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

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

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

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

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

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

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

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

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

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

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

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

Can you believe we’re more than half way through the year? Before long it’ll be the end of summer, then Bonfire Night, then Christmas, then another year finished as time marches mercilessly on. What is this quintessence of dust, as Hamlet so perceptively mused?

Sadly for the fictitious Danish Prince, he didn’t have a hi-fi setup to take his mind off of his gnawing existential dread. We can’t offer spiritual counsel, but if you happen to be one of the fortunate souls who take refuge under a pair of speakers and an integrated amplifier, then might we suggest the following tunes to keep the existential wolf from the door?

• Listen to our full Now Playing playlist on Tidal

Lost Boys by Phoebe Bridgers

The six-year wait for a new Phoebe Bridgers album has felt nothing short of excruciating.

Aside from Boygenius's (which Bridgers makes up a third of) self-titled album back in 2022, I’ve held my nerve since the sensational Punisher album was released in 2020, and subsequently became my lockdown soundtrack. Thankfully, my patience has paid off, as Bridgers’ new album, Lost Weekend, is confirmed to release on the 14th of August.

The new record's first single, Lost Boys, has quickly become my favourite song of 2026. I presume that will change once I hear the full album later this year.

Despite the considerable gap between solo projects, this song clearly follows Phoebe Bridgers’ style while evolving certain aspects to ensure it's not just re-treading her discography.

The plucking strings of Halloween and the chorus of trumpets from Kyoto return here, but there is more energy and fullness to the production that makes me think that the new album will be bigger in scale than Punisher.

The star of the show is Bridgers’ folky and earnest lyricism, which treads a fine line between haunting and toe-tappingly groovy. There’s subtext aplenty to dig your teeth into, as Bridgers rarely shies away from heavy themes within her music; this time she spins a metaphor linking modern masculinity, the glorification of violence, and the refusal to accept reality.

Despite the dense subject matter, Bridgers’ euphoric, wistful, and almost nursery-rhyme-like lyrics and vocals create an inviting and harmonious sound that is impossible not to get sucked into.

With a lead single this strong, I am counting down the days until I can listen to her upcoming 16-track album in full.

Words by Lewis Empson

Love Me Or Leave Me by Nina Simone

Over the years, there have been many versions of this tune – from such luminaries as Sammy Davis Jr, Bing Crosby and Doris Day – but they all sound positively leaden next to Nina Simone’s take on it.

It absolutely kicks, from that sprightly intro that doesn’t hang about to her soulful vocals and the extended piano solo that builds like an Ira Levin thriller before erupting in a shower of anger and frustration, reflecting the subject matter and aided Simone’s on-point vocal delivery.

In fact, the whole song is basically that solo bookended by the same verse repeated – first as request, then as demand. In between, the piano starts off playfully dancing around the drumbeat, almost enjoying the situation, before going all Bach on us in the style of his Inventions, but it seems to go on and on – much like it must feel being left in limbo romantically – gradually ratcheting up the intensity until the thundering climax.

This is a true master at work, a classically trained pianist and singer letting rip with her new-jazz styles on an old classic, tearing up the rules only once she’s mastered them. Where Sammy Davis Jr, Bing Crosby and Doris Day’s versions sound a bit mopey, Simone is angry, and is letting us know the only way she knows how.

And this was from Simone’s debut album. What an introduction to one of the 20th century’s most accomplished artists.

Words by Joe Svetlik

Wanted Man by Nick Cave & The Bad Seeds

Wanted Man is featured on Nick Cave & The Bad Seeds' second album, The Firstborn Is Dead. Their sophomore album was the band’s attempt at creating a straight blues record, diving deep into the gothic-southern world that Cave’s writing so often inhabits.

The track was inspired by a song written by Bob Dylan and Johnny Cash, from whom Cave had to seek permission to change the lyrics.

Recorded in Berlin’s Hansa Studios, Wanted Man features roomy, machine-gun-cracking drums beneath Cave’s snarling recitation of the many people and state police pursuing him. Whipping up the song’s ever more urgent disorder, wild organs and Blixa Bargeld’s industrial-cum-country slide-guitar churn this track into a howling blues-infused dust-devil.

The final lyric: “If the devil comes collecting he better hold a six gun in his hand,” neatly summarises the general sentiment of Wanted Man. It is a phenomenal test track for its rhythmic power and textural intricacy, but it makes an even better driving song, played loud.

Words by Ioan Hazell

How Soon Is Now? by The Smiths

Has there ever been a rock outfit more divisive than The Smiths?

You’re either a complete obsessive who, starting at the age of about 14, devoured the Manchester outfit’s back catalogue while crying adolescent tears of cathartic joy, or else you’re one of those people for whom Morrissey’s distinctive mewling is akin to having a particularly large wasp embedded inside your ear canal.

How Soon Is Now? is the track for finding that slim piece of common ground in the Venn diagram of devotees and deniers, a near-seven minute epic that sounds unlike anything you’ve ever heard or are likely to hear.

It’s got all of Morrissey’s usual self-flagellatory mutterings on the isolating misery brought about by excessive shyness, but the star of the show is the siren-like pulse of Johnny Marr’s distorted tremolo guitar, giving the tune a powerful, brooding edge when fired out above thumping drums and an underlaid chugging bassline.

The quiet, introspective Smiths DNA is all in there, but covered in the most deliciously thrilling wrapper. Play it through a capable hi-fi set-up and you’ll have an experience unlike any other.

Words by Harry McKerrell

Light Of The Seven by Ramin Djawadi

One thing that has always remained consistent, despite the arguable fluctuations in quality of Game Of Thrones and its various spin-offs, is the brilliance of its soundtrack. Ramin Djawadi is the mastermind composer behind it, and with House Of The Dragon returning for a fiery third season, now is the perfect time to revisit some of his best work for the franchise.

Light Of The Seven is one of the most famous pieces from the original show, partly for the iconic scene in the season six finale it accompanies. No spoilers here, but it’s a ten minute scene largely without dialogue, with the track and visuals working in tandem to slowly build up tension to a rather explosive climax (if you know, you know).

But the track holds up on its own, and conveys the emotion of the scene without any need for a screen. In a departure for the show, the track starts with a sparse, delicate piano melody.

Slowly but surely, more layers are added – haunting vocals, minimalist violins, and then, suddenly, a massive rumbling pipe organ – until eventually we have a much larger arrangement that is in stark contrast to the intimate opening.

It’s this final part that is the real stress test, with the sudden wall of sound a real assessment of your audio gear’s dynamic range and the ability to keep every instrument identifiable.

Words by Daniel Furn

The Curse by Agnes Obel

We were lucky enough to take a trip down to Bowers & Wilkins’ facility in Surrey to have a listen to the company’s updated Diamond series of loudspeakers, with one of the test tracks used being the opening of Agnes Obel’s The Curse. It’s hard to resist the urge to roll out that old cliché: great minds really do think alike.

The Curse is a masterwork, as is Aventine, the album from which it is taken. In fact, we use the record so often that a hi-res edition has a permanent home on our reference Astell & Kern portable music player, ready and waiting to put a potential pair of wired headphones through its paces.

B&W’s use of those opening few bars to show off its latest speaker roster was no accident. In the space of mere seconds, the track’s taut, almost menacing strings will reveal more about a product’s capabilities than some entire albums, from the breadth of the soundstage to the richness of the textures unearthed.

It’s worth listening to the whole track, though. Just to be sure…

Words by Harry McKerrell

Fallin' by Alicia Keys

It’s been 25 years, but Alicia Keys’ Fallin’, the lead single from her debut album Songs In A Minor (2001), still manages to invoke goosebumps every time I hear it.

It’s been a staple of our test track playlist for years, with her powerful vocals still stirring our souls and grabbing our attention as it did the first time we heard it. When using it for testing speakers, for instance, we always listen out for how well they relay the raw, rough textures of her voice when she belts out the soulful lyrics.

The song is also a fantastic test of your system’s dynamic handling, tracking how well it handles the sudden swell in intensity when the backing vocals kick in, and how quickly it goes back to being quiet and intimate when it’s just Keys and her piano.

The track's sudden shifts in dynamic intensity, coupled with the terrific melody, mean it remains not just a great pop song, but also a great test for any product that comes through our test rooms.

Words by Kashfia Kabir

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Tidal has become the latest music streaming service to clamp down on AI music, following Deezer and Qobuz.

Its new AI policy (whose page seems to be down at time of writing), sets out to shield artists financially while also keeping listeners informed about who (or what) made what they're listening to.

Tidal will identify and flag AI-generated music within the app, giving each track an "AI" badge. It will bar any AI-generated music that impersonates any artist or group, or that "facilitates fraudulent activity." It will remove these using "automatic tools" both immediately and on an ongoing basis.

Music that is 100 per cent AI-generated will also not be allowed to earn any money. Tidal won't allow such tracks to earn royalties, nor to be sold direct to fans.

These tools will only apply to music that is 100 per cent generated by AI, but will roll out to music that's substantially AI-generated "when AI detection technology is sufficiently reliable to do so." And there's the rub.

Like other music services taking a stance, Tidal will rely on AI to detect AI. And as the book world has learned, that's not always 100 per cent accurate.

Also, it's not always clear what qualifies as AI. If someone creates an original composition, but fine tunes it with AI, does that count? The lines are blurred, and will only be more so as AI becomes more sophisticated.

Tidal's policy will kick in on 15th July.

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Oh, Tidal, the love-hate relationship that you and I have.

I am, on the whole, immensely fond of the Norwegian-American hi-res service, having used it as my streaming platform of choice for the past three and a half years.

The music quality remains top-notch, the in-house catalogue is impressive, and it makes me seem cooler whenever normal people ask me which service I’m subscribed to and I reply with something other than Spotify or Apple Music. They do tend to walk away whenever I start talking about bit rates and the death of MQA, though.

My problem with Tidal has always been its pretty mediocre levels of usability, which often threaten to mar your experience and take the shine off those otherwise sparkling hi-res tracks. Strange organisation schedules, ropey CarPlay, unwanted glitches – it’s hardly been plain sailing, but we’ve always managed to muddle through.

The biggest issue I had with Tidal was its handling of downloads. This might seem like a niche concern, especially in an age where you could probably get a reasonably steady wi-fi connection at the bottom of the Mariana Trench, but it matters to me.

It matters because I do a fair bit of travelling, mainly for work, and most planes still don’t offer wi-fi as standard. Even if they do, it often comes with a price attached, especially on long-haul flights. Honestly, it’s like living in the Dark Ages.

Hence, being able to download my music and, crucially, have it work once I’m offline and 40,000 feet in the air, matters. Nobody wants to spend a chunk of their afternoon downloading their extensive back catalogue of songs onto their iPhone, only to discover that, once they’re halfway over France, none of them will play.

That, by the way, is exactly what happened when I was taking a trip to Germany a few months ago and found that only a few of my precious tunes seemed to be working. Despite having downloaded my entire Tidal catalogue – and feeling smug while waiting to board – some songs wouldn’t play. Some would, some wouldn’t, and there was no immediate way of identifying which was which.

Thankfully, the issue seems to have been rectified. Tidal has given its download interface a bit of an overhaul, with a revamped section displaying all of your downloaded tracks in a separate corner of the app.

From here, you can access all your safely banked tunes even when offline, without the app telling you, as it has sometimes done before, that you need to be online, despite the song clearly showing up in the playlist you just downloaded. Make sense of that, philosophy majors.

The experience is far better now. It’s more stable, straightforward and secure, and that lottery of finding out which of your songs has actually made the cut seems to be a thing of the past.

On a more recent trip to Austria for the High End Vienna showcase, all of my downloaded music worked just as it should. No guessing which tracks would work, no glitches on my saved songs, no asking the air stewards for sedatives or a spare parachute.

Things still aren’t perfect, of course. The fact that you still can’t download individual tracks continues to boggle my brain, especially as it must be such a simple thing to implement.

You can go through songs individually and have them saved onto your device on Spotify and Qobuz, but with Tidal, you still have to add songs to your collection or other playlists before you can have them for your own. It’s like some sort of weird loyalty test to make sure you’re serious about the commitment.

Things aren’t entirely rosy once you’re offline and up in the (metaphorical) clouds, either. You can’t queue tracks when in offline mode, even if they’ve been downloaded, which seems like an odd blind spot. Try to do so, and you’ll just get a network error on an angry red banner. Don’t get angry at me, Tidal; it’s a perfectly reasonable request.

Plus, it is still tricky to tell what has and hasn’t been downloaded. Yes, it should be safe to assume that everything within your download section should now be saved onto your device, but given the glitches I’ve experienced in the past, Tidal needs to work pretty hard to regain my trust.

Having differentiation for when you’re not in your download section is where this would come in really handy, putting you in a far better position to figure out which songs potentially aren’t going to be available when you take your next trip.

Again, on Spotify, you’ll have a big green arrow distinguishing which tracks are downloaded and which aren’t, making the whole thing much more straightforward. Pretty simple, right?

All in all, though, Tidal is moving in the right direction. The developers tend to find time to make frequent updates and amendments to the platform’s interface, and they’re transparent about what they’ve added and why they’ve done so.

Downloads were a huge blind spot in the past, but there are positive signs that the issues which have dogged my experience are steadily being rectified.

If so, I can finally enjoy my glamorous jet set lifestyle without the fear of it lacking the appropriate soundtrack. I might pack my own parachute, though. Just in case…

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The humble stereo amplifier has been at the core of any proper hi-fi system for decades, but for most of those it was useless until you added a source or two. These days that’s no longer the case.

Streaming amplifiers need nothing more than a pair of speakers to start singing, with amplification, DAC, connections and all the necessary network technology to play tunes from Spotify, Tidal et al already built in.

Cambridge Audio’s Evo 150 SE and the NAD C 3050 (with MDC2 BluOS-D module) are two of the best examples of this idea in action, but which premium streaming amplifier is better? Let’s take a look.

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): price

When the original Cambridge Audio Evo 150 launched in 2021 it would have set you back £2249 / $3000 / AU$4299, but this revamped SE model comes in at £1999 / $3299 / AU$5795, which is nice if you live in the UK but less so if you don’t.

The standard NAD C 3050 is a stereo amplifier that costs £1349 / $1699 / AU$2699, but with the MDC2 BluOS-D module added to turn it into the Award-winning streaming amplifier, it raises the price tag to £1699 / $2199 / AU$3599. The price can fluctuate – we have seen it drop to £1499 during Black Friday, and at the time of writing, it’s available to order for £1749 in the UK.

Even without a discount that’s still a good £250 / $1100 / AU$2196 less than the Cambridge Audio Evo 150 SE, which makes the NAD an easy winner as far as your bank balance is concerned.

**Winner: NAD C 3050 (with MDC2 BluOS-D module)**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): features and connectivity

One of the Cambridge Audio Evo 150 SE’s strong points is just how welcoming it is. If you’ve got something you want to plug into it, chances are you’ll find the necessary port or socket somewhere on the back.

RCA, optical, coaxial, USB (type B), balanced XLR, HDMI ARC and 3.5mm are all present and correct, plus you get two sets of speaker terminals too. There’s also a moving-magnet phono stage inside in case you want to hook up your turntable. It's an exhaustive list of connections that should keep everyone happy.

Its wireless capabilities come courtesy of Cambridge’s fourth-generation StreamMagic platform, so you get Bluetooth, AirPlay 2, and Google Cast, with Spotify, Qobuz, Tidal (and their Connect versions) all supported along with Amazon Music and Deezer. If you have a networked drive stuffed with digital music it’s also good news, as the Cambridge is UPnP compatible and can play hi-res files up to 32-bit/384kHz PCM and DSD256.

The C 3050 isn’t quite as well equipped on the physical connections front, but NAD has still found space for coaxial, optical, USB (type A), and HDMI eARC inputs, plus a 6.3mm headphone socket on the front. Like the Evo 150 SE, there’s also a moving-magnet phono stage built in. The essentials are covered, then.

Thanks to the MDC2 BluOS-D streaming module, which runs on the exhaustive BluOS streaming platform, the feature set is bountiful, although Google Cast is the only major omission. Spotify, Qobuz and Tidal Connect are available, as is Apple’s AirPlay 2 and Bluetooth, and it also has UPnP support for streaming hi-res files from your local network.

However, it doesn’t support DSD files (which might disappoint some) and PCM playback is limited to a maximum of 24-bit/192kHz. Considering most download sites don't offer tracks higher than that rate, we don't think it's an issue.

The NAD does also come with Dirac Live room-equalisation software, which is useful if your listening room is particularly troublesome from an acoustics point of view.

In terms of power, both use Class D amplification, but the Evo 150 SE also outmuscles the NAD. Cambridge boasts 150W per channel, while the NAD has a still-considerable 100W per channel (both into 8 ohms). It’s a knockout blow that means the Cambridge, combined with its greater features set and broader file compatibility, takes this round without breaking a sweat.

**Winner: Cambridge Audio Evo 150 SE**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): build and design

From an aesthetic point of view, these two streaming amplifiers could hardly be more different.

Cambridge Audio has gone for a modern look with the Evo 150 SE, although you can give it a slightly more retro feel by using the wooden side panels that come in the box rather than the plain black ones. The 6.8-inch colour screen on the front will always give it away as a contemporary bit of kit, though, and we do like how clearly it displays information.

The knurled control dial, which is used to select your sources, feels better to use than the looser-feeling volume one, and you also get a sleek remote control included. Much of your interaction with the Evo 150 SE is likely to be through the StreamMagic app, which is straightforward and intuitive to use.

The NAD C 3050, on the other hand, is very much a throwback, thanks in no small part to those lovely mechanical meters on the front. In fact, you’d be forgiven for mistaking it for something from the past century – and we mean that entirely as a compliment.

The walnut vinyl-covered casework is solid, the controls feel suitably sturdy and the whole thing has a premium feel to it, which is exactly what you want when spending this sort of cash.

What gives the C 3050 away as something more modern than its appearance might suggest is its compatibility with the BluOS app, which makes getting it to stream music simple and hassle-free.

Of course, which of these two styles you prefer will be entirely personal and may just come down to which one matches the rest of your system, which means this one has to go down as a draw.

**Winner: Draw**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): sound

The NAD C 3050 (with MDC2 BluOS-D module) is a current What Hi-Fi? Award winner so it sets the benchmark as far as sound quality from a streaming amplifier is concerned at this price.

It offers a clear, spacious and expressive presentation from both the streaming module and the wired inputs, uncovering detail in a wonderfully organic way that makes vocals really shine.

We say in our review: “It has the midrange clarity and fluidity to shine with a vocal-based group such as The Unthanks. Detail levels are good, but it’s the organic way in which the C 3050 arranges all that detail that draws us into the music. It captures the texture and tone of the sisters’ voices superbly and so communicates the heartfelt passion in the title track, Mount The Air, better than most alternatives we’ve heard.”

There’s plenty of punch and power on offer too, with the necessary dynamism to deliver it properly, along with rich, full-bodied lows that manage to avoid ever sounding sludgy. In our review, we note that Rachmaninov’s Symphonic Dances Op.45 “sounds muscular, delivering lows with a richness and punch that’s enjoyable.”

Even when the music becomes demanding, the soundstaging remains reasonably expansive and nicely focused.

The phono stage is fairly quiet but we never felt the need to bypass it for a separate one when connected to our Rega Planar 2/Nd3. It sounds agile, informative and dynamically interesting – NAD has done a great job of its built-in phono preamp here.

In comparison, the Cambridge Audio Evo 150 SE is even more powerful, but it can struggle to match the NAD C 3050 when it comes to rhythmic cohesion and dynamic subtlety.

Our review notes that it’s capable of “a fluid and spacious sound that is wonderfully clear and detailed”, but you do need to be careful to pair it with the right set of speakers or it can sound rather emotionally detached. Paired with the KEF LS50 Meta or PMC Prodigy 5 speakers, there is a greater degree of warmth, dynamism and pep through the Cambridge.

Be wary of a less harmonious pairing, as it might lead the Cambridge to sound less dynamically exciting with a curious lack of grip and rhythmic propulsion.

When you do get the pairing right, though, the Cambridge Audio Evo 150 SE is capable of delivering songs with great clarity, plenty of detail and the kind of low-frequencies that really thump you in the chest. Unfortunately, the last of those does sometimes go against it when playing delicate compositions such as songs from Joni Mitchell, Norah Jones or Nick Cave. During our testing, we found “that slightly relentless, muscle-bound lower end works with frenetic songs that require that high energy, but it does these gentler, emotive songs a disservice.”

We do find the Evo 150 SE prefers being played at louder volumes, relishing the chance to flex its muscles and show off its scale and power. The start and finish of notes are clearly defined, distortion levels are impressively low, and there is ample punch. In comparison, the NAD sounds smaller-scaled and less powerful, although it is less fussy with speaker matching.

Playing Midnight City by M83 and we find that the “Evo 150 SE’s soundstage is impressively large and wide, with ample space given over to the various instrumentals.”

No matter which input you use, the Evo 150 SE’s open, refined character comes across, although the one thing we would avoid using is the integrated phono stage. It sounds lightweight and muddy, with a lack of detail and dynamism – so if you’re serious about vinyl replay, you would definitely be better off using an external phono preamp.

There’s really only one winner here. While the Cambridge impresses with its scale, power and refinement, it’s the NAD’s greater expressiveness and fluid handling of rhythm that keeps our attention rapt and our foot tapping.

**Winner: NAD C 3050 (with MDC2 BluOS-D module)**

Cambridge Audio Evo 150 SE vs NAD C 3050 (with MDC2 BluOS-D module): verdict

It’s probably not a huge surprise that the streaming amplifer with a What Hi-Fi? Award already sitting in its trophy cabinet is the winner here. But it's not quite so straightforward, as the Cambridge’s presentation has its strengths, while its greater set of connectivity and extensive file resolution specs will no double appeal to many.

The NAD C 3050 (with MDC2 BluOS-D module) has all the essential features, however, and more crucially, it is cheaper and sounds better than the Cambridge Audio Evo 150 SE. So unless you really have something against its retro styling or your music collection consists entirely of DSD files that it can’t play, there’s one clear winner here.

**Overall winner: NAD C 3050 (with MDC2 BluOS-D module)**

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Here it is, folks: our first full review of an RGB Mini LED TV.

We have previously run extensive hands-on tests of a couple of RGB Mini LED TVs – most notably the huge Hisense 116UX – but, due to their astonishing sizes and prices, we’ve had to do the testing outside our own facilities. In our world, that’s not a full review, so those TVs haven’t received star ratings.

The 65-inch Hisense UR9 we have before us today is designed to address the size and price issues that have until now prevented more people from hopping on the RGB Mini LED bandwagon.

This set, then, is leading the mainstream RGB Mini LED charge. And, while it’s a fair way short of perfect, particularly next to a flagship OLED TV, the UR9 is an impressive TV in its own right and a tantalising glimpse at the technology’s long-term potential.

Price

Price is always a hugely important factor whenever we test a product, but it’s particularly crucial to how the Hisense UR9 will be viewed.

In the UK, the launch price of £2999 places the 65-inch UR9 in the same category as flagship OLED TVs such as the new LG G6 and last year’s Award-winning Sony Bravia 8 II.

In Australia, though, the AU$3999 price puts the Hisense UR9 up against step-down OLEDs such as the LG C6.

Most interestingly (and confusingly), while the announced launch price in the US was a super high-end $3500, when the TV actually arrived in shops, the tag was a vastly cheaper $2000, placing the UR9 in an entirely different category, below even step-down OLED models.

Essentially, then, this Hisense is a rather different proposition in each of those three regions. Seeing as we are UK-based and it’s a UK sample we’re reviewing, though, it’s the UK price that we are primarily working with here. And that means the UR9 is going to have to face off against the mighty Bravia 8 II QD-OLED.

Design

The Hisense UR9 is not one of those modern flagship TVs that disappears into your living room.

At 4.5cm thick, it’s decidedly chunky by current premium TV standards, particularly next to the impossibly slim OLED models with which it competes on price.

The rear panel is completely flat, though, which makes the UR9 fairly tidy for wall-mounting, and the overall build feels solid and substantial.

The TV’s general styling is perfectly pleasant, too, though it stops short of being genuinely luxurious. Bezels are slim enough, the dark metallic finish is smart, and the overall aesthetic is clean and restrained, but the UR9 lacks the slick elegance and premium flair of rivals such as the Sony Bravia 8 II and Samsung S99H/S95H.

Hisense has made some nice, practical decisions, though.

The centrally mounted pedestal stand has a relatively narrow footprint of around 42cm, making the UR9 easier to place on narrower furniture than many similarly sized rivals. It also offers two height positions, allowing you either to keep the screen sitting low and tidy or raise it slightly to create extra clearance for a soundbar.

Rows of tiny perforations run down both sides of the set, while larger openings line the top edge. These house the UR9’s side- and up-firing speakers, which form part of its integrated Devialet sound system.

Overall, then, the UR9 is more functional than fashionable – a practical, purposeful TV rather than a particularly glamorous one.

Features and specs

The headline feature here is, of course, the UR9’s RGB Mini LED backlight.

Unlike a conventional Mini LED TV, which uses a white backlight shining through a colour filter layer, the UR9 instead uses separate red, green and blue Mini LEDs to generate colour directly. In theory, this approach allows for both greater brightness and more precise colour reproduction.

Hisense claims peak brightness of up to 3500 nits for the 65-inch model we’re testing here, alongside 980 local dimming zones and a native 170Hz panel, all driven by the company’s Hi-View AI Engine RGB processor.

Gamers are generally very well served – with one unusual caveat. Unlike most premium TVs, which have four HDMI sockets, the UR9 has just three. These are accompanied by a PC-gaming-friendly DisplayPort connection – something that remains extremely rare on TVs.

Is a DisplayPort connection more valuable than a fourth HDMI socket? We have our doubts, but to a small number of very committed PC gamers, it may be very useful.

All three of the HDMI sockets are 2.1-specified, though, with support for 4K/170Hz (and the console-friendly 4K/120Hz), VRR and ALLM. Some brands, including Sony, still offer just two HDMI 2.1 sockets on their TVs.

The UR9’s input lag is decent rather than exceptional. We measured 32.5ms at 60Hz in the standard Game mode, though enabling the Refresh Rate setting reduces that figure to a more respectable, though far from groundbreaking, 24.6ms.

The UR9 supports every significant HDR format currently in use – HLG, HDR10, HDR10+ and Dolby Vision – plus the intelligent Dolby Vision IQ and HDR10+ Adaptive variants that respond to ambient room lighting conditions.

It is also IMAX Enhanced certified, and the UK version of the TV features an anti-reflective, anti-glare screen coating that proves fairly effective at combating bright-room reflections.

Audio specifications are unusually ambitious by TV standards, too. The UR9 features a Devialet-tuned 4.1.2-channel speaker system with dedicated up-firing drivers, plus support for both Dolby Atmos and DTS:X soundtracks.

In the UK and Australia, the UR9 runs Hisense’s own VIDAA smart platform, while the US version instead uses Google TV.

VIDAA still isn’t the prettiest smart system around, but it’s fast, responsive and logically laid out. App support is broadly very good, too, with all of the major streaming services and UK catch-up apps present and correctly supporting the relevant picture and sound formats.

There are, however, a few frustrating omissions. Most notably, the Apple TV app lacks access to the Apple TV store and users’ purchased libraries, so it can’t be used for movie purchases and rentals. That’s a real disappointment, as Apple’s pay-as-you-go store is the best around.

While far less important for a TV, it’s worth noting that music streaming support is sparse, too, with Spotify, Tidal, Apple Music and Qobuz all absent. There are no cloud gaming apps, either.

The inclusion of Freely is welcome, though, as it allows live TV channels to be streamed over the internet without an aerial connection.

Picture quality

The Hisense UR9 makes a superb first impression. In fact, perhaps the most impressive thing about it is just how rarely it behaves like a traditional backlit TV.

Before getting into that, though, some setup advice is required, because the TV’s default HDR settings do it few favours.

When first fed HDR10 content, the UR9 automatically switches into its HDR Energy Saving mode which, despite its name, is surprisingly aggressive. Colours skew cool and bluish, motion processing is overly intrusive, and the overall image looks unnatural and overcooked.

HDR Standard and HDR Dynamic are similarly best avoided, both pushing sharpness, brightness and processing much too hard.

Thankfully, Filmmaker Mode proves far more successful. It delivers the most accurate and balanced picture of the available presets, and it quickly becomes our preferred overall option.

Interestingly, though, IMAX Cinema is also unusually compelling. While its underlying settings appear almost identical to those of Filmmaker Mode, it consistently produces a noticeably brighter and punchier image without obviously compromising balance or naturalism.

As a result, we would stick with Filmmaker Mode for dark-room and purist viewing, but happily switch to IMAX Cinema during the daytime or whenever we fancy a little extra visual intensity.

Once properly configured, the UR9 is an extremely accomplished performer.

Play 1917 on 4K Blu-ray, and the opening logos immediately demonstrate just how well controlled the TV’s backlight system is. Blooming around the bright white text is minimal, black depth is strong, and colours look rich, warm and nicely cinematic.

More importantly, the local-dimming system generally goes about its business without drawing attention to itself. Throughout our testing, the UR9 almost never exhibits the flickering, brightness pumping or visibly shifting backlight behaviour that can make many Mini LED TVs distracting.

That consistency quickly emerges as the UR9’s defining strength. While many bright Mini LED TVs constantly remind you that they are dynamically manipulating a backlight behind the scenes, the Hisense instead achieves a broadly very composed, stable and natural delivery that often feels surprisingly OLED-like.

Blade Runner 2049 showcases this particularly well. Black depth is consistently strong, shadow detail is excellent and subtle blooming is tightly controlled. There’s also impressive richness and stability to colours, especially reds, which look wonderfully pure and saturated without drifting into pink or magenta tones.

Extra-bright HDR material suits the UR9 especially well, too. Pan looks spectacular here, with dazzling highlights and bold, vibrant colours that comfortably outgun the Sony Bravia 8 II for outright brightness in many scenes. Sunlight bursting through clouds and glinting off the fantasy scenery of Neverland is delivered with real punch and intensity.

Crucially, though, the UR9 generally achieves this brightness without sacrificing balance. Skin tones remain natural, and there’s a pleasing cinematic warmth to the image – and it doesn’t drift into gaudiness.

Motion handling is strong, too. The default Film setting is decent enough, but switching Motion Enhancement to Clear results in noticeably smoother pans without introducing the distracting soap-opera effect or processing artefacts that such systems often create.

The notoriously difficult Matera cemetery and chase sequence from No Time To Die is handled particularly well, with impressively little judder to the panning shots and clean rendering of drifting smoke and rapid camera movement.

Dropping down to standard-def and SDR, our Kiss Kiss Bang Bang DVD is reproduced with pleasing warmth, strong detail and impressively clean upscaling. Colours are arguably pushed a touch too hard at times, but the overall presentation remains highly enjoyable and consistently cinematic.

For all of the UR9’s strengths, though, direct comparisons with a top-tier OLED TV still reveal the limitations of even this undeniably refined RGB Mini LED model. Despite its impressive local-dimming system, the Hisense simply cannot match the pixel-level contrast control of the Sony Bravia 8 II.

Extremely bright highlights against deep black backgrounds are sometimes handled slightly conservatively, presumably to avoid blooming. Perhaps counterintuitively, those bright white logos against pitch-black backgrounds appear more intense and impactful on the Sony OLED than on the much brighter, on paper, Hisense.

More significantly, the OLED TV produces a more solid and perceptually three-dimensional image across the board. Objects and characters stand out from their surroundings with greater depth and dynamism, while subtle gradations within clouds, shadows and highlights appear more convincing and refined, creating a more rounded look.

This isn’t a new phenomenon: we have documented that extra solidity you get from OLED plenty of times previously, most notably when we used the Sony Bravia 8 OLED as a comparison in our Bravia 9 Mini LED review. But it bears repeating for those who are choosing between an OLED and a backlit TV.

Viewing angles are another clear OLED advantage. While the UR9’s picture performance doesn’t entirely fall off a cliff when you move off-axis, the sweet spot in which it performs at its very best is surprisingly narrow.

And while the UR9 usually keeps blooming impressively well controlled, especially for a backlit TV, particularly torturous scenes can still expose its limitations.

The bomb-test sequence in Oppenheimer is a great example. From the UR9, there’s a slight general greying to the image, plus some visible glow around isolated spotlights in the darkness. The opening starfield of Alien: Romulus, meanwhile, reveals that the UR9 cannot simultaneously maintain truly inky blacks and perfectly intense star highlights in the way an OLED can.

To be clear, the Hisense performs well in these scenes by LCD standards, and many owners may never notice such shortcomings during normal viewing. But they do prevent the UR9 from truly matching the effortless contrast precision and dimensionality of the best OLED TVs.

Sound quality

Developed in partnership with Devialet, the UR9’s 4.1.2-channel speaker system delivers a surprisingly expansive and full-bodied presentation by TV standards, with particularly impressive width and height effects.

The Theatre sound mode is the most immediately striking of the available presets, producing a presentation that extends well beyond the physical boundaries of the TV and creating a convincing sense of spaciousness with Dolby Atmos soundtracks.

There’s decent bass depth, too, and the UR9 maintains good composure at high volumes, avoiding the harshness and distortion that can afflict many flatscreen TVs when pushed hard.

The overall presentation is smooth and rich in character, which makes the UR9 an easy and enjoyable listen over long viewing sessions.

It isn’t perfect, though. Dynamics are a little stunted, and action scenes lack some of the punch and excitement they deserve, while dialogue could be projected with greater clarity and emotional expression.

The Theatre mode also slightly overplays its hand at times. While its extra spaciousness is undeniably appealing, it introduces a faintly diffuse and echoey quality to voices, along with a slight sense of delay that makes speech sound less natural than it should.

As a result, we find ourselves preferring the Standard sound mode for most content. It still sounds pleasantly spacious and open, but delivers dialogue with greater focus and cohesion while maintaining good weight and scale.

Ultimately, while even a modest dedicated soundbar will comfortably outperform it, the UR9’s audio system is better than that of most TVs, even at this lofty level.

Verdict

In several ways, the Hisense UR9 is one of the best backlit TVs we have ever tested.

Most of the time, you’re not even made aware that it is a backlit TV, so good are its black levels, its control of blooming and its consistent, flicker-free contrast.

While it is possible to trip up the backlight, it’s quite hard to do so, and many buyers may never see an unsightly bloom in their period of UR9 ownership.

But while this first mainstream RGB Mini LED TV is broadly mercifully free of the flaws that generally afflict backlit TVs, it still can’t match the overall picture quality of the best OLED models.

The pixel-level contrast control of OLED brings benefits in several areas. There are the notably brighter highlights on very dark backgrounds that even accomplished backlit sets, such as the UR9, are too cautious to go all guns blazing with for fear of blooming. There are the almost flawless viewing angles, too, which the UR9 is a long way from matching.

The biggest thing, though, is the generally more solid, more perceptually three-dimensional image that OLED provides. Next to the Bravia 8 II, the Hisense UR9 simply looks flatter, less dynamic and less impactful.

Ultimately, as enjoyable and technically impressive as the UR9 is, we can’t think of a good reason you would buy it over a flagship-grade OLED, and that’s the level at which Hisense is pitching it – at least in the UK.

Of course, if you are someone who has a flagship-level budget for their next TV and a general aversion to OLED, the Hisense UR9 should be right around the top of your list.

If you’re a UK buyer, it’s probably a good idea to wait and see if we get a massive US-style discount before placing an order, though.

SCORES

• Picture 4
• Sound 4
• Features 4

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If you happen to be in the UK or other select parts of Europe, you'll probably have been blessed with an extra hour of sunlight at the end of your hard slog of a day, thanks to the clocks leaping forward by an hour. Forget the farmers and their darker mornings, it's time to play hacky sack in the park until 9.00 pm with your best bros.

Do people still play hacky sack? Did they ever?

Moving on. While the temptation to go out galivanting until late hours of the evening may be strong, we've got a selection of tasty tunes to pull you back into the shadowy realm of your devoted listening space, with belters from the likes of Harry Styles, Rosalía and Gnarls Barkley all on this month's menu.

Vitamin D, eh? Who needs it?

American Girls by Harry Styles

During my school years, I was deep in the One Direction trenches (I already feel the judgment). The charismatic Harry Styles always stood out to me the most, with his swoopy hair and cheeky grin. So when he went off to have a solo career back in 2016, I was curious to see how his music would evolve.

It has certainly changed for the better. His latest album, Kiss All The Time, Disco Occasionally, may be awash with almost nonsensical lyrics, but it’s an excellently produced collection with plenty of toe-tappers.

The track that has been on repeat in our test room since the album came out is American Girls. It starts slowly and quietly with a creeping electronic whine, which is then interrupted by a more acoustic-sounding piano.

Next, the punchy drum track kicks in shortly followed by Harry’s moody vocals. An extra layer of bass is introduced, which can easily feel blobby and slow the song down if not portrayed with the right level of bounciness and pep.

If you haven’t given the new album a try, this is the track to start with.

Words by Robyn Quick

Berghain by Rosalía

Is it pop? Is it opera? Whatever it is, Rosalía’s staggering symphonic smash Berghain is a mini sensation. The three-minute epic is crammed to the brim with enough orchestral drama to make a conductor’s baton wilt. Your speakers had better take 20 minutes to do some deep stretches, because this really is a proper, proper workout.

Performed in at least three different languages (Rosalía has apparently demonstrated her linguistic prowess by singing in more than 10, the big show off), this is the sort of bombastic, boundary-stretching pop that has cemented the Spanish songstress’s legacy as one of the most forward-looking artists working today.

Also featuring vocals from our ever-beloved icon Björk, who herself heavily influenced Rosalía and duetted with her on the enjoyable charity single Oral, Berghain skids and skates between thunderous, Wagner-esque opera to the sort of erratic strings you’d usually find on Vivaldi’s Four Seasons.

This is classical made accessible without for a moment dumbing it down, and the result is an absolute thrill ride.

Words by Harry McKerrell

Bulls on Parade by Rage Against the Machine

For many of us, Rage Against the Machine were the sound of rebellion – even if our rebellion was jumping up and down on the bed in our room as the music played one volume higher than we were meant to.

And with so much stuff to get your blood boiling going on in the world and age generally making me more cantankerous, this month I’ve found myself playing Rage Against the Machine’s Bulls on Parade more than a few times.

First, because the iconic song is turning 30. Second, because despite its age, it remains as relevant and awesome as ever. Featuring Zack de la Rocha’s iconic, politically charged vocals and Tom Morello’s instantly recognisable guitar style, the track is a great example of everything that makes Rage Against the Machine so iconic.

And as an added bonus, the track's bouncing rhythm, rapid shifts in volume and booming bass make it a great gauge of any system's low-end heft, dynamics and general ability to go loud. If you’re not listening to it at a Spinal Tap 11, you’re not doing it right…

Words by Alastair Stevenson

Tomorrow Died Today by Gnarls Barkely

Gnarls Barkley is back, baby!

Or maybe that should be Gnarls Barkley are back, because despite the confusion caused by people thinking that Gnarls himself is a person in his own right, it is in fact a duo consisting of legendary producer Danger Mouse and soul crooner CeeLo Green.

Regardless of singular / plural confusion, it’s a triumphant return for the duo following a yawning 18-year hiatus. Atlanta is the first record Gnarls Barkley have put out since 2008’s The Odd Couple, with the team behind 2006’s smash-hit Crazy

Tomorrow Dies Today is the album’s cheery opener, shifting from sparse, hand-clap-backed verses to a clamorous, fear-inducing refrain as Green’s unmistakable soul wail laments the end of all times.

“Take cover all God’s children / Even the sun has gone to hide / The sky is raining bullets / And I’ll never forget the day that tomorrow died.”

The world may be ending, but it will have one heck of a soundtrack when the lights go out.

Words by Harry McKerrell

Days We Left Behind by Paul McCartney

Paul McCartney is one of the world’s most famous musicians, having been a member of a little band called The Beatles, and this week I’ve had his new single Days We Left Behind playing a fair bit.

This was a surprise, for a couple of reasons. First, because McCartney has never been my favourite Beatle (team Harrison all the way). Second, because I’ve never quite gelled with his other recent albums.

While they’ve all been well composed and recorded, as you’d expect from the man who helped create the blueprint for pop music, they’ve felt a little hollow, and dare I say, try hard. Like a man looking too hard to relive his glory days and remain relevant.

Days We Left Behind shows a positive shift away from this that I’m all for. The track is a thoughtful, backwards-looking, gentle ballad full of whimsical reminiscing and occasional melancholy laments over getting old.

It’s not his best work ever, but it is a solid reminder of why McCartney has been such a powerful force in music for the past 50 years – he was one of The Beatles' primary songwriters, let's not forget.

Featuring a gentle plucked acoustic guitar composition and sweet, but mature vocals, the track is a slow burner that expertly pulls at your heartstrings, evoking a sense of loss that comes to many of us with age, but without ever feeling maudlin.

If you’re a fan of The Beatles, even if you fell out of love with McCartney’s other recent work as I did, I’d strongly recommend giving it a listen.

Words by Alastair Stevenson

Like A Dog Chasing Cars by Hans Zimmer

We’ve been using Hans Zimmer’s peerless The Dark Knight soundtrack since before I was even a part of the What Hi-Fi? team, with our pristine CD copy regularly wheeled out any time we’ve got a disc spinner that needs testing, or we want to see how well a given speaker or hi-fi separate deals with a digital source.

However you play it – CD, streaming, vinyl if you’re lucky – there aren’t many soundtracks that can compete with The Dark Knight for its grim, brooding grandeur and adrenaline-inducing explosiveness. Each track’s a winner, but we regularly pick out Like A Dog Chasing Cars for its layered, propulsive nature and its ability to communicate an ever-rising sense of dread and drama in equal measure.

It’s a track with a metronomic, almost hypnotic repetitiveness as sharp, clacking percussive strikes bubble underneath, with sequential passages of strings and drums which should, through the right system, have sufficient articulation and phrasing to feel like the roll of waves on an increasingly stormy sea.

For gauging dynamics – both small and large-scale – as well as how your system keeps track of those deep, rumbly bass notes, Like A Dog Chasing Cars is ideal for testing whether your hi-fi is a heroic performer, or just a bit of a Joker.

Words by Harry McKerrell

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Sony has just announced the latest additions to its Bravia Theatre Bar range of Dolby Atmos soundbars (plus two new Bravia TVs). And it’s not quite what we were expecting.

Rather than replace the flagship Bravia Theatre Bar 9 or the step-down Bravia Theatre Bar 8, both of which launched almost two years ago, Sony has decided to launch more affordable models below them.

Bravia Theatre Bar 7

First up is the Bravia Theatre Bar 7, which replaces the long in the tooth, four-star rated HT-A3000.

The Bar 7 has a design very similar to that of the Bar 8 and Bar 9, with a rounded mesh front and a metallic, angular rear.

But while it’s the same height and almost the same depth as its more premium siblings, the Bar 7 is significantly narrower, at 95cm compared with the Bar 8’s 110cm and the Bar 9’s 130cm.

It’s worth noting that this means the Bar 7 is still a good deal longer than the 65cm Sonos Beam Gen 2 with which it seems destined to do battle.

As with the other Theatre Bar models, two feet are included in the Bar 7’s box. These can be used to elevate the Bar 7 just a little so that it can straddle an awkward TV pedestal stand. A wall mount is included as well.

Unlike the Sonos Beam, the Sony Bravia Theatre Bar 7 features dedicated up-firing speakers, one at each end of the top panel. These are full-range Sony X-Balanced designs.

They are joined by a full-range X-Balanced driver at each end of the bar, plus two forward-facing X-Balanced woofers for the left and right channels, a full-range X-Balanced centre speaker, and two tweeters.

And that’s not all – there are four passive radiators for additional bass, too.

Sony then uses its 360 Spatial Audio technology to create an additional five phantom speakers, which are designed to generate a bubble of sound.

This is the basis for the Bar 7’s reproduction of 3D Audio, which it can handle in both the Dolby Atmos and DTS:X formats.

The compact bar is IMAX Enhanced Certified, too, though only when the optional rears and a subwoofer are connected.

Speaking of which, there are two variants of this new soundbar. You can buy the solo Bravia Theatre Bar 7 (also known as the HT-A7100), or you can buy a bundle that also includes the 100W Sub 7 subwoofer.

This bundle is known as the Bravia Theatre Bar 7 + S, or HT-AP710.

Away from movies, there is support for Apple AirPlay and Spotify Connect, but Tidal Connect appears to be absent.

The Bar 7 comes with the same remote as the Bar 8 and Bar 9. It isn’t fancy, but it is better than no remote at all.

Of course, it will be possible to control the volume using your TV’s remote control, and if your TV is a recent Sony, you’ll be able to access more or less all of the Bar 7’s settings and controls via the TV’s onscreen menus.

Want more ways to control and tweak the Bar 7? No problem: it’s also compatible with the very good Bravia Connect app.

This is also where you complete Sony’s ‘Sound Field Optimisation’ calibration, which attempts to adapt the sound to your room and seating position.

As you would expect, the Bravia Theatre Bar 7 is designed to be connected to your TV via HDMI eARC (in fact, this appears to be another new soundbar without a legacy optical input), but unlike many rivals, there is also a dedicated HDMI input, and the soundbar supports passthrough of 4K/120Hz, VRR and ALLM.

Bravia Theatre Bar 5

Sony has also announced a new entry-level model in the Bravia soundbar range.

The Bravia Theatre Bar 5 is a package that contains a compact three-channel soundbar and a fairly bijou wireless subwoofer to make a neat 3.1 system.

Despite the lack of up-firing drivers, the Theatre Bar 5 is able to reproduce Dolby Atmos and DTS:X signals using Sony’s Vertical Surround Engine, which has previously impressed us in models such as the Bravia Theatre System 6.

Unlike the Bar 7, the Bar 5 doesn’t feature HDMI passthrough, but it does have an optical input nestled alongside the HDMI eARC socket.

News subs and surrounds

The two new soundbars are joined by optional new subwoofers and surround speakers, and these are very much flagship models.

The new Bravia Theatre Sub 9 is a gorgeous, sci-fi-styled cube that replaces Sony’s current SW5 flagship subwoofer.

Each half of the cube (it’s not actually a perfect cube, but it looks close enough) features a 20cm aluminium driver.

These are dual opposing drivers that employ phase cancelling to deliver smooth, ultra-deep, distortion-free bass, according to Sony, which also claims a monstrous maximum power output of 600W for the Sub 9.

The Bravia Theatre Sub 8, meanwhile, is essentially half of the Sub 9. It features one of the 20cm aluminium drivers and a claimed power output of 300W.

The new subwoofers are compatible with the Bravia Theatre Bar 9, Bar 8 and Bar 7, as well as the Bravia Theatre Quad.

Thanks to a post-launch software update, you will even be able to pair two of these subs (or two Sub 7s, for that matter) with one of the bars, though the Quad system can still have just one subwoofer.

Finally, the new surround speakers.

The Bravia Theatre Rear 9 speakers replace the RS5s and sit above the existing Rear 8s.

They feature a minimalist, cylindrical design, with a metal ring around the top that matches the metal band around the rear edge of the soundbars.

Each Rear 9 features two 80mm aluminium drivers, one facing forwards and the other upwards (with a bit of a forward-tilting angle), plus a front-firing 16mm tweeter and a side-facing passive radiator.

A swivelling wall-bracket for each speaker is included in the box.

Unfortunately, Sony hasn’t yet given us launch dates or prices for any of this new audio kit, but as soon as we have that information, we will update this story.

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Spotify has introduced a new 'Exclusive Mode' as a way for its Premium subscribers to access "bit-perfect" audio playback when listening using the desktop app.

According to Spotify, this new mode gives the music streaming platform's desktop app control of the audio processing on your computer or laptop, meaning you'll be listening to songs "exactly as they were mastered." This mode is available to Windows users now.

Spotify says in a community post that your multi-tasking computer "may alter audio before it reaches your DAC by resampling it, mixing other system sounds in, and changing the volume." Turing the Exclusive Mode on ensures that all other sounds from your computer are "disabled" so that the Spotify desktop app can deliver the highest quality and "most accurate version of a song possible."

That makes it better suited, says the platform, to listeners with external audio equipment like a DAC "who want the purest possible sound". Spotify still advises – as we would – that you'll need wired headphones connected to an external DAC and use the Lossless tier to ensure you are getting the highest possible audio quality without any drop in resolution.

To get access this Exclusive Mode, open the Spotify desktop app, head to settings and then scroll to the Playback tab. Under Audio output, select your device from the dropdown, and then toggle Exclusive Mode to on.

Note, however, that while Exclusive Mode is switched on, Spotify will have, as the name suggests, exclusive control of your selected audio device, so other apps will need to use a different output in order to be heard.

The Exclusive Mode is available for the desktop app (not mobile) and is available now for Windows users, with Mac roll-out expected in a future release.

Spotify has already made the earth-shattering announcement in late 2025 that it would finally be adding Lossless streaming, granting access to hi-res 24-bit/44.1 kHz FLAC file quality for Premium subscribers.

With the introduction of Exclusive Mode, it looks like the Swedish streaming giant is pushing harder than ever to provide higher-quality performance to head off competition from five-star rivals Tidal and Qobuz.

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Even if you're unfamiliar with Max Richter's name, there's a good chance you're more au fait with his music than you perhaps realise.

The German-British composer has been pouring out emotive, often minimalist compositions for the best part of two decades, while his work as a successful movie composer culminated in an Oscar nomination for his score to the much-acclaimed heartbreaker Hamnet earlier this year.

Existentially minded and a proponent of the slow, richly emotive style that you'll find mirrored in the work of Nick Cave and Warren Ellis (see The Road, The Assassination of Jesse James et al.), Richter's work on Hamnet felt like the purest evocation of the man's deeply resonant style – mournful, elegiac and designed to elicit just the mildest of existential crises.

The Hamnet score is indeed made lovely by virtue of its overwhelmingly beautiful evocation of loss and despair, but if you want to go full Richter, you'll need to look back in time to a rather more hidden, but no less sparkling, musical gem.

Back in 2017, Christian Bale and Rosamund Pike fronted Scott Cooper's solemn, often grim post-western drama Hostiles, a sparse and oft-brutal work which, while reasonably well received at the time, seems incapable of fully breaking away from the shadows of its relative obscurity.

Following the story of Bale's US cavalry officer escorting a Cheyenne chief back to his home in Montana during the late 19th century, and experiencing increasing guilt and disillusionment with his nation's role in the decimation of the native population, it was exactly the sort of solemn, impactful epic to which Richter could turn his talented hand.

What's so remarkable about Richter's work on Hostiles is that, such is the man's ability to tell a convincing story with nothing but wordless instrumentation, you don't need to have even watched the movie to understand exactly what is being communicated by his accompanying compositions.

Hostiles is well worth a watch, but you can play the entirety of the soundtrack and feel, quite justifiably, that you've experienced the narrative just as fully and splendidly, albeit via the medium of music rather than screen.

Never Goodbye evidences that sublime musical storytelling in its starkest and most evocative terms. An ever-rising, continually building concoction of full, longing strings, Richter's work is its own tale in musical form, packed with the emotions and experiences of a great narrative work communicated with harrowing yet wordless wonder.

Never Goodbye is everything. It's grief and guilt, pain and sorrow, anger and frustration. It's the musical evocation of emotion itself, tracking the way that these tempestuous feelings rise from gentle embers to a raging blaze, from a trickle of water to a torrent that floods everything in its path.

Only the best speakers and headphones will fully do it justice. When those strings really swell and the composition unleashes its ground-shaking power, you need something to communicate fully the awesome emotional power of Richter's masterwork.

The Fyne F502S towers spring to mind as speakers capable of tackling this titanic task. As we said in our review at the time: "The F502S have the nous and nuance to provide the track’s opening piano and strings with the subtle delicacy they require, switching gears as the piece grows and swells to create a powerfully rich, resonant reproduction that fully brings out the music’s haunting resonance."

Never Goodbye is Hostiles' big finale, but Richter's soundtrack is peppered with gems that evoke both the minute internal workings of the film's fractured characters alongside the broader, more existential themes of the world conjured by director Scott Cooper.

The Lord's Rough Ways, for instance, trades the grandeur and scale of Never Goodbye for a quieter, more reflective composition, with fulsome strings replaced by the delicate twinkling of a solitary piano. It's not a complex affair by any stretch, yet such is Richter's talent for extracting so much from seemingly so little, the music practically drips with a sort of deep-rooted sadness that enraptures you from the very first chord.

If you do want to be more technical about things, it also makes for a strong test tune when you just want to discover how well your system or speakers are capable of handling space and subtle detail.

That piano should sit in a well of surrounding silence, and you should be able to track the rise, swell and decay of each keystroke with absolute clarity and precision via a competent set-up. When those piano keys do ebb and decay, they should fall away into a haunting void of nothingness.

If you want the full Hostiles experience – and indeed, want to go the full Max Richter – take an hour out of your day and just play the whole soundtrack from start to finish. Each track is its own mini narrative, but playing the whole composition gives you the richest evocation of Richter's emotive vision playing out before your ears.

What the soundtrack to Hostiles does, through the right system, is remind you not only of music's raw emotional power, but of its capacity as a tool of communication. So often we recommend using test scores and tracks for their pure emotional weight, but with Hostiles, you're seeking something more cohesive and comprehensive. You're going, to use that horrible cliché, on an actual journey.

You're looking for a sense of music telling a story. You're seeking a sense of character, of place, of feelings rising, burning brightly and then fading as they transform into something else entirely. You don't need to have seen the movie: you'll know just what is being said just by listening to the music.

That is the key to all of Max Richter's greatest compositions: that even without words or explanations, they can communicate the most evocative tales. Get them playing on a great system, and those stories will simply tell themselves.

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When Cambridge Audio first unveiled its Evo 75 and 150 models back in 2021, streaming amplifiers weren’t quite as widespread as they are now. These premium units housed power amplification, DAC, preamp and streaming modules all in one neatly designed box – all you need to do is add speakers. Both got five stars.

Since then, plenty of established hi-fi and emerging audio brands have joined in on the action, offering a range of streaming amplifiers in all shapes and at all prices.

Cambridge has given its Evo 150 model a refresh (the cheaper Evo 75 is now discontinued), bringing purported sonic upgrades while keeping its ample feature set intact. The SE in the name might stand for ‘special edition’, but this is no limited, fleeting model with an unusual finish. It’s a full production model that aims to appeal to hi-fi and casual/lifestyle users alike. Does it succeed?

Price

At £1999 / $3299 / AU$5795, the Cambridge Audio Evo 150 SE is cheaper in the UK than the original Evo 150, which launched at £2249 / $3000 / AU$4299. Those in the US and Australia will unfortunately be paying more for the new model.

At this price range, our favourite streaming amplifier is the NAD C 3050 (with MDC2 BluOS-D module), which can be yours for less at £1699 / $2199 / $3599. The NAD isn’t just a current What Hi-Fi? Award winner; it’s also the recipient of a coveted Product of the Year trophy, so Cambridge Audio has some mighty competition to reckon with.

Features & connectivity

On the whole, there is plenty about the SE version of the Evo 150 that hasn’t changed. Its amplification power rating remains the same 150W per channel (into 8 ohms), it uses the same ESS Sabre ES9018K2M DAC chip, and has the exact same set of connections as before.

That might be a disappointment to some, but the original Evo 150 was so feature-packed that it would be difficult to see what else Cambridge’s engineers could add to it. As we said in our original review, “There’s little you can’t plug into the Evo 150.”

So what has changed? Instead of superfluous changes, Cambridge’s engineers have concentrated on elements of the internal circuitry to improve performance as much as possible. Firstly, there is a new Hypex NCoreX Class D amplifier module, which has been custom-tuned by Cambridge to deliver a “warm, dynamic and controlled sound” across all inputs. Additionally, the SE model uses uprated components, and features improvements throughout the signal path.

The Evo 150 SE runs on the current, fourth-generation StreamMagic platform, which offers a well-equipped, slick and user-friendly interface for all your streaming needs. All the popular music streaming services – Spotify, Qobuz, Tidal and their Connect versions, along with Amazon Music and Deezer – are supported, as well as internet radio.

Bluetooth, AirPlay 2 and Google Cast are also on board for easy streaming from mobile devices, and you can even connect a pair of wireless headphones by choosing Bluetooth as an audio output. You can stream large digital media libraries stored on hard drives or NAS drives connected to the same network thanks to UPnP compatibility, too.

File compatibility is extensive, with the Cambridge supporting hi-res audio files up to 32-bit/384kHz PCM and DSD256, and streamed playback is stable across both wi-fi and wired Ethernet set-ups.

As before, there are analogue and digital connections aplenty on the Evo 150 SE, including balanced XLR alongside the usual RCA line level inputs. You get an HDMI ARC input so you can use the Evo with a TV, and there is a moving magnet phono stage built in for connecting a turntable directly.

Optical, coaxial and USB type B inputs are available so you can plug in a variety of sources (we used a CD player and a laptop), and there is a 3.5mm headphone port for plugging in your favourite pair of wired cans.

The Evo 150 SE can also function as a preamp and, unusually at this level, there are two sets of speaker terminals in case you want to run a second pair of speakers in a different room.

In short, there is little the Evo 150 SE can’t do or play. Even streaming amplifiers double the price tend to struggle to deliver such exhaustive options.

Build & design

Physically, there is even less difference compared with the original model, but it’s hard to complain when the Evo 150 SE is such a looker. It’s a well-designed streaming amp, from the appealing footprint that’s roughly the size of a vinyl record sleeve, to the clean, modern and minimalist styling – for many, this streaming amplifier will have more lifestyle appeal than many of its more traditional hi-fi rivals.

The black aluminium cabinet is well made, and the Evo’s party trick is swappable side panels that you can change up to suit your tastes or match your interior design. There are two options in the box – a real wood veneer and a (new) all-black, slatted option – that snap on magnetically.

The front of the unit is dominated by a 6.8-inch full-colour screen that’s crisp and brightly contrasted, showing off album artwork with punchy colours. We especially like how large the font is, as song and artist names, and source inputs, can be clearly read from across the room. The knurled pattern on the control dial is slightly different from the previous model, but it feels well-machined and offers good grip when scrolling through the sources.

The volume dial, in contrast, feels less precise in action, and we wish this was given as much attention as the control wheel. The small strip of buttons on the side of the screen returns, and while they still feel a little cheaper than the rest of the unit, they are handy to have.

A sleek remote control handset is also included here, and we must applaud Cambridge for how well the unit responds no matter what you use to control it. During testing, the Evo 150 SE is a joy to use; we didn’t encounter any hiccups or barriers to playing our music no matter what method we used.

Most of the music playback control will naturally be done using the StreamMagic app, which is an organised, user-friendly interface that works in perfect unison with the streaming amplifier. There is a basic slider for room compensation and a suite of EQ settings, but otherwise the Evo 150 SE is a straightforward, plug-and-play operation.

You can hide unused inputs in the StreamMagic app so only the relevant sources and favoured streaming options are at your fingertips, while saving/selecting presets and scrolling through our large music library stored on a Naim Core server are intuitive in use. It’s a smooth system.

Sound

We plug our reference Epos ES-7N speakers into the Cambridge, rev up Midnight City by M83 and are put smack in the middle of a big, shiny, neon-lit soundscape. The Evo 150 SE’s soundstage is impressively large and wide, with ample space given over to the various instrumentals. The dreamy synth track is delivered with clarity and plenty of detail, with enough headroom and shine to the sparkling synths – but never making those highs sound too bright or wince-inducing.

Play Meltphace 6 by Aphex Twin and the Cambridge eats up the ambient noises with relish; the initial sparse electronic noises bubble around in a spacious, enveloping soundscape that’s fairly easy to listen to. The stop and start of notes are clearly defined, and the punctuating, low-frequency beat thumps you in the chest with brawny physicality.

The Evo 150 SE prefers being played loudly rather than at softer volumes, and you’ll be rewarded with a clean, powerful sound with little distortion as you turn the volume up and up.

That powerful bass can sound a little overcooked when listening to more delicate pieces of music, such as Waxahatchee, Norah Jones, Nick Cave or Billie Eilish. That slightly relentless, muscle-bound lower end works with frenetic songs that require that high energy, but it does these gentler, emotive songs a disservice. Toning down the bass EQ helps mitigate this somewhat, but the more we listen, we find that while there is plenty of punch through the Cambridge, its rhythm and dynamic prowess are lagging somewhat behind.

There is a curious lack of real grip and propulsive momentum to the performance. Fat Larry’s Band’s Act Like You Know sounds big and brawny on the surface, but is lacking the gritty textures and dynamic subtlety to really get us grooving. We’d like to hear greater precision with each note that hits, along with a more tuneful, agile bassline that we can really sink our teeth into.

Play Joni Mitchell’s A Case Of You, and we find ourselves struggling to connect with her lilting vocals. The Evo 150 SE’s midrange sounds a touch reserved, with voices coming across less focused and not packing the emotional nuance and textural insight we’d normally hear. Dynamically, we find ourselves willing the Cambridge on, to gain more momentum and variation to the notes as the song ebbs and flows.

Switch to the rival NAD streaming amplifier, and all that rhythmic cohesion, the dynamic subtlety, the momentum and emotional pull come flooding back into the same tunes. Yes, the NAD is smaller-scaled, less refined and doesn’t sound as muscular, but the music hangs together better through it.

Joni Mitchell sounds sweeter, with more vocal and emotional nuance clearly and more capably delivered to capture our senses, while even the shiny, spacious ambient Aphex Twin tracks have more dimensionality and greater precision here. There’s more grip and control; there’s greater agility and fluidity; it simply makes more musical sense and sounds more engaging.

We switch back to the Cambridge and note the slightly detached and less dynamic presentation, even as more power, space, clarity and refinement are added into the mix.

Our experience with testing streaming amplifiers tells us this might well be a case of finding the right speakers to pair the unit with, and we go through some trial and error. Swapping our reference Epos and ATC speakers (both quite neutral and transparent) for the smooth and subtle Acoustic Energy AE300 Mk2 doesn’t quite work to bring the Cambridge out of its shell. But pair the Evo 150 SE with the KEF LS50 Meta or PMC Prodigy 5 speakers, and suddenly, more pep, warmth and dynamism enter the fray.

It almost sounds like it’s given a new lease of life. The White Stripes’ In The Cold, Cold Night has more verve and precise footing when using either KEF or PMC speakers, while the electric guitar distorts with scuzzy edges and textures that sound more vibrant and enjoyable when using either of these speakers. Voices such as Mitchell’s or Norah Jones’ have more immediacy, and sound more tender and affecting. Altogether, music flows with greater fluidity and there is more warmth given to the Evo 150 SE’s performance.

It doesn’t quite fix all of the Cambridge’s inherent issues, however. Nina Simone has plenty of headroom when singing My Baby Just Cares For Me and the Evo 150 SE is capable enough to convey the differences between a 1950s/’60s soul jazz track and a shiny modern K-pop track with a good deal of transparency. The NAD rival, however, gets more of the spirit and personality of her singing through, regardless of what speakers it is paired with. Dynamically, the Evo is still outperformed by the less costly NAD streaming amp.

To give credit to the Cambridge, its open, refined sound character is consistent throughout every input we test. Yes, tracks played over lossy Bluetooth and AirPlay sound less refined, but it won’t make much of a fuss; feeding it higher-quality tracks (from our Naim server or through our laptop via USB type B) results in a more detailed and composed sound overall.

Plug in a pair of Grado SR325x headphones and we’re treated to much of that clear-eyed, tonally balanced sound that marks the Evo’s overall sonic characteristic. We also use a Cyrus CDi CD player to test the Evo 150 SE's DAC (good) and a Rega Planar 3 RS Edition to test its phono stage (less good). The phono stage sounds lightweight and muddy; it’s not particularly dynamic or detailed, and we’d urge anyone serious about vinyl to opt for an external phono stage.

Verdict

The Evo 150 SE proves just how important system matching is. Get the speakers right, and you’ll be rewarded with a fluid and spacious sound that is wonderfully clear and detailed. A mismatch in partnering speakers will show the Evo at its worst: lacking in dynamics and rhythmic flow.

The Evo may not be an all-rounder this time, but there’s no denying how good its design, ease of use and exhaustive features are for this kind of all-in-one unit. It has greater competition than before when it comes to sound, but its lovely, user-friendly design is worth an audition.

Review published: 18th February 2026

SCORES

• Sound 4
• Build 5
• Features 5

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I (along with several of my colleagues) just had the pleasure of reviewing the Sony Bravia Theatre System 6.

It really was a pleasure, too, because while this is a highly unusual and somewhat old-school Dolby Atmos system by 2026 standards, the sound is excellent for the money.

Nothing is perfect, though, even a five-star product such as this, and there are some flaws to the Bravia System 6 that buyers should be aware of.

In most cases, these flaws are likely known compromises that Sony had to make in order to prioritise other qualities while hitting the wallet-friendly price tag.

That’s entirely fair, and it means they might not be ‘fixed’ for the next model, but you can’t blame a chap for dreaming, can you?

Besides, as I say, I’m mostly writing this so you, the prospective buyer, know what to expect.

Before I get to the minor flaws, though, let’s highlight some major strengths.

The major strengths

Meaty, expressive bass

Many soundbars at this level are just solo bars, and the subwoofers that come with those that have them tend to be afterthoughts. Not so here.

The System 6’s subwoofer is the star of the show. Yes, its size and weight are at least partly influenced by the connections and processing bits it houses, but they’re also a result of the large driver and hefty amplifier on board.

Sony rates the sub to 200W, and the oodles of deep, weighty bass it produces give me no reason to doubt that figure. But what’s most impressive is how tuneful and articulate it is at the same time.

For a system at this level, this is a deeply (pun intended) impressive low-end performance.

Enveloping Dolby Atmos processing

The System 6’s cabling (more on which below) might look rather old-fashioned by 2026 standards, but its Dolby Atmos performance is anything but dated.

When fed proper Atmos content, it creates a genuinely immersive bubble of sound. Height effects are placed convincingly above you and the sense of scale is far beyond what you’d expect at this price.

What’s more, effects are very accurately placed in this soundfield. In Blade Runner 2049, for example, voices and ambient effects land precisely where they should, and large interior spaces feel appropriately vast and echoing.

Good clarity, particularly to dialogue

This is a punchy, muscular system, but it doesn’t sacrifice clarity in the process.

Dialogue remains crisp and intelligible even when the soundtrack gets busy. During chaotic battle scenes, voices cut cleanly through the mix without sounding artificially boosted or thin. There’s also pleasing natural tonality – speech sounds human rather than processed.

For everyday TV viewing as well as movie nights, that consistency is really valuable.

Surprising musicality

With music, most soundbars, particularly at this level, sound either weedy and artificial or fat and muffled. The System 6, though, is a different beast.

The bar brings detail and decent rhythmic precision, and the subwoofer adds depth and weight while gamely keeping up with the required pace.

The Sonos Beam Gen 2 is still a more crisp, consistent and energetic soundbar for music, but the Sony system adds a good deal of depth and scale without sacrificing too much in those regards.

It's still absolutely a movies-first system, but it's more musical than is typical of a soundbar set-up at this level.

Solid build quality

The Bravia Theatre System 6 is very plain in its appearance, but there’s reassuring heft to every component. The bar feels sturdy, the surrounds don’t feel like hollow plastic shells, and the subwoofer is seriously substantial.

Nothing about the package feels cheap or compromised. Given the price Sony is asking, that’s impressive in itself.

Wall-mountability

It’s a minor thing, but there are those who will really appreciate the fact that the soundbar, the surround speakers, and even the wireless receiver, can be wall-mounted.

Just remember there are cables that will need hiding if you want a super-sleek set-up.

(Some) Bravia TV interoperability

While the integration doesn’t run as deep here as it does with Sony’s more premium home cinema options, those who connect the Theatre System 6 to a recent Bravia TV will find that several of the sound system's settings appear in the television’s menus.

Given that the System 6 has no display of its own, that’s actually very useful indeed.

Price

This is a lot of sound system for your money.

For the scale, bass depth and Atmos immersion it delivers, the UK asking price of £549 in particular feels very good value indeed, and it's usually available for under £500 (it's $798 and AU$1199 in the US and Australia).

There are several accomplished soundbar options at this level, but nothing that can produce this kind of blockbuster impact.

That makes it very easy to recommend, despite the foibles. Speaking of which…

The minor flaws

Small sonic weaknesses

For all its strengths, the Bravia Theatre System 6's sound is not flawless.

The surrounds occasionally draw attention to themselves when they should melt into the soundfield, and there’s a faint fuzz to the very deepest bass notes in one or two of the most demandingly deep moments.

These issues are minor enough that some people will never notice them, but those with a keen ear will very occasionally hear a distraction.

Cables

Cabling of any kind is anathema to many people in 2026, and there are plenty of completely wireless (power cables aside) soundbar systems, even at this budget level. The super-affordable Hisense AV5125H is a case in point.

That makes the Bravia Theatre System 6’s design – which involves cables between the subwoofer and soundbar, and from a wireless receiver to the two surrounds – seem somewhat archaic.

There’s no wire running from the front to the back of the room, and that’s good news, but having cables dangling from the surrounds in particular will be a problem for neat-freaks.

No display

The System 6 has no proper display. Instead, there’s just a single LED on the subwoofer to indicate what’s going on.

As you can imagine, that doesn’t tell you very much, so you find yourself having to open the (admittedly very nice) Bravia Connect app to change settings and check what’s playing more often than you would like.

No HDMI passthrough

Connectivity is straightforward but limited.

There’s no dedicated HDMI input among the system’s (subwoofer-housed) inputs and outputs, so all of your sources have to go into your TV and then back out via eARC.

Having at least one extra input on the System 6 to compensate would have been a nice touch, particularly as the eARC socket is also one of the precious gaming-friendly HDMI 2.1 ports on most TVs.

No auto-calibration

The System 6 doesn’t feature auto-calibration for the sound.

To be fair, it sounds very good out of the box, but getting the best out of it involves manually inputting speaker distances, and getting the very best out of it involves tweaking levels with the help of an SPL meter.

In short, auto-calibration would be easier and would, in theory at least, result in more buyers getting the best out of the system.

No music streaming

This isn’t a smart speaker system.

There’s no built-in wi-fi streaming platform or native music service integration, and the likes of Spotify Connect and Tidal Connect are off the menu. If you want to send music to the System 6, you’re going to need to do that via Bluetooth, or perhaps via your TV if it has the music apps you use.

That’s not a big deal if movies are your priority, as they probably are, but it does differentiate the Sony package from the Sonos Beam (Gen 2), which is a full music speaker as well as a movie soundbar (albeit a solo one, rather than a full system).

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One manufacturer, two active speaker systems, both with a five-star rating. But which is the best? Well, the first thing you should be aware of is that, despite them both being made by KEF, the Coda W and LSX II LT are very different propositions.

So, to help you find out which is best suited to your hi-fi needs, we’ve taken a deep dive into everything you need to know and directly compared the two against each other. Let’s take a closer look, shall we?

KEF Coda W vs LSX II LT: price

• The Coda W are the cheaper option in the UK and Australia, with both sets costing the same in the US
• The older LSX II LT are more likely to have discounts around

While there isn’t a huge difference in price between these two speaker systems, the Coda W takes the victory in this round. They cost £799 / $1000 / AU$1450, so they’re cheaper in the UK and Australia than the LSX II LT, which is priced at £899 / $1000 / AU$1695. US customers pay the same whichever KEF system you opt for.

As the older speaker system (they launched in January 2024), we have seen the LSX II LT drop as low as £699 in the UK during sales periods. The Coda W are a newer set, so we wouldn’t expect to see any discounts just yet.

**Winner: KEF Coda W**

KEF Coda W vs LSX II LT: build & design

• The Coda W are larger in size, while the LSX II LT are suited to smaller spaces
• The Coda W feature larger drive units and 12th-generation Uni-Q
• Both have 100W of amplification per channel

The first thing you’ll notice about these two active speaker sets is their size difference. The Coda W are the larger set, measuring 28.5 x 16.8 x 26.8cm (hwd). They are substantially taller, wider and deeper than the LSX II LT by 4.5cm, 1.3cm and 8.8cm respectively. The Coda W are 4.5kg heavier too, weighing 11.3kg in total.

Due to their bigger size, we find the Coda W are most at home on a pair of speaker stands, and we imagine they are a little too large to fit onto desks – although that’s not to say you couldn’t.

The more compact LSX II LTs, on the other hand, are ideal for smaller spaces, and work well placed on desks and on either side of your laptop. They’re more than happy sitting on a set of speaker stands too, though.

Both speakers use KEF’s Uni-Q driver array technology. Uni-Q is where the tweeter sits in the throat of the mid/bass unit. The main advantage of this arrangement is that sound is dispersed more evenly throughout a room than a conventional driver positioning would allow, so you can be less fussy about where you sit. This rings true in use.

The Coda W have been fitted with a larger and newer version of KEF’s Uni-Q driver array. Its 12th generation Uni-Q array consists of a 13cm mid/bass driver made from a magnesium/aluminium alloy and a titanium dome tweeter measuring 25mm. The tweeter and mid/bass unit are smaller in the LSX II LT at 19mm and 11.5cm, respectively. Significantly, the more compact speakers also use the previous generation of Uni-Q technology.

Both, however, are configured in the same way: one speaker is connected directly to the mains and provides power and signal to its partner via a 3m USB-C cable, which KEF supplies in the box.

Both speaker systems are fully active and have identical amplification ratings: 200 watts of Class D power available in total, or 100 watts per channel. Breaking this down even further, each enclosure has two amplifier modules, one providing 30W to the tweeter and another giving the remaining 70W to the mid/bass driver.

In terms of looks, the Coda W’s squared-off edges are sure to tickle the fancy of those who prefer a more traditional speaker aesthetic. But that’s not to say these speakers look dated. Quite the opposite, in fact, owing to their clean lines and minimalist design.

The LSX II LT have a more obviously contemporary look and are designed to be more lifestyle-friendly with their curved edges. Another point of difference is that the Coda W have a panel of touch-capacitative buttons on top of the main speaker, providing access to input switching, playback and volume controls. The LSX II LT have no on-unit controls.

The choice of finish always boils down to personal preference, of course, but you do get five options to select from with the Coda W (midnight blue, vintage burgundy, moss green, dark titanium or nickel grey), compared to three different hues on the LSX II LT (graphite grey, stone white or sage green), so there’s plenty of chance to find a finish that you like.

Whichever look you prefer, we found the respective review samples of each speaker system had been finished with care, with each feeling sturdy and excellently made for the price.

Essentially, what you have here is two equally well-made active speaker systems, one larger than the other, and with different finish options. So, there’s no clear winner in this category – it all boils down to your preferences.

**Winner: Draw**

KEF Coda W vs LSX II LT: features & connectivity

• The LSX II LT have built-in wi-fi streaming capabilities, while the Coda W are Bluetooth only
• Coda W have a built-in moving-magnet (MM) phono stage, the LSX II LT does not
• Both can be controlled via the KEF Connect app, but there are more settings on the LSX II LT

One of the key differences between these KEF speaker systems is network connectivity. The LSX II LT has built-in network streaming capabilities, so they can stream audio directly over wi-fi or Ethernet from a host of streaming services, including Spotify Connect, Tidal Connect, Amazon Music, Deezer, and Qobuz. Streaming using Apple AirPlay 2, Google Chromecast and via UPnP-compatible NAS devices is possible, too. The music services are all conveniently available at your fingertips via the KEF Connect app, too.

The Coda W, by contrast, doesn’t have any network streaming features, but it has Bluetooth 5.4 on board for wireless streaming from a mobile device. Support is provided for the aptX HD and aptX Lossless codecs.

The LSX II LT also features Bluetooth, but it’s the older 5.0 version. We can’t imagine many using the LSX’s built-in Bluetooth, though, due to their more flexible wi-fi streaming capabilities. But it is handy to have as a back up.

Unlike the LSX II LT, however, the Coda W feature a built-in moving magnet phono stage, meaning you can directly connect a turntable to the speakers for a simple and neat vinyl system.

Both of these speaker systems have a decent selection of inputs and outputs, but the Coda W is the only one to feature a line-level RCA input. There is some commonality elsewhere, such as a single USB-C and optical input, so you can hook up a laptop or CD player to each of them. Both feature an HDMI ARC input as well, so either can be used to enhance your TV’s audio and work as a soundbar alternative.

When it comes to operating the two speaker sets, both can be controlled with a supplied remote and via the KEF Connect app. Using the remote or app is pretty straightforward, and you can select input and adjust the volume via both methods. The Coda W can also be easily operated via the aforementioned buttons atop the main speaker, too.

For those who like to fine tune their EQ settings, you’ll be pleased to hear the LSX II LT has a pretty extensive selection. This includes things like distance from the wall, whether they’re placed on stands or a desk, room size and frequency filters, so you can really optimise the sound to the room and position that they will be placed in.

EQ settings for the Coda W, however, don’t extend much further than four presets: bass cut, bass boost, treble cut and treble boost. These all make a noticeable but subtle difference to audio playback.

In terms of audio resolution, streaming via the LSX II LT supports hi-res audio up to 24bit/384kHz PCM. It, like the Coda W, is compatible with 24-bit/192kHz files through the USB-C input.

The headline difference between these speaker systems is the LSX II LT has built-in network streaming capabilities, while the Coda W doesn’t. The Coda W also has a MM phono stage, so it appeals to vinyl fans. The use cases vary and your choice will be guided by which playback priorities are more important to you, but for the wider streaming abilities, the LSX II LT take this round.

**Winner: KEF LSX II LT**

KEF Coda W vs LSX II LT: sound

• Both speakers have a similar sonic character with a relatively neutral tonal balance
• The Coda W sound bigger and have greater authority and dynamic handling
• Coda W’s phono input is decent-sounding but not as good as its other inputs

The good news is neither of these speaker systems skimp on sound quality, so rest assured that your music libraries are in good hands whichever you opt for.

Beginning with the bigger Coda W, their ability to handle large-scale dynamics is excellent. During testing, we played Beethoven’s Symphony No 7 In A Major – 2nd Movement – Allegretto, and found the louder moments “really wallop you, whilst the delicate ones are delivered with incredible subtlety”. This classical piece also showcases their ability to deliver a spacious soundstage.

But that’s far from all the Coda W can do: they’re richly detailed and when we played Pearl Jam’s Even Flow, their fantastic sense of rhythm and drive propelled us through the song like a hurricane.

The built-in phono stage is one of the key reasons why you might choose them over the LSX II LT, and we’re happy to report that it’s a clear and enjoyable listen, albeit lacking in terms of dynamics and clarity compared to the Coda W’s other inputs. It’s good enough for casual listening, but if playing records is your priority, we would recommend using an outboard phono stage that is at least as good as the Rega Fono Mini A2D Mk2, instead of using the speakers’ built-in one.

The KEF LSX II LT are also capable, no matter what input you decide to make use of. When we reviewed the LSX II LT in January 2024, we played Muse’s Madness and discovered a “solidity, crispness and breadth of bass that all belie a streaming system of this size”. We reported that they also offered “punch, focus and a snappy sense of propulsion without a hint of fuss or strain”.

We noticed much more than just bass and punch, however. They provide nuanced instrumental textures with plenty of detail. When playing Hans Zimmer’s Discombobulate, for instance, we said they “bend and flex to reflect the full range of strange, quirky timbres on display, be they the mischievous twangs of a cimbalom or the hurried, chaotic scratches of bows passing across the strings of a Victorian-style violin”.

As you may have gathered by now, both these speaker systems sound excellent for the money. Their sonic characteristics are also remarkably similar, with a relatively neutral tonal balance offering a balanced presentation across the frequencies.

The LSX II LT are smaller, and so naturally can’t match the bigger Coda W when it comes to bass depth and scale. We played Althea & Donna’s Uptown Top Ranking through both speaker systems and the bass on this reggae classic had more weight and solidity to it when played through the Coda W. The soundstage with Pearl Jam’s Even Flow felt more open through the larger speaker set, too. Finally, we compared their dynamic handling and clarity by listening to Bach’s The Art Of Fugue – Contrapuncus and the Coda W came out on top again.

The LSX II LT are still highly entertaining if your listening space requires smaller cabinets, but the Coda W have the edge in terms of clarity, bass and dynamics, thanks to their bigger drivers and cabinets, so they take the win here.

**Winner: KEF Coda W**

KEF Coda W vs LSX II LT: verdict

• The Coda W are larger and have a better sound overall
• But the more compact LSX II LT has a similar tonal balance
• LSX II LT has full wi-fi streaming abilities

You’ve got to hand it to KEF, the Coda W and LSX II LT are two excellent speaker systems, with the former boasting a great sonic performance and ample connectivity.

If built-in network streaming smarts are an absolute must-have, the LSX II LT are the best option for you. The same is true if you’re strapped for space, thanks to their more compact size.

But if space isn’t an issue and you’re happy just using Bluetooth to play music wirelessly, the Coda W are the better-sounding – and cheaper – speaker system. The built-in phono stage, whilst not on par with the Coda W’s other inputs, also means they’re the obvious choice if you have a turntable in your system. Either way, you’ll be in good hands with whichever KEF speaker system you opt for.

**Overall winner: KEF Coda W**

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Why would you buy a portable music player? In this age of smartphone ultra-convenience, bolstered by access to so many streaming services and extensive hi-res Bluetooth codec support, what's the point of having a dedicated digital device when you could just listen to streaming apps on your phone instead? Isn't that like buying a four-poster bed and then choosing to sleep on the floor?

Hopefully not. If your goal is simply to enjoy music to the highest portable standard you can, a dedicated digital audio player should help you to make the most of your library of tunes, especially if you've got plenty of downloaded hi-res music files that you want given the royal treatment.

High-end examples such as the Astell & Kern A&ultima SP3000 will leave your smartphone completely in the dust, but you'll have to fork out around £3495 / $3699 / AU$5499 to get one of those.

Instead, FiiO promises that its far more affordable M21 player will offer potent performance and portability at a far more palatable price point – for £279 / $329 / AU$529, to be precise.

Is this far cheaper alternative still worth a separate investment? To find out, I've spent two whole weeks with the FiiO M21, assessing its strengths and weaknesses to answer that all-important question: would I want to own one for myself?

Like: better sound quality

Thankfully for FiiO, we’re starting with the obvious: a good dedicated player sounds better than most run-of-the-mill smartphones.

That’s not a guaranteed truth, and it would have been a kick in the teeth for FiiO had it been beaten by a standard iPhone, but the M21’s quad Cirrus Logic CS43198 DAC chips and hi-res support for PCM files up to 32-bit/768kHz alongside DSD512 mean it is primed and ready to give your music the proper treatment.

It’s always nice to break out those proper hi-res files and let them shine on a player that’s generally capable of doing them justice, and there’s no question that a decent source combined with good quality tracks makes for a far more rewarding sonic experience than simply a smartphone and some wireless earbuds.

Switch from your phone to a dedicated player and you’ll discern far more textural detail, clarity and spaciousness from your tunes. As we said in our review, the M21 offers a “smooth, weighty balance that still packs a punch when required”, granting meaty guitar tracks plenty of bite and texture without getting overly sloppy.

Tracks such as Alice in Chains’ Lesson Learned can easily sound like an ill-defined block of noise through lesser devices, yet the FiiO has the poise and insight to bring out the distinct textures hiding away within those crunchy power chords.

It's not entirely perfect, and you'll get a more dynamic and involving experience from more premium portable players, but as a step up from what your phone can do, the M21 makes sense as a savvy sonic investment.

Like: any excuse to bust out the best wired headphones

As much as wireless earbuds might be convenient, wired headphones will always deliver better sound quality. For me, there’s no excuse for having access to some of the best wired headphones in the business and not allowing them to stretch their legs once in a while.

Okay, while it may be overkill to hook up a pair of high-end Yamaha YH-5000SE to what is still a reasonably budget digital player, the M21 provides a powerful partner for the likes of the superb Beyerdynamic DT 990 Pro X (£189 / $199 / AU$399) and the ever-dependable Grado SR325x (currently £247 / $295 / AU$425).

Those happen to be two pairs of wired headphones on which I’m particularly keen. Hooking either five-star pair up to a smartphone (via an adapter) isn’t getting the best out of them, so it’s nice to give yourself an excuse to really revel in some great cans, safe in the knowledge that you’re feeding them a proper source.

My iPhone does nothing but breed laziness and complacency thanks to the convenience of Bluetooth, but when there’s a proper portable player involved, I’m far more motivated to crack out the wired Beyerdynamics and really get into my tunes.

Like: a break from my smartphone

Do you know what listening to music used to be? It used to be special. When you listened to full albums on a dedicated hi-fi system (and hopefully you still do), or on a dinky little CD player in your bedroom, or even on your first-ever iPod, you were only ever doing one thing: listening to your music.

Now, your tunes are an afterthought, just one of the many prongs on the infinitely versatile Swiss army knife that is your Samsung Galaxy S21, iPhone 16 Pro or Sony Xperia 10 VI.

It’s incredible to be able to access an infinite galaxy of songs on your favourite streaming service as you order your Ocado shopping, check your Instagram and then ping out a few emails, but it’s also in danger of relegating your music to a sort of tertiary background afterthought.

With a dedicated player, the music takes centre stage. The M21’s octa-core Qualcomm Snapdragon 680 chipset does offer decent Android OS performance that goes beyond mere streaming (and you can even play Angry Birds if you’d like), but for the most part, you boot up your FiiO when you want to spend some quality one-to-one time with your tunes.

That’s a precious ritual, and one that should be protected at all costs.

Don't like: not another device

There is a flipside, of course, to the apparent benefit of tearing me away from the shiny umbilical cord that is my precious iPhone.

We’re so used to living in a world of multi-functionality. There was a time when you’d have to own a separate calculator, compass, spirit level, watch, music player (probably an iPod or Walkman) and camera. Now, they’re all housed in something slightly bigger – and certainly far slimmer – than a standard pack of cards.

The joy of your smartphone is that everything is all there in one place and easy to access in your hand, and while that might mean compromises in quality when compared with dedicated tools designed to do a specific job, that convenience is an unparalleled boon.

I know I just espoused the need for keeping your music separate from everything else, but when push comes to shove, resisting the urge to just pick up your phone and your best wireless earbuds is such a tough habit to break. I know that giving all my time and attention to my music is right and proper, but in practice? It's just so much easier to boot up Tidal on my phone. I'm not proud of that fact, that's just the way it is.

The problem with having another device, especially one as chunky as the FiiO M21, is that, well, you’ve got another device. That’s another thing to have to carry around if you’re planning on taking your tunes on the road; another thing to worry about getting damaged or scratched or lost; another thing that you need to keep charged and updated; another thing taking up space in your satchel.

It’s just more… stuff.

Don't like: not as slick as a smartphone

It’s easy to take your smartphone for granted. We’ve become so used to how incredibly slick, quick and precise the latest generations of devices are, it suddenly becomes jarringly apparent when a cheaper alternative just doesn’t have the same speedy functionality and usability as, say, the latest iPhone.

The M21 is still simple and effective to use, but it just doesn’t have the intuitive nature of my ever-dependable iPhone 15, nor does it have the same precision when it comes to those fiddlier controls or commands.

The responsiveness of the screen isn’t in any way bad, but it just feels so soft and slow when compared with the lightning speed of an Apple or Samsung heavyweight, and after a while, it's hard not to hanker for the familiarity of your supercharged smartphone.

A slightly unresponsive touchscreen? I might as well be back in the Middle Ages...

Don't like: I'm sold on portable players, just not this portable player...

Having spent a good deal of time with a dedicated portable music player, I can say that I’d definitely consider investing in one in order to take my wired listening to the next level. There’s just one caveat: it wouldn’t be the FiiO M21.

Much as I enjoyed my time with the wallet-friendly M21, and as much as I can patently see the advantages of a portable player over pinging Spotify or Tidal files to your smartphone via Bluetooth, it’s still slightly lacking in the key areas of musicality – namely rhythms and dynamics – to give me that proper immersion in my musical catalogue.

Whether you're spending £200 or £2000, if a product can't handle those core musical elements, it's hard to justify it as a worthwhile investment.

The M21 does so much so well, and it's a step up from a smartphone, but there’s still something rather meat and potatoes about the way it sounds – perfectly tasty and appropriately filling, but lacking a little bit of spice. I like the M21 very much, but do I love it, and does it make me love my favourite music? I'm not so sure.

Were it my own money, I’d splash the cash (and by that I mean, wait for a decent discount) on the Award-winning Astell & Kern A&norma SR35 instead. This is where you really begin to see the benefits of a dedicated hi-res player, and while I might not fork out £799 at full price, the A&K’s oft-discounted figure of £599 does make for a seriously tempting proposition. Having heard it side-by-side with the M21, there's little question which one I'd rather have hooked up to my favourite pair of wired headphones.

The thing about the SR35 isn’t just that it’s better than the FiiO, but that it’s better in the key areas that really make your music shine. Clarity, detail and cohesion are all correct and present, but the SR35’s subtle dynamic handling, its rhythmic spark and its fluid, effortless nature make for a hugely engaging listen.

Exceptional sound that makes you appreciate your music and gives you a great excuse to really get those wired cans firing? Now that’s something worth paying for.

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February is, as we all know, the shortest month of the year. Thank the gods above for that, as it's also unequivocally one of the worst. Cold weather, long nights, little to look forward to except Pancake Day and the faint hope that Spring might finally be around the corner. Honestly, we should just scrap the entire month from the calendar and jump straight into March.

How, then, do you make the unwanted runt of the yearly litter more appealing? With music, of course. There's only one sure-fire way of beating the winter blues, and that's with a top selection of tunes belting out of your hi-fi or headphones.

We've tried to keep things reasonably upbeat this time around, in a bid to stop those SAD symptoms from surfacing. So if you’re not head-bopping to Fat Larry’s Band, you’ll be getting as hyped as a pre weigh-in UFC fighter by a big old slice of Wu-Tang Clan. Take that, February!

• Discover the full playlist on Tidal

So Unusual by Curtis Mayfield and The Impressions

Before Curtis Mayfield went onto commercial success with tracks such as Move On Up and the soundtrack to the film Super Fly, he was part of the Impressions, a Chicago soul band known for its dreamy, almost lullaby-like harmonies. But Mayfield’s social conscience was evident from early on, with tracks such as Keep On Pushing and People Get Ready soundtracking the early days of the civil rights movement.

Of course, this being soul, they did their share of love songs too, and So Unusual is one of their finest. Mayfield sings about being heartbroken following his other half’s affair, but how any thoughts of anger or revenge are subsumed by the love that still lingers. Misguided? Maybe, because as he sings, “What kind of fool am I?”

This is a slow plod through the wreckage of a relationship, all woozy brass and melodic backing singers, whose lush instrumentation will stretch out through a system that’s strong throughout the frequency range.

But maybe I love it most for its vulnerability. Mayfield was 26 at time of recording, and wise beyond his years. You weren’t any kind of fool, Curtis – you just weren’t a troll.

Words by Joe Svetlik

On The Nature Of Daylight by Max Richter

I must confess: I don’t think I can remember hearing this oft-used piece by Richter before, even though I’ve seen many of the films it has been used in.

But as it played over the closing scenes of Hamnet and into the credits, continuing the catharsis of collective grief from the events of the film, I knew that this time, I wouldn’t forget it so easily. It’s an achingly mournful piece that perfectly fits the mood of Chloé Zhao’s film in particular, with the strings so incredibly physical and tangible.

They take their time pulling at your heart as they gently ebb and flow in a composition that strays from being remotely flashy; it manages to elicit so much emotion with such purity and with so little artifice. Played on a system that has little distortion and a penchant for clear and fluid dynamic subtlety, the full majesty of this magnificent piece of music will shine through.

Words by Kashfia Kabir

Gravel Pit by Wu-Tang Clan

I have absolutely no idea what the titular Gravel Pit from Wu-Tang’s effortless hip-hop classic refers to. Speculated theories include a slang term for a house, a drug den or a part of human anatomy (this one changes how you sing along to the chorus somewhat), yet no concrete consensus has yet been reached.

I also don’t particularly care. Gravel Pit is nothing but pure hip-hop heaven, moving from brisk, effortless flows into that smooth, ear-catching chorus courtesy of Paulissa Moorman. Not-so-fun fact: Aaliyah was originally supposed to lend her vocal talents to the track, but tragically passed away before a collaboration could be finalised.

The pleasure of Gravel Pit from a testing perspective is the myriad personalities your system has to play with, as Method Man, Ghostface Killah and U-God bring their own particular delivery to each verse. Make sure your system is picking up on every breath and syllable, all while preserving the unique style and idiosyncrasies of the key performer’s respective flows.

Words by Harry McKerrell

Trouble by Scorpio

I don’t know about you but, for me, it doesn’t get much better than blaring drum and bass bangers at excessively loud volumes. Although I would argue that such volume levels are, in fact, not excessive but completely necessary for appreciating these tracks in the correct way.

With that in mind, this 1997 release from Scorpio (an alias of legendary Bristol-based producers Roni Size and DJ Die) will have you bumping and bouncing around the room, especially if your system has enough low-end depth to relay the full scale of its wonderfully rumbly basslines.

Contrary to the name of the genre this track belongs to, there’s far more to appreciate than just snappy drums and head-bopping bass, although a system that offers plenty of clarity and detail will help you appreciate the individual beats that make up those intricate drum patterns without things becoming muddled. The initial drop will also hit so hard on a system with excellent dynamic handling that you’ll feel like you’ve been hit for six – maybe even twelve!

If you’ve got neighbours who are understanding at best and tolerant at the worst, bring out the subwoofer, load up Trouble and crank up the volume – you won’t regret it.

Words by James Cook

Follow Along by Cusp

With driving drumbeats and distorted guitar riffs blending with sweetly breezy vocals, the indie-alt-rock of Cusp sounds vaguely familiar and comforting. The Chicago-based outfit could easily share billing with Speedy Ortiz and Wet Leg, with introspective lyrics and pure candour peeking behind catchy, guitar-heavy hooks.

In Follow Along, Singer Jen Bender’s clear, melodic vocals walk a fine line that stops just short of twee, with an assured performance that transforms what could be a ’90s throwback into something a bit more distinctive, personal and honest.

It’s not a particularly refined or polished recording; instead, it’s about the layers of texture, the propulsive rhythm, and fluid, nuanced vocals all working together in a cohesive whole to deliver a somewhat hazy track that just feels good to listen to – and one that I can’t stop humming.

Words by Kashfia Kabir

Act Like You Know by Fat Larry's Band

We often find that when we’re testing, one of the trickiest musical facets to get right is how a given product handles rhythms. It’s not something that a lot of listeners will consider from the outset, with preoccupations around textural detail, clarity and stereo imaging tending to take precedence over what some might consider the more esoteric or secondary requirements around rhythms and dynamics.

Ignore them at your peril. A sense of timing is essential to how hi-fi or headphones convey the essence of the music being played, and a dearth of rhythmic expression can often be the reason why a solid product fails to claim that coveted fifth star. They are the fundamental core underpinning your music’s feeling of drive and momentum, so it’s time to stop considering rhythms as an auxiliary afterthought.

Instead, shine that spotlight bright with a slice of early-80s R&B/funk courtesy of Fat Larry’s Band. Act Like You Know should snap into life with its crisp, ‘stomp-clap’ tempo, all while vibrant horns and a noodling bass strain the limits of your system’s knack for organisation and cohesion.

Put it on, crank the volume and see if your head begins to bop along to that irresistibly funky beat. A genre classic.

Words by Harry McKerrell

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We have seen (and heard) plenty from Arcam’s Radia range of two-channel hi-fi electronics in recent months. At the same time, we have been patiently waiting for any morsel of news about a new home cinema amplifier.

That time has finally arrived. Arcam has just unveiled a trio of new AVRs and a processor/power amp pairing that, on paper at least, look the business.

The Radia AV range kicks off with the Arcam AVA15 (£2599 / € 2999 / $3000 / AU$6,995), which is being billed as a successor to the old AVR11, and is the most affordable option in Arcam’s new line-up.

The step-up AVA25 (£4499 / € 4999 / $5000 / AU$9,995) comes next, and the receiver range tops out with the AVA35 (£5999 / € 6999 / $7000 / AU$13,995). As you should expect, moving up the price points adds more to the mix in terms of features and performance.

All three AVRs boast the trademark design cues of Radia, so expect a deep black finish with yellow highlights, including a backlit halo around the volume dial.

Each model has a 6.5in glass-bonded full colour display, multiple HDMI 2.1a, (and 8K compatible) HDMI inputs and at least two HDMI outputs, one of which supports eARC.

You also get several analogue and digital inputs, streaming support for Spotify, hi-res for Tidal, Amazon, Qobuz, plus UPnP, digitally controlled analogue volume controls, and internal wi-fi and Bluetooth antennas.

There’s two-way Bluetooth, Dolby Atmos and DTS:X support and Dirac Live Bass Control and Active Room Treatment (ART)

Stepping up from the AVA15 to the AVA25 adds a third HDMI output (including Zone 2 functionality), Auro-3D support and more channels of processing power (up from 12-ch to 16-ch).

Processing in the AVA15 and AVA25 is handled by an ESS Hyperstream IV DAC chipset.

Power switches from 9x100W of Class D amplification on the entry-level model to 9x100W of Class A amplification on the AVA25.

The AVA25 is deeper and heavier than the AVA15, and Arcam claims its sound quality isn’t a million miles away from the performance you get from its Award-winning A15+ stereo amplifier.

The jump up to AVA35 introduces the more advanced ESS Hyperstream IV DAC Pro, which the company already uses in its five-star SA45 streaming system. Power is once again rated at 9x100W, but this time it’s Class G amplification – this is the first time Arcam has used Class G for nine channels in one box.

You also get what Arcam calls ‘matrix channel assignment’. This new feature allows you to use any of the amplified channels for any channel you like. So, you could go into the menus and swap all the channels for use as height and rear channels if you wanted, so you could run another amplifier for the main channels.

Want a serious two-box home cinema solution? Arcam also has an option for you in the shape of the Radia AVP45 processor (£5299 / €5999 / $6000 / AU$11,995) and a matching Radia PA9 power amp (£3499 / €3999 / $5000).

The AVP45 boasts all the processing power and features of the AVA35 in a slightly shorter box, while the matching Radia PA9 power amplifier features the same Class G amplification as AVA35.

Last but by no means least, Arcam has even introduced a smaller, wall-mountable four-channel power amp called Radia PA4 (£899 / €999 / $1499). This could come in handy if you want to drive more than 9 channels and it boasts 4x50W of Class D amplification.

Arcam is also promising big improvements where the software is concerned, including its Radia app, with changes designed to make the amplifiers more intuitive for users and easier to install.

A new AVR range from Arcam is just what we’ve been waiting for, especially since it has produced some of the most musical AVRs we have tested over the years – even if they perhaps weren’t the most advanced in terms of features.

We are extremely excited to see how these new models perform in our test rooms when they go on sale in Q3 later this year.

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“No one really makes a bad product anymore.” That’s the comment we’ve been hearing for the past couple of years when meeting with hi-fi manufacturers, and they’re not wrong. The world of hi-fi has shrunk since its glory days, but it means that brands making products on the premium side (let’s say, anything above £1000 / $1500) have little room to make mistakes, in a bid to deliver their very best in today’s challenging economic climate for those discerning souls that still value separates hi-fi.

In fact, we’d go so far as to say that most hi-fi products these days are really rather very good, and nowhere is this more evidenced by the two premium music streamers going head-to-head here. Arcam and Cambridge Audio have been around for 50 years in the hi-fi business, and each brand has pooled their audio expertise into network audio players that meet the modern demands of wireless music streaming.

The Cambridge Audio EXN100 (£1599 / $1799) came first, offering an elevated, more powerful step above the established CX range that we have regarded highly for a decade. Arcam’s impressive Radia range is a more recent rebirth for the brand, with the slightly less costly ST25 streamer (£1499 / $1650) only entering our test rooms last year.

In such a short time, both models have made a strong impression. At this price range, our expectations for a dedicated music streamer are high, especially considering that many emerging brands can offer the same features for a slice of that asking price. But it all comes down to performance, and getting the very best out of your digital music library.

Arcam ST25 vs Cambridge Audio EXN100: build & design

In terms of design, both music streamers are housed in sturdy, rectangular boxes that are built to a high standard. The ST25 and EXN100 look and feel impressive in the flesh, with minimal styling and a large screen dominating both designs.

They both occupy roughly the same footprint on our hi-fi racks. Cambridge’s customary ‘lunar grey’ finish looks smart, if a little safe. We particularly like the knurled volume/control dial on the thick aluminium front panel – it turns smoothly and is a classy detail.

Arcam cuts a fresher, more striking all-black figure whose modern styling and certain details – such as the furrows cut into the top panel and the stripe of yellow along the sides – make it stand out from the crowd. As with its Award-winning amplifier siblings, it has an overhanging lip on the back panel that protects the connections from collecting dust.

In contrast, the front of the ST25 doesn’t have any controls, dials or buttons in sight, whereas the EXN100 does have a smattering of buttons for easy access to menus and playback controls. It’s worth noting that the Arcam streamer includes a slim remote control in the box; you have to buy one separately for the Cambridge.

The large, high-resolution display screen that shows off album artwork and metadata on both units is sharp, colourful and impressive in action. We said the EXN100’s screen “has a pleasing contrast” and all the information is shown “in a crisp, bright manner that’s easy to read.” Similarly on the ST25, we said the screen is also easy to read while album artwork “appears bright, punchy and colourful with good viewing angles.”

Whichever model you choose, you won’t be disappointed when it comes to the design and build of the streamer.

**Winner: Draw**

Arcam ST25 vs Cambridge Audio EXN100: app and control

There’s no remote with the EXN100 because Cambridge, quite reasonably, envisions that the way you’ll be browsing and playing your music and switching between sources on a streamer will be done by the accompanying app on a smartphone or tablet.

Cambridge’s StreamMagic app is a well-organised, user-friendly interface that we’ve encountered many times with the brand’s other five-star streamers, and it’s one of the best examples in the business.

The app displays all the streaming services, local radio stations and sources available; you can set presets to your favourite stations and playlists, and you can access other features of the streamer, such as the display brightness, power-down timer, and preamp mode. It is smooth and intuitive in use.

For the Arcam ST25, users will need both the Radia app and remote control working together to access all of its options. You can access music services, podcasts, radio stations and your sources through the app, although we found that navigating through vast music libraries and playlists can be a little clunky.

It’s also a shame you can’t use the Radia app to access options like dimming or turning the display off, or selecting your favourite DAC filter (there are four options) on the ST25. To do this, you’ll need the included remote. We said in our review that jumping between the app and the remote does feel a little jarring when using the ST25. In comparison, the EXN100 is much slicker and simpler in use via the one control app.

**Winner: Cambridge Audio EXN100**

Arcam ST25 vs Cambridge Audio EXN100: features

In terms of streaming features, the two streamers are neck-and-neck with their offerings. The most popular music streaming services – Spotify, Tidal, Qobuz, even Deezer and Amazon Music – are baked in, as is internet radio.

Both units feature AirPlay, Google Cast and are Roon Ready certified. However, while the Cambridge EXN100 offers Bluetooth (aptX HD) for easy streaming from mobile devices, the Arcam ST25 eschews Bluetooth altogether.

The Connect versions of Spotify, Tidal and Qobuz are fully supported, meaning you can use the native music apps directly to stream hi-res tunes to the streamer, without the need to go through a separate app. Both feature wi-fi and wired Ethernet connections, and you can access and play songs stored on UPnP-compatible media libraries and NAS devices on the same home network.

Regardless of how we play our music, from Tidal Connect to our Naim Uniti Core server, both streamers play all tunes without any fuss.

One point of difference is the maximum file resolutions and format they support. Cambridge takes the lead here, with playback of up to 32-bit/768kHz PCM, DSD512 and MQA files possible. Arcam’s support extends to 32-bit/384kHz PCM and DSD256 files.

In our experience, the vast majority of hi-res downloads and libraries are available in 24-bit/192kHz native resolution or lower, so either streamer should be more than capable enough for most users. Only those with the most niche music collections should need to check this specification with a fine-tooth comb to ensure the streamer plays those rarer hi-res files and formats.

When it comes to physical connections, Arcam keeps things simple with optical, coaxial and line-level RCA outputs, and a USB type A port for plugging in hard drives. Cambridge goes further with additional balanced XLR outputs, digital inputs – including a USB type B port – and, most importantly, an HDMI eARC input. For those wanting to incorporate your streamer into your TV/home cinema set up, this inclusion will undoubtedly be attractive.

Both streamers offer the essentials of a modern streamer to suit most users’ needs, and we can’t imagine anyone feeling shortchanged with either. The Cambridge EXN100’s inclusion of the HDMI input and Bluetooth means it takes the win this round.

**Winner: Cambridge Audio EXN100**

Arcam ST25 vs Cambridge Audio EXN100: sound

Cambridge’s EXN100 impresses straight out of the box with a clear, spacious and balanced sound. We play Alt-J’s Breezeblocks and “there’s a controlled sense of rhythm, attack and drive, while also moving with just enough fluidity to sound at ease”. The stereo imaging is stable, while the room-filling sound is composed and controlled.

We said in our review that there is “enough body to the sound that music never sounds thin but also not overly warm; it simply sounds well balanced”. Bass notes are deep, agile and tuneful, while voices – such as on Waxahatchee’s Right Back To It – are clearly defined and in solid focus.

It’s a confident, muscular presentation whose balanced character is heard regardless of what source you play. The EXN100 does perform its best when fed high-resolution tracks, but it doesn’t make a fuss when streaming music using lossy Bluetooth.

Our main complaint here is that we wish for more subtlety in the way it handles dynamic shifts, and for the EXN100 to have a bit more attitude and emotion for songs that require it.

Arcam’s ST25 also impresses us with a “crystal clear” presentation, with an “eerily quiet backdrop for the music” that allows instruments ample space to breathe and greater detail and texture to be revealed. Basslines bound along with speed, agility and power, laying a fantastic foundation for the high-energy tempo of Madonna's Sky Fits Heaven.

Shift gears down to a more contemplative Ludovico Einaudi composition (Einaudi: Experience), and here Arcam’s greater fidelity with detail and dynamic subtlety comes to the fore.

The precision and delicacy of the piano notes are beautifully replayed: “Notes hang in open space, with differences in dynamics explicitly presented. You can hear the intent and intensity behind each key strike change as the track flows gracefully along.”

As the tightly defined strings and snappy percussive elements join the fray, the “drama blossoms into a beautiful crescendo” – it’s a captivating performance that fills the ample soundstage.

Compared with the Cambridge streamer, Arcam’s quieter background allows for a greater level of insight and emotion to be revealed, while its dynamic prowess – both in the contrast between the quiet and loud moments and in the subtler shades between notes – delivers an overall more musically satisfying experience.

**Winner: Arcam ST25**

Arcam ST25 vs Cambridge Audio EXN100: verdict

Cambridge Audio’s EXN100 and Arcam’s ST25 are both five-star Award winners, and truly you can’t go wrong with either. Each streamer has its many strengths, and much of your choice might well come down to personal preference of the finer details in design, use and feature set.

In our comparative tests, we do have a clear preference when it comes to sound quality, as evidenced by the trophy being handed over from one Cambridge-born company to another at the most recent What Hi-Fi? Awards.

The refined and spacious Cambridge streamer will appeal to many, but the Arcam ST25’s more insightful and dynamically subtle sound is the one that captures our attention more, and allows us to make a stronger connection to the music we’re listening to. For its greater sonic talents, we can put up with some of our niggles with the app.

If you’re after a talented, well-made premium streamer that brings your digital music library or streamed playlists to life, the Arcam ST25 is a worthy choice.

**Overall winner: Arcam ST25**

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Roksan has added two new models to its Caspian Series 4G range: a streaming preamplifier and matching power amplifier.

The Caspian Streaming Pre-Amplifier and Caspian Power Amplifier are "engineered to deliver breathtaking musicality with effortless power and control," according to Roksan.

Following the acquisition by the Monitor Audio Group in 2016, the brand says these products are designed to capture the essence of the 40-year-old Roksan brand, but take it firmly into the future. The new duo join the two Caspian 4G integrated amplifiers (one with streaming) that were launched in 2024.

The Caspian Streaming Pre-Amplifier uses the established BluOS streaming platform, bringing support for Spotify, Tidal, Qobuz (and their Connect versions) along with a host of music streaming and internet radio options.

You can also play stored music from connected NAS devices via wi-fi or Ethernet, with maximum resolution supported up to 24-bit/192kHz PCM files (but no DSD). The amp is Roon Ready certified, too.

It uses a fully balanced analogue preamplifier section, along with multiple dedicated power supplies to ensure clean current delivery with minimal noise. The ground-switching input design aims to minimise cross-talk between connected devices, too.

Additionally, it uses Roksan's bespoke 'Rapture' DAC circuit, a discrete, dual-mono, differential current-conveyor design, that the brand says should result in "precise stereo imaging and exceptional resolution".

The BluOS app can be used to control all your sources and streaming music playback, while Roksan also offers its MaestroUnite app for the initial hardware set-up and to fine-tune the sound to your environment, thanks to the preamp's DSP settings. There are four options – Intelligent Tone, Intelligent Boundary, Intelligent Speaker and Intelligent Phono – that help optimise the Caspian's sound to your speakers' placement and more.

The Caspian Power Amplifier is designed to "uncompromising drive and power" and can be used in stereo or mono-block configurations. Roksan states it offers 105 watts per channel into 8 ohms, or 200 watts into 4 ohms. It uses Roksan's advanced 'Euphoria' Class A/B amplification, which features a precision-engineered analogue circuitry to "ensure a transparent signal path that preserves every detail and dynamic nuance of the music," says Roksan.

Individual power supplies are also used for the the current and voltage amplification stages, which promises a purer, cleaner and more dynamic sound, while there is increased voltage headroom to prevent clipping.

Around the back, you'll find a combination of analogue and digital inputs, including balanced XLR inputs, optical and coaxial connections. There is also an HDMI ARC input to integrate the Roksans in a TV/AV system, and a MM/MC phono input for turntables.

A minimal OLED display strip on the front panel shows key information such as source icons and volume, as indicated with orange LEDs – similar to the ones we experienced on the Attessa Streaming Amplifier.

The single control dial on the Streaming Pre-Amplifier works for volume and selecting sources. A hybrid digital-analogue volume control is used to reduce crosstalk, distortion and ensure a stable channel balance at all settings.

Both Caspian 4G units feature extruded heatsinks, chamfered machined edges and custom-built internal antennas, and are hand-built in Monitor Audio Group's headquarters in Essex, UK.

The Roksan Caspian 4G Streaming Pre-Amplifier and Caspian Power Amplifier can be bought separately or together as part of a system, and are available now in silver or black finishes. The prices are as follows:

Caspian Streaming Pre-Amplifier: £3500 / $4500 / €4000

Caspian Power Amplifier: £3000 / $3750 / €3500

Caspian Streaming Pre & Power Amplifier System: £6500 / $8250 / €7500

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It's not even worth dwelling on how far back 1996 was. We hate to break it to you, but the twelve happy months which gave us the first-ever flip phone (the Motorola StarTAC), the first Pokémon game and the birth of Dolly the Sheep were 30 whole years ago.

Instead, distract yourself from time's relentless march forwards by looking defiantly back in the opposite direction. 1996 was one heck of a year for music – an era which served up a mix of acid house ravers, Britpop swaggerers and post-grunge sleeve-chewers, all smashed together to craft the intoxicating cocktail of those hopeful pre-Millennium days.

COVID? Social media? Economic downturn? Dude, wake up – it was all just a bad dream.

1979 by The Smashing Pumpkins

The Smashing Pumpkins are an iconic band, especially if you’re a grunge fan. Their third album, Mellon Collie and the Infinite Sadness, is often viewed as a key reason why.

The album took the Pumpkins in a different direction from their contemporaries. Featuring an eclectic mix of tracks full of textured compositions and an overarching ethereal feel, Mellon Collie... was a radical departure from the raw, punk-inspired despondence the grunge movement was famous for.

So it makes sense that 1979, which frontman Billy Corgan describes as the most personally important song on the album, is pretty awesome and one of the most iconic tracks of 1996, at least for me.

Chronicling Corgan’s feelings as he turned 12 in, you guessed it, 1979, it’s a dreamy, intentionally dirge-like, slightly euphoric song that still tugs at my nostalgia strings whenever I hear it and one that I’ve loved since I was a teenager.

Like many of us of a certain age, there was a time when a copy of Mellon Collie on CD or MiniDisc was always in my bag, and I must have played the song at least once a day between the ages of 14 and 15.

Yet the thing that makes it all the more special is that it very nearly didn’t make it onto the album. Stories suggest Mellon Collie was composed and recorded at a feverish pace, and 1979 was a particularly turbulent entry to it.

Originally a demo Corgan made based on the opening melody without lyrics, the album’s producer didn’t think it was “good enough” and didn’t want it included. In response, Corgan locked himself away and worked on it overnight, crafting its lyrics and finishing it with samples and effects the band had never used before.

The result is a complex track that feels entirely different to the rest of Mellon Collie, which itself was very experimental, hinting at the more textured, synth-pop direction the band would take on its subsequent, and much more controversial among fans, album, Adore.

Hence I feel it deserves a place on this list, not just as one of my favourite songs of all time, but as a piece of music’s history.

Words by Alastair Stevenson

Forty Six & 2 by Tool

Tool are a terrific provider of test tracks at the best of times, with the entirety of 1996’s Ænima stuffed to the brim with lush, hi-fi ready goodness for music keenos and sonic tinkerers to obsess over.

Forty Six & 2 is a relatively easy track to get a handle on if you’re a newbie, and while it clocks in at around six minutes long, it’s not hard to see why it’s become such a perennial favourite among headbanging stud-wearers and basement dwelling engineers.

Cohesion, organisation and detail are all up to the test, but it’s your systems sense of dynamics – both small scale and full range – that Forty Six & 2 is most adept at spotlighting. The tune’s ever-chuntering bassline will give you a keen sense of how your hi-fi is adapting to small volume changes on the go, while intermittent thumps of energy as the entire ensemble erupts are perfect for assessing those massive, thunderous swings.

Words by Harry McKerrell

Bulls on Parade by Rage Against the Machine

“They don’t gotta' burn the books they just remove ’em / While arms warehouses fill as quickly as the cells”.

The ‘Rage’ part of Rage Against the Machine feels even more relevant today than it did 30 years ago. Bulls on Parade was written in 1996 to criticise the U.S. military and arms industry, and has been used as a protest song ever since, with lyrics that remain just as pertinent today worldwide.

Explosive, razor-sharp and inciting, Zach de la Rocha doesn’t mince his words and we feel every brunt of the unflinching political lyrics. It’s an incendiary track with a powerful, muscular driving rhythm and full-throttle energy that never takes its foot off the pedal.

Of course, Tom Morello’s wrangling of his guitar to make a vinyl record scratch effect is another highlight of the track – one that still sounds unique three decades later.

Words by Kashfia Kabir

Midnight In a Perfect World by DJ Shadow

Back in 1996, DJ Shadow released Entroducing….., and took hip-hop in a whole new direction. The album was much more cinematic that what had come before, with a much wider range of influences than your standard “hands in the air” fare. And that was encapsulated with the lead single, Midnight In A Perfect World.

Its samples might be diverse – rock, soul, funk, spoken word, film dialogue – but they all have one thing in common: obscurity. Whether it’s that floating female vocal (taken from Baraka’s Sower Of Seeds), the main piano hook (from David Axelrod’s The Human Abstract) or spoken word from an interview about drums, you could spend hours hunting down the various nuggets that make up this track.

Yet it all gels together surprisingly well, like it was somehow meant to be. On release it was categorised as the new genre of trip-hop, along with British bands Portishead and Massive Attack, but Midnight In A Perfect World was something else entirely – the sound of a new voice that would continue to take hip-hop to new places throughout the ensuing decades.

True, with its breakbeat drums, soulful vocals and looped-up samples, it set the template for all that chillout ephemera that was farted out around the turn of the century. But as a snapshot of a bold new era of hip-hop in the 90s, it stands alone.

Words by Joe Svetlik

Firestarter by The Prodigy

It's hard to overstate the impact The Prodigy's sneering techno anthem had on 1996's musical landscape. At a time rock was making a half-arsed chart comeback via Britpop Dad-rock, watching Keith Flint tear it up on the Firestarter video on Top Of The Pops, looking every bit the living, snarling embodiment of acid-induced psychosis, was just magnificent.

And people actually complained to the BBC that the video was scaring their kids. The track itself though is the real beast; invigorating breakbeat techno infused with snarling punk attitude, ominous synths and freakish samples.

Through the right system, it's a great test of timing and your hi-fi's handling of all the frequencies, as Liam Howlett's brain-searing electronic hooks and loops, dipping and swelling to create multiple 'drop' moments, is underpinned by monstrously gut-gripping bass and body-blow beats.

And it still sounds awesome.

Words by Chris Burke

Sandstorm by Cast

Sandstorm is, perhaps, one of Britpop’s lesser-known singles, despite being released at the height of the movement and climbing as high as eighth in the UK Singles Chart. Released in January 1996 as the third single from All Change (1995), the debut album from Liverpudlians Cast, Sandstorm is another fine example of Liverpool’s rich musical history.

Like a lot of Britpop, it’s clearly taken some inspiration from the sixties. The breakdowns and guitar solo certainly have an ethereal, psychedelic quality to them, as do the backup vocals, but the rest of the song has a wonderful drive to it: piercing lead notes, crunching guitars and a bouncy rhythm section that beautifully propels you from one point to the next and eventually to the song’s striking, but not sudden, conclusion.

With a playtime of just over two and a half minutes, it definitely falls into the category of short, but it’s a track that is almost certainly sweet.

Words by James Cook

Don't Let Go (Love) by En Vogue

I have loved this song ever since I heard it as a pre-teen, even if I completely misheard some of the lyrics in the chorus when it was on repeat on MTV.

But it’s a dramatic love song that sits a mature step above the usual saccharine pop fare from that era. En Vogue were one of the defining female R&B acts of the 90s (alongside TLC, Salt-N-Pepa, Toni Braxton and Aaliyah), and Don’t Let Go is a deliciously smouldering and empowering ballad that allows the quartet to flex their considerable vocal skills and lush harmonies to the max.

The arrangement is fantastic, with an agile, sultry bass underpinning the track with hints of funk; but really, it’s the soaring, commanding vocals and endlessly sing-a-long chorus that will grab you from the first note and won’t, well, let you go.

Words by Kashfia Kabir

Born Slippy. NUXX by Underworld

1996 will go down in history (well, my history at least) as the year I first got into dance music. My newfound thirst for bpm was predominantly powered by two things: the Ministry of Sound: The Annual II album, which, to this day it still contains its fair share of bangers, and the closing track to one of the best movies of the year: Trainspotting.

Okay, so Born Slippy. NUXX might have first appeared on a B-side in 1995, but its reissue in July ‘96 rode the wave of Danny Boyle’s cinematic masterpiece, catapulting it not only into the mainstream, but my ears, too.

The slow, synth-y start sets a thoughtful tone and sets the mood for the end of the film perfectly as Renton summons up the courage to leave his chums behind for a brand new start. Little did I know the track was about to explode into an assault on the senses, the march led by a pounding kickdrum that never fails to get my foot tapping.

A club classic.

Words by Andy Madden

Valley of the Shadows by Unknown Origin

OK, so it originally came out in 1993, but Valley of the Shadows went from underground to overground upon its re-release in 1996, and quickly became one of the biggest jungle tracks of all time. Some 30 years later, it remains instantly recognisable to anyone with even a passing interest in the genre.

The epitome of being ahead of its time, Origin Unknown (Andy C and Ant Miles) married the iconic “long, dark tunnel” vocal sample (taken from the BBC’s QED TV show) with shuffling breakbeats and a necessarily deep and ominous bass line. Eerie synths completed the magic and ultimately brought jungle to a whole new audience, kickstarting the rise in global popularity of drum and bass.

In 2026 it still provides an excellent test of rhythm and timing, while you will certainly get an idea of how well your system delivers bass. Don’t be scared; turn it up and enjoy.

Words by Joe Cox

Virtual Insanity by Jamiroquai

It’s fine, not everybody likes Jamiroquai. The Jay-Kay fronted group were a major force in the the development of acid and jazz fusion across the 1990s, blending cheeky, occasionally provocative lyrics with crisp production and a keen ear for a catchy chorus, gaining notoriety from danceable, fleet-footed hits such as Space Cowboy, Cosmic Girl and Canned Heat. Oh, and let's not forget Jay Kay’s endearing disco-dad dancing and assortment of outlandish headwear.

Whatever your disposition towards one of the defining funk acts of the decade, there’s no escaping Jamiroquai’s test room credentials. Want proof? We’re the proud owners of the group’s Greatest Hits CD, regularly giving it a spin whenever we want to see how well a CD player or hi-fi setup handles rhythms, cohesion, and Jay Kay’s flighty falsetto.

As one of Jamiroquai’s biggest hits, Virtual Insanity is a great place to start, with its breezy vibes belying darker concerns regarding the creeping encroachment of digital alienation. Funky!

Words by Harry McKerrell

The Distance by Cake

There is no other band that really sounds like Cake. That mixture of college rock, alt rock and singer John McCrea’s sardonic tone is unmistakably recognisable the second you hear it, and their standout single, The Distance, from the second album Fashion Nugget (which is filled with great tracks) is a perfect testament to their musical talents.

McCrea’s deadpan delivery shouldn’t work so well with the driving, snappy rhythm section, but it all contrasts and melds together in a melodic, cohesive way. It is, quite frankly, a bop.

McCrea’s lyrics take centre stage in the verses before the crunchy guitars and trumpet flourishes kick in for the big chorus, and coupled with the backing vocals and the odd synth sounds, it creates this wonderful melange of noise that is arch, inventive, rocky and, simply, just a great tune that never loses momentum.

Words by Kashfia Kabir

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Spotify has been my music streaming platform of choice for more than five years, four of which I’ve spent as one of its 281 million paying subscribers.

This union started off as a happy one – but, sadly, nothing lasts for ever. It seems my Premium subscription is the next thing set to prove the truth of that old adage.

Spotify no longer serves my music-streaming needs and I’m strongly considering ditching it for Tidal. Here are the three reasons.

Spotify costs more

My first sticking point is that Spotify keeps getting more expensive. When I first signed up for Spotify Premium in 2021, I was paying half of a £13.99 monthly Duo subscription (£7). But after Spotify’s third price increase in two years in late 2025, I am now paying nearly double that (£12.99). More than that, it makes it £2 more per month than an individual Tidal subscription (£10.99).

In fairness to Spotify, it’s not the only streaming service to have upped prices in recent years. Netflix increased prices at the beginning of last year and Disney+ did too in late 2025.

Spotify’s higher price, however, is harder to justify when you consider that it lags behind Tidal in a key metric that serious music fans, myself included, care about…

Tidal offers higher resolution audio

Frankly, before I joined What Hi-Fi? I paid little attention to the figures defining the quality of digital music, namely bitrate and sample rate. Now, however, I understand the higher these rates are, the more the sonic detail from suitably good hardware can be.

This became apparent whilst I was reviewing a pair of speakers for What Hi-Fi?. While listening to Kate Bush’s vocals during the opening to Cloudbusting, I found that not only do they sound more natural when heard through Tidal, but you almost feel as if her voice is about to crack as she holds those beautiful notes, such is the level of detail being presented. Comparatively, her vocals sound a little strained when listened to via Spotify Lossless; and they are noticeably less textured to the point where each note seems to cut off a little prematurely.

This is why I’m now on a quest to find the perfect hi-fi system for a cramped listening space. I’ve been looking at the Award-winning Ruark MR1 Mk3 desktop speakers, but as I am currently without my five-star Audio Technica AT-LP3 turntable, my plan for the time being would be to connect my laptop to the Ruark’s USB-C connection, which supports high-resolution audio playback up to 24-bit/96kHz.

Spotify Lossless supports playback only up to 24-bit/44.1 kHz – less than half of the MR1 Mk3’s sample rate. Tidal, on the other hand, can play back hi-res audio up to 24-bit/192 kHz.

This may be more than the Ruark’s USB-C connection supports, but I am also considering adding a music streamer to the hi-fi system – I’m thinking of the Award-winning WiiM Pro Plus. This supports a maximum file resolution of, you guessed it, 24-bit/192kHz.

That way, should I connect it to the MR1 Mk3’s 3.5mm stereo jack/optical input in the future, I can make full use of the extra level of detail on offer.

I use Spotify differently now

The way I use Spotify has also changed significantly over time. While I think its Discover Weekly playlist and wide selection of podcasts are excellent, I seldom use either feature any more.

At the moment, I’m mostly rediscovering old tracks via Spotify’s manual search function, or listening to my long list of liked songs. So, despite having fewer features and podcasts than Spotify, Tidal will fulfil my current listening needs for less per month. Plus, I’ll be able to hear tracks in higher resolution once I’ve finished building my stripped-back hi-fi system.

Time for Tidal?

Spotify has undoubtedly served me well over the past half decade, but the combination of lower price and higher quality audio means it’s time I tried Tidal instead.

After all, if Tidal’s less extensive feature list proves too much of an issue, I can always go back to Spotify, or even try something else.

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At long last, Mission has launched its 778S music streamer, and it's full of surprises.

This standalone streamer is designed to match the 778X stereo amplifier, a half-width design that marked Mission's return to the amplifier market in late 2022, after a hiatus of 40 years. It received five stars in our review for its wonderfully balanced sound and compact, versatile design for the attractive price (£549 / $549 / AU$1099).

The matching music streamer (and CD transport) for the 778X was first teased at High End Munich in May 2024, showcasing the same half-width design; but details and pricing were under wraps – until now.

We now know the Mission 778S is as well equipped as any modern network music player, and it is designed in partnership with streaming specialist Silent Angel.

This specialist streaming brand has been around since 2014, and Mission says the 778S integrates “a custom version of Silent Angel’s streaming engine with Mission’s own circuit designs” along with a specialised app for iOS and Android designs.

The 778S supports all the popular streaming features: Connect versions of Qobuz, Tidal and Spotify, TuneIn internet radio, and AirPlay 2. Wi-fi and ethernet are on board, while DLNA/UPnP compatibility ensures that the 778S will be able to stream files from any connected storage devices on the same home network, such as a laptop or NAS drive. The unit it also Roon Ready, but there is no Google Chromecast or Bluetooth on board here.

As part of the DAC stage, Mission uses the ESS Sabre ES9038Q2M chip along with its proprietary clock and power supply circuitry. The brand has taken care to “eliminate noise and distortion in the signal path”, along with ensuring that clean, consistent power is sent to the digital and analogue stages.

File compatibility is extensive, with the streamer supporting up to 32-bit/768kHz PCM and DSD512 – that's more than enough for the majority of digital libraries and hi-res streaming platforms.

The streamer is also able to upsample all PCM streams to 352.8kHz or 384kHz before converting to analogue, in a bid to move digital artefacts into the realms beyond audible hearing. Alternatively, users can select between five “reconstruction filters” to fine-tune the sound to your source.

There is a healthy complement of physical connections too, including USB-C and two USB-A ports for connecting to laptops and storage devices. There are balanced XLR and RCA outputs on the analogue side, along with digital coaxial, optical and USB-A outputs. It even has a 6.35mm headphone socket.

Mission stats that “every aspect of its technical design is focused on delivering sonic excellence.” We are promised a “fluid, full-bodied, detailed and dynamic” performance. The ‘mission’, according to the press release, is “to bring sonic rapture to music-loving souls on this earthly plane.” That's quite the ambition.

The 778S follows the same half-width design with anodised aluminium casing as the 778X amplifier, and features two large control dials (one for input selection, one for volume control) in a symmetrical format on the front panel.

There is no full-colour display with album artwork as we have come to expect from most modern streaming rivals; instead, the 778S has a dimmable OLED display for text-based information such as input chosen.

The Mission 778S will be available from late January in silver or black finishes, and costs £799 / $1699 / AU$1899. At this price, its main rivals are the five-star Cambridge Audio CXN100 (£799 / $1049 / AU$1899) and Award-winning Bluesound Node Icon (£899 / $1199 / AU$1949). Let’s hope Mission's first streamer has been worth the wait.

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The dazzling lights of Las Vegas can often be overwhelming, so there's nothing better to bring you down to Earth than sitting in a $70,000 Mercedes Benz that's filled to the brim with tech, lighting and speakers.

That's exactly how I started my year, as I had barely digested my turkey and finished unwrapping my Christmas gifts before I stepped onto an 11-hour flight to Nevada to cover the biggest home cinema announcements of the year at CES 2026.

Among the companies I caught up with at CES was Dolby, which had plenty of exciting announcements regarding Dolby Atmos, and it also finally gave us a clearer picture of Dolby Vision 2.

I'm sticking with the former for now, as Dolby gave me one of my favourite Atmos demos in years, and it had nothing to do with movies.

I'm stepping out of my home cinema comfort zone here to talk about in-car audio, a subject area that I am frankly quite new to.

While I can appreciate a good sound system in a car after attuning my ears to countless home cinema surround sound systems, I've also sat in plenty of my friends' cars, which have Bluetooth speakers lodged into the cupholder due to malfunctioning stereo systems.

Therefore, when Dolby was talking me through its selection of Atmos-equipped vehicles, which were neatly arranged in the Dolby Live Theatre, I couldn't help but take its endorsement with a heavy dose of scepticism.

I mean, do you really need Dolby Atmos in your car? As it turns out, yes, you do.

I tried the immersive audio tech in two of the four cars on show; one being the Mercedes-Benz GLC (which featured a sound system from legendary hi-fi manufacturer Burmester) and the other a luxurious Cadillac Escalade IQ (outfitted with a sound system from AKG).

The Mercedes-Benz gets bonus points, as it's one of the first cars in the world to feature Dolby Atmos over wireless Apple CarPlay (with Apple Music), whereas previous Dolby Atmos-equipped vehicles have required users to stream music directly through the built-in infotainment system in order to access the immersive audio format.

My demos also included music being streamed directly from the cars' smart systems via the likes of Amazon Music HD and Tidal, and I was even shown an excerpt of the 1984 audiobook via Audible.

Despite my scepticism, the 3D audio presented in the cabins of both vehicles absolutely blew me away.

I was treated to a demonstration of a few tracks, including Pink Floyd's Money, Elton John's Rocket Man, Prince's When Doves Cry and Tiesto's BOOM.

All of these tracks sounded crisp, richly detailed and, most importantly, super immersive as every speaker in the cabin of the car was put to work.

Sound travelled organically throughout the car, with some effects even coming from the very back of the vehicle (literally from the boot, or trunk for our American readers) and travelling all the way up to the driver's position.

In the case of 1984, the included background effects were placed throughout the cabin in a way that transformed it into an immersive audio drama, putting me (who was luckily seated in the driver's position) directly into the centre of the action.

I immediately pictured a long road trip with my favourite playlist blasting through the Atmos-equipped sound systems of both cars. The plush leather interiors and huge screens helped to sell the vision, of course.

In all honesty, it makes sense that Dolby Atmos works well in a car. An enclosed cabin with speakers placed all around it is, in theory, the perfect environment for Atmos to thrive.

It requires a different level of processing compared to the usual home cinema setting that we're used to experiencing Atmos in; however, 3D music has been on the rise thanks to support from the likes of Apple Music, Amazon Music and Tidal.

Admittedly, Dolby Atmos music isn't for everyone. Hi-fi purists may take umbrage with the processing, and it doesn't work perfectly for every song. But as a long-time Apple Music subscriber, I've grown to appreciate the immersive audio format for music.

I should also mention that your mileage may vary (pun intended) depending on the track you use. Not all Atmos mixes are created equally, and I'm acutely aware that Dolby likely demonstrated these systems with the better Atmos mixes out there, but that's to be expected.

While the cars that Dolby was showing off at its CES presentation were outside of my budget (I'll be sticking to the London Underground for now), Dolby does have an aftermarket Atmos solution.

It's partnered with Pioneer for the launch of SPHERA, which can take the spot of your current car stereo system to enable Atmos with your car's existing speaker set-up.

The catch here is that very few cars out there have height speakers built in, but Dolby claims that a virtualised Atmos processing system, akin to the one found in Dolby Atmos soundbars that don't feature height speakers, such as the Sonos Beam Gen 2, will be used.

Will it rival the pricey Mercedes and Cadillac motors that I experienced at CES? Probably not, but having the option to enable Atmos on older vehicles is certainly a step in the right direction.

So, should you consider Dolby Atmos when picking your next car? If your budget allows, and you're serious about sound on the go, then absolutely.

However, it has to be heard to be believed, and I wouldn't blame you for being as sceptical as I was. There are, of course, more important things to consider when investing in a new car, but for audiophiles, this is a feature that's certainly worth looking into.

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It's a new year, and you know what that means: new music! Ok, so Kate Bush, Diana Ross and Paul Simon don't technically count as 'new' anymore, although the term is somewhat relative (they're a lot newer than Mozart, say), but we hope that at least some of the tracks we've served up below are new to you, our dear reader.

In fact, 2026 might be a new year, but this month's edition of Now Playing clearly has us feeling nostalgic as we hurtle back through the decades to find golden oldies from the '70s, '80s and '90s.

Call us doe-eyed nostalgia merchants, but things were just better in the old days, right?

• Check out the full playlist on Tidal

Cloudbusting by Kate Bush

When an artist has as much talent as Kate Bush, it’s difficult to refrain from playing their records, either at home or in our testing rooms. Such has been the case for me with the Bexleyheath-born artist’s 1985 hit Cloudbusting.

It’s always interesting when artists successfully use melancholic elements to create a song that is ultimately uplifting, almost as if they are trying to create the feeling that something is bittersweet, and that’s exactly what Bush has done here.

The song begins with the combination of beautiful strings and Bush’s ethereal vocals. Any hi-fi system that relays plenty of detail will allow you to appreciate the incredible depth of both aspects.

Cloudbusting is definitely more focused around the mid to high frequencies, but it has some fantastic rhythmic elements, too. What’s especially notable is the interaction between the strings and drums once the latter hits for the first chorus to inject a bit more bounce.

Words by James Cook

Upside Down by Diana Ross

While the rest of us have been looking forward to 2026, you may have been surprised to see the UK charts looking back 40-odd years to the heyday of the 1980s. The phenomenon can, of course, be explained by the pop culture domination of Netflix’s Stranger Things, the final season of which has sent Prince, Tiffany and, of course, Kate Bush back into the charts, despite the tracks comfortably settling into middle age.

While I’m also partial to Kyle Dixon and Michael Stein’s Kids theme from the soundtrack, it’s the aptly-named Upside Down by the iconic Diana Ross that left an impression on me this time. A reported favourite of our very own King Charles, the breezy song zips along effortlessly thanks to a propulsive bassline and Ross’s confident, charismatic vocals.

It’s a stark contrast to the lyrics, which are a surprisingly layered look at being head over heels for someone despite infidelity. Nevertheless, the dancefloor staple is great for testing thanks to its range of frequencies and Ross’s impeccable timing. The anthem revived Ross’s career – perhaps it could help reverse the fortunes of a struggling audio company, too?

Words by Daniel Furn

I Hate Hate by Razzy Bailey

Have we ever needed this tune more than we do right now? If Razzy thought that in 1974 there was “so much hate going on today / on the right and on the left,” Lord only knows what he would make of the current political climate (he died in 2021, so sadly we’ll never know).

But whatever your politics, or your take on the song’s message, you can’t deny the quality of the musicianship (or the excellence of the name Razzy).

With its sweeping organ intro, breakbeat drums, spoken introduction and the sweet, sweet vocal, it really sits at the intersection of northern soul, funk, country and blues. On first listen, you might miss the finer details like the violin in the first verse and children’s voices that join in the chorus, but they’re there, and they all add to the track’s power.

The message that love conquers all might seem hopelessly naïve, but we can dream, right? And have a bloody good dance while we do so. It’s what Razzy would have wanted.

Words by Joe Svetlik

50 Ways To Leave Your Lover by Paul Simon

Sometimes the Spotify algorithm manages to pull an absolute blinder. As I was listening to a relaxing mix curated to my tastes, Paul Simon’s 50 Ways to Leave Your Lover caught me by surprise and had me tapping my toes from the first beat.

From there, it quickly became a go-to in the test room to challenge all sorts of AV kit. Featuring soft '70s folk and taking inspiration from afro-pop, it’s a track that manages to put multiple aspects of a system’s audio to the test.

During the verses, Simon's drummer employs just a bass and snare drum which asks for a huge amount of subtlety and nuance from your system, as the stick bounces off the drum with the delicacy of a dragonfly’s wing fluttering.

This is partly interrupted by Simon’s clear vocals as he mulls over the best ways to leave his partner, but a good sound system will still keep the drum beat in check with the necessary softness. As backing vocals kick the track into a more upbeat tone, the addition of backing vocals and an energetic drum beat creates an absolute hip-swayer that is hard to resist.

Words by Robyn Quick

Down On The Upside by Soundgarden

I love Soundgarden. No, I mean it, I really love Soundgarden. I love them as much as I love the cold side of the pillow, Christmas dinner or meeting a friendly dog. Prod me with a sharp stick and I’d tell you that they’re in my top two favourite bands of all time.

Back to the point. If you’re only casually acquainted with Seattle’s number one export (yes, I love Alice in Chains as well), it’ll probably be via their airwave-hogging anthem Black Hole Sun.

A worthy reason to have gained lasting fame, and few will encourage you to seek out 1994’s peerless Superunknown opus more than I, but it’s the oft-overlooked follow-up Down On The Upside that I regularly dust off for regular testing duties. Yes, it's a whole album, but there's nothing wrong with bending the rules once in a while.

Down On The Upside is a weird one, mainly because I don’t really deploy it to pick out any specific, tangible element for testing. Instead, it’s an album that just has a feeling, an ambience, a colour even; a sort of mournful malaise that puts me in mind of rust and decay, of big old empty rooms and American deserts at night, of an indefinable sadness that creeps into your veins and can’t be shifted.

Not particularly helpful from an outsider’s perspective, but useful on my end.

Just listen to it for yourself, will you?

Words by Harry McKerrell

Lost by The Church

Streaming often gets a lot of FLAC (badum tss) from vinyl snobs, but over my Christmas break, I was reminded of one of its best features: discovery.

Let me paint the scene.

Sitting at the umpteenth pre-Christmas house party, we’d hit that special, special time of night. The one that happens after we’ve all stuffed our faces with enough cheese and wine to make gout a genuine risk, and managed to put the kids to bed.

All eager to prove age hasn’t dulled our ability to party, we sit comatose, trying to find the will to finish our latest “last” mug of mulled wine, too groggy to converse properly but unwilling to be the first to call it a night. In this sad portrait of middle age, the hi-fi box blasts out tunes from a mysterious song radio mix on Tidal that no one remembers putting on.

In the haze, a track starts playing from a band I loved as a teenager, but had long forgotten, shakes me back to life: The Church’s Lost.

Utterly appropriate to the mood, with a transcendental, ethereal style that feels like what would happen if Pink Floyd and The Cure had a baby, I’ve since been hooked on the track and revisiting the band’s work in general.

Trust me, if you’re a fan of new wave, psychedelia or just fancy a solid, introspective band to enjoy during the year’s darker months, you won’t regret doing the same.

Words by Alastair Stevenson

POSTERITY by Ludwig Goransson

I have no idea what Tenet is about. That position likely wouldn’t change were I actually to watch what has become the misunderstood outlier of Christopher Nolan’s outstanding canon, as I’m yet to meet anyone who can tell me in less than five paragraphs what it’s about.

I do know, however, that the music is superb. Ludwig Goransson is fast becoming a sort of Hans Zimmer 2.0 (that’s very much a compliment), with Nolan recruiting his services once again for his 2024 masterpiece Oppenheimer. We all know how well that turned out. "Can you hear the music, Robert?”

POSTERITY is the track you want to go with, although you’ll need quite a bit of time to set aside. At nearly 13 minutes of enthralling build-up crammed with conventional instrumentation alongside some rather distinctively odd sonic quirks (is that a zither being whacked with a bit of old drainpipe?), it’s a treat if you want to see how your system conveys both small scale and big-picture dynamics.

Words by Harry McKerrell

As a collective, our review team listens to a lot of music. Sometimes we rely on old favourites with which we're familiar, but we are always discovering new tracks – be they fresh releases or just songs we haven't encountered before – that give us key insights into new products we are trying out.

We also know that plenty of our readers are on the lookout for new tunes, either to assess the capabilities of a new system or simply to show off the full talents of their established hi-fi set-up. That's why we have come up with our monthly 'Now Playing' playlist, a rundown of everything we've been listening to and loving recently, whether at home with a set of headphones or at work in our fabulous test rooms.

Each instalment will bring you a handful of tracks chosen by our reviews team, detailing why we love them and what they bring out of certain products. So even if you're not looking for new tunes to play on your system, we hope you find something you'll love no matter how you choose to listen to it.

We're always on the lookout for new music, so drop a comment below to share what you have been listening to!

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Marantz has announced the newest additions to its home cinema range: the AV 30 Preamplifier and AMP 30 Power Amplifier.

They are taking a page from the Award-winning Marantz Cinema 30's design, featuring an "iconic porthole" screen and stylish illumination on the side. The remote controls for each model also feature backlighting to “ensure an effortless user experience in darkened rooms".

Taking a closer look at the AV 30, the 11.4-channel preamplifier is deploying “state-of-the-art processing” and “comprehensive features”, according to the brand.

The AV processor comes with the "latest and most powerful" Analogue Devices SHARC dual-core DSP chipset, which is paired with 32-bit two-channel DACs.

Marantz claims the AV 30 will be able to decode and process "all forms of incoming audio", including Dolby Atmos, IMAX Enhanced, DTS:X and AURO-3D.

And, with 11.4 channels supported by the discrete HDAM SA-2 preamplifier stage (via either RCA or XLR), it seems promising that the AV 30 will be able to deliver an immersive audio experience.

The brand is offering an impressive seven HDMI 2.1 inputs, which can support up to 8K/60Hz or 4K/120Hz video.

On top of that, the AV 30 is powered by the HEOS platform to give you access to a range of music streaming services. That includes Spotify Connect, TIDAL Connect, Qobuz Connect for hi-res tunes, as well as AirPlay 2 and Bluetooth.

You can fine-tune the product to your space with the help of Audyssey MultEQ XT32 advanced room optimisation, which automatically calibrates based on speaker size and distance via the included microphone.

Moving onto the AMP 30, Marantz has dubbed the entry “powerful and versatile”.

It delivers six channels of amplification, rated at 200W per channel, which Marantz claims is ideal for "multiple different system configurations".

It also provides the option of reconfiguring pairs of 200W amp channels into bridged-tied-load (BTL) outputs, with up to a maximum of three channels of 400W available if the chosen speaker system requires it. You can also choose to bi-amp up to three speakers.

Having 'just' six channels of amplification means that a single AMP 30 can't take full advantage of the AV 30's 14 channels of processing, but buyers can, of course, partner the AV 30 with the 12-channel AMP 20 or 16-channel AMP 10 if they prefer.

The AV 30 and AMP 30 will be available this month from select retailers, with each priced at £3500 / $4000 (around AU$7105).

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We know FiiO best for its feature-laden portable music players and affordable digital-to-analogue converters, but, as we take a look at the company’s website, the sheer breadth of its product range is astonishing. You’ll find countless headphones of all types alongside active speakers, desktop audio products, cables and even a portable cassette deck. Record player? Yes, FiiO makes one of those, too.

Clearly, this is an ambitious and adventurous company, so when it launches its first full-size music streamer, we can’t wait to have a listen. FiiO refers to the S15 as a ‘desktop high-res audio streamer’, but we aren’t sure what that actually means.

In the metal, it is a standard, full-width 43cm unit, the same as any conventional hi-fi product, and there isn’t anything in the feature set that screams out dedicated desktop audio use to us. The S15 doesn’t even have a headphone output to suit that purpose.

Design

What we have here is a generally well-equipped but fairly conventional music streamer, and as such, it does everything you would expect from such a unit. The FiiO S15 will play music files from servers attached to your home network or any memory storage connected directly into its USB-A socket. As expected, it can connect to your home network either wired or wirelessly.

The S15’s operating system is based on Android 12, and as such, it is possible to download any appropriate app from the Google Play Store. Our review sample didn’t have either Tidal or Qobuz loaded straight out of the box, but it was the work of minutes to get them downloaded and functioning.

The use of Android undoubtedly gives the FiiO a great deal of versatility compared to most conventional rivals, but its inclusion brings about some usability issues, too, as we will find out later.

Connectivity

There is plenty of connectivity here, mostly digital, of course. You will find a USB-C port on the front panel to connect a computer, alongside a USB-A socket for external memory storage. Look around the back, and there is another USB-A, the usual optical and coaxial inputs (and more unusually, mirrored outputs), plus an HDMI, HDMI ARC and a third HDMI socket that outputs an I2S digital signal to feed a suitably featured external DAC.

Then there is the less common AES/EBU balanced digital connection with separate sockets for both input and output. Two-way Bluetooth (aptX HD/LDAC compatible) is on the menu too. As for the analogue outputs, the S15 has two sets of stereo RCAs and a single stereo balanced XLR.

This FiiO can also work as a server. It has an SD card slot (a maximum of 2TB capacity) and can support an M.2 NVMe SSD drive (also a maximum 2TB capacity).

Add it all up and, in terms of features at least, there is little else we can reasonably ask for from a product such as this, bar the rather odd omission of a physical headphone output.

Take a look inside this FiiO streamer and you will find AKM’s flagship two-chip AK4191/ AK4499EX combo at the heart of its digital circuitry. The AK4191 handles all the processing while its partner is responsible for the actual conversion. The timing of the circuit is controlled by a pair of high-grade Accusilicon AS318B low-jitter femtosecond clocks. The S15’s analogue section is fully balanced to minimise crosstalk and noise levels.

Elsewhere, the power supply uses a custom-made, low noise 35VA toroidal transformer and four 4700uF ELNA capacitors in a bid to deliver a stable, pure feed to the audio circuits. The power feeds to the digital and analogue sections of the circuit are kept isolated to prevent unwanted interactions spoiling the sound.

Build & usability

General build quality is good, as you would expect at this premium level, though there are areas where this FiiO feels a little low rent. We like the crisp 7.84-inch full colour touchscreen display, and the S15’s aluminium casework feels pretty solid, but the sense of quality is let down by the rather insubstantial dual rotary controls. There is very little resistance and a bit too much wobble in their movement for our liking.

While we’re on the negatives, we don’t find the S15 pleasant to use. The Android operating system allows it to be extremely versatile, but it also makes the player feel clunky. There are slight hesitations in carrying out actions, and the touchscreen isn’t always as responsive as we would like.

Its user interface isn’t particularly intuitive, either, and even after a couple of weeks we still find ourselves wondering how to get to a specific setting or function on far too many occasions.

That isn’t the worst of it, though. The partnering FiiO Control app, the main way most users will interface with the product, is one of the poorest streaming apps we’ve come across in years. It is buggy, poorly designed and prone to crashing. Some instructions inexplicably come up in Chinese, and the placement of some of the notifications is occasionally awful.

It also looks like it is optimised for a smartphone screen, and so there are huge empty spaces when using our usual iPad.

We are shocked that a company that has so much experience with streaming products can produce such a sub-standard app and general user interface, and that is reflected in our rating for Build.

Sound

With that out of the way, we can move to the S15’s sound quality, and here it is more of a mixed bag. We spend plenty of time working through the FiiO streamer’s various sound and filter options until we feel that we’ve optimised the results as much as we can.

On the positive side, we think this FiiO makes a generally positive first impression and can certainly see it impressing on a short demo at a dealer. It also sounds pleasingly consistent across its digital inputs, including Bluetooth, which connects to our phone seamlessly.

The S15’s sonic character is smooth and full-bodied, delivering generous doses of warmth and weight that we think many will like. This is mostly an unfussy performer that tends to be kind to thin or aggressive recordings, while still offering a decent level of clarity.

Listen to something easy-going, such as Come Away With Me by Norah Jones or Sade’s Diamond Life, and you’ll find things to like; the FiiO’s tonal balance is decently even, and the midrange relatively clear. Voices come through with solidity, and there is a nice sense of boldness to the presentation. In a market where many manufacturers value agility over authority and natural warmth, the FiiO’s sonic character holds appeal.

However, its limitations soon start to show when we play a wider range of music. As we work our way from The Police’s stark but energetic Outlandos d’Amour through to TLC’s CrazySexyCool, taking in Beethoven’s Seventh Symphony and Coltrane’s A Love Supreme on the way, we can help but notice that the FiiO struggles to deliver the true essence of each musical performance.

It delivers a compressed sound that fails to convey the dynamic ebb and flow of the music properly. The track Roxanne from The Police is robbed of its rawness, while the TLC set sounds oddly sanitised, with the group’s punchy beats and passion-filled vocals lacking their usual verve.

Rhythmic drive isn’t conveyed well, with the FiiO unable to deliver the innate momentum of the music properly. The presentation sounds safe and undemanding, whereas the TLC recording demands punch and attitude. It doesn’t help that lows sound overly plump and poorly defined. Those after taut and tuneful bass definitely need to look elsewhere.

The S15’s limitations are thrown into sharp relief by the similarly priced Bluesound Node Icon rival. This Award-winning streamer has become a firm favourite at What Hi-Fi? Towers thanks to its blend of exceptional sound quality, operational stability and sensible feature list (which includes dual 6.3mm headphone outputs, by the way).

We use our reference Burmester’s 088/911 MkIII stereo amplifier and the ATC SCM50 speakers for much of our testing and comparisons, but also try both the FiiO and Bluesound streamers in a more price-compatible system of the Arcam A5+ amplifier and KEF LS50 Meta stereo speakers. Regardless of set-up, the Bluesound is streets ahead when it comes to sound quality.

The Node Icon is simply more transparent. It sounds considerably more insightful and offers far more in the way of resolution and precision. We can hear deeper into the mix and pick up on low-level details that the FiiO simply ignores; the reverb around a vocal or the acoustic clues that define the recording venue are more obvious. The TLC album is now fun to listen to, while A Love Supreme grips our attention and emotions from beginning to end.

Verdict

The FiiO S15 certainly impresses on paper and offers a degree of versatility that betters most of the competition. But given its premium price, that simply isn’t enough. We feel there could be a solid product here; the raw ingredients certainly seem present, but the S15 needs further development, as does the undercooked app. Until that happens, our money would go elsewhere.

Review published: 8th January 2026

SCORES

• Sound 2
• Build 3
• Features 5

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Onkyo is kicking off the new year with a bang. Not only is the Japanese brand celebrating its 80th anniversary this year, it has also announced a new series of hi-fi products at CES 2026.

The Onkyo Muse series consists of two streaming amplifiers, the Y-50 and Y-40, which combine amplification, network streaming, DAC and connectivity in one unit – you just need to add speakers.

The Muse series aims to be a "vibrant entertainment hub for today’s streaming music lovers" while also delivering "a new benchmark for uncompromising hi-fi" in a compact design.

Both models feature Class D amplification and fully digital circuits, aiming to deliver fast, precise and powerful sound with an immersive soundstage. Along with wi-fi and wired Ethernet, the Muse series supports Spotify Connect, Tidal Connect, Qobuz Connect, Chromecast and AirPlay 2 to handle your streaming needs.

On both units, a 5.46-inch colour LCD display screen dominates the aluminium front panel, which allows you to browse all your connected streaming services, serves up track information and metadata, and can also display VU meters for that retro-analogue touch.

The minimalist chassis is available in black or silver, has heat vents on top that feature a traditional Japanese “San Kuzushi” pattern, and features an all-new volume control design.

The Muse Y-50 boasts 250W per channel into 4 ohms, and includes Onkyo's built-in Room EQ room calibration technology to optimise the amp's sound to your space.

Onkyo claims the Y-50 delivers "a dynamic, detailed soundstage that faithfully conveys the artist’s intent" and has enough grunt to drive speakers "of any size".

Physical connections include three pairs of RCA line-level inputs, a digital coaxial input, HDMI ARC input, and subwoofer output. It also has a built-in phono stage compatible with moving magnet and moving coil cartridges, and a 6.3mm headphone jack.

The Muse Y-40, meanwhile, offers 150W per channel into 4 ohms, and inputs include three RCA, coax, phono and HDMI ARC. It has the same streaming features as its bigger sibling and a 6.3mm headphone jack, but lacks the built-in Room EQ feature.

Onkyo's Muse series will be available in May 2026. The Y-50 is set to cost $1499, while the Y-40 will cost $999, with UK, AUS and other pricing TBC.

But that's not all – to mark eight decades of Onkyo and its "rebirth", there will also be a special limited edition Muse model available. Inspired by the design of the classic, high-end Onkyo M-588 stereo power amplifier, this 80th anniversary Muse streaming amplifier edition (pictured above) features a champagne-gold aluminium chassis with real-wood walnut veneer side panels.

This limited edition model is "positioned as a flagship expression of Onkyo’s past and future". We're told that 1000 units of the Muse 80th is expected to be available worldwide. We don't have details on price yet, but we're told that it will be launching in summer 2026.

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“Harry, of all the tracks you heard this year, which was the one you used the most for testing hi-fi?”.

OK, I’ve not technically been asked that particular question at all throughout 2025, but I imagine that at least one person has thought about asking it during the past twelve months. I’ve certainly pondered it, although I am admittedly someone who spends all of their time obsessing over the fact that Tidal doesn’t do official track play counts.

That said, I did have the pleasure of Tidal’s ‘Rewind 2025’ retrospective which, while not as in-depth as Spotify’s almost fanatically analytical rundown, did reveal that my top tracks of the year featured the likes of Slipknot, Alice In Chains, Pearl Jam, Soundgarden, Avenged Sevenfold, Nine Inch Nails, Chris Cornell, Massive Attack and, of course, Lady Gaga.

That list was also decently represented by our old hi-fi favourites Radiohead, with Codex (hidden gem), Everything In Its Right Place (classic) and Decks Dark (underrated) all making the final shakeup. Then, right near the top of the pile, was the tune I used for hi-fi testing more than any other.

Burn the Witch has been my most used test track of 2025. While it was released way back in 2016, it’s taken me a while to get on board with Radiohead’s most recent album, A Moon Shaped Pool, so the delights of its lead track lay as unused and underappreciated as a dusty tome lurking in the corner of a creaky attic.

What a test track I was missing out on. When I gave the tune its own entry on our March edition of Now Playing, I described Burn The Witch as “a prescient, adrenaline-inducing polemic whose ever-amplifying drama and deft-handed orchestration make for a fine challenge of a speaker's organisational and rhythmic abilities”.

Breaking down a breakdown

Let’s break this all down with a handy play-by-play to see why that’s the case.

The whole arrangement is built around strings, which in itself is unusual for a reasonably mainstream record, opening with brisk, metronomic violin stabs underpinned by deeper cellos resonating below.

While those violins do most of the work in giving the track a scratchy, frenzied feel, the overall production has, if you listen closely, a sort of fuzzy softness which only lends to its slightly surreal, unsettling appeal.

Thin, slightly synthetic drums pop in at around the 12-second mark, before Thom Yorke’s unique vocals arrive at around 30 seconds.

Stop listening after a few more seconds and, even at that early stage, you’ll have a decent idea of whether your system has the organisational abilities to keep those varied elements fully in order, while ensuring the song’s relentless forward momentum is being conveyed with appropriate precision.

Things continue to build until the 1:30 mark, at which point a woozy, dreamy interlude should give you a decent idea of how your hi-fi system or headphones handle a change in pace and mood.

The next marker you should be looking out for comes at 2:29, and if you’re seeking a shortcut for your testing convenience, this is it.

Here the final push kicks into gear, with a multitude of strings combining with fullness and intent as the pace seems to quicken and the anxiety dial moves from ‘slight unease’ to ‘I haven't got any fingernails left’.

By the time you’re at 3:20, you should be all but assaulted by a musical barrage overlaid by violent screeches of Psycho-esque strings.

The whole of Burn the Witch is a test of dynamics, both in terms of low-level distinctions between notes and those broader, bolder shifts as things build to a climax, but this is the moment when you’ll really see how much drama your system can produce.

Only the finest components are able to replicate fully the ever-growing assault mounted by that terrifying final third.

The Musical Fidelity B1xi amplifier, for instance, demonstrated an adept handling of those crisp strings and the timbre of Yorke's nervous crooning, but couldn't match the explosive drama of the track's final third as capably as the Award-winning Arcam A5+ thanks to the latter amp's more astute dynamic handling.

(Don't) panic!

This song really is all about feeling. We usually talk about test tracks tapping into those classic emotions – sadness, melancholy, happiness, the desire to tap your toes – but bringing out genuine anxiety is a far rarer thing.

It’s a tricky thing for music to elicit (unless you live on your nerves like I do), but it’s the fundamental marker of how well your system conveys the ever-building dread conjured by a song characterised by a relentlessly panicked, almost accusatory nature.

Burn the Witch has been my go-to test track for 2025, and will likely feature heavily in 2026. As a workout for all of the key fundamentals of what any hi-fi or headphones should be capable of communicating – rhythms, dynamics, textural details, organisation, emotional resonance – it’s hard to beat.

As this is the season of giving and goodwill, consider it my gift to you – I hope it serves you as well as it has served me over the past 12 or so months. Here’s to finding something even better in 2026!

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It’s the end of the year, and that means that, since you’ve been good, you can all wear casual clothes this Friday and bring in your favourite toy to share with the class. Just make sure you’ve got a label somewhere on your fire engine so we know it's yours.

It also means that it's time to share our favourite test tracks of the year in this rather special edition of our 'Now Playing' column. Each month during 2025, we have brought you the test tracks, new and old, which we feel deserve a place on your testing rotation.

Now, for one final time in 2025, we're collating the tunes that we think will get your system purring, providing it's up to the challenge. From Ghost and Deftones to Billie Eilish and Bon Iver, we're making sure this rollercoaster year goes out with a bang.

• Listen to our Now Playing playlist on Tidal

The Package by De La Soul

Best known for their loved-up debut 3 Feet High And Rising, New York hip-hop group De La Soul have gone back to their roots with this single off their latest album. And it’s a doozy.

Like their classics The Magic Number and Eye Know, The Package is built around a catchy sample, in this case the chorus from Seven Years by Curtis Mayfield’s group The Impressions. Producer Pete Rock makes the piano loop almost hypnotic, punctuated by that irrepressible horn. Your system will need a good deal of clarity in the midrange to pick up on the finer details of some of the more obscure vocal samples (Cynthy Ruth was a new one on me).

That all said, I’m not sure about the visualiser video that accompanies it on YouTube. It’s all a bit Monty Python – I keep expecting a massive foot to appear and squash it all.

But sonically, The Package is a treat. And that’s what really matters, right?

Words by Joe Svetlik

Blue by Billie Eilish

While there are plenty of single tracks that I’ve been obsessed with this year – Doechii’s Denial Is A River, Tunng’s Didn’t Know Why, Kendrick Lamar’s They Not Like Us, Marion Black’s Who Knows – there has been an album that I have dipped into every time during testing this year.

No, it’s not KPop Demon Hunters (although that did get a lot of replay); it’s Billie Eilish’s Hit Me Hard And Soft. I got into Eilish a bit late, and I have to credit my colleague Ketan Bharadia for playing Blue during one review, and it has become a staple test track ever since.

The album’s recording is gorgeous: dynamic, polished, intricately layered and intimate. On Blue, there are lush details, hypnotic vocals, and a gripping, rhythmic momentum that deserve to be heard on a great sound system.

Words by Kashfia Kabir

Infinite Source by Deftones

There’s a lot of nostalgia for 2000s metal and rock bands right now. Every big festival, from Download to Primavera Sound, seems to have at least a few acts from the era playing the big stage next year.

While even a greybeard millennial who survived them the first time around will admit most of them haven’t aged terribly well, or weren’t very good to begin with, Deftones are a rare exception. So much so that calling their latest album, Private Music, a comeback leaves a sour taste in the mouth.

Always the cerebral card in the 2000s pack, the band has delivered a steady stream of thought-provoking bangers. Each with its famous hypnotic vocals and incredible interlinking guitar parts that create a distinctive “vibe” – one that’s instantly recognisable to any fan, no matter how long it's been since they last visited the band’s work.

This remains the case with its new 2025 album, Private Music, which is fantastic from start to finish. One track in particular stands out to me, though, and has earned a place on my most-played list this year: Infinite Source. Starting with a riff that instantly hooks you in, it mixes elements of the epic, iconic track Minerva from 2003 with the earlier, heavier work from the band’s self-titled debut album.

The result is a track that feels entirely fresh and accurately conveys singer Chino Moreno’s feelings, celebrating his sobriety while owning and taking responsibility for his chaotic past.

Whether you’re an existing Deftones fan or new to their work, it’s a fantastic song that’s well worth a listen.

Words by Alastair Stevenson

Everything In Its Right Place by Radiohead

This track by Radiohead is undeniably the one I have used the most this year to test out a range of different AV kit. With its ethereal feel and synthy vocals, Everything In Its Right Place properly challenges a sound system from the first few seconds.

The glitchy audio-effects fade in slowly along with a boppy bass track that sounds like something straight of a sci-fi movie and, with a top-quality system, should create a swirling circle of sound around the listener. This is done by the various tracks flitting from one speaker to the other, immediately challenging how well the product can handle organisation and separation.

The chorus ramps this up even more as additional vocal tracks and alien-like buzzing are added to the mix, all layered over the same bass line from the beginning. After this dazzling crescendo, the track simmers down and is stripped to just fading vocals and the synth bass.

It’s a simply exquisite audio experience that makes you feel every note, as well as being a great way to give any sound system a run for its money.

Words by Robyn Quick

From by Bon Iver

I’ve been saving this song in particular for our end of the year test track round-up, because I knew it would be my favourite upon my very first listen.

Cast your mind back to our April edition of Now Playing, and you’ll find that I highlighted Bon Iver’s Walk Home as my top track of the month. In that entry, I implored readers to “keep an ear out for the full album – titled SABLE, fABLE…”. And I’m glad I did, because it turned out to be one of the best records of the year.

The highlight of the album is From, a smooth and melodic track that I’ve had on repeat ever since the album dropped eight months ago. I’ve been listening to it in and out of the test room, and it even soundtracked a week I spent in Tokyo earlier this year.

It features a soulful guitar intro from Mk.gee (whose album Two Star and the Dream Police I’d also recommend wholeheartedly), which gives way to Justin Vernon’s falsetto vocals that glide across the track with ease.

They’re backed up by harmonies that interject during the chorus, which blend with Vernon’s vocals to create a rich and textured-sounding motif throughout the song. The lyricism in this song is also rather special, with themes of acceptance and personal struggle throughout. “Don’t let it trouble your mind, just take my love in your time” are lines featured in the chorus, and I think they sum things up beautifully.

I’ve played From through a range of headphones, earbuds and speakers, and I find that the most important aspects to convey are a solid sense of timing and spaciousness. Allowing the harmonies to breathe and ensuring the percussion in the background is snappy ensures that the dreamy, airy nature of the song is preserved.

Words by Lewis Empson

Satanized by Ghost

Before the entire album from which it’s taken was fully released, I selected Ghost’s Satanized as one of my top testing picks back in June. I was fully justified in doing so – it’s been a go to banger in the intervening months for both personal and professional reasons thanks to its campy orchestral feel and ability to tease out your system's rhythmic capabilities.

Since that time, Ghost released the entirety of their 2025 record Skeletá. And, while it doesn’t hit the heights of their previous untouchable effort Impera, it continues to demonstrate a group that is capable of delighting and bemusing in near-equal measure.

Satanized is probably the standout, but there’s fun aplenty to be had courtesy of the catchy peppiness of Peacefield, the overwrought balladry of Guiding Lights and the tongue-in-cheek ridiculousness of Missoula Amori.

Rock ain’t dead, folks, and if it was, you can thank Ghost for its unholy resurrection.

Words by Harry McKerrell

Absolute Monster by Rene Lavice

As I’ve only recently joined What Hi-Fi?, I have been wracking my brain for tracks that I think would be great to use in our testing rooms. This process has taken me back to Absolute Monster, a song I hadn’t heard for about a decade but that still hits as hard as it did when it was released in 2013.

If you fancy putting the depth of your hi-fi’s low-end to the test over the Christmas period, this thumper from Canadian drum and bass artist Rene Lavice is a great way to do so.

Absolute Monster begins with pounding kick drums that almost feel like they bite. This gives you a glimpse of what is to come before a disjointed, almost terror-inducing backdrop slowly builds until you’re swallowed by a tidal wave of dark, dingy noise.

This track could easily be described as audible filth, and a system with plenty of low-end depth will allow you to bask in it. However, that build up to, and eventual crash of, that gloomy wave is an excellent way to test your system’s handling of dynamics and detail, too.

Words by James Cook

MORE:

Read last month's edition: check out the 8 spectacular tracks lighting up our test rooms this month

These 7 films have been dazzling us in our test room this month – and will give your home cinema system a workout

Check out our ultimate test tracks collection

With some serious movie-watching to do over the holidays, you may be thinking it's time to invest in a soundbar to boost your TV's sound to the next level.

Fortunately, there's a really great deal on Sony's flagship Dolby Atmos 'bar. And by really great, we mean the lowest price we have seen.

Now at just £899 at Richer Sounds, the Sony Bravia Theatre Bar 9 can be yours for a whopping £500 less than its launch price. Not too shabby for one of the best soundbars on the market.

The Sony Bravia Theatre Bar 9 is one of the best soundbars we have tested – we gave it a What Hi-Fi? Award in 2024 to cement that fact.

While there's stiff competition from non-Sony rivals, namely the Sonos Arc Ultra which right now is actually cheaper, there are many ways in which the Theatre Bar 9 is a better choice.

One such way is the inclusion of an HDMI 2.1 input, which many rivals such as the Sonos Arc Ultra lack. Most TVs have only two HDMI 2.1 inputs, and when you plug in your soundbar, you're taking one of those up and leaving just one for your current-gen console or gaming PC.

With the Theatre Bar 9, you're getting a dedicated HDMI 2.1 input and support for 4K/120H, VRR and ALLM – a solid feature for gaming fans.

Beside that, the Theatre Bar 9 is a great soundbar in its own right. It has a sophisticated 13-driver configuration, four front-firing woofers working alongside three standard tweeters and two beam tweeters.

This arrangement is complemented by side-firing speakers on each end and two up-firing drivers, creating Sony's signature 360 Spatial Sound Mapping experience.

All this leads to sound that is exceptionally crisp and precise, and the Atmos-ness of its delivery is hugely impressive for a standalone bar.

In our full review, we say: “The soundbar’s rhythmic and spatial organisation is second to none in this category, with every instrumental and vocal layer afforded space to breathe while clearly maintaining its tether to the whole.”

The Bravia Theatre Bar 9 can handle both Dolby Atmos and DTS:X 3D sound formats. You can also send music using Spotify Connect, AirPlay and Bluetooth 5.2 – though Tidal Connect isn't supported.

Ultimately, the Theatre Bar 9 is an exceptional soundbar that should be considered alongside the Sonos Arc Ultra, depending on what you're looking for.

If you own a Sony TV, there is some great synergy between the two that can be explored even further with this excellent deal, just £899 at Richer Sounds.

MORE:

Read our full Sony Bravia Theatre Bar 9 review

Check out the best soundbars as reviewed by our expert testers

Sonos Arc Ultra vs Sony Bravia Theatre Bar 9: which flagship Dolby Atmos soundbar is better?

For those who lack the space or budget for a multi-channel speaker system, choosing a soundbar is a great way to upgrade your TV’s often unsatisfactory audio performance and get a more cinematic experience.

This is where Dolby Atmos soundbars, in particular, have found their audience, as they can produce immersive, sometimes room-filling sound despite their often relatively compact dimensions and accessible pricing.

While you may think of JBL as more of a hi-fi brand with its headphone and speaker offerings, it’s also a big name in the world of soundbars.

Amazingly, though, it’s been 12 long years since a JBL soundbar last achieved the Hollywood handshake of the What Hi-Fi? world – that coveted five-star rating. Another one, then, is long overdue…

Price

The JBL Bar 300MK2 comes in at £350 / $450 / AU$549, which places it in the lower mid-range of the Dolby Atmos soundbar category.

Looming large in this area (despite its compact dimensions) is the Sonos Beam (Gen 2), which nominally costs £449 / $449 / AU$649 but is often available for less.

The Sonos model is a multiple What Hi-Fi? Awards winner, thanks to its effective Atmos handling, warm yet crisp character and impressive musicality. Still, the JBL’s cheaper price tag and more substantial spec sheet could have the class leader worried.

The JBL Bar 300MK2 is, as you will surely have guessed, the successor to the JBL Bar 300, which we tested at £330 / $400 / AU$529 but can now be bought for just £230 while stock lasts.

We enjoyed this original model’s clear dialogue and impressively deep bass, but its slightly weak midrange resulted in an overall four-star rating.

Build

In terms of design, the JBL Bar 300MK2 is not much different to its predecessor.

The black unit features rounded edges with a plastic grille on the front. On top, JBL has kept things simple, with buttons for volume and wi-fi that sit flush with the body. The soundbar can also be wall-mounted using the two included brackets.

There’s an LED display at the front of the bar, which is a pleasant surprise at this price (the Sonos Beam Gen 2 doesn't have a display of any kind) and makes volume and output changes instantly visible.

The soundbar weighs 2.9kg, so it’s easy to move around and position.

It measures 5 x 94 x 10cm, making it slightly wider than a 42-inch TV, and arguably perfectly suited to partnering with a 48- or 55-inch model. But, as you’d expect, it also fits easily under the 65-inch TV with which we test it. The 5cm height means it will sit in front of most TVs without blocking the screen.

The remote’s design is a similar affair to the main bar, in that it’s long, thin, simple and entirely black but for the symbols on the buttons. From here, you can turn on Dolby Atmos and Bluetooth, change the output, adjust the volume, and crank up the bass from 1 to 5.

There’s no backlight, which can make navigation in the dark a bit of a faff, but let’s bear in mind that many soundbars at this level (and many that cost significantly more) have no remote at all.

Features

Within the JBL’s slender body are five mid/bass racetrack drivers and four 0.75-inch tweeters, which together create a 5.0 sound system.

While the soundbar does not feature upward-firing drivers, it offers virtualised Dolby Atmos as well as DTS Virtual:X. In terms of power, the JBL is packing a claimed 450W.

Around the back of the bar, there are two HDMI connections – one dedicated input and an output that can also receive sound from your TV via eARC. While there’s no 4K/120Hz support, the HDMI passthrough does support Dolby Vision and HDR10+.

The JBL One app acts as an all-in-one hub to control the bar. You can also calibrate the soundbar from here to personalise the sound to your space. This is done by playing a range of different frequencies from the system in a quiet room. Once we’ve run this calibration, we certainly find that there is an extra sense of spaciousness to the sound in our test room.

The JBL One app offers a variety of streaming support, including Tidal, Amazon Music, and Qobuz. Additionally, Spotify Connect and Tidal Connect are supported by the soundbar. You can send music to it using Bluetooth 5.3 as well.

Rather unusually, there are no preset sound modes available (not even a night mode or speech enhancer), but you can adjust the treble and bass via the equaliser on the app. We don’t find it necessary to change these to get the best sound.

Sound

Straight out of the box, the JBL soundbar provides an immersive sound experience that is, as you would hope, a massive improvement on almost any TV’s audio.

We kick off with Mission Impossible: The Final Reckoning on 4K Blu-ray to challenge the soundbar’s Dolby Atmos performance. As Tom Cruise’s Ethan Hunt takes a lift on a chopper over the ocean before jumping in (as you do), the 300MK2 delivers a convincing Atmos effect considering its size and price.

As the camera follows the progress of the helicopter in the sky, the sound stretches into the room, along the ceiling, to a point just above the listening position. While the solo soundbar can’t push audio beyond our seats, it does an excellent job of filling the room between us and the screen.

It packs a punch in terms of bass, too, which gives these action-heavy moments an extra level of excitement. When the helicopter flies overhead, we can feel the thrum of the chopping in the soles of our feet.

The 300MK2 even does reasonably well when we play our classic bass stress test in the form of Chapter 2 of Blade Runner 2049. The JBL manages to keep the different frequencies separate while still creating a floor-shaking bass effect.

As the soundtrack reaches almost subsonic low frequencies, though, you do get a bit of chuffing where the bass driver gets a little out of control. Bear in mind that most soundbars, even many more expensive ones, struggle with this more than the JBL, so this is a small niggle.

Even though the JBL offers a weighty performance, the bass does not overwhelm the rest of the sound, and voices remain clear. This becomes obvious when watching the energetic Dancing Through Life scene in Wicked. As Jonathan Bailey’s Prince Fiyero waltzes his way through a magical library, you can hear every word of the song with this forward midrange, all with the bass excellently keeping the beat.

The JBL also manages to maintain a dynamic range that evokes a good amount of tension. In the newly remastered Master And Commander: The Far Side Of The World on 4K Blu-ray, the ship’s crew sit in anxious silence before being bombarded by cannonballs by the opposition.

This makes for a suitably tense audio experience, as the sound goes from eerily quiet to crashing and loud. You can hear the treble of the wood exploding as well as the fragments scattering across the deck. It doesn’t quite reach the same levels as the Sonos Beam (Gen 2), which is the more dynamic performer overall, but the JBL model still does well here.

When we switch to music via Spotify Connect, the JBL still performs well, but it’s certainly more suited to movies. We listen to Aurora’s My Name, which features various overlapping vocal tracks and a synth-heavy bass. The JBL bar again creates an immersive, bassy sound.

At the track’s most congested moments, though, the soundbar struggles to keep all the different elements effectively differentiated, which results in a slightly clogged delivery.

The Sonos Beam (Gen 2) is clearly more musical, with greater control, finesse and precision. These qualities lend themselves well to movies, too, with the Beam more accurately placing effects both spatially and rhythmically, and digging up more detail.

Verdict

The JBL Bar 300MK2 is a clear step up from its predecessor, improving on all aspects to give us one of the best Dolby Atmos soundbars we have tested at this price and giving the Sonos Beam (Gen 2) a real run for its money.

Ultimately, the Beam’s greater precision, detail and dynamics – and its musical ability – make it the better choice overall, but the JBL’s weightier, more bombastic and more room-filling sound will win it many fans.

SCORES

• Sound 5
• Features 4
• Build 4

MORE:

Read our review of the Sonos Beam (Gen 2)

Also consider the Hisense AX5125H

Best Dolby Atmos soundbars: our reviewers' five recommendations

When sifting through all the hi-fi that's on sale during the Black Friday deals period, it's always tricky to find a complete multi-component system that works together harmoniously and also doesn't break the bank.

There are plenty of bundle deals to be found at specialist retailers such as Richer Sounds and Peter Tyson, so I've been inspired to turn my hand at putting together an affordable hi-fi system that caters to both vinyl and CD fans, all while only spending around £1000 in total.

A grand is still a lot to pay for a fresh hi-fi system, but in relative terms, these components offer excellent value for money – they've all been reviewed and heard by team What Hi-Fi? at our dedicated listening rooms, so these recommendations come from genuine, real-world listening.

And with many of the components enjoying a Black Friday discount, this setup as a whole is saving you a chunk of cash (£170, in fact) – with scope to expand the system to suit your needs.

The system

• CD player: Cambridge Audio AXC35 (£299)
• Turntable: Pro-Ject Primary E (£229)
• Stereo amplifier: Cambridge Audio AXA35 (£299)
• Stereo speakers: Elac Debut B5.2 (£179)
• Total: £1006

Cambridge Audio's AXA35 and AXC35 duo are a great starter hi-fi pair, with the stereo amplifier matching the CD player both in aesthetics and sonic performance. The design is minimal but quietly elegant, and the 35W per channel stereo amp offers analogue line level inputs, a built-in moving magnet phono stage, and a headphone socket – ideal for private and/or late-night listening.

There is no DAC, digital input or any Bluetooth here, so you might want to invest in something like a streamer (more on that below) if those extra features are important to you.

The CD player works smoothly, quiet in action and easy to use with the included remote control. The screen is clear to read from a distance, and the Cambridge pair work together to deliver a smoothly detailed, fluid and expansive sound. There are ample dynamics, enjoyable rhythmical agility and a good deal of punch and solidity that keeps your attention hooked.

While newer budget amplifiers have pushed the sonic boundaries forward when it comes to precision, clarity and dynamic expression, the Cambridge amp and CD player are engaging and easy to listen to.

Both are currently enjoying a £50 discount off their full price, too.

Joining the above duo is the multiple Award-winning Pro-Ject Primary E, a deck that we can't stop recommending. This is a stripped-back, no-frills, purist turntable design that nails the basics and offers a hugely enjoyable, stable, detailed and composed vinyl performance – at this entry level price point, it really is quite talented.

The Primary E may look a little plain, but it is well-built, comes with an Ortofon OM moving magnet cartridge pre-fitted, and it is as plug-and-play as you'll get for a fully manual turntable.

You'll have to manually change the speed when switching between 33 ⅓ and 45 RPM records, but I personally don't find that a huge task. The Primary E has recently had a price hike: it has been listed at £199 for the last few years, but has crept up to £229 in 2025.

You can get this £229 price if you sign up to the Richer Sounds VIP programme (which is free to join), or you can pick it up at Amazon for the same price. However, I am keeping my fingers crossed for the price to drop to £199 again – if it happens this week in the lead up to Black Friday (28th November).

And finally, the speaker choice is pretty simple: the Elac Debut B5.2 standmounts are former Award winners and were a firm fixture in our best hi-fi speakers guide, until newer models inevitably ousted the five-star gems.

Don't let that deter you, though. The Debut B5.2 dropped in price to £170 – which is a significant drop from its original £250 price tag. Yes, these are an older model, but we find their insightful, dynamic and composed sound works well with just about any other budget hi-fi component.

They are quite forgiving of matching partners and positioning in a room, but they also offer a level of refinement that is rare in such affordable standmounts.

What about a music streamer?

WiiM's Pro Plus hi-res streamer is my go-to recommendation for any budget system, and its nimble, detailed, organised performance will slot in easily into the above system. I've seen the Pro Plus' price come down to usually £175 or even £169 in previous sales events – but the price is holding firm at £219 at the moment.

The Pro Plus is a compact, affordable box that holds a multitude of streaming talents. Hi-res files are supported, as is every popular music streaming service, including Spotify Connect, Tidal Connect and Qobuz Connect, while you can also stream via Bluetooth, AirPlay 2 and Google Cast. The app is a dream to use, it is beginner-friendly, and it delivers fantastic value for money.

I am fairly confident the Pro Plus will come down in price as we get closer to Black Friday itself on 28th November, in which case, I wouldn't hesitate to snap it up to complete this budget system.

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

The fiercely tribal world of smart speakers offers a window into the wider battle for tech giant supremacy. All of the major titans, be it Google, Apple or in this case Amazon, send their smart speakers out to bat, with each one, driven by its AI-powered voice assistant, requiring a pledge of fealty to a well-defined ecosystem.

Amazon’s latest Echo speaker lineup is here to tempt you over to its idyllic shores. Consisting of four new models – the Echo Studio, the Echo Show 8, the Echo Show 11 and the Echo Dot Max – Amazon promises this new range features its most advanced models to date.

The last Amazon smart speaker we reviewed, the charming Echo Dot (5th Generation), impressed us deeply with its combination of Alexa smarts and spritely sound for a reasonable price, and we were rather hoping that this new line, represented here by the Echo Dot Max, had taken that tasty recipe to the next level in a bid to welcome users over to Amazon’s tech jungle.

Build & design

If you’re familiar with Amazon’s established range of Echo Dots, little about the new Echo Dot Max will particularly surprise you. If anything, this particular model looks rather similar to Apple’s HomePod Mini (£99 / $99 / AU$149), albeit with a larger size and on-unit buttons instead of a touch-capacitive glass top.

The Max speaker is essentially a small orb, a bit larger than your standard hockey ball, with a cut-off bottom for stability and a flattened exterior face onto which are mounted a small collection of control buttons.

There are fewer buttons on the Max than there are on the five-star, cheaper Echo Dot (5th Generation) (£55 / $50 / AU$79). The older model houses four – volume up, volume down, microphone off and an action button for things like Alexa control and pairing – but this newer iteration has ditched that action toggle for the sake of removing a bit of on-unit clutter.

We imagine that will prove divisive among users, as we hardly found the fifth-gen’s control panel’s four-button array to be particularly hard to manage. That action button was a useful addition when you didn’t want to go digging around the Alexa app, after all, even if most users will just use voice control for the majority of their time with the Max.

The Echo Dot Max is still made to a high standard elsewhere. Being a bigger unit, the soft, chunky cloth mesh puts us in mind of the rival HomePod Mini, clinging tightly to the frame without noticeable bulges or blemishes. The new-gen speaker also remains stable wherever we place it thanks to its non-slip rubberised underside, so you needn’t fear it tumbling off its precarious perch when an unruly puppy knocks into your wobbly side table.

Features

Before we get to the Max’s underwhelming sonic performance, it’s only right to acknowledge that, as a smart device, it’s an impressive operator.

If you’re planning on integrating this smart speaker into a wider ecosystem, you’ll naturally find that it plays ball far more readily with other Amazon-branded products. You can tell your Echo Dot Max speaker to turn off your smart lights or check who’s at the door, for example, but those tasks are generally only going to be available if you’re using Amazon smart lights and/or a Ring camera respectively.

When it comes to streaming music, though, the Echo Dot Max is surprisingly open-minded regarding which services it will cater to. Most of Amazon’s rival, third-party services are supported alongside its own Amazon Music, so you can still make song requests if you happen to be a dyed-in-the-wool Spotify, Deezer or Apple Music user.

Sadly, as was the case with the Echo Dot (5th Generation), Tidal still isn’t supported, nor is its hi-res cohort Qobuz, so if you want to use those services, you’ll have to do so via traditional (and lossy) Bluetooth.

These setbacks aside, the Max is an easy piece of kit to set up and use. Integrating streaming services is easily done via the Alexa app, meaning you can simply switch to your chosen preference via a one-stop shop of platforms, while actually getting your smart speaker up and running is the work of mere moments.

Alexa voice control is, of course, at its heart, and it’s as good as it has ever been courtesy of Amazon’s new ‘Alexa+’ iteration. Amazon’s smart assistant, frankly, can often make Siri seem a little backward, and the wide range of voice-activated functions and features it can perform is deeply impressive.

Interactions are generally responsive and natural, and while we’re not at the spooky point at which you could be forgiven for thinking that your AI assistant was replicating a natural conversation with a real person, there are glimpses that this once-impossible-seeming future doesn’t seem like such a way off.

The usual tricks and Easter eggs are all there to enjoy. You can still profess your love to Alexa, whereupon you’ll be treated to a peppy number in which it earnestly thanks you for the sentiment.

You can also still play a ‘choose your own adventure’ version of Bethesda’s classic video game The Elder Scrolls V: Skyrim, wherein you fight dragons, traverse icy passes and search for lost treasure with Alexa as your guide. It’s still nothing more than a fun novelty, but as fun novelties go, it’s one of the best.

There are some new weapons in the arsenal, too. Alongside stereo pairing between twin devices of the same generation, the Echo Dot Max also supports Alexa Home Theatre, allowing users to connect up to five units with compatible Fire TV devices to create a smart surround system.

Plug your various current-gen Dots in and Alexa will automatically set things up and tune your speakers to the room in question, although as we’ll see, the Max’s sonic performance may dissuade you from using it as part of a cinema set-up.

Sound

This marks the first time Amazon has engineered an Echo Dot with a two-way speaker system, integrating a single 20mm tweeter and a 6cm woofer for what Amazon describes as a “room-filling sound”. The new model also makes use of room adaptation technology, whereby the speaker uses a dedicated microphone to automatically adjust its sonic output to match the size of the room it’s in.

This all sounds positive on paper, so we’re rather baffled, not to say disappointed, to discover that this newer, pricier Max is a clear sonic downgrade compared with the older Echo Dot (5th Generation). When you consider the fact that the older Echo Dot is half the price of this newer iteration, that has serious alarm bells ringing.

Regardless of the streaming service we choose, the music we select or the room in which we play it, the Max has lost much of the sharpness that made many previous Echo Dots such a fun listen. It may be bigger and go louder than many of its antecedents, but it’s also rather muffled and vague-sounding, losing the crispness and definition that we previously had so admired in the fifth-gen Dot.

Melding a lack of clarity with a poor sense of cohesion and frustratingly modest levels of audio resolution doesn’t exactly make for the most rewarding of listens. The Max sounds muddled as well as muffled, with textural details coming across as vague and lacking in sharpness or authenticity. Songs and the instruments often sound like synthetic reproductions – rarely do they come close to what we would recognise as “the real thing”.

Rhythms are poorly reproduced, and certainly lacking in the kind of fizz that would get your toes tapping to, say, Michael Jackson’s Smooth Criminal. It’s all so lumpen and lead-footed, and while we want to get swept up in the tune’s irrepressible energy, the speaker feels as though its engine is forever spluttering as it tries to rev itself into life. Switch over to the HomePod Mini (which costs roughly the same price), and it’s Apple’s smart speaker that gets the job done with far greater zip and effervescence than the Max provides.

All told, Amazon’s orb offers a frustratingly flat and uninspired delivery. We don’t discern any great dynamic swells or drops when we play Hans Zimmer’s swashbuckling Up Is Down, while the low-level nuances on Bill Withers’ Ain’t No Sunshine are all but lost to the ether.

It’s hard not to be disappointed by such a bland approach, especially when we find that our iPhone 15’s built-in speakers will do a better job of capturing your music’s drama and emotional impact.

There are some vague bright spots amid what is, ultimately, a disappointing product. Although it’s still quite a small speaker, it’s capable of going pretty loud – in fact, it’s where the Max sounds more comfortable, when pumping out simple, robust tunes at higher volumes.

Further, there’s a good deal of sonic muscle for a speaker of this type, and again, that’s something our test unit is capable of showcasing when the volume dial gets cranked towards the red zone. Björk’s Army Of Me is made reasonably full and muscular, supported by an impressively weighty bass that, while not particularly agile or refined, gives the song some decent lower-end clout.

It’s not enough to save the Echo Dot Max or make it worthy of a recommendation over the superb HomePod Mini, but it is at least something.

Verdict

We were hoping that this new addition to Amazon’s established roster of Echo smart speakers would take things to the next level and even – say it quietly – see this pricier Max competing with the Apple HomePod Mini. In reality, it’s nowhere near.

Alexa integration is as great as ever, and there’s no question that this is a user-friendly, intuitively designed piece of kit that does the ‘smart’ aspect of its product description very well. As a speaker, however, it’s a major step backwards.

If musical performance matters to you as much as smart features, you’d be better off getting the cheaper Echo Dot (5th Gen), or else jumping ship entirely and pledging your loyalty to the Apple HomePod Mini.

Review published: 19th November 2025

SCORES

• Sound 2
• Build 4
• Features 4

MORE:

Read our review of the Amazon Echo Dot (5th Generation)

Also consider the Apple HomePod Mini

Best Bluetooth speakers tried and tested for every budget

Lumin has unveiled a new flagship network audio player, the Lumin X2, which boasts a fully custom, bespoke DAC circuit and advanced streaming features for a high-end price point.

After years of R&D, Lumin has built its first in-house DAC architecture that uses individually selected components, which allows the brand to optimise every aspect of the digital-to-analogue process to a higher degree of precision in this streamer.

Replacing the Dual ESS SABRE32 ES9038Pro DAC used in the previous X1 model, the new Lumin Discrete DAC is tailored to work with the brand's streaming engine. It sits in a redesigned system with new circuit layout, power management and more precise clocking, all of which are “carefully tuned for maximum coherence, ensuring exceptional precision in network audio reproduction.”

Designed from the ground up, this custom DAC circuit works in conjunction with a fully customised Field Programmable Gate Array (FPGA) and Dual Femto Crystal Oscillators, and promises reduced timing errors, minimised interference and preserved channel separation.

Other features include a new output-buffer for greater clarity, detail and warmth, a dual-mono power supply for the analogue circuitry, and a high-quality lossless digital volume control that means you can connect the X2 directly to a power amplifier.

The X2 carries on key technologies and specifications that were introduced in Lumin's previous X1 flagship. At its centre lies Lumin's advanced streaming platform, which gives you access to all the popular music-streaming services, including Spotify, Tidal, Qobuz and their Connect versions, along with Amazon Music and TuneIn internet radio stations.

Apple AirPlay is also on board, but as with other Lumin products, they don't include lossy Bluetooth here.

File compatibility is comprehensive, with support for hi-res files up to 32-bit/768kHz PCM and DSD512, and you can stream from connected music libraries and servers stored on the same network.

You can control your connected music libraries and sources using the Lumin app, and the X2 is also Audirvana and Roon Ready certified.

As for physical connections, there are balanced XLR and RCA analogue outputs, while a USB port with native full hi-res and DSD512 support sits alongside a BNC SPDIF socket for digital outputs.

There are additional USB ports for connecting hard disks, flash drives and USB storage. An RJ45 Ethernet port is provided alongside an SFP Optical Network input that offers complete isolation from the rest of the network, and there is a built-in network switch.

The new flagship Lumin X2 streamer is available from December in natural or black anodised aluminium, with a matching outboard power supply unit. It will cost a cool £12,995 / $16,800 / AU$21,500.

MORE:

Read our Lumin U2 Mini network transport review

Our guide to the best music streamers, reviewed and rated

Check out the best early Black Friday hi-fi deals

Having trouble getting Tidal to work? You’re not alone, members of the What Hi-Fi? team are experiencing similar issues and according to most internet service trackers we’re not alone.

Journalists that we are, we’ve decided to chronicle the outage as we speak to Tidal and other experts to find out why the service is down and when its coming back.

You can keep track of our progress in this live hub. If you have any questions you’d like us to extend to Tidal let us know in the comments and we’ll endeavour to get them answered ASAP.

When did the outage start?

We haven’t got a firm time confirmed when the outage start. But members of the team who use it reported the app on iOS and Android was working fine last night, but woke up unable to access its online services.

Internet tracking service Down detector shows a massive spike in people reporting issues accessing Tidal from around 8.00am (UK time) this morning. You can see the spike in the graph attached below.

Which platforms is it down on?

We’ve contacted Tidal for official comment on the outage and how widespread it is. But subscribers among the team have uniformly lost access to the online services on iOS, Android and the webplayer.

What caused the outage?

We haven't received official comment from Tidal yet, but it is highly likely liked to the Cloudflare outage reported yesterday. Cloudlfare is a tech company and services provider that helps run large parts of the internet and webservices, including websites and services such as Tidal. It suffered issues yesterday that made numerous other websites, apps and services suffer outages.

Is it working again?

Members of the team are getting intermittent access to the online services again as we speak., though it is still very flaky and appears to be occasionally falling back offline.

When Spotify launched its long-awaited Lossless streaming quality in September, I quickly signed up for an individual Premium subscription.

A big part of this was for work reasons, of course – I need to use it, test it and hear how this higher audio quality tier compares against its key rivals Tidal, Qobuz and Apple Music.

I signed up for a great two-months-for-£6 offer, with a mental note to cancel it once it ended in mid-November, as I simply couldn't justify having yet another music subscription on my monthly bill. Except, after not using Spotify for many years, I found myself rather enjoying the various playlists and recommendations as I rediscovered Spotify.

But most importantly, I got hooked on audiobooks.

Reliving the experience of reading Terry Pratchett's Discworld novels over audiobook has been an absolute joy over the past two months, and I have loved being back in the city of Ankh-Morpork and its multitude of characters and adventures, and having Pratchett's incredibly sharp wit and even sharper satire running through my brain. When it came time to either cancel or carry on with my subscription, I was still halfway through Making Money – I couldn't stop now.

But my delight was punctured. A day before my full-price individual subscription was set to renew, I got that dreaded email through: that Spotify will be increasing the price of the individual Premium subscription by £1. For me, this meant my bill would be going up from £11.99 to £12.99 per month, starting from January 2026.

And that's a shame. Unlike other streaming services, Spotify has been increasing its price nearly every year, with a £1/$1 price rise in 2023 in UK and US, and another rise in 2024 to £11.99 / $11.99 for the Premium individual plans. Music Business World reported in October 2025 – only a month after Lossless was launched – that UK and Switzerland customers would be facing yet another £1 increase in subscriptions, while noting that US customers can expect another price rise in 2026.

Spotify says in the email sent to me: “The price of Premium Individual is increasing so that we can invest in our product, develop new features and continue to bring you the best experience.”

While I acknowledge that this streaming service giant has more subscribers than its rivals, and the demands of maintaining the service as well as introducing new features have their cost, I'm not sure the frequency of its price rise necessarily reflects the new features – at least from the point of view of a music fan who prioritises sound quality.

The introduction of Spotify's Lossless quality, which offers higher-resolution file quality up to 24-bit/44.1kHz FLAC across its catalogue, is a feature many years in the making. It was included as part of Spotify's Premium tier, at no extra cost – at the time of launch, on 10th September. While this is an improvement over Spotify's previous 320kbps max file quality, this Lossless tier still trails behind its rivals, which offer up to full-fat 24-bit/192kHz hi-res quality.

In our updated Spotify review, we gave the streaming service four stars at its £11.99/month subscription price, noting its many feature strengths, but also pointing out that its overall sound quality (and hi-res limits) still fall behind the class leaders Tidal, Qobuz and Apple Music.

Besides Lossless, which is undoubtedly the biggest update to the streaming service for music and hi-fi fans, the service has included various other features, such as enhanced listening stats, more sharing options, an AI-driven DJ and various others. Sadly, none of these, for my personal use, seems big enough to warrant paying for a price increase yet again.

In comparison, when Apple Music introduced hi-res and lossless streaming quality across its entire catalogue, it didn't increase its standard subscription. Tidal also simplified its tiers and didn't change pricing when MQA files were swapped for FLAC files in its hi-res tier. Apple Music and Tidal both currently charge £10.99 / $10.99 per month for an individual plan. Qobuz is the only one to match Spotify with a £12.99 monthly subscription; but what Qobuz lacks in extra recommendations, stats and sharing features, it makes up for with a dedication to offering only CD-quality and higher streaming.

Spotify's plethora of recommendations, its annual Wrapped stats, and its audiobook and podcast offerings are an embarrassment of riches. But when I'm already subscribed to another (better-sounding) music subscription service, have one or two TV/film subscriptions, and I can get podcasts for cheaper elsewhere, I'm not sure I can justify sticking with Spotify in the new year when the price rise comes into place.

What about my new love for audiobooks? I'll have to simply pick up my well-thumbed Discworld novels from my bookshelf and read through them again. For free.

MORE:

Read our full Spotify review

Hi-res music streaming services compared: Tidal, Qobuz, Apple Music, Amazon and Spotify

Spotify snubbing spatial audio could be the smartest decision it ever makes

As music streaming dominates the way we listen to our favourite tunes more than ever before, far surpassing vinyl's resurgence, it is perhaps no surprise that the music streamer – or network audio player – category at the What Hi-Fi? Awards 2025 has seen such an upheaval.

Three out of the five winners are brand-new entrants, showing just how competitive and strong the market is in this ever-growing category. That these new winners are all on the premium side also shows just how serious – and seriously good – brands are getting in terms of delivering great usability, a wide array of features and great hi-res sound quality.

All the winning streamers here tick the boxes when it comes to supporting the popular music streaming services (Qobuz, Tidal, Spotify, internet radio), playing hi-res music over a wi-fi or wired network, along with a varying array of physical connectivity. Each model has its own particulars – and some provide more features than others – but overall, each model's streaming platform is strong, covers the most popular streaming methods, and is easy to use.

Taking it from the top, our most premium winner (over £2000+) is the Cyrus 40 ST. We were impressed with its sleek, modern design – that still stayed true to Cyrus's iconic half-width chassis blueprint – and were further enamoured with its terrific sound quality. We said in our review: "Dynamically, it is impressively expressive, rendering low-level shifts in intensity elegantly, and delivering large-scale orchestral crescendos with real conviction." No matter what genre of music we play through it, the Cyrus sounds composed, organised, insightful and, crucially, heaps of fun.

We concluded that the Cyrus 40 ST has a "blend of detail, dynamics and rhythmic security that’s hard to better at the money" – it's an outstanding performer.

Arcam's new ST25 is our favourite music streamer in the £1000-£2000 price range. It's actually the only traditional full-width streamer in this category, with most other winners favouring compact forms. The ST25 naturally works a treat with its partnering A5+ and A15+ stereo amplifiers (both 2025 Award winners, too), and delivers an effortless, crystal clear sound quality.

"It sets an eerily quiet backdrop for the music, which allows all the instruments space to breathe," we said in our review. "There’s a real sense of pace, agility and power to the bassline as it pounds along, laying a robust foundation for all the electronica poured on top." There is ample subtlety and dynamics as you hear the intent and intensity changing behind each piano strike, while a bountiful soundstage allows every layer of a composition to be delivered in a cohesive, insightful manner.

And the last of our fresh new trio of winners is perhaps the one with the most features packed into a small box: the Bluesound Node Icon. We've seen Bluesound pick up Award trophies in the more affordable price ranges in previous years, but it's the brand's most premium model yet that delivers a brilliantly musical, dynamic and subtle sound that works a treat for all genres of music.

We said in our review: "It’s a lively, engaging and dynamic performer that grabs our interest at the beginning and only continues to impress us the more we listen." There is a spark to the Node Icon's sound, coupled with composure, good balance and agile rhythmic ability, that means we simply have a great time listening to it.

Taking the trophy in the £750-£1000 price bracket, the Bluesound boasts plenty of additional features that the more traditional hi-fi brands/models don't – such as an HDMI eARC input, support for Dirac Live room correction technology, and two 6.3mm headphone sockets.

The two returning winners in this category are brilliant budget gems that we are delighted to give flowers to for another year: the WiiM Pro Plus and the Cambridge Audio MXN10. Both remain superb value products at their more affordable price points, and we wouldn't hesitate to recommend them to anyone looking to gain a wealth of hi-res streaming features without spending big bucks.

Cambridge's MXN10 is a delightful compact streamer whose dynamic expression and rhythmic coherence are really rather impressive at its more budget price point, is packed with energy and detail, and is a great stepping stone into the world of separates hi-fi.

Of course, if your budget can't stretch even to the MXN10's £350 price tag, the WiiM Pro Plus remains one of the best bargains of the year, costing under £300 and delivering a detailed, organised and likeable sound for very little relative outlay.

We liked its rather natural midrange talents, "where the vocal is brimming with character and attitude", while it sounds best with hi-res tracks but is still forgiving with poor sources. It also has a well-executed app that we find is particularly user-friendly for beginners, which is always a bonus.

The well-deserved 2025 winners in our music streamers category cover a broad price spectrum, sonic tastes and specific connectivity, and no matter your budget, we think there's something for everyone here to enjoy.

MORE:

See all our What Hi-Fi? Awards 2025 winners

Rega and Pro-Ject lead the turntable winners at the What Hi-Fi? Awards 2025, while Technics reclaims a trophy

Streaming hi-fi systems from Arcam, NAD, and Ruark make their mark at the What Hi-Fi? Awards 2025

This race has already been run. When the Bluesound Node Icon arrived in the What Hi-Fi? test rooms, it went up against the established five-star Cambridge Audio CXN100 and came away from that head-to-head victorious, winning the 2025 What Hi-Fi? Award for the ‘Best music streamer £750-£1000’.

But while that spoiler somewhat gives away which has the performance edge and is our expert reviews team’s preference of the two premium streamers, it doesn’t tell the whole story of how these excellent machines compare – nor does it necessarily determine which one you should favour.

After all, one may have more suitable connectivity for your setup, one sonic character may suit your system components more than the other.

Below, our expert reviews team have put the two literally side by side to directly compare their build, features, sound, user experience and price, to help you make an informed choice over which premium streamer, if either, is right for you. Off we go…

Price

Bluesound streamers have traditionally occupied the entry-level end of the market, its original (and following generations of) Node having been the core model in the Canadian company’s range for a decade now, priced around and below the £400/$500/AU$1000 mark.

The Node Icon sees Bluesound reach higher up the market, where fellow streamer stalwart Cambridge Audio has, in contrast, years of experience. The new flagship costs £899 / $1199 / AU$1949, making its natural rival Cambridge Audio’s similarly priced CXN100 (£899 / $1049 / AU$1899).

While many five-star streamers sit on either side of this price level, as featured in our best music streamers buying guide, not much at it has genuinely impressed besides the Cambridge and Bluesound. We are also big fans of the Lindemann Limetree Bridge II (£875 / $1350 / AU$1495), but unlike the two streamers in the spotlight here, it doesn’t integrate a DAC and is therefore considered a ‘streaming transport’.

**Winner: Draw**

Features & connectivity

With DACs on board, both the Bluesound Icon Node and Cambridge Audio CXN100 are fully fledged music streamers that can connect to any stereo amplifier (digital or analogue) or active speaker via their wealth of outputs.

The Bluesound has the full output suite – coaxial, optical, RCA, XLR, sub and even two 6.3mm headphone sockets – plus an HDMI eARC for connecting the unit to a TV. If you wanted to connect a CD player, laptop or other audio device to the Node Icon, you can do so thanks to its RCA, optical, USB-A and USB-C inputs.

As far as its built-in streaming savviness goes, the Bluesound runs on the excellent BluOS platform, which is a comprehensive and easy to navigate gateway to all the streaming service and internet radio apps one would expect. It also supports AirPlay 2, aptX Adaptive Bluetooth and Tidal Connect, Qobuz Connect, Spotify Connect, with the only real notable omission being Google Cast.

The Cambridge Audio streamer, meanwhile, is almost as well furnished for physical connections. It just swaps the Bluesound’s USB-C port for a USB Type-B one, and forgoes its rival’s HDMI and RCA inputs and subwoofer and headphone outputs.

Its streaming skills are certainly a match for the Node Icon’s, though, and even extend to Google Cast. Both machines are Roon Ready.

While the high-resolution audio file support of the Bluesound’s twin ESS Sabre ES9039Q2M DAC chips caps out at 24-bit/192kHz PCM, DSD256 and MQA, the Cambridge’s ESS ES9028Q2M DAC can handle 32-bit/768kHz PCM, DSD512 and MQA. Both limits should be fine for most people, though anyone with particularly high-quality (and indeed niche) DSD and PCM files will naturally be better served by the Cambridge.

Besides connectivity and streaming, the Node Icon packs an extra feature that could be a real bonus for those whose listening rooms have serious acoustic issues: Dirac Live support. The room-correction software is designed to optimise the Bluesound’s performance to a listening space, although you will need to purchase separately the calibration kit (comprising a high-sensitivity microphone and USB adapter) and a Dirac license to make it all work.

**Winner: Bluesound Node Icon**

Build & design

Music streamers nowadays tend to go one of two ways when it comes to design; they are either compact, discreet boxes, with control and aesthetics largely the domain of the companion app, or they somewhat complement the app design by also leaning into physical tactility.

The Bluesound belongs to the latter category. The Node Icon is a taller, boxier unit than its ‘modem’-like siblings, though it’s still fairly compact, its 22cm width conforming to ‘half-width’ dimensions.

It’s modern-looking, too. The anodised-aluminium metal casing and shiny glass top feel, to quote our Node Icon review, “sturdy and substantial”, while the five-inch colour display and touch-capacitative controls are lovely, colourful and responsive.

Our reviewers particularly like how you can appoint five presets, allowing access to your favourite playlist or radio station with a single tap of an illuminated ‘dot’. We aren’t as taken with the fact that a clock interface shows when the unit is on standby or when the music is paused, but Bluesound says the decision was partly taken to reduce screen burn-in, and it’s a small niggle in the grand scheme of things.

The Cambridge Audio CXN100 is, in contrast, a more ‘hi-fi-looking’ full-width design that doesn’t invite as much physical interaction with the unit. Its sleek, metal chassis – almost identical to the company’s previous-gen CXN V2 – is elegant, and the 4.8-inch display is pleasingly crisp and colourful. There are simple playback/menu navigation buttons on either side of it, but we can’t imagine them being used on many occasions.

We believe both designs, while very different, have their place in the streamer market, and which you prefer will come down to personal preference and, most likely, the size and colour of your other system components.

Neither machine comes with a remote control, though you can buy one separately for the CXN100 or use the same remote you get with the company’s CX amplifiers or CXC transport.

Indeed, the main means of control for both units is the companion app, and both Bluesound’s BluOS and Cambridge Audio’s StreamMagic apps are good and evidence of the brands’ long-held expertise in the field.

**Winner: Draw**

Sound quality

The app doesn’t fall far from the tree where the streamers’ sound quality is concerned either. Bluesound and Cambridge both have a pedigree in the field, and their premium offerings here are testaments to that.

The most recent Bluesound products we have reviewed prior to the Node Icon have been capable and competent, but we felt that they were missing some kind of spark – the spark that Bluesound products of old had in spades.

Thankfully, this spark has returned in the flagship, making for, to quote our review, “a lively, engaging and dynamic performer that grabs our interest at the beginning and only continues to impress us the more we listen.”

There’s detail and clarity aplenty, and every part of the frequency range is delivered faithfully, without any embellishment. The similarly competent headphone amplifier performance really gives that bonus feature significant value, too.

The Node Icon’s lithe and musically engaging nature is satisfyingly consistent across the inputs (just expect the usual dip in power, punch and detail with Bluetooth playback), and ultimately is what gets one over on the Cambridge Audio rival. “We find ourselves willing the leaner Cambridge streamer to sound that bit more propulsive and more dynamically adept with the same songs during our comparison testing,” reads our Bluesound Node Icon review.

The CXN100 is no musical slouch, you understand – just not quite as propulsive or dynamically expressive as the Bluesound. It offers a bigger, more spacious soundstage than the Node Icon, and delivers in every other sonic respect, making it a proud silver medalist.

It’s wonderfully clear and articulate, sparklingly precise, and consistent regardless of the input or streaming method used. And its refinement spells good news for fans of heavier music genres and/or loud volume levels. “We don’t get to say this very often, but the CXN100 sounds great with heavy metal tracks, with a top end that strikes the right balance between smoothness and bite,” reads our Cambridge Audio CXN100 review.

Owners of its predecessor who may be looking to upgrade should know, however, that the CXN V2 is richer and warmer in character than the faster, cleaner CXN100, and perhaps slightly more natural in the way it delivers voices as a result – but it certainly isn’t as sophisticated when it comes to clarity, precision and spaciousness.

Both streamers show how far music streamer performance has come in recent years, and have the all-round talents deserving of their five-star verdicts – the arrival of the slightly more musically gifted Bluesound doesn’t change that for the Cambridge Audio.

**Winner: Bluesound Node Icon**

Verdict

It’s a closely fought battle, but ultimately one that sees Bluesound sticking its flag in the ground. The Node Icon’s more musically convincing manner edges things in the sound department, and its more generous physical connectivity should particularly appeal to those who want to integrate a streamer into a TV-inclusive setup.

Indeed, Bluesound’s ambition to extend further up the music-streamer chain than before has paid off for both it and streaming-savvy consumers.

Bluesound and Cambridge Audio are arguably the best brands in the music streamer business before you get to pricier offerings from the likes of Cyrus, Naim and Audiolab territory, and we can undoubtedly look forward to many more battles between them in future.

**Overall winner: Bluesound Node Icon**

MORE:

Our expert picks of the best music streamers you can buy in 2025

See our newly crowned What Hi-Fi? Award 2025 winners

The perfect hi-fi streamer exists only in our imagination – here’s how it looks

How to add a music streamer to your hi-fi system

Halloween is over, people! The jack-o-lanterns who, like proud and ghoulish sentinels, once stood so proud as they illuminated front porches across the nation, now have turned to unsightly mush in the damp of that cold November rain. Spooky season is over and – say it quietly – the festive period approaches at speed.

Before we get to that, we still have November to enjoy – and what better way to accompany the month of light and smoke than with another raft of test tunes? What a diverse mix we have this month, from Tame Impala to Gunship, Killswitch Engage to the man himself, Marvin Gaye.

Either way, there's sure to be something in here that tickles your fancy. Expect there to be fireworks...

MaD worLd by Gunship

Some songs always seem to sound better when they are covered by artists other than the ones who wrote them.

All Along the Watch Tower may have been written by Bob Dylan, but walk into any bar and I’m guessing that, for most people, it's the Jimi Hendrix cover which springs to mind before Dylan's original rendition.

For me, Mad World by Tears for Fears is one such song. That’s not because the original is bad – I actually enjoy its juxtaposed nature with a bopping, rhythmically chaotic backing track distinctly at odds with its dark, almost goth, lyrics.

It’s just that the Gary Jules version recorded for indie hit movie Donnie Darko is oh so much more soulful.

This week, though, I heard a version that I will forever hold in yet higher esteem: the new cover by synthwave powerhouse Gunship. The cover is a darker, gloomy take on the song that uses the band’s diverse arsenal of synthesisers to great effect, creating a dynamic, emotive track.

The textured interplay between the parts makes it feel more complex than both better-known versions, managing to tug at your heart's nostalgia strings while at the same time still feeling fresh.

I strongly recommend any synthwave fan give it a listen. You won’t regret it.

Words by Alastair Stevenson

My Old Ways by Tame Impala

Tame Impala’s latest album Deadbeat comes a whole five years after their previous entry, but oh boy was it worth the wait. The entire album is well worth a listen, but there’s one track that stands out as an excellent entry for testing out a sound system.

My Old Ways starts with a recording of a piano and the lead vocalist singing along in an absent minded way, with the sense we have walked into an intimate rehearsal session.

Then we get a spine-tingling transition as the track seamlessly integrates a synth drum beat and the vocal track moves to the centre channel.

The lines “Here goes nothin’ / I know what's comin', ain't so shockin'” are repeated while layers of sound are slowly built up around it to create an incredibly effective beat that is simply a joy to hear on a good sound system.

This excellently executed track is not only a great addition to an already cracking album, but is a great way to test out your system’s channel integration.

Words by Robyn Quick

Mercy Mercy Me (The Ecology) by Marvin Gaye

Marvin Gaye’s 1971 album What’s Going On might be better known for its title track, but for my money, this little ditty is even more seminal. The album is Gaye at his most politically engaged and socially conscious, with tracks such as What’s Going On and Inner City Blues (Make Me Wanna Holler) painting a grim picture of life for millions of Americans at the time.

And then comes this little beauty on the damage we’re doing to our environment.

Check out some of the lyrics: “Radiation underground and in the sky / Animals and birds who live nearby are dying” and “What about this overcrowded land? / How much more abuse from man can she stand?” Talk about on the nose. And this was in 1971, before global warming was a well-known concept.

As with most Gaye tracks, it’s a dream of a production, hypnotic in its wooziness, until – fittingly – it all goes a bit sinister towards the end. A true testament to the man’s talents for producing beautiful songs about ugly subject matter.

Words by Joe Svetlik

The Signal Fire by Killswitch Engage

Not only is The Signal Fire an absolute ripper of a modern metal track, there’s also an excellent story behind it.

Killswitch Engage began life and had their first hit (2002’s My Last Serenade) with Jesse Leach as frontman. Leach left after just two albums and was replaced by Howard Jones. Nine years and three hugely successful albums later, it became Jones’s turn to leave the band. His replacement? Original singer Jesse Leach.

Despite their shared history, Leach and Jones apparently weren’t close until several years after their second switcheroo, when a friendship belatedly blossomed. Leach, inspired by this new friendship, The Lord Of The Rings, and the name of Jones’s new band Light The Torch, subsequently wrote The Signal Fire for the two men to duet.

The track, which was released in 2019, is fan service of the finest kind; a perfect sonic blend of the Leach and Jones eras, with swooping vocals and guttural screams working in perfect harmony.

Despite the thrashing guitars and demonic growls, it’s a brilliantly uplifting song about camaraderie and, unless I’m much mistaken, the importance of asking for help rather than trying to go it alone.

A great track with a great story and a great message, then, and it sounds terrific on a properly sorted hi-fi system – particularly one that can deliver bass with both weight and pace.

Words by Tom Parsons

Breakers Roar by Sturgill Simpsons

Country tracks aren’t often found in my playlists, but Breakers Roar by Sturgill Simpson is the one major exception.

It features in a pivotal scene of our AV testing room’s top reference disc of 2025, Civil War; if you have seen the film, you’ll know the exact sequence I’m referring to. I’ve lost count of how many times I fired that 4K Blu-ray up over our Awards testing period, but it was enough to make this particular track leave a lasting impression.

Despite generally not being a fan of country music, not even I could resist this song’s stunning and unconventional instrumental sections, which feature dreamy, warbling strings that are unlike anything I’ve heard before.

It’s all underpinned by an unquestionably ‘country’ acoustic guitar riff that sounds warm and inviting against the sweepy, spacey effects that ride over the top. For me, though, the highlights of the track remain the alien-like orchestral sections.

Simpson’s vocals are presented in a hushed, dream-like manner, and with lyrics such as “so enticing, deep dark seas, it’s so easy to drown in the dream”, the entire track has both an unnerving and comforting quality to it.

The American public broadcasting network NPR called Breakers Roar a “surrealist lullaby”, and I can’t really think of a better way to describe it. If you haven’t watched Civil War, then I’d highly recommend doing so, even just for the sequence that features Breakers Roar.

Words by Lewis Empson

The Veldt by Deadmau5

“Lindsey, come here and listen to this!”

If you want to spend seven minutes of your life having a (comparatively) heart-warming time, search out ‘deadmau5 finds the vocals for The Veldt' on YouTube. The legendary Canadian producer is performing one of his frequent livestreams (the video is from early 2012), and stumbles across a vocal mix for one of his (at the time) instrumental tracks.

Those vocals belong to Chris James, and they would end up gracing a tune on Deadmau5’s third sixth studio release, Album Title Goes Here. It’s bizarre to think that the track’s core elements come together from such far removed origins, especially as James’s lyrics fit so perfectly with The Veldt’s mystic, ethereal feel.

Inspired by Ray Bradbury’s short story of the same name, The Veldt is an enrapturing progressive house mini-epic, characterised by layered electronic stabs and James's natural, sincere vocals, all underpinned by a metronomic, propulsive tempo.

Words by Harry McKerrell

Who Knows by Marion Black

I’ve been in love with this track for the past couple of months. Marion Black’s 1970s soul hit Who Knows is all smooth and lush tones, with gentle but rhythmically delightful instrumentation that’s just lovely to listen to.

The textures of the ’70s recording and Black’s silky, soulful voice transports you to the romantic past, with the whole world turning just a little golden sepia around you.

As a test track, I use it for checking how well a hi-fi product conveys that bygone era of recording – it should get the feeling and mood of its time period across, as well as relaying the easy fluidity of his mellifluous vocals.

Words by Kashfia Kabir

Ain't No Sunshine by Bill Withers

Who said test tracks need to be overly complex? Ain't No Sunshine certainly isn't, it's just Bill's caramel vocals, a couple of simple guitars and one very chilled out drummer coming together to make musical magic. You wouldn't complain that a ham and cheese sandwich was too simple, would you? Or that a football was rendered dull because of its predictable shape. Circular again, how boring.

Ain't No Sunshine is all about feel. Despite its relative simplicity, the track has that gentle rocking that puts one in mind of a lullaby, a sort of blissed out rhythmic sway akin to the easy trot of a gentle mare or the rocking of a calm ocean.

That sway, that feel, rocking easiness, call it what you like, is precisely what an insightful system will reveal, unearthing the natural warmth and reassuring comfort of Withers' seminal tune. Absolute bliss.

Words by Harry McKerrell

As a collective, our review team listens to a lot of music. Sometimes we rely on old favourites with which we're familiar, but we are always discovering new tracks – be they fresh releases or just songs we haven't encountered before – that give us key insights into new products we are trying out.

We also know that plenty of our readers are on the lookout for new tunes, either to assess the capabilities of a new system or simply to show off the full talents of their established hi-fi set-up. That's why we have come up with our monthly 'Now Playing' playlist, a rundown of everything we've been listening to and loving recently, whether at home with a set of headphones or at work in our fabulous test rooms.

Each instalment will bring you a handful of tracks chosen by our reviews team, detailing why we love them and what they bring out of certain products. So even if you're not looking for new tunes to play on your system, we hope you find something you'll love no matter how you choose to listen to it.

We're always on the lookout for new music, so drop a comment below to share what you have been listening to!

MORE:

Read last month's edition: These are the 7 scarily good tunes we've been using for testing this month

8 of the best Bruce Springsteen tracks to test your hi-fi system

Check out our ultimate test tracks collection

Bluesound is set to launch a redesigned version of its most popular wireless speaker, the Pulse Flex.

The aim for the update, according to Bluesound, was to “make Bluesound’s acclaimed sound signature more accessible without compromising on detail and quality.”

First released in 2015, the Pulse Flex is the most compact and affordable option in the Canadian brand’s multi-room speaker lineup.

We awarded the original version four stars, noting its punchy bass and enthusiastic character. Only some particularly strong rivals in the same price range, such as the Audio Pro Addon C10, meant its rating wasn’t higher.

The new model features a custom-designed SmartDSP amplifier with 50W of power, and has a 10cm woofer and 19mm tweeter.

It supports high-resolution audio up to 24-bit/192kHz and DSD256 files and MQA decoding, while multi-room control is provided via the BluOS app. This tried and tested streaming platform supports wireless playback from a variety of popular music services, including Spotify Connect and Tidal Connect, along with internet radio and personal media libraries.

There are some quick-touch buttons atop the Flex, but most people are likely to use the BlueOS app for speaker control.

Other features include dual-band Wi-Fi, Gigabit Ethernet, AirPlay 2 and aptX HD Bluetooth, while wired connectivity is possible via USB-C and an optical/analogue combo jack. The speaker is also Roon Ready.

As well as being a standalone unit, the Flex can be used in pairs for stereo sound. Using it with Bluesound’s Powernode, Pulse Cinema, or Cinema Mini as a rear surround for home cinema or multi-room systems is also possible.

Featuring rounded edges and a minimal design, the Flex wireless speaker is available in three finishes: Black Charcoal, White Pebble Grey, or White Tan. Further customisation is possible through optional accessories such as Bluesound’s WM100 Wall Mount, the FS230 Adjustable Stand, and interchangeable fabric grilles.

Available from 16th December, the new Bluesound Pulse Flex is priced at £279 / $349.

MORE:

Read our original Bluesound Pulse Flex review

Check out these early Black Friday deals

Our guide to the best wireless speakers in 2025

If you're searching for a way to upgrade your TV's sound, investing in a soundbar can be the ideal solution.

But with early Black Friday deals already cropping up and an endless amount of models to choose from, it can feel like quite the task to find the best soundbar for you.

Don't worry, though, because we have found a stunning deal on a five-star soundbar that is well worth a second look.

The Award-winning Sony Bravia Theatre Bar 9 is one of the best soundbars around, and is currently available for £949 at Amazon. That's a saving of £450 – not bad, right?

Having tested the Bravia Theatre Bar 9 in our dedicated listening rooms, we awarded it a five-star rating – positioning it among the finest Dolby Atmos soundbars available today.

The soundbar's technical prowess stems from its sophisticated 13-driver configuration. Four front-firing woofers – notably 1.7 times larger than those found in its predecessor, the HT-A7000 – work alongside three standard tweeters and two beam tweeters.

This arrangement is complemented by side-firing speakers on each end and two up-firing drivers, creating Sony's signature 360 Spatial Sound Mapping experience.

During our comprehensive testing, the Theatre Bar 9 demonstrated remarkable clarity and spatial organisation.

Music reproduction proved particularly impressive, with Tool's Invincible revealing the soundbar's ability to maintain crisp, clean delivery while affording each instrumental layer space to breathe.

As for film audio, the Bar 9 truly excels. Our Unbroken Dolby Atmos assessment showcased what we described as "arguably the most Atmos-y delivery we've heard from a solo soundbar."

The soundbar's ability to project audio far beyond its physical boundaries – extending sound to the ceiling and well into the room – represents an impressive achievement in single-unit Atmos implementation.

Beyond audio performance, the Sony bar features impressive connectivity. This includes one HDMI 2.1 input with 4K/120Hz, VRR, and ALLM support, plus eARC output. Wireless options encompass Spotify Connect, AirPlay 2, and Bluetooth 5.2, though Tidal Connect remains absent.

At £949, the Bravia Theatre Bar 9 represents exceptional value for a five-star Dolby Atmos soundbar and offers great opportunity for those considering an upgrade to their built-in TV speakers.

If your budget can stretch a little further, it's also worth considering the five-star Sonos Arc Ultra which also greatly impressed during testing.

The Sonos bar is currently available at Amazon for £999 and is very closely matched in terms of sound performance compared to the Bravia Theatre Bar 9. But if you have other Sonos speakers, the Arc Ultra will slot seamlessly into your set-up, and chances are that will make it the better device for you.

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We don't know if you've heard, but there's a new Bruce Springsteen biopic.

Springsteen: Deliver Me From Nowhere sees Jeremy Allen White, of The Bear fame, swapping the chef's whites and depressed scowl for a guitar and boot cut jeans, before grappling with the Boss's growing stardom while recording his 1982 album, Nebraska.

Naturally, we'd be limiting the scope of our Springsteen love-in if we recommended tunes solely taken from the aforementioned Nebraska, so we've gone for a blend of classic Bruce and a few lesser known gems to get your system pumping its metaphorical fist. USA flags at the ready for our eight of the best from the Boss...

Highway Patrolman (Nebraska, 1982)

Highway Patrolman is one of the most complex tracks, both narratively and in its composition, from Springsteen’s stark album, Nebraska.

Telling the story of two brothers as they struggle through life, the track exemplifies why Nebraska is often considered Springsteen’s bleakest, darkest take on life in America.

There’s no booming rhythm section or bellowed anthems to be found, instead Springsteen recorded it with a bare-bones arrangement that makes it stand apart from his earlier work.

The song’s quiet acoustic guitar intermingles with Springsteen’s vocals and harmonica as he chronicles the two brothers' fraught relationship, detailing the younger sibling’s fall from grace as his older sibling, the highway patrolman, watches powerlessly. The end result is a gloomy, haunting song that will stay with you long after the final note is plucked.

The subtle, low, muted tone of the song also makes it a fantastic gauge of any system’s dynamics. Just make sure to be prepared for a severe case of ennui when you do.

Words by Alastair Stevenson

Atlantic City (Nebraska, 1982)

Springsteen famously said people don’t like him when he’s happy, and if you’re the sort of fan that agrees that his music is best when it is at its bleakest, then you’ll love Atlantic City.

The second track on his first solo album tells the tragic story of a couple’s escape to Atlantic City as they try to follow the American Dream, before slowly falling into organised crime.

Featuring a bare-bones acoustic guitar part, the tragic song oozes emotion from start to finish, with Springsteen’s vocals, intermittent harmonica and plucked lead guitar parts creating a subtle, textured composition that merits repeat listening.

Whether it’s the haunting vocals lamenting the couple’s demise, or the intermittent spark of hope he adds at the end of each verse like a mantra, Atlantic City is one of Springsteen’s finest and most tragic songs.

It’s rare to hear live in its acoustic glory, with Springsteen preferring to play an electric version with a full backing band, which only makes the Nebraska album cut all the more special.

Words by Alastair Stevenson

Born to Run (Born to Run, 1975)

It’s rare for a song to make you feel like a cheetah racing through boundless grassy savannah, but here we are.

Springsteen’s Born to Run captures the yearning to escape the pressures of life, carried by his emotive vocals and impactful lyrics summed up by the recurring line, “We gotta' get out while we’re young / ‘Cause tramps like us, baby, we were born to run”.

Your sound system will get a run for its money with the addition of subtle tinkling high frequencies that must be balanced against the lively guitar part, as well as the driving drum beat which is sure to get anyone up and boogieing.

Then there’s the excellent saxophone solo, adding to the painful joy of wanting to be free. If you want to challenge your speaker set-up while being unable to stop your foot tapping, this is the Springsteen track for you.

Words by Robyn Quick

Born in the U.S.A. (Born in the U.S.A., 1984)

Born in the U.S.A. might be one of the catchiest songs of all time, but it's also one of the most misunderstood.

While the iconic chorus and stomp-worthy synths might evoke the flag-waving jingoism of a Michael Bay movie, the oft-overlooked lyrics reveal a disillusioned and undervalued Vietnam veteran and the deep emotional scars they endure upon returning home.

The song might be best known for being played at national events across the pond, but it remains an expert critique of the USA in the late 20th Century.

As one of Springsteen’s more unsubtle tunes, it’s also a great choice to test your hi-fi setup. It may be relatively simplistic, but on a good system you’ll be able to pick up every unrelenting whack on the snare drum, while hearing that backing synth blasted on high volume should evoke a wave of sonic joy.

The electrifying recording of Born in the U.S.A. is a key scene in Deliver Me From Nowhere, but there’s no reason you can’t get in the mood early by playing what is still the Boss’s biggest hit. Just try not to sing along.

Words by Daniel Furn

Thunder Road (Born to Run, 1975)

Alongside Born to Run, Thunder Road feels like quintessential Springsteen, like the distilled essence of Bruce's soul poured into a single tune.

We're back in small town America, yearning for something more, with Thunder Road showcasing that earnest heartland sound that went on to influence the likes of Bryan Adams, Sam Fender and The Killers.

Like Bruce's best work, it's the layer beneath the all-American bravado that elevates Thunder Road from generic horizon-gazing to something far richer and earnest.

There's a melancholy lurking in the lyrics and the feel of the melodies that hints at some unfulfilled yearning, and of the possibility that Bruce's, and therefore our, dreams might not fully be realised.

It's that particular feeling that comes through on truly insightful systems.

Words by Harry McKerrell

The Ghost of Tom Joad (The Ghost of Tom Joad, 1995)

If you're not into your 20th Century American literature, you might not be aware that the titular track from Bruce's eleventh studio album draws heavy inspiration from John Steinbeck's punishing opus The Grapes of Wrath, as well as Woody Guthrie's subsequent musical spin on the novel, in the shape of The Ballad of Tom Joad.

Springsteen's original recording has all of the downtrodden, rust-laden melancholy you'd expect – Steinbeck's novel was perfect fodder for Bruce's small-town, working class sensibilities – melding quiet desperation with undercurrents of simmering rage.

Speaking of rage, if you want the definitive rendition, check out the live version of the track performed in 2008, complete with Rage Against the Machine guitarist Tom Morello providing twin vocals and, in his signature style, shredding his axe with righteous fury. Goosebumps.

Words by Harry McKerrell

The River (The River, 1980)

The River was the first song of Springsteen’s that really hit me and made me view him as a social commentator and poet as much as he is a chart-topping hit machine.

Based heavily on the life of his brother-in-law and sister, the song tells a deeply personal narrative detailing the struggles of working-class Americans.

Featuring a haunting chorus, the song expertly merges the hopeless odds facing the couple and their noble refusal to give up as they struggle, and keep returning to their special place: The River.

Though it doesn’t have the bombastic, energetic tone of Springsteen’s more famous ballads, the layered, emotional composition, from the sombre acoustic guitar and weeping harmonica intro, up to its desperate peak, makes it a song that expertly plucks at your heart strings.

Words by Alastair Stevenson

Jungleland (Born to Run, 1975)

Jungleland is the final track in Springsteen’s iconic 1975 masterpiece Born to Run, and one of his most interesting.

For one, it’s one of his longest tracks, with the album version clocking in at over nine minutes. And within that timeframe it showcases all the major reasons Springsteen’s work clicks with so many people – hi-fi fans included.

The song is a mini opera, detailing young people struggling to survive in a city that’s stopped caring about them. Delivered with an impassioned, emotively ranged performance by Springsteen and the E Street band from start to finish it’s a flowing, powerful song that still resonates today.

Whether it's the pleading piano and violin intro, Springsteen’s booming wails at its peak or the iconic saxophone solo by Clarence Clemons, Jungleland is one of Springsteen’s most complex and inspiring tracks. Thanks to the interlinked composition and recording, which gives every part room to breathe and shine, it’s also one of the best he’s made for testing hi-fi.

While his more mainstream tracks may get more attention, Jungleland remains one of my favourite and most played songs from the Boss’ multi-decade discography.

Words by Alastair Stevenson

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Check out our ultimate test tracks playlist

Triangle has announced the Capella 2, an updated version of its Triangle Capella wireless active speaker system that seems to address several shortcomings we identified in the original’s review.

The French manufacturer has revamped the Stereo Hub 2 network player, for a start, which now includes native support for Spotify Connect Lossless and Tidal Connect – features conspicuously absent from the first-generation system at launch,

The hub also gains an ethernet port for more stable network connections, along with the existing Wi-Fi connectivity for those who’d rather do away with more cables.

Another notable addition is a dedicated subwoofer output, adjustable via Triangle’s Capella app, allowing users to add low-frequency reinforcement to the system.

The hub itself is powered by a Cortex A53 Quad-Core processor running at 1.5GHz, which Triangle claims delivers improved responsiveness compared to the original.

The speakers themselves retain the WiSA wireless tech that connects them to the hub, promising very low latency while supporting hi-res audio up to 24-bit/96kHz.

Each speaker packs 100W of Class D bi-amplification, with separate amplifiers and DACs for the 25mm magnesium alloy horn tweeter, and 165mm natural cellulose pulp mid/bass driver.

Triangle has also expanded the connectivity options to include HDMI eARC with CEC support, three optical inputs, plus coaxial, USB-B, RCA stereo, and 3.5mm inputs.

Wireless options include Bluetooth 5.2, AirPlay 2, Chromecast, and UPnP/DLNA, along with Roon Ready certification.

The system offers automatic room calibration via iOS devices or Triangle's optional Zen microphone, along with manual EQ adjustment through the app.

Elsewhere, there’s a new USB-C rechargeable remote control, making for quick and easy top-ups.

Aesthetically, the Capella 2 introduces three new finishes – Space Black, English Green, and Oak – joining the existing Astral Blue and Space White options.

When we reviewed the original Capella, we praised its energetic delivery, tight and agile bass, and impressive stereo imaging.

We found it particularly adept at communicating musical energy, though we noted it traded some top-end refinement for attack and speed.

The system did, however, demonstrate excellent grip and control, outperforming similarly priced passive alternatives in that regard.

However, we felt it needed more sweetness and natural warmth in the midrange, and its feature set required improvement – criticisms Triangle appears to have addressed with this second generation.

We haven't yet tested the Capella 2 though, so we'll reserve our final judgement until we can get a pair into our test rooms.

The Triangle Capella 2 is priced at €2499 for the complete system, including both speakers, the Stereo Hub 2, and accessories. The optional S05 speaker stands cost €279 per pair.

UK, US and Australian pricing and availability have not been confirmed at the time of writing. The system will be available in early 2026.

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Sony’s smartphone division has soldiered on for yet another year, and considering we’ve been huge advocates for its Xperia 1 series for many years running, we’re pleased to see it endure amongst its much more popular peers from the likes of Samsung, Apple and Google.

Popularity isn’t everything, and there’s something to be said for Sony’s niche focus on delivering a top-notch portable AV experience. As you can imagine, that’s a stance that resonates with us massively.

Picture and sound performance remain at the forefront of Sony’s mission, and while the company’s resolve has softened somewhat in the pursuit of public approval, the Xperia 1 VII – which we have in for review today – seems to continue that spirit.

With that in mind, does Sony achieve its brief in delivering another smartphone that doubles up as a pocket-sized home cinema and a hi-fi quality portable music player?

Price

The Xperia 1 VII is officially available for £1399 here in the UK. Sony fans in the US and Australia will know that it doesn’t offer its smartphone range in either region, and the 1 VII is no exception.

Sony’s main competitor at this level is the Award-winning Samsung Galaxy S25 Ultra, which is tough competition indeed. It’s unquestionably the more mainstream option, and while it launched at £1249 / $1300 / AU$2199, it can frequently be found for less now that it’s been on the market for almost a year.

There is also the iPhone 17 Pro Max (£1199 / $1199 / AU$2199) to be aware of. We haven’t tested it yet, but the standard iPhone 17 has just scooped up an Award, and its predecessor, the iPhone 16 Pro, scored top marks in our full review, so we’re willing to bet it offers a competitive AV experience.

Build

Sony’s latest flagship mobile doesn’t look miles apart from its predecessor, but that doesn’t really concern us, as it still looks rather smart.

It features the same textured glass back and etched aluminium frame as its predecessor, albeit a bit more refined with smoother bevelled edges, and the rear glass sits flush with the frame.

This results in a much smoother and more comfortable phone to hold. In comparison, the Xperia 1 VI feels a bit sharp in the hand.

The ridged sides of the handset feature numerous interruptions in the form of a volume rocker, a combination power/lock button with an integrated fingerprint sensor, a dedicated camera shortcut and shutter button, a combination SIM and Micro SD card tray (which can be removed without the need for a SIM ejector pin tool), and – you guessed it – a 3.5mm headphone jack.

On the front of the 1 VII, you’ll find a 6.5-inch OLED display with a 19.5:9 aspect ratio. We still miss the 21:9 aspect ratio of the Xperias of old, but we can’t deny that the more mainstream aspect ratio (which can also be found on the Galaxy S25 Ultra) has its practical benefits when it comes to usability and app compatibility.

The display features fairly slender bezels on the sides, and slightly chunkier ones at the top and bottom, though there is a valid audio-related reason for that, which we’ll come to later.

We think the handset looks very sleek in the Slate Black finish we have, though it's also available in Moss Green and Orchid Purple for anyone who wants to add a (fairly subdued) pop of colour.

Features

If we’re being brutally honest, Sony’s smartphones have always excelled at things we’re most interested in when it comes to features, but they lag behind the cutting-edge mainstream handsets on the market when it comes to a lot of creature comforts.

We’ll start with the glorious 6.5-inch OLED display, which has reportedly been tuned by Sony’s Bravia television department. Sony is supposedly harnessing the power of AI picture processing to boost some of the key picture components, such as colour, contrast, texture and three dimensionality.

The one disappointment, however, is that the display’s resolution is 1080 x 2340 – otherwise known as Full HD+.

In a display this size, we find that this resolution is technically enough, as the pixel density is suitably high at 396ppi. However, considering the price (and the competition), we think that Sony should really be offering a Quad HD display – especially considering it wasn’t that long ago that it was shipping smartphones with full-blown 4K displays.

Nevertheless, this screen features a dynamic refresh rate up to 120Hz, and it’s 20 per cent brighter than its predecessor. In fact, Sony says that this is the brightest display in any Xperia smartphone to date, though it hasn’t shared any specific figures regarding nits.

This has been paired with a new sensor on the rear of the handset, which detects the ambient lighting conditions and adapts the phone’s display to suit.

There is also a considerable amount of customisation that you can apply to the phone’s display. There is the option to leave the phone in its ‘recommended’ setting, which will optimise the display for “smartphone use and displayed content”.

This sounds a tad vague to us, but it seems as though Sony is implying that the phone will use the best picture settings for what it’s displaying.

In its custom settings, we can switch between the Bravia-tuned standard mode, which emphasises “high-quality textures” and “vibrant colours” – or Sony’s creator mode, which is akin to the Filmmaker Mode on a TV.

This goes for a more accurate picture presentation, which will appeal more to purists who wish to see content in the way that the creator intended.

Interestingly, there is an option to only apply creator mode in specific apps, meaning you can enjoy the crisper standard mode for day-to-day use, and automatically switch to the creator mode for a more cinematically authentic movie experience.

To us, that seems to fulfil the same role as the previous recommended preset, albeit with a bit more granularity in which apps default to your preferred screen mode.

Sony has also included two video enhancement features in the form of real-time HDR, which adapts HDR video to your viewing environment, and video image enhancement, which appears to be an upscaling mode that adds additional sharpness.

While we’d usually steer clear, Sony’s implementation of the latter is fairly effective at adding a bit more pop and sharpness to the picture.

Disappointingly, while the display supports HDR, it doesn’t support either of the Dolby Vision or HDR10+ formats we see on the iPhone 17 or Samsung Galaxy S25 Ultra, respectively.

On the audio side, Sony has called in more backup from one of its subsidiaries, as its Walkman brand – which is responsible for countless portable music players – has reportedly played a key role in upgrading the 3.5mm headphone jack.

It has been constructed with high-quality solder containing gold to "enhance the reproduction of subtle sounds" and "improve the soundstage and directional accuracy".

This has been paired with a new high-performance audio integrated circuit to greatly enhance the wired listening experience. We must, of course, give Sony kudos for continuing to offer a headphone jack on its smartphones while others have moved on.

Those who have invested in a pair of the best wireless headphones, meanwhile, will be pleased to hear that the Xperia 1 VII features Bluetooth 6.0, with support for the AAC, SBC, and LE codecs. AuraCast is featured too.

Hi-res wireless audio is also supported via LDAC, and as this phone is powered by Qualcomm’s Snapdragon 8 Elite processor (backed up by 12GB of RAM and 256GB of storage), it also features the aptX Adaptive codec.

Dolby Atmos and Sony’s 360 Reality Audio are also on board for supported streaming services. And for those who like to play media out loud, the Xperia 1 VII sports a set of stereo front-firing full-stage speakers, which Sony says sound “even more realistic” this year.

With that exhaustive list of AV features out of the way, we can now review the remaining specifications of the smartphone.

It runs Android 16, which is the latest version of Google’s operating system, albeit with a fairly barebones Sony skin running over the top. Sony’s take on Android can feel frustratingly limited at times, as there are missing native features, such as a dedicated photos app (it uses Google Photos instead) or a weather widget.

That being said, it does feature support for the latest Google AI features, including the Gemini Assistant, generative photo editing, and circle to search. We also can’t fault the performance, as the handset flies throughout the operating system for day-to-day tasks.

Another of Sony’s divisions, Alpha, has been consulted for the camera.

It consists of a 52MP main lens (which uses Sony’s Exmor T sensor), a telephoto lens with a true optical zoom from 85 to 170mm, and a new 16mm focal length ultra wide camera, which utilises a 50MP sensor and pixel binning to capture detailed 12MP images. The sensor is 2.1 times larger than the previous model, which means it will perform better in low-light conditions, according to Sony.

Paired with Sony’s comprehensive camera app and dedicated shutter button (which can be half-pressed to establish focus), the Xperia 1 VII provides an excellent, if slightly overwhelming, photography experience. That being said, we find it relatively easy to grab some eye-catching snaps when we use the basic shooting mode.

Rounding things out with the 5000mAh battery, the Xperia makes light work of heavy usage over a day, and it can even soldier on through a couple of days, provided you’re not pushing the phone to its limits for extended periods.

Picture

Sony’s smartphones have enjoyed a remarkably consistent streak when it comes to picture quality in our reviews. In previous years, they’ve sported 4K displays with cinematically-appropriate aspect ratios, but that all changed last year.

We deemed the Xperia 1 VI to be a solid choice for on-the-move cinephiles, albeit not to quite the same extent as its predecessors. That statement rings true for this year’s model, too, but there is now the added pressure of some extremely talented competition.

We test the Xperia 1 VII in both of its picture modes, and we end up leaning towards the Bravia-tuned standard setting, as it adds a touch of punch while remaining very balanced. The creator mode will be the preferred choice for purists, but it feels a touch washed out in comparison.

We start with Mission: Impossible – Dead Reckoning (Part One) on Netflix, and the results are immediately impressive. As we mentioned, colours feature a solid balance of punch and richness without looking overbearing or unnaturally vibrant. In comparison, the Samsung Galaxy S25 appears to lack some finesse here, with slightly too much red in skin tones.

Sony’s usual proficiency for delivering a solid, contrast-rich picture is clearly evident with the 1 VII. There’s an impressively convincing three-dimensional effect to the display.

Switching to Blade Runner 2049 (also on Netflix), we find that the tower featured in the opening overhead shot stands out against the background nicely with a good sense of depth, and there is a general sense of solidity and three-dimensionality to the image that helps to enhance immersion, which is easier said than done on a smartphone display.

Moving over to Civil War on Amazon Prime Video, the Sony remains staunchly natural, and motion is solid as fighter jets and helicopters soar overhead during the build-up to the climactic final battle.

As the sequence progresses towards a besieged Washington, DC at night, we find that the Sony retains an impressive level of detail in shadowy scenes, too.

While we affirm that the Sony’s picture is generally impressive, though, it is outshone by the Samsung Galaxy 25 Ultra in a few ways.

We appreciate the Samsung’s higher resolution screen when we place the two handsets side-by-side, as everything looks noticeably crisper and more detailed.

Sticking with Civil War, we find that the outline of a helicopter swooping over a lake, and the dense foliage featured throughout the sequence, both appear cleaner and sharper on the Samsung, and the enhanced brightness adds intensity to the flames as the photojournalists drive through a forest fire at night.

The Samsung even delivers most of what the Sony can muster when it comes to the solidity and three-dimensional depth of the image, which, combined with the rest of the improvements to detail and brightness, makes it the better handset of the two when it comes to picture performance.

Sound

While the Xperia 1 VII can be beaten when it comes to its picture, we find that sound is a whole different story. Put simply, the Sony delivers a headphone experience that will delight anyone who wants a smartphone that doubles as a talented portable music player.

Plugging a pair of wired cans directly into the phone via the 3.5mm headphone jack and loading up Tidal, we’re rewarded with a detailed, dynamic and engaging performance that highlights the Samsung’s relative shortcomings in the process.

The opening piano chords to Taylor Swift’s The One are presented with a solid, weighty presence, and they’re soon joined by a rich and rhythmic acoustic guitar. The Sony allows each instrument to shine by revealing plenty of detail and giving each aspect of the track plenty of space, all the while ensuring it remains cohesive and well organised.

And while the phone provides a clean and revealing sound, it manages to balance everything with a sense of warmth and dynamism, which means it doesn’t come across as too analytical. Swift’s vocals are conveyed with a richness and clarity that picks up oodles of emotion, and timing is kept pin-sharp throughout.

Switching to Kiss The Ring from Hans Zimmer’s Dune: Part Two soundtrack, we find that the Sony is capable of delivering huge scale and weighty bass, all while retaining balance and composure.

We’re similarly impressed with the full-stage front-firing speakers, and while we generally don't recommend playing music out loud from your phone, they’re more than good enough in a pinch for watching a TV show or even some light movie viewing.

Returning to Mission: Impossible, we find that the speakers deliver a solid sense of spatial separation, decent vocal clarity and detail, and a good sense of rhythmic drive to the soundtrack.

And while we won’t claim that this speaker can rival any sort of Dolby Atmos soundbar or speaker package when it comes to immersion, it does a good job of placing effects to create a somewhat spatial feeling to the sound.

Verdict

Sony’s latest flagship smartphone remains a solid enthusiast option for those who value taking their music and movies on the go over all else.

Cinephiles will enjoy the balanced display – even if it can be beaten by its Samsung competitor – and audiophiles will find immense satisfaction in the inclusion of an upgraded headphone jack and superb audio quality.

It won’t suit everyone's taste, and there are some software quirks to contend with, but the Xperia 1 VII remains a good choice for those looking for a smartphone that puts AV on the same pedestal as AI.

SCORES

• Picture 4
• Sound 5
• Features 4

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2025 has been an interesting year for streaming services, to say the least.

Music-wise, we have seen Qobuz deliver its answer to Spotify Connect and Tidal Connect with the imaginatively titled Qobuz Connect (which has proven to be a hit with hi-fi manufacturers). And – after an eternity of waiting – Spotify finally launched a higher-quality audio option with Spotify Lossless; it only took eight years of patience.

What hasn't changed, however, is our pick for the best music streaming service, which remains the ever-faithful and excellent-sounding Tidal. While the likes of Qobuz and Apple Music are nipping at its heels, in our opinion Tidal represents the perfect balance of value and performance.

Last year, Tidal opted to simplify its pricing structure, meaning you can access CD-quality streams, Dolby Atmos tracks and Sony 360 Audio titles for just £11 / $11 / AU$11 per month; that's higher-resolution streaming and more features at a slightly cheaper price than Spotify Premium (£11.99 / $11.99 / AU$15.99).

And with a rich, full-bodied and detailed performance, Tidal becomes our pick for the Best music streaming service for the tenth year in a row. A decade of Awards for Tidal should put into perspective how highly we regard this streaming service, and while there are good alternatives out there, none has managed to dethrone Tidal as of yet.

Moving on to the streaming services that handle our movies and TV shows, we have seen far fewer developments, though we do have a new service to take the title of Best video streaming service.

Disney Plus has suffered from periodic issues relating to HDR playback, and Netflix's Premium subscription tier (which covers 4K, Dolby Vision and Dolby Atmos) has been raised to a staggering £18.99 per month here in the UK.

That's why we have reassessed Apple TV (formerly Apple TV+). Despite a fairly weak debut, it is now an absolute gem of a streaming service. It has taken Apple six years to properly flesh out the service's content library, but with award-winning shows such as Severance, Slow Horses, The Morning Show, The Studio, Ted Lasso and Silo now available on the platform, the lack of third-party content becomes much less of an issue.

We do wish that its film content was a bit stronger. Still, there are a number of Oscar-winning titles on the list, such as CODA, Killers of the Flower Moon and Napoleon.

Best of all, Apple has taken the Tidal approach in offering one simple subscription tier that covers everything. £9.99 / $12.99 / AU$15.99 per month gets you 4K streaming with no ads and Dolby Vision HDR, and Dolby Atmos included – Netflix could really learn a thing or two from Apple.

Two services rule this list; one is a newcomer, another a seasoned veteran – but which one will take home the prestigious Product of the Year title?

MORE:

Read our full Apple TV review

As well as our full Tidal review

And check out our picks for the best streaming services for movies and TV

On the face of it, Arcam has everything in place for its SA35 streaming hi-fi system to be a slam-dunk success.

It already has a What Hi-Fi? approved five-star music streamer in its lineup in the shape of the ST25. And it has not one but four five-star stereo amplifiers (the updated A5+ and A15+, and the original A5 and A15).

You would think, then, that for Arcam and the SA35, it’s going to be a relatively straightforward case of taking the best bits from its streamer and amps, adding a smattering of extra features, and just sitting back and admiring its work.

However, after years of testing products like this, we know that marrying everything together and automatically creating five-star synergy isn’t easy. There’s no doubt that Arcam potentially has a pretty solid foundation from which to build for the SA35, but can it execute?

Price

The SA35 is Arcam’s entry-level streaming amplifier and has an asking price of £2999 / $3300 / AU$6495. There is a step-up model in Arcam’s Radia range, the SA45, which costs £4499 / $5500 / AU$9995.

There aren’t a huge number of rivals for the Arcam around its price point – it’s relatively similar in terms of features and functionality to the Naim Uniti Atom £2299 / $3799 / AU$5750, although the Naim is cheaper and getting a little long in the tooth now.

Build & design

Like its ST25 streamer and A15+ stereo amplifier siblings, the SA35 is quite a chunky unit. It weighs in at 12kg, which you can definitely feel when moving the unit into position.

The black chassis hides its size well, though – we think Arcam has really nailed the styling of this Radia series of hi-fi products.

The clean-but-stealthy look combined with the yellow halo lighting around the input and volume dials, and the yellow highlights around the top vents, make for a striking piece of kit.

There’s nothing stealthy about the large 6.5-inch high-resolution display that sits right in the middle of the fascia, though. It’s bright, punchy and colourful and, from what we can tell, virtually identical to that found on the ST25.

This means album artwork generally looks great on the Arcam, offering you a few different configurations for how it and the accompanying metadata are displayed.

The display's size and clarity also make navigating the on-screen menus very straightforward when you’re carrying out functions like choosing inputs, cycling through filters and setting up Bluetooth.

The display is flanked by those input and volume dials, which give the front of the unit a neat symmetry. Both rotary controls feel good to use – they turn smoothly but, being ultra-critical, we think they could have a tiny bit more resistance to them. Otherwise, you’re treated to a tactile user experience.

The supplied remote does feel cheap and plastic in comparison, though. It’s a little small in hand, and although the volume control gets the job done, it feels on the finicky side when you’re trying to do more extensive navigating.

Depending on the streaming services and features you want to use, you’ll also be using the Arcam Radia control app, which is fine, but isn’t the last word in intuitiveness.

It also feels slightly clunky that you have to use the remote to access some features and settings, and Arcam’s Radia app for others. It would make for a more complete user experience if you could access everything through the app.

The inputs on the rear of the unit are all clearly labelled, although the hood that extends over the rear of the chassis does get in the way when you’re hooking everything up for the very first time. Thankfully, most users will only have to do this once and then forget about it.

Features

Arcam has been as thorough as possible with the spec sheet for the SA35.

The streaming section of the SA35 caters for Apple AirPlay, Google Cast, Spotify Connect, Tidal Connect, Qobuz Connect, Amazon Music and Roon. There’s also playback from UPnP servers and the system can handle a multitude of high-res formats up to 32-bit/384kHz PCM and DSD256.

There’s also two-way Bluetooth connectivity, which not only allows you to stream music to the system from a smartphone or tablet but also allows you to stream music from the Arcam to any pair of Bluetooth headphones you want to pair with the unit.

For those seeking a wired headphones connection, there’s a 3.5mm socket in the bottom left-hand corner of the front of the unit.

Connectivity also includes a pair of optical digital inputs, a pair of coaxial digital inputs (both styles of digital input support datastreams up to 24-bit/192kHz) and HDMI eARC for anyone wanting to use the Arcam to receive audio from a compatible TV.

You even get individual inputs for moving magnet and moving coil phono stages to cater for your turntable.

To help with set-up, there’s Dirac Live Room Correction; you get a mic and remote in the box to help get the system configured best for your particular room conditions.

Our test rooms have been acoustically treated and designed to minimise effects that Dirac compensates for, but in our experience the system encourages your set-up to sound more even as well as clearer, but the trade off is that you lose a bit of rhythmic drive and expression,

If your room isn’t well behaved we definitely feel there’s no harm running it to try and improve how your system sounds.

120W of Class G amplification (per channel) provides the grunt, which is more than you’ll find in any of Arcam’s stand-alone Radia amplifiers, including the 100W A25+. It’s actually Arcam’s fifth generation of Class G amplification and uses new components and materials to raise performance levels.

Similarly to Arcam’s ST25 music streamer, you have a choice of different DAC filters to choose from to help you tailor the sound to suit your own taste.

The four options are minimum phase, linear phase apodizing, linear phase slow roll-off, and minimum phase slow roll-off. We found all four very similar during testing and stick to the default on the unit, which in this case is linear phase apodizing.

To try and give us an idea of compatibility, during testing we try the Arcam SA35 with a range of different speakers from our reference ATC SCM50 to the PMC Prodigy 5 floorstanders and the Award-winning KEF LS50 Meta. The Arcam handles each pair with relative ease, and we don’t think it should have any issues driving most suitably-priced pairs.

Sound

We kick things off with a CD-quality stream of Adele’s Hometown Glory and the Arcam SA35 shows an amazing sense of control and precision with every keystroke.

The quiet background, the reverb from each string, the Arcam reveals detail effortlessly and delivers a level of intimacy that really connects with the listener. As the piano play becomes more dramatic and Adele’s voice enters the fray, you can feel the intensity pick up.

Her vocal sounds expressive and emotional, superbly reinforced by the increased intensity of the piano. When the strings seep in, they just add another layer of detail and simply add to the dynamic reach of the Arcam.

There’s a real sadness, anger and feeling of conflict with Adele’s vocal, which the Arcam captures perfectly. It’s calm, controlled and conveys emotion well.

The stereo imaging you get is clear and precisely layered. Tonally, The Arcam system is well-balanced too – there’s no coarseness at the top end, nor any bloating at the bottom end.

We turn up the sonic temperature with a stream of Mombassa from the Inception OST and the Arcam goes straight on the offensive, showcasing its agility and ability to capture the feeling and tone of a track at will.

It dispatches bass notes with confidence and efficiency – there isn’t an ounce of fat on the meat of the track. There’s ample power behind each low frequency hit and the SA35 goes deep yet still delivers detail and texture to satisfy those who want to hear the fine details in their music.

The dramatic, high-octane nature of the track is captured superbly, and as the track courses along, you’re left in no doubt as to the feeling of impending danger and action that the track is conveying. It’s a confident performance across the board.

During testing, we don’t ignore the Arcam’s phono stage options and headphone output. Arcam really has ticked all the boxes with the SA35, but it’s also ensured both the MM/MC phono stages and headphone output are up to scratch. Play Michael Jackson’s Bad on vinyl and both inputs maintain the very likeable, clean-cut, precise sound of the system. It’s effortless and expressive.

And as you’d probably expect, the Bluetooth connection is sonically more limited than the other connectivity options, but it’s good enough for general listening.

Verdict

In this modern age, where people want the convenience of a one-box solution but don’t want to make huge sacrifices where sound quality is concerned, the Arcam SA35 streaming amplifier is one of those rare do-it-all devices that does it all extremely well. Highly recommended.

Review published: 13th October 2025

SCORES

• Sound 5
• Features 5
• Build 5

MORE:

Also consider the Naim Uniti Atom

Read the NAD C 3050 (with MDC2 BluOS-D module) review

Best hi-fi systems 2025: CD, vinyl and streaming music players for the home

Generally speaking, we’ve had nothing but love for Arcam’s recent Radia range of hi-fi separates. It’s delivered multiple five-star products, including a pair of Award-winning stereo amplifiers and CD player. Next up for the eyes and ears of our crack team of reviewers is its premium ST25 music streamer.

Ironically, the only blot on Radia’s copybook so far has been the Arcam ST25’s cheaper sibling, the ST5. It disappointed us with a three-star performance when it passed through our test rooms a couple of years ago.

Now it’s time for the pricier model to go on the test bench, and, to put it rather bluntly, we are hoping for bigger and better things from the step-up streamer…

Price

Priced at £1499 / $1650 / AU$2995, the Arcam ST25 is a clear step above entry-level music streamers and will need to deliver the sound performance befitting a premium model.

The closest rival we have tested is the Cambridge Audio EXN100 at £1599 / $1799, a formidable five-star rival and What Hi-Fi? Awards 2024 winner.

Build & design

We’re a fan of the design language Arcam adopted for its Radia range and our opinion isn’t shifted by the ST25.

It’s a modern, clean-looking, solidly made hi-fi separate – the full-width all-black chassis makes quite the impression, especially against lighter-coloured racks and kit.

The top panel shows some nice attention to detail, with furrows running front to back that gradually get deeper as you reach the streamer’s front panel.

And, speaking of the front panel, a large chunk of it is dedicated to a 6.5-inch high-resolution display. It looks great; the album artwork appears bright, punchy and colourful with good viewing angles, while the accompanying metadata is easy enough to read too.

The front of the ST25 is also zero fuss, with not even a power button in sight.

Inside the ST25’s chassis, you’ll find a new six-layer digital audio and streaming platform. Arcam has included a ground plane through the board to keep noise and interference away from the audio components.

These components include the latest Hyperstream iV DAC topology from ESS in a balanced configuration with advanced jitter elimination to minimise digital timing errors.

The ST25 also uses a new linear, low-noise toroidal power supply and a switching power supply, which takes over when in standby for improved efficiency.

Features

While that 6.5-inch display dominates the front of the Arcam ST25, the rear of the unit is a more stripped-back and minimalist affair.

Tucked beneath the hood, which extends over the rear of the streamer (we understand it helps keep dust off the sockets, but it does get in the way a tad if you’re a hi-fi reviewer who constantly needs to keep switching between it and rival products), you’ll find a pair of analogue line-level outputs, an Ethernet connection, and coaxial and optical digital outputs.

There’s also a USB port for connecting an external drive and a control port – the latter comes into play if you want to pair the streamer with one of Arcam’s Radia stereo amplifiers (such as the A5+ or A15+) and use the two together.

Arcam’s menu of streaming support includes Apple AirPlay, Google Cast, Spotify Connect, Tidal Connect, Qobuz Connect, Amazon Music and Roon, which should be more than enough to cater for most streaming needs.

Of course, if all your music is stored on a server on your connected home network, the ST25 can stream from there too, and it supports high-res audio up to 32-bit/384kHz PCM and DSD256 files.

The ST25 comes with a small remote control, which you’ll need to use to carry out some functions, including selecting your favourite DAC filter and dimming or turning the display off.

When it comes to choosing your preferred DAC filter, you have four options: minimum phase, linear phase apodizing, linear phase slow roll-off, and minimum phase slow roll-off. The effects are extremely subtle, but we settle on linear phase apodizing for the bulk of our testing.

If you’re not using a streaming service like Tidal or Spotify with ‘Connect’ functionality, you’ll be using the Arcam Radia app to control the streamer. Here you can set internet radio presets, access podcasts and other services such as Amazon Music.

In an ideal world, it would be nice to be able to access all settings through the app, including the filter options mentioned above, as jumping between the app on a phone or tablet and the on-unit menu with the remote wand does feel a little jarring.

It’s also a shame Amazon doesn’t have ‘Connect’ functionality like Tidal and Spotify, because its implementation in the Radia app does feel a little clunky when trying to navigate tunes and playlists.

Similarly, accessing music stored on our review network is fine, but it could be slightly easier to navigate than having to scroll through long lists of artists, for example.

Having the ability to jump to different letters in the alphabet and navigate that way could make the experience slightly slicker.

Rival apps from the likes of Cambridge Audio and Bluesound do feel a little more intuitive, clearer and more rewarding to use.

There’s no Bluetooth functionality on the Arcam, which some users might find a strange omission, but for us, it isn’t a deal-breaker.

Sound

We carry out our testing using a variety of streaming options, including Tidal Connect, Amazon Music, internet radio and high-res tracks stored on our Naim Uniti Core server.

We start testing with a CD-quality stream of Madonna's Sky Fits Heaven from our Uniti Core server.

The first thing we notice about the Arcam is its crystal clear and clean delivery. It sets an eerily quiet backdrop for the music, which allows all the instruments space to breathe.

The track starts with rapid pulsing synths, which exhibit great texture and fine detail.

There’s a real sense of pace, agility and power to the bassline as it pounds along, laying a robust foundation for all the electronica poured on top.

The ST25 is really easy to listen to and doesn’t leave any unpleasant aftertaste. Madonna’s vocal sounds effortless and comes at you covered in texture and oozing emotion.

All the different elements mix like a perfectly crafted cocktail; drum machine, vocal and synths all move around in unison, with the Arcam really capturing the high-energy tempo of the track.

We switch over to something a little calmer, and play Einaudi: Experience by Ludovico Einaudi, as a 24-bit/48kHz stream from Tidal Connect.

The Arcam’s quietness plus attention to detail means the precision and delicacy of the piano play leaves a sonic mark on the listener.

Notes hang in open space, with differences in dynamics explicitly presented. You can hear the intent and intensity behind each key strike change as the track flows gracefully along.

While the piano remains pacesetter for the track, strings slide into view with precision – they’re tightly defined, natural-sounding strokes, and you can feel the intent behind each one.

The Arcam layers the track beautifully as more elements come together in a bountiful soundstage. The drama blossoms into a beautiful crescendo before all those extra layers fall away, leaving just the piano exposed.

We compared the Arcam to its closest rival, the Cambridge Audio EXN100, and while the Cambridge streamer sounds big, bold and confident in its own right, we think the Arcam opens up an even bigger window into the music being streamed.

The ST25 and its quieter background allow for an even greater level of insight and subtlety, which allows it to form an even stronger connection with the listener.

Verdict

If you’re looking to add a great all-round streamer to your hi-fi system, and it warrants a standalone unit at this price, the Arcam is a fantastic option.

Whether it’s internet radio or high-res audio streams, the ST25 presents them in a hugely enjoyable and musical way.

Okay, so the control app isn’t the slickest we’ve used, but the class with which it presents music, and in such a detailed and dynamic manner, needs to be heard.

Review published: 13th October 2025

SCORES

• Sound 5
• Features 4
• Build 5

MORE:

Also consider the Cambridge Audio EXN100

Read our Bluesound Node Icon review

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

Bluesound has had a run of very competent, well-featured and well-priced compact music streamers, but it’s been a while since one really stood out as a class leader when it comes to outright sound quality.

That all changes with the Node Icon.

Where the mid-range Node (2024) model conceded to the greater musicality of the Cambridge Audio MXN10, and the budget Node Nano couldn’t topple the wallet-friendly WiiM Pro Plus from its throne, the Bluesound Node Icon stands head and shoulders above its siblings in design, features and, most importantly, performance.

Price

The Bluesound Node Icon is yours for £899 / $1199 / AU$1949 and is the priciest of the current Node range of streamers. Its main competition is the five-star Cambridge Audio CXN100, which retails for a very similar price at £899 / $1049 / AU$1899.

After a time with the Icon and its many talents, you might well think it outperforms its sub-£1000 billing.

Build & design

The three members of the Node family have distinct profiles, but instead of the slimline, ‘modem’-like designs of most Nodes, the Icon is a taller, boxier unit. It’s still a fairly compact unit, taking up roughly the same footprint as the smaller Node (2024) and Cambridge Audio MXN10, but is twice the height of its younger sibling.

Its build quality is of a considerably higher quality, too – the anodised aluminium metal casing and shiny glass top feel sturdy and substantial. Altogether, it’s a classier and more premium-feeling unit, but is still discreet enough to hide away in your listening room if that’s your preference.

What stands out is the 5-inch full colour display that dominates the front panel. It’s the first Bluesound streamer to sport a screen, and it is sharp, clear and appealing. It displays album artwork, track and source information when music is playing, while a clock face is shown when the unit is on standby or, unusually, when the music is paused.

This is a quirk of the unit’s system that can’t be changed; Bluesound states that the clock display automatically slides in to prevent issues such as image burn-in on the screen, to reduce interface clutter when the unit is inactive, and simply to provide useful information – the time – when it’s in idle mode. We do sometimes wish the ‘now playing’ screen stayed on for a little longer, but it’s a pretty small niggle in the grand scheme of things. Bluesound’s reasoning is sensible, and we get used to this quirk in the course of our testing period.

It’s also worth noting that, unlike some of the screen-toting WiiM and Eversolo streamers, the Node Icon’s display isn’t a touchscreen one. But the Icon does incorporate the touch-capacitative controls that we’ve seen on its siblings. That sloped glass section on top of the unit houses this strip of touch controls, which includes basic music playback (pause, play, previous and next-track skipping) and a volume slider.

More usefully, you can appoint five presets that are readily available to you by tapping the five illuminated ‘dots’ – meaning you can play your favourite playlist or radio station with a single tap, without having to fire up your smartphone or app. Neat.

The controls are responsive, and the streamer is overall easy and uncomplicated to operate, especially when combined with the handy BluOS app. The touch controls on the highly reflective glass panel do pick up fingerprint marks easily, but we should note that this is less obvious in person than how it looks in our photos here.

Features

Pitched as the “audiophile” flagship option of the Node family, Bluesound has imbued the Node Icon with more advanced audio technology and tuning, and a greater spread of connections, although the streaming elements remain the same across the family.

Internally, the Icon features twin ESS Sabre ES9039Q2M DAC chips in a dual-mono DAC architecture. This means each chip can devote its full processing power to each channel, with Bluesound saying this offers a more separated and “pure” sound. The Icon has an integrated power supply design that aims to reduce noise and produce a clearer signal, while a “transparent” circuitry helps with delivering high levels of resolution, dynamism and ultra-low distortion.

As with the current Bluesound Node products, the native file resolution support here goes up to 24-bit/192kHz PCM and DSD256.

In addition to that, the Node Icon is the first to implement MQA Labs’ Qrono digital-to-analogue technology, following parent company Lenbrook’s acquisition of MQA Ltd and its technologies. The Qrono technology aims to further refine the DAC’s timing response, so that it aligns more authentically with the original recording. We always found Tidal’s MQA tracks have the upper hand when it comes to rhythmic ability, so we are hoping that this sonic trait translates here.

The Node Icon runs on the tried-and-tested BluOS streaming platform, which is smooth-running and feature-packed. The connection is stable over both wi-fi and wired Ethernet, and we didn’t encounter any issues when playing music from Tidal Connect, Qobuz Connect, Spotify Connect or BBC 6 Music.

The BluOS app supports plenty more streaming services and various internet radio stations, and is overall well organised and intuitive to use, especially with large music libraries stored on connected NAS drives or media servers.

There’s no Google Chromecast support, however, which is standard for all BluOS-supported products. Some might miss this functionality, but Bluetooth (of the aptX Adaptive variety) and Apple AirPlay 2 are also on board for convenient streaming from a smartphone or tablet.

There is scope to adjust the Icon’s audio settings further in the app: there are gain options, mono/stereo playback modes, tone controls (which we preferred to leave off for a more solid, punchier sound), and the ability to toggle the fixed output level on or off, depending on whether you want to use the Bluesound streamer as a preamp.

You can also combine other BluOS-compatible wireless speakers and streaming products (from Bluesound, NAD, Cyrus, Dali, Roksan and more) into a wider multi-room system all through the app, should you wish.

Physical connections include digital coaxial and optical outputs, as well as an HDMI eARC for connecting the unit to a TV. The Node Icon is the only one of its family to include a pair of balanced XLR analogue outputs, alongside one set of RCA line level outputs. You also get an RCA line level and optical input apiece on the back panel, along with USB-A and USB-C ports for plugging in a laptop or external storage devices.

As with its streaming talents, switching between our connected TV and CD player is a smooth process, and the Icon never falters when we swap between multiple sources in quick succession to try and trip it up.

One of our favourite things about the Node Icon is that it offers not one, but two full-size 6.3mm headphone jacks, which are situated at either side of the unit. This means two people can simultaneously listen to the same music or TV show late at night. It’s a lovely touch. The headphone amplifier stage features THX AAA feed-forward error correction technology that promises low distortion levels and great clarity and soundstaging. Similarly to the Node (2024), the headphone amplifier proves once again to be of great quality in the Icon.

Another key USP of the Node Icon is that it is Dirac Live Ready, although you will have to separately purchase the calibration kit (£39, consisting of a high-sensitivity microphone and USB adapter) and a Dirac license to make it all work. Dirac Live is a room correction software designed to optimise the streamer’s performance to your listening space, especially if the room has serious acoustic issues.

There is a limited bandwidth licence ($159) and a full bandwidth license ($249); we were provided with the full kit for our review, but as we found during the NAD C 3050 with MDC2 BluOS-D module testing, this doesn’t make much of a substantial difference in our acoustically treated test rooms. However, we can see the benefit of investing in this calibration kit and software when your listening space is less than ideal, and so we will be trying the Dirac Live effect further when one of our reviewers takes the Node Icon into their home, which has zero acoustic treatment.

Sound

Despite the time it’s taken us to get to the sound quality section, getting music playing from the Node Icon takes a small handful of minutes after unboxing it. What’s even more pleasing is just how musically engaging the Node Icon sounds right from the start.

The Bluesound products we’ve recently reviewed have been capable and competent, but we felt that they were missing some kind of spark. There are no such reservations with the Node Icon. It’s a lively, engaging and dynamic performer that grabs our interest at the beginning and only continues to impress us the more we listen.

Plugged into our test room’s reference system of the Naim Nait XS 3 and Epos ES-7N speakers, the Node Icon delivers music with a pleasing richness and solidity, along with having an agile sense of rhythm and a strong handle on dynamics.

The fiery intensity and propulsive rhythm in Eminem’s The Way I Am is delivered with punch and snappy timing, while the solo drum pattern in Dave Brubeck’s Take Five is tightly and cohesively knitted together – it all makes rhythmic sense and keeps our attention hooked on the music.

This isn’t an extroverted, look-at-me presentation, but the Icon’s sound has a glimmer to it – underpinned by stellar composure and well-judged ability over the frequency range – that is so appealing to listen to that we find ourselves playing song after song through the Node Icon and having a great time.

There is clarity and detail aplenty when conveying The Unthanks’ delicate but nuanced vocals in Gan To The Kye, and there is a satisfying amount of body and twang to the shapely and taut basslines in Chaka Khan’s Ain’t Nobody. There is a lovely fluidity and precision to the way the Node Icon handles music from any source, with a nimble footing that keeps pace with whatever genre or song we throw at it.

The Node Icon sounds even more at home when paired with the price-compatible Arcam A5+. Both meld together with a deft handling of dynamics that means there is an appropriate sense of drama and excitement when listening to Fontaines D.C.’s high-octane Starburster track. The Icon is able to tidily convey the subtler flourishes and different timbres of instruments in Khruangbin’s funky, easy-going Maria Tambien, as well as the softly mournful piano notes in Ólafur Arnald’s Raein composition.

This lithe and musically engaging presentation is heard across the various inputs, too, with albums played on our Cyrus CDi player sounding clean and solid via optical, and hi-res songs from our NAS drive having that bit more depth and grip. Songs played through Bluetooth naturally dip in power, punch and detail as expected, but it’s perfectly fine as a convenient solution.

To give credit to the Node Icon, it doesn’t put a spotlight on any sonic element in particular, aiming to simply deliver music in a confident, balanced and entertaining way. The streamer is transparent enough to reveal the subtle differences in source quality or of the era in which a recording was made, such as how a 1970s soul track has such a different feel and texture from a modern, polished K-pop production.

The Icon deftly relays all these nuances in space, texture and resolution without making too much of a meal of it. It doesn’t try to embellish any frequency, nor does it try to hide any warts – this is a quietly but terrifically capable performer that simply gets out of the way and lets the music shine through.

Plug a pair of Beyerdynamic DT 990 X Pro open-back headphones in, and we’re met with vocals that are crystal clear and emotive against an impressively quiet background, while instruments and melodies retain their snap and sparkle. It’s an excellent performer, and we wouldn’t hesitate to aim higher with your audiophile headphone pairing.

The five-star Cambridge Audio CXN100 rival offers a bigger and more spacious soundstage than the Icon, but we find ourselves willing the leaner Cambridge streamer to sound that bit more propulsive and more dynamically adept with the same songs during our comparison testing. The Bluesound is more musically cohesive and dynamically subtler; it times better and has that spark that keeps our attention fully captured through the drama and message of a song.

Verdict

Sure, it could sound bigger, and pricier options from Naim, Cyrus and Audiolab raise the standards even higher and are more articulate, insightful and offer greater precision and control. That the Node Icon sounds so deft, composed and fun at this sub-£1000 level is pretty remarkable, and it does so with such ease that it puts rivals to shame.

We hope the Node Icon’s strong sonic talents are reflected in Bluesound’s future models, as its wonderfully musical, engaging quality holds our interest like no other Bluesound product has done before.

For anyone looking for a compact, feature-laden, fuss-free streamer that sounds great for a rather reasonable price, we can’t recommend the Node Icon highly enough.

Review published: 11th October 2025

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Also consider the Cambridge Audio CXN100

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

Qobuz Connect: what is it? Which products support it?

It's spooky season! The leaves have turned, the weather's getting worse (or better, depending on your perspective), and we're all getting re-acquainted with our favourite chunky sweaters. Summer, we hardly knew ye.

We haven't completely doubled down on the spooky tunes for this month's edition of Now Playing – there's a dedicated best Halloween test tracks rundown if that's your jam – but we have made a few nods to this very special time of year in the list below.

What all of the tunes have in common is that they'll shock your system into bringing its A-game, be that via brain-melting basslines or blissed-out progressive house beats.

Oh, and there's a tune from a plucky up-and-comer called "Taylor Swift", who has a new album out. Apparently, it's rather a big deal...

• Listen to our Now Playing playlist on Tidal

Uh Uh by Thundercat

If you want a song that will make you question your life choices for just over two minutes, Thundercat’s Uh Uh will almost certainly do it to you. That’s because his fast-paced electric bass guitar playing verges on superhuman, as he effortlessly plucks the strings at an incredible speed.

This makes for excellent sound testing, as even the most premium soundbars and surround-sound speaker packages can struggle to get enough detail into every note. There’s really no hiding place here, with subtle changes in tonality and bass giving life to the track.

Quiet vocals accompany the drums and guitar, providing an extra layer of subtlety that can catch some systems out. Get it wrong, and the track will sound more like an undefined and jumbled mess.

The track's beginning also acts as a brilliant test for your surround speakers, as a distorted whooshing passes around the listener to create a dizzying tunnel of sound. While it may be short, Uh Uh will tell you everything you need to know about your speakers.

Words by Robyn Quick

The Fate Of Ophelia by Taylor Swift

In case you somehow missed it, a new Taylor Swift album has just been released, so of course I couldn’t help but highlight a track for this month's edition of Now Playing.

The Life Of A Showgirl is a lot glitzier and energetic than her previous effort, The Tortured Poets Department, which served up an onslaught of melancholic tracks, and while I still need time to assess this new album, I can already vouch for its opening salvo.

The Fate Of Ophelia opens with a deceiving bar of sombre-sounding piano that invokes the vibe of her last album, though it quickly gives way to a funky bassline which then opens up to an explosive, dangerously catchy chorus.

The track keeps up the pace from here, with a compelling storyline running throughout and a moody bridge that ramps up to one final punch of that infectious chorus.

It sets the tone for the album as a whole, leaning into the theatrics and energy that embodies The Life Of A Showgirl, and it’s an exceptional hook to get you invested into what surely must be one of the most anticipated records of the year.

Words by Lewis Empson

Zombie by The Cranberries

This month I went on a bit of a journey, revisiting Irish protest songs after watching Netflix’s latest divisive show about the Guinness family.

In doing so, I revisited one of my favourites tracks of all time, Zombie by The Cranberries, which also feels oddly appropriate given that the spooky season is upon us.

Written and delivered with fiery fury by lead singer Dolores O'Riordan, the song is a masterpiece from start to finish, full of emotive, evocative lyrics lamenting the violence in Northern Ireland at the time, in particular the tragic loss of children during an IRA bombing in 1993.

With changing dynamics, grungey, distorted guitar parts and shouted lyrics, the song is vastly different to most of the band’s other work and remains one of its best and most memorable to this day.

For hi-fi fans, O'Riordan’s incredible vocals, which rapidly alternate in both volume and pitch remain a benchmark only the best hardware will do true justice to.

Whether it’s simply to enjoy the amazing track, or give your separates a run for their money, If you haven’t heard it, I’d strongly recommend giving Zombie a listen, especially given its ongoing relevance in today’s troubled world.

Words by Alastair Stevenson

Eyepennies by Sparklehorse

Eyepennies joins my list of sad/tender songs – alongside Nick Cave's Into My Arms, Elliott Smith's Between The Bars, and Tom Waits' Martha – that make truly terrific test tracks.

Why? It's less about specific musical elements and more about conveying the emotion of the song: the sombre weight of the track, the heart-achingly tender but definite piano notes, and the late Mark Linkous's whispery soft but carefully sung lyrics. PJ Harvey's guest vocals offer another dimension, but the steady repetitive beat is also a great test of a system's handling of rhythm and dynamics.

This song could easily sound monotonous or dreary through a less capable system, or not have the appropriate balance of weight and delicacy – it's a tightrope that should have your attention hooked to the song's narrative while also feeling every inch of emotion seep into your skin.

Words by Kashfia Kabir

K-Pop Demon Hunters soundtrack

Some songs are just fun. There's no need to pick them apart to parse which note or instrument is faithfully conveyed through your headphones or speaker – they come through as a whole meal, concocted as a perfect pop song for pure enjoyment.

And KPop Demon Hunters has a whole soundtrack full of them.

The mega-hit animated film about a K-pop girl band fighting demons has a cracking soundtrack that I've had on repeat for the past two months – and I'm yet to tire of it. The triple threat of Takedown, How It's Done and Golden are absolute bangers that will be stuck in your head for days and weeks on end. They're propulsive, punchy, catchy and fizzing with energy. Just pure fun.

Words by Kashfia Kabir

You Make Me Feel Like It's Halloween by Muse

It's nearly Halloween, and that means it's time for scary movies, scary costumes and, if you can find then, even a few scary songs. While Werewolves Of London might be a bona fide belter, it's a little too simplistic to be labelled as test room fodder, so it's time to turn to our favourite Teignmouth trio for a scarily good time instead.

We included You Make Me Feel Like It’s Halloween as part of our best Halloween tracks to test your hi-fi system a couple of years back, and, like a zombie crawling from its earthy grave, it feels appropriate to resurrect it now that October is in full swing.

As far as guilty pleasures go, this is as much fun as Muse have been in a long while. A completely overdone pantomime of over-the-top guitar screeches and Psycho-inspired strings, you’ll want a system that can bring out the blend of anxiety and pure camp from the composition.

Words by Harry McKerrell

The Happy Dictator by Gorillaz

Gorillaz have been around so long they're essentially doing side quests at this point. It's not easy to keep up with the band's fictitious overarching story, a tale whose disparate plot points have included the commandeering of a piratical submarine, extended stints in prison and the establishment of a semi-Satanic cult in America.

Suffice to say that, as the title of the band's new track reveals, we're now on to the formation of a totalitarian dictatorship in an unspecified Eastern nation. It's a natural progression.

As the Gorillaz project has never been shy in bouncing around its bizarre narrative, the group has reflected such eclecticism in its musical output. This time, it's the Mael brothers, AKA Sparks, who have been recruited for The Happy Dictator, bringing their idiosyncratic, pleasingly camp electro-pop stylings to Gorillaz's latest release.

It's an odd one on first listen, a sort of airy, chirpy number that borders on the parodic. Once you can accept that's the whole point, of course, it's hard not to get it out of your head as Ron and Russell repeatedly sing, "Oh, what a happy land we live in / Oh what a happy land, oh yeah."

Faux propaganda has rarely been so catchy.

Words by Harry McKerrell

As a collective, our review team listens to a lot of music. Sometimes we rely on old favourites with which we're familiar, but we are always discovering new tracks – be they fresh releases or just songs we haven't encountered before – that give us key insights into new products we are trying out.

We also know that plenty of our readers are on the lookout for new tunes, either to assess the capabilities of a new system or simply to show off the full talents of their established hi-fi set-up. That's why we have come up with our monthly 'Now Playing' playlist, a rundown of everything we've been listening to and loving recently, whether at home with a set of headphones or at work in our fabulous test rooms.

Each instalment will bring you a handful of tracks chosen by our reviews team, detailing why we love them and what they bring out of certain products. So even if you're not looking for new tunes to play on your system, we hope you find something you'll love no matter how you choose to listen to it.

We're always on the lookout for new music, so drop a comment below to share what you have been listening to!

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Fiio has launched its most affordable audio upgrade yet – a diminutive dongle DAC and headphone amplifier called Tiny that costs just £19.99/$19.99.

Promising to unlock hi-res audio playback from smartphones, tablets, laptops and even gaming consoles, it’s positioned as an unintimidating entry point into the dangerously wallet-busting audiophile world.

Despite its compact dimensions, the Tiny packs a DSP chip that enables 10-band parametric EQ adjustment via the Fiio Control app or web interface.

Users can fine-tune frequency response and gain settings, save custom profiles to the cloud, and share their tuning configurations with others.

The device supports PCM audio up to 384kHz/32-bit and DSD256 decoding, making it compatible with lossless and hi-res streams from Spotify, Apple Music, Tidal and Amazon Music.

Fiio is offering two versions of the Tiny – the Tiny A features a 3.5mm headphone output alongside a USB-C port that supports pass-through charging at up to 2A/20V, allowing users to charge their device while listening.

The Tiny B replaces the charging capability with dual audio outputs – 3.5mm and 4.4mm jacks in a single-ended architecture – both of which can operate simultaneously for shared listening.

The plug-and-play device is aimed at wired headphones and IEMs, with its metal body using a T-shaped side output design to minimise cable strain.

It includes inline control support for headphone remotes and microphones, while an RGB LED indicates the current sampling rate.

The Tiny plays nice with Android, iOS, Windows, macOS and Linux, and supports both UAC 2.0 and UAC 1.0 modes for compatibility with gaming hardware like the Nintendo Switch and PlayStation 5.

If that sounds like a tempting introduction to the world of DACs, you can pick up the Fiio Tiny now, directly from Amazon.

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Canadian hi-fi brand Moon by Simaudio has launched the 371 streaming amplifier, the debut product of its new Compass Collection.

As a stepping stone to the high-end North Collection unveiled in 2023 – which includes the 641 integrated and 681 network streamer – the new Compass Collection aims to be an entry point into the world of high-end audio, while also showcasing Moon's modern, elegant design and "industry-leading proprietary technology".

The Moon 371 streaming amplifier combines amplification, preamp, DAC, streaming abilities and "uncompromising vinyl playback" to deliver an "exceptional performance" from a modern hi-fi product.

The unit boasts 100 watts of power per channel (into 8 ohms), which should be ample enough to drive all kinds of speakers. Meanwhile, the brand's MiND 2 streaming platform forms the core of its operation, allowing you to stream files stored on the same network. Popular streaming services such as Deezer, Qobuz, Spotify and Tidal are supported, and it is also compatible with Qobuz Connect, Spotify Connect and Tidal Connect.

Bluetooth and Apple AirPlay are also on the menu, and it is Roon Ready certified. File support is extensive, with the Moon able to handle hi-res files up to 32-bit/384kHz PCM and DSD256.

The 371 shares some technology seen in its higher-end North Collection products, mainly the MHP (MOON Hybrid Power) supply and MDCA (MOON Distortion Cancelling Amplifier) – both of which aim to deliver high performance levels.

The evolved MHP in this unit aims to provide "ultra-stable" power to the circuitry, while the MDCA claims to eliminate distortion and improve signal linearity to deliver an "exceptionally clean, dynamic and accurate sound reproduction".

You'll find a decent selection of connections, including balanced and single-ended analogue inputs, two coaxial, optical, USB-C and HDMI ARC inputs, pre-outs and a 6.3mm headphone jack.

Moon draws upon its expertise with phono preamps to include a built-in phono stage here, which is compatible with both moving magnet and moving coil cartridges, and aims to "preserve the integrity and detail of every recording with impeccable accuracy".

The 371 is entirely designed and handcrafted in Canada, and features a subtly updated look that remains unmistakably Moon – discreet and elegant. It is available in the brand's distinctive two-tone finish or an all-black version.

A large 17cm colour display dominates the front panel to show album artwork, track information and settings. The streaming amplifier can be controlled by the MiND app, and it also comes with a slim remote control that is designed specifically for the Compass Collection.

Alternatively, you can use the rather fancy BRM-1 remote – a beautifully designed volume control, which has its own full-colour screen – that comes with the North Collection units, but it is at an additional cost.

Moon's chief commercial officer, Etienne Gautier says: "This model embodies our commitment to redefining how we approach audio design. By listening closely to the valuable feedback of our customers and partners, we’ve developed a fresh approach to creating a MOON product. It delivers uncompromising performance and striking aesthetics in a single component, all at a price point that opens the door to premium audio for many music lovers for the first time."

The Moon 371 streaming amplifier is set to cost £6250 / $6500. In comparison, the 'cheapest' product in the flagship North Collection starts at £11,000 / $11,000 / €12,500. We've had an initial look and listen to the 371 at Moon's HQ in Canada, and are expecting a full review sample in the coming months.

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