night and/or don’t want to disturb your housemates or neighbours with Billie Eilish or MFDoom on repeat. 

Don’t let the Grados’ industrial looks fool you: these are lightweight, open-back headphones whose airy, transparent nature is ideal for long listening sessions. Rather unusually for these days, the SR80x is an on-ear model with foam cushions that might feel odd at first, but years of using Grado headphones have proven that they remain durable, breathable and cover our ears fully. Their open-back design means that they will leak a fair amount of sound and let outside sound in, but for home use we find this combination to be perfectly fine. 

This SR80 model has evolved over three decades and the current ‘x’ version features improved 44mm drivers and is easier to drive when plugged into smartphones, hi-res music players, wireless speakers and more. What hasn’t changed is their wonderfully dynamic, open and clearly detailed performance. We noted in our SR80x review: “Everything we like about their predecessors – their nimble-footedness, expressive, rolling dynamics, and insight across well-defined frequencies – has been inherited,” along with punch and a terrific sense of timing and agility. They have a wonderful sense of space and clarity, and while they’re a touch on the forward side (though without being clinical), that authentic, forensic approach works well with the Ruark’s smoother balance. 

Verdict

This combination gives you the best of both worlds: retro charm and cutting-edge streaming technologies, all culminating in incredible audio performance with true hi-fi heritage forming the backbone of this compact system. 

With this trio of products, you have got a bona fide music system that’s modern, accessible and sounds fantastic. 

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We built a classy streaming hi-fi system with two brand-new, five-star products and a recent Award-winner

Anyone in the market for a versatile and talented amp-and-streaming system might want to take a look at the Audiolab Omnia. We initially tested this box of tricks for £1599 back in December 2022 and we saw it as low as £999 during Black Friday, and Cyber Monday last year.

But just when we thought it was sitting at its lowest-ever price, we spotted the Audiolab at £749 at Peter Tyson. This makes the Omnia now cheaper than half-price!

The versatile streaming amplifier also includes a CD player and is capable of becoming the beating heart of your hi-fi system with its jack-of-all-trades credentials and easygoing sound. There's no need for separate boxes, all you need to do is add speakers and you're off! The only tiny catch is that you'll need to sign up for Peter Tyson's VIP programme to get the full discount, but as it's free to join, we don't think this is a step too far to secure the Audiolab for this sensational price.

When we reviewed the Audiolab Omnia, we lauded its "easy-going presentation" as well as its "large, spacious sound". In terms of what the Omnia can actually do, we heralded its "excellent features and connectivity", praising the versatile box that packs in amplification, streaming smarts and a CD player – it can pretty much do it all.

The Audiolab Omnia wins the prize for being one of the most well-specified and features-laden streaming products of its kind we’ve seen yet. If you want to stream over Bluetooth, wi-fi or through DTS Play-Fi app, or you're a traditionalist who loves their CD collection, the Omnia will keep you amply satisfied. There's almost nothing it can't handle.

In terms of the Omnia’s streaming talents, Spotify Connect is on board, while Bluetooth 5 is accompanied by support for aptX, aptX LL, AAC and SBC codes. It can fully decode MQA files from Tidal and also has Roon Ready certification, too.

On the physical connections side, there are two inputs apiece for optical and coaxial (and a single output for each), USB type B for connecting to laptops and a USB type A port for hard drives. It’s through this PC USB type B input that you can achieve the Omnia’s maximum resolution file support, which is up to 32-bit/786kHz PCM and DSD512. 

Things get even better if you're in tune with the Omnia's smooth presentation and wide, open soundstage. For those that favour an easygoing, spacious listen, you'll get along with the Omnia just fine.

As a way to start your hi-fi system off or as a means to simply get all the components you need integrated into one amalgamated unit (speakers aside), the Audiolab Omnia is a really smart choice, as all you need to do is add some equally capable speakers and you're good to go. Head over to Peter Tyson to take advantage of that mammoth saving. 

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Read our original Audiolab Omnia review

Cambridge Audio's all-in-one music system boasts 14 drivers, plenty of firepower and HDMI eARC

How to build the perfect hi-fi system

These are the best hi-fi systems you can buy

And here's our pick of the best stereo speakers

Naim and Ruark might have some competition. Cambridge Audio has announced the launch of its Evo One wireless music system solution that could be about to give the superb Naim Mu-so 2 and the exceptional Ruark R410 a run for their money. 

A premium all-in-one music system aimed at listeners who want hi-fi sound without the need for multiple separates and components, the Evo One aims to bring that signature Cambridge Audio sound, plus a fair few features and connectivity options, together into a single handsome unit. 

The Evo One houses a total of 14 drivers, with four 25mm silk down tweeters, four 5.7cm aluminium cone midrange units and six 7cm woofers configured to produce "a truly expansive soundstage" that will fill a room no matter where you, or your system, are positioned. Power is delivered via 700W of amplification, enhanced by Digital Signal Processing which Cambridge Audio says helps to produce a clear, deep and controlled bass signature. 

Operation and control of the Evo One are handled by the StreamMagic app, through which audio can be personalised via a seven-band equaliser. The StreamMagic platform allows for direct streaming via Tidal, Spotify Connect, Deezer and Qobuz, with support for hi-res audio files up to 32-bit/192kHz over wi-fi or an ethernet connection. It's even Roon Ready, while connectivity options come courtesy of Bluetooth, AirPlay 2 and Google Cast. 

If you want to go wired, an HDMI eARC means you can hook up to a TV and use the Evo One as an impromptu soundbar, while a moving-magnet phono stage lets you connect a turntable directly. Classic inputs, including a line input for analogue sources, an optical digital input and a USB-A port, round things off nicely. 

The Evo One has been designed to slot into any home set-up thanks to its natural yet elegant aesthetic. The grille's honeycomb construction protects the drivers while placing less mass in front to avoid obstructing the sound, while a 17cm colour display screen provides either a clock display, the album artwork and information about the current track being played or a pair of virtual VU meters for that old-school hi-fi touch.

The Cambridge Audio Evo One is available now, priced at £1299 / $1499 / €1499.

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Interested in something similar? The Ruark Audio R410 is a gorgeous class-leader 

These are the best hi-fi systems you can buy 

Read our Cambridge Audio Melomania P100 hands-on review

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

dCS has unveiled its most advanced music system to date, promising a level of performance that it says goes beyond anything it has ever created.

The Varèse sits at the top of the brand’s existing product platforms and is the result of a series of projects that began a few years ago, says the British brand. 

While exploring how to improve the sonic and measured performance of its DACs, its engineers also considered whether they could develop a unified system to transport audio, timing and control signals, while improving clocking arrangements between audio components.

However, it also wanted to make it even easier for listeners to discover music and manage playback, and carried out a range of interviews with dCS owners worldwide to understand what the future of music interfaces might look like.

Bringing these two strands of research together, dCS decided to create a complete playback system that it says “reimagines how we interact and listen to music” and “reinterprets the dCS experience for a new era”.

Big upgrades come at a cost

The Varèse music system comprises five components, including the Core streaming and processing unit (£75,000), two mono DACs (one for each audio channel, £90,000 for the pair), a separate user interface unit (£20,000) and the optional master clock (£32,500), for a total eyewatering price of £217,500. A dedicated CD/SACD transport will be added to the lineup in 2025.

A suite of new technologies developed in-house at the Cambridge-based hi-fi manufacturer is at the heart of making this ambitious music system possible, including the biggest upgrade to dCS’s respected Ring DAC architecture in a decade.

This joins a new patented clocking technology called dCS Tomix, and a bespoke interface for carrying audio, control and timing signals between components called Actus, all helping to reduce jitter while increasing linearity, lowering the noise floor and eliminating crosstalk.

The result for the listener is, dCS says, an improved sense of realism across the board, with a more expansive soundstage and an increased sense of musicality and rhythmic flow, all helping to create a closer emotional connection with the music at hand. 

The dCS Varèse will be unveiled for the first time at the Hong Kong AV Show on 9th August, before it travels to other events worldwide. Demos will be available in the UK and US from September, with shipping beginning later in the year. 

MORE:

See all our dCS reviews

Check out our pick of the best hi-fi systems

Building a hi-fi system? Here's the secret to matching the right components

The city of Sheffield in the north of England was at the heart of the Industrial Revolution. As I get off at the city’s train station, there are reminders everywhere of the heavy industry that was once based there. It seems fitting that this is home to an engineering-focused company such as Wilson Benesch.

The brand was founded in 1989 and its first products were a high-end turntable called, quite simply, The Wilson Benesch Turntable, and the A.C.T. One tonearm. The initials A.C.T. stand for Advanced Composite Technology, and indicate the pioneering use of carbon fibre in the turntable’s sub-chassis and the arm’s tapered arm tube. 

At the time, only four companies in the UK were capable of producing carbon fibre: Lotus Racing, two suppliers connected to the Ministry of Defence, and Wilson Benesch. It is impressive that a start-up could be numbered among that group, but it also showed the adventurous nature of the brand when it comes to new technology. That drive continues to this day, with the company’s extensive use of 3D printing and the inclusion of innovative biocomposite materials in its speakers such as the Wilson Benesch Discovery 3Zero we have just tested.

The company is a family business, co-owned by Craig Milnes (design director) and Christina Milnes (managing director) and supported by their son Luke Milnes (sales & marketing director). It is based in a charming art deco building occupying a space of around 25,000 sq feet, and currently has 18 staff members. 

As I walk through the front entrance, it becomes clear that this is a place that makes things rather than simply assembles parts. For context, most small companies I visit tend to buy parts, such as drive units or speaker cabinets, from specialist suppliers rather than make them.

Wilson Benesch works differently. It has invested heavily in production equipment, from multiple CNC machines and carbon fibre tools to industrial 3D printers, and as a result can make a large portion of the parts used in its products. I see the billets of aluminium that go into making various items from speaker-stand bases to parts of the innovative motor system on the company’s recent direct-drive turntables, the GMT One and Prime Meridian.

As I am shown around the factory, it is hard not to marvel at the range of parts the company makes on-site, from tweeters and the larger Tactic 3.0 drivers to the carbon fibre innards and top panels that go into its extensive loudspeaker range. Wilson Benesch even veneers the metal corner pieces that go on the front of some of its speakers. These are all specialist tasks that most hi-fi manufacturers would outsource, but WB prides itself on making all these things in-house; it gives absolute control of quality and allows the brand to make refinements quickly and easily. Outside suppliers are used when it comes to applying the finish on parts or when extrusions are needed, but the company remains demanding in its quality requirements.

The Tactic 3.0 drive unit is a great example of where this bears fruit. This 17cm driver is used in some form in all the company’s speakers, but it is slightly tweaked for each application to optimise performance. These are not obvious changes, but they help to make the driver better suited for its specific task. If the Tactic 3.0 were bought in from an outside supplier, such flexibility would not be practical.

I witness the iGx infrasonic generator (subwoofer) being built and several of the larger standmount Endeavour 3Zero being assembled in another part of the factory. This is normally done by one or two skilled people, depending on the job – and the emphasis is always on quality.

After I look around the factory I go into the company’s new demonstration room, a large space with around 6 x 11m of floor area. I settle on the comfy sofa for a quick listen to some of the company’s top-end products. The system is made up of Wilson Benesch’s Prime Meridian Turntable, Graviton Ti Arm and Tessellate Ti-S cartridge (£203,000) feeding a CH Precision P1 dual-mono phono stage (£23,500) and a Trilogy 914/2 x 995R pre/power combination (£50,000). The speakers are WB’s range-topping Eminence floorstanders (£148,000). These towers stand over 1.9m tall and pack a driver array that includes four Tactic 3.0 bass drivers in addition to a quartet of isobaric units (each a pair of Tactic 3.0) per side. Ignoring cables – but not the £18,000 worth of in-house equipment racks – that little lot ends up at a grand total of £442,500.

I also noticed a sample of the company’s original turntable on one of the equipment racks and am surprised at just how modern it still looks. There wasn’t time for a listen, unfortunately.

Before I get to listening impressions, the usual disclaimers apply here. The room and every component in the system are unfamiliar, as was most of the music played. This makes it hard to make any definitive statements or judgements. What follows should be seen as a first impression, nothing more. Time was short too, giving me the chance to play just three tracks. One was from Laura Marling’s Live from York Minister set, another from Talvin Singh’s 1998 OK album; the track I did know was Spinning the Wheel by George Michael.

That system price is stunning, but then again so is its sound. Probably, though, not in the way that you might expect, given such powerful mono amplifiers (200 watts in Class A/B mode) driving such huge floorstanders. Of course, there is plenty of volume, scale and deep bass, but the thing I notice first is the naturalness of the system. 

It sounds convincing and, if anything, a little understated despite delivering dynamics with unusual freedom. While the system was obviously capable of thunder when the music demanded, it was the delicacy and unforced nature of the presentation that stood out. Detail resolution is exceptional, just as you would hope, and I could not find anything to criticise in the way the system assembled all that information. It sounded musical and entertaining. The high level of transparency was clear as I shifted between recordings, and rhythmic drive was good without dominating.

The system’s tonal balance was nicely balanced and stereo imaging, such as it could be judged by the recordings I heard, was expansive and nicely layered. All in all, the Wilson Benesch system was a real treat to hear and I would have loved to stay longer and tried a more varied array of music.

And then it is over all too soon. I haven’t got much time to get to the station before the train leaves and London beckons. As I collect my thoughts on the way back, it is fair to say I’m impressed by Wilson Benesch. While I knew it had always pushed material technology boundaries and wasn’t afraid to challenge industry norms with its products, I didn’t expect it to have so much engineering capability. It seems Sheffield’s rich industrial DNA continues to shine.

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Genelec 8381A hands-on review: our first impressions of the £60k active studio monitors

Building a hi-fi system? Here's the secret to matching the right components

Genelec is a Finnish company, based in the picturesque town of Lisalmi. Founded in 1978, it specialises in active monitoring systems for studios and has a huge product catalogue that covers a wide range of use cases. It isn’t a brand that comes up very often in our discussions of home high-end speakers, because its primary focus is on the recording industry. With hindsight, maybe it should be, given the £59,995 / $64,000 Genelec 8381A studio monitors’ impressively engineered hardware and sophisticated software package. 

While the company makes numerous relatively affordable active speakers, things get really ambitious as the price points rise. We were offered the chance to listen to the new 8381A active system and we couldn’t resist finding out just how good a high-end five-way, fully active monitor system could sound, particularly when calibrated by the company’s flexible room equalisation software.

Build & Design

The 8381A package is made up of two enclosures. The top one carries a coaxial tweeter/midrange array surrounded by a quartet of lower midrange drivers and a front-firing woofer. The lower enclosure is home to a pair of opposing side-firing 38cm woofers. The total package is huge at 145cm tall, 50cm wide and 69.4cm deep, about the size of a big fridge/freezer. With the included preamp controller, it weighs in at just short of 350kg. Your listening room floor had better be solid. Finish options are limited to either black or white. Either way, these are not speakers that just blend into the room unobtrusively.

The 8381A package comes with dedicated Class D power amplifiers that are specifically calibrated at the factory to match their intended enclosure. Power output? A total of 5926 watts allows the system to reach a maximum sound output level of 129dB per pair. That’s well into the realms of permanent ear damage, even over very short exposure. We didn’t feel the need to try that out.

There is a lot more here than just muscle, though. The tweeter is a 25mm compression design that sits deep in the throat of the midrange unit, much like the dual concentric designs that Tannoy specialises in. The advantage of such an arrangement is that dispersion is even in all directions and the acoustic centres of both drive units (the place where the sound appears to come from) are matched. This configuration helps integration too.

Where the 8381A differs from any other design we’ve seen is that it adds a quartet of dome midrange drivers around the coaxial unit. These are 12.7cm in diameter and generate a wavefront that in effect extends that of the main array to lower frequencies where the front-facing 38cm bass unit takes over. Factor in the effect of the carefully contoured horned-loading front panel and the result is a very wide listening sweet spot that retains a remarkable degree of focus and tonal balance as we move away from the prime listening position. This is a valuable trait in recording studios where engineers may be working at either end of a large mixing desk but also has benefits in the home when you don’t want to be tied into just one spot for the best results. Alternatively, assuming you are social, more than one person at a time can enjoy optimal sound.

There is another element to the 8381A package that separates it from pretty much any high-end domestic stereo speaker we’ve heard, and that’s the GLM (Genelec Loudspeaker Manager) calibration software. This is a wonderfully flexible way of controlling the sound from the speakers, allowing the user to tweak the presentation to taste as well as compensate for a multitude of room issues. The idea isn’t that GLM makes the acoustic quality of the room irrelevant, more that it is most useful for optimising an already decently balanced space. If you buy a pair of the 8381A, the company will install and optimise the results for you.

The package is fronted by the 9320A controller/preamp. It is a neat compact unit with USB-C, AES/EBU digital and balanced 6.3mm analogue inputs, as well as a 6.3mm headphone, AES/EBU digital and 6.3mm balanced analogue outputs. In our demo, we find the 9320A is nice to use and simple to operate.

Sound

So how does the full 8381A package sound? It is always hard to make definitive statements when we’re listening to new kit in an unfamiliar environment we’ve never heard before, in this case a slightly acoustically-treated demo room in White City. But our initial impressions are massively positive.

Given the size of the speakers and the huge power reserves of the amplification, it wouldn’t be unreasonable to expect the Genelec to play loud without issue. That certainly proves the case. They stay remarkably clean and unstressed even when pushed very hard. There is no hint of harshness or edge up to the point where we give up and turn the volume down.

Next, with six woofers, each 38cm in diameter, it is no surprise that the 8381A digs to subterranean levels with ease. However, we were not expecting this level of bass quality; even the deepest notes are delivered in a wonderfully crisp and clean manner. Lows are astonishingly fast and articulate, stopping and starting with the agility we usually only hear at higher frequencies. As we listen to Beyonce’s Partition from Tidal, it is hard not to be entranced by the 8381A’s low-frequency ability and wonder why more domestic high-end speakers can’t match its talents in this region.

We follow with Billie Eilish’s Bad Guy, Massive Attack’s Paradise Circus and Kanye West’s Black Skinhead, each highlighting the Genelec’s high level of resolution and ability to organise all that information cohesively. There is plenty of punch, but also precision in the sound. At times, this package is breathtaking in how it can unravel a dense mix. It is highly revealing in general, particularly of dynamics and the way compression is applied to those recordings.

Tonality? That’s not an absolute here in the way it would be with conventional speakers, as the GLM software allows an extensive degree of adjustment. Find the 8381A too bright or lacking a bit of richness? Within sensible limits you can adjust either to taste. Regardless, there is no criticising the seamless way the five drive units integrate. It is exceptional.

So far with the music we’ve chosen during our demo time with the speakers, it all sounds a bit intense, so we opt to drop down a gear to Loom from Olafur Arnalds. We’re glad to report that the Genelec package conveys this calmer recording with skill, moving from an in-your-face presentation to something more soothing. While it is hard to be definitive from this demo, we have question marks over absolute refinement and the system’s ability to render the subtler textures of instruments and voices, but it still produces stirring results. This package is analytical in the extreme, and none the worse for it.

Stereo imaging seems beautifully stable over a wide range of listening positions. It sounds crisply defined but maybe doesn’t quite exhibit the sense of space and depth that we would hope for. Once again, it is hard to make definitive judgements on this without spending more time with recordings we know well.

Early Verdict

If the holy grail of high-end hi-fi is to recreate the sound heard in the studio then the Genelec 8381A package is a home run. It is hardly elegant or luxurious, but the heavyweight engineering coupled with sophisticated room equalisation software results in a terrifically capable yet flexible performer. We leave the audition convinced that Genelec offers a strong and credible alternative to traditional high-end offerings.

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Check out our guide to the best speakers 2024 across all budgets

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We didn't think the KEF LSX II LT wireless speaker system could be beaten for value. The stripped-back version of the standard KEF LSX II took all that we loved about that setup and streamlined it to give the consumer even greater value and, as our five-star review confirms, it worked perfectly. 

We were wrong to think that the LSX II LT couldn't become an even better deal, though. This superb Prime Day deal was one of our favourites from the big event, and best of all, it's still going, pulling the system's price down from $999 to $899 at Amazon, a ten per cent drop that takes a delicious bargain and makes it even tastier. As if that wasn't enough, the very reasonably priced standard version, the KEF LSX II, is also discounted to $1299 at Amazon, so if you want all of the bells and whistles for $100 off, you've got the option there, too.

Be warned that these deals really won't last forever. All of the deals that have remained from Prime Day are on borrowed time, and we just don't know when they'll bounce back to their full RRPs. If you're going to act, act now.  

Best KEF LSX II and KEF LSX II LT wireless speaker system deals

• Read our KEF LSX II LT review
• And our KEF LSX II review

To look at, the KEF LSX II and the KEF LSX II LT are tricky to distinguish, although you might just favour the more luxurious aesthetic of the more costly originals thanks to their attractive cloth covers and greater range of stylish finishes. Crucially, we must point out that the LT isn't a direct sequel to the LSX II, instead acting as a slimmed-down version that drops a few features in the pursuit of greater consumer value.

Both systems use KEF’s W2 wireless streaming platform to navigate services such as AirPlay 2, Chromecast and Bluetooth streaming, plus the likes of Amazon Music, Deezer and Tidal Connect. Both sets allow you to stream your hi-res music library stored on an external NAS drive, with up to 24-bit/384kHz PCM, DSD256 files supported for both, but only the standard LSX II can handle MQA. 

The LT is noticeably lighter on physical connections. The HDMI ARC port, optical input and subwoofer output are consistent across both, but you don't get an auxiliary input with the cheaper model – that shouldn't be too much of a problem if you use the USB-C and optical input to take care of your audio inputs. Crucially, only one of the speakers from the LSX II LT plugs into your power supply (for the LSX II it has to be both), with the LT edition needing to be connected at all times to transfer information from one box to the other. With the standard units, you can have a wired or wireless link for more flexibility during placement. 

Sonically, though, they are both superb systems. KEF is so adept at providing musical balance without being boring, and it's the same story across either of the systems here. They are solid, crisp and as balanced as the Spanish national side, boasting an underpinning of snappy, taut bass that keeps everything clipping along nicely. In terms of sound, there is very little to distinguish the two, so your decision will probably be dictated by price and the necessity to have those extra features that the LSX II LT has discarded.

Which should you pick? That's a tricky question that will depend on your needs and preferences; but either way, you are getting a five-star KEF system at a great rate following Pirme Day.

• Check out the KEF LSX II LT on Amazon
• Or the KEF LSX II on Amazon

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The Astell & Kern Acro CA1000 is the Swiss Army Knife of desktop audio. Because not only is it a headphone amp, it's a music player too, with multiple inputs and a quad-DAC array. And now it's discounted by 70 per cent, dropping by £1450 to just £549 at Amazon.

Astell & Kern Acro CA1000 deal

So what do you get with the product that Astell & Kern bills as its own little "head-fi hero"? For a start, you're receiving a headphone amplifier with a digital audio player combined into a single unit, with the 10cm player essentially rising from the main amplification console and tilting up to 60 degrees for easy access. A&K's excellent portable hi-res players are generally exceptional, so you're not getting a dud here, either. 

The headphone amp can drive high-impedance cans with an output of 15Vrms or lower, and comes equipped with a range of connectivity options – 3.5mm and 6.35mm unbalanced alongside 2.5mm and 4.4mm balanced outputs – for handling a broad spectrum of models.

Internally, the Acro CA1000's quad-DAC offers what A&K describes as "a clear, detailed and balanced sound", whereas the variety of digital and analogue connections "ensures it can be at the heart of any hi-fi set-up". With support for high-resolution audio playback up to native DSD512 and 32bit/384 kHz, it certainly could be.

We're big fans of Astell & Kern's hi-res players, with the Korean brand dominating our list of the finest models for a good while now. In fact, whenever an A&K product drops out of said list, it's usually only to be replaced by one of its newer, shinier cousins. Any deal on one of their models should be considered, but one that slashes the cost by 70 per cent at Amazon? That sort of generosity demands further investigation. 

MORE:

Read our Astell & Kern A&norma SR35 review

Best portable MP3 players 2024: top hi-res music players tested by our experts

The best deals from Amazon Prime Day 2024

McIntosh has launched a Bluetooth hi-fi device positioned as the choice for audiophiles.

The McIntosh MB25 "Bluetooth Transceiver" costs £850 / $600 / AU$TBC, so it certainly has an audiophile-grade price tag. It promises to add Bluetooth to "virtually any high-end audio system from any era", thanks to its versatile range of physical connections. These include balanced and unbalanced stereo inputs and outputs, and digital coaxial and optical inputs and outputs.

That means you can stream your vinyl and CDs to your classic speakers positioned throughout the home, and play music wirelessly from a phone or tablet over Bluetooth. 

It follows the MB20 from 2021, and adds an illuminated front glass panel, the ability to select the desired input in transmit mode, and power controls so it can turn on or off with the rest of a McIntosh audio system.

The Bluetooth 5.0 onboard isn't the latest version of the technology, but it does support high-fidelity codecs like AAC and aptX HD. And it's equipped with a high-performance 32-bit DAC for receiver mode and a premium Analog-to-Digital Converter (ADC) for transmitter mode.

There's no getting around that price. Just last week, FiiO launched a similar device (with added full wireless streaming) for under £100 / $100. Though if you have a classic system, and McIntosh's sound quality is as good as it promises, you might find the MB25 Bluetooth transmitter/receiver worth the extra outlay.

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The best music streamers

Use it with the best music streaming services

And the best hi-res music streaming services

Find out how to add a streamer to your hi-fi system