American brand Roku has launched its first range of projectors in the UK: the Sharp H272 and the Aurzen D1R.

As their names suggest, the models are launching with two respective hardware partners to “combine advanced projection technology with Roku’s intuitive operating system”.

Richard Halton, Country Manager at Roku UK, claims the projectors are, “bringing the seamless streaming experience Roku users know and love to an exciting new form factor – making big-screen entertainment more accessible than ever”.

The 1080p projectors include Roku’s full app library, including Netflix, Disney+, BBC iPlayer, and HBO Max. The two have also been designed to work when projecting the image onto a screen or wall (we highly recommend the former for the best picture quality).

The Sharp model claims to go up to 120 inches, while the Aurzen entry is a little smaller with a maximum screen size of 100 inches.

The Aurzen D1R is the brighter of the two, offering 280 ANSI lumens, compared to the Sharp H272’s 200 ANSI lumens. These are both on the lower end of the scale, so they will likely perform best in a dark room.

The D1R also has the on-paper edge when it comes to sound, offering two speakers driven by 5W of amplification, which beats the Sharp’s 3W offering. Both come with Dolby Audio, but, unsurprisingly for a budget model, there is no Dolby Atmos on the cards.

There are a few smart features included with both models, which should make setting them up a little easier. These include auto-keystone and auto-focus.

Bluetooth and HDMI connectivity are available, so you could pair wireless speakers, a soundbar, or a subwoofer for “an enhanced home theatre experience.”

You can also access Apple AirPlay support for streaming music, videos, photos, podcasts, and games from Apple devices.

Their designs look fairly similar, with both sporting a white rectangular body with rounded edges.

We don’t have pricing yet, but both will launch in June. With their brightness specifications and streaming offerings, Roku seem to have its sights set on the likes of the Xgimi Vibe One (£219 / $269 / AU$599) projector.

When we reviewed the Vibe One in our test room, we praised its compact design and natural-looking image, which ultimately earned it a solid four-star rating. We'll wait to see the projectors in our test room before giving a verdict, but they could be a strong entry in the budget projector market.

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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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There’s a new AV receiver on the block: meet the Denon AVR-S980H, which is set to go toe-to-toe with one of our current Award-winners.

The new unit is being pitched as a scalable option that can run everything from basic stereo setups, all the way up to a 5.1.2 Dolby Atmos or 7.2-channel system with 90 watts of muscle per channel.

Lyle Smith, president of Sound United at Harman, added: “With the AVR-S980H, we’re giving families an easy way to make every day experiences feel more engaging and far more enjoyable.”

Audyssey room calibration is onboard, adding to its "no hassle" setup and usage chops.

For people looking to cut the cord, the receiver supports Denon's Home speakers as rears, namely the new 200, 400 and 600 models.

The company says this is ideal for those wanting to create a “fuller home theatre experience in spaces where running wires isn’t practical.”

For music fans, the system supports Bluetooth, AirPlay 2, Spotify Connect and HEOS (Denon’s multi-room music streaming technology).

In terms of gaming, Denon has included support for 1440p pass-through and AMD FreeSync, which it says delivers “smoother visuals and more responsive gameplay.”

To tinker with the settings of the AVR, you can use the TV’s on-screen menu, the remote app, or a web-based interface from your smartphone or PC.

It's available now on Amazon for £799, although the retailer states it will ship "within three to seven months".

At that price, it has tough competition against our current best overall AVR – the Sony TA-AN1000. Although the Sony model launched at a higher price, it is now regularly available for around £699.

In our review, we praised the TA-AN1000 for its precise sound and impressive dynamics, ultimately earning it a What Hi-Fi? Award.

We will have to wait until we get the Denon model into our test room to deliver a verdict, but its impressive specifications have caught our eye. Hopefully, we'll get one in for review soon.

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1976 was a big year for music. Joy Division formed after seeing the Sex Pistols play at Manchester’s Lesser Free Trade Hall; Phil Collins took over vocal duties in Genesis after the departure of Peter Gabriel; and the Eagles released Hotel California.

But it was the formation of Apple in the north of said state that might just have had the biggest impact of the lot.

Its founders, Steve Jobs, Steve Wozniak and Ronald Wayne, originally called it Apple Computer Company (amended slightly to simply Apple Computer, Inc a year later) and for the first 25 years of its existence in Cupertino, California, that name was more than suitable.

The company’s focus was on PC alternatives such as the Macintosh, iMac and Powerbook, but in October 2001 Apple revealed a product that would change everything: the iPod.

The thin white jukebox

The launch of the iPod didn’t just turn Apple into a household name, it started a process that would eventually touch almost every part of the way we listen to music.

Portable music was nothing new – the Sony Walkman had been around for more than 20 years by this point – and the iPod wasn’t even the first digital music player.

But Apple rarely innovates in that way, preferring to let others test the water and then swoop in with a more finessed version of a product that appeals to the masses rather than just early adopters.

And appeal to the masses is exactly what the iPod did, selling around 70 million units worldwide in the first five years after its introduction.

Unlike its main early rival, Creative's DAP Jukebox, the iPod was genuinely pocketable, and the wheel-based navigation made scrolling through the 1000-odd songs that its 5GB hard drive could hold an absolute joy.

The What Hi-Fi? review in the February 2002 issue of the magazine called it: “A delightful, simple device that looks and sounds the business.”

Tech companies such as Griffin and Logitech soon saw a gap in the market and began to produce small speaker systems that allowed iPod owners to 'dock' their thin white jukeboxes, but they were invariably cheap and plasticky with sonic performance to match.

Apple introduced their own version in 2006, but the iPod Hi-Fi was only hi-fi in name.

The What Hi-Fi? three-star review couldn’t fault how loud it went, but its uninspiring design and lack of detail, pace and refinement meant that Steve Jobs’ declaration that he was replacing his stereo with one seemed disingenuous at best, particularly considering he claimed to be an audiophile.

Fortunately, genuine audiophiles didn’t have to wait long before something more worthy of the tag came along. Bowers & Wilkins introduced the Zeppelin in 2007, when premium-priced iPod docks were practically unheard of, and while it wasn’t perfect it proved that Apple’s portable music player had a place in home hi-fi setups.

In iTune and on time

It wasn’t just the iPod’s hardware that would be influential. A couple of years before its debut, Napster had arrived on the scene and sent the music industry into disarray by allowing people to share songs online for free.

Record labels struggled to cope with the sudden drop-off in CD sales, but Apple was already working on a solution. It launched the iTunes Store in January 2001 and suddenly gave music lovers a way to download tunes without breaking the law.

As well as legitimising digital downloads, the iTunes Store helped to change how people listened to music. People could now buy individual tracks even if they hadn’t been released as singles and gradually the importance of the album started to diminish.

As people filled their hard drives with collections of digital files they began to look for ways to play them that didn’t involve the tinny little speakers that came with their computers.

2003 saw the release of Roku’s SoundBridge streamers, which could be used to play digital music from an iTunes library through a connected hi-fi system, and in 2004 Apple introduced AirTunes – a precursor to AirPlay that allowed streaming over a Wi-Fi network.

It didn’t take too long for ‘proper’ hi-fi brands to get involved either. Linn and Naim were relatively quick to board the bandwagon, with the former’s Klimax DS arriving in 2007 and the latter’s Uniti, which combined streaming skills with a high-end CD player and amp, winning our System Product of the Year award in 2009.

With the arrival of the iPhone in 2007, and the launch of Spotify a year later, the era of music streaming had well and truly begun.

Today, it's rare to find an audio product that can’t stream, hence the popularity of products like the WiiM Ultra, Cambridge Audio MXN10 and Naim Uniti Atom, and it explains why NAD launched a version of its NAD C 3050 amplifier with an optional MDC2 BluOS-D module.

Despite the enduring appeal of CD and vinyl for some of us, it's clear that streaming music won over the masses and for most people downloads, let alone discs, are a distant memory. And once again, it's easy to trace this shift back to Apple.

RIP headphone ports

Those 19 years since the launch of the iPhone have been transformative from a technology point of view, but design-wise things have become rather homogenised – and to some extent that’s Apple’s fault.

The company’s influence can be seen almost everywhere. Its less-is-more approach has been adopted by countless other brands; Mac-like brushed metal finishes have been de rigueur for years; and slick touchscreen navigation is often preferred to physical controls (although with smartphone apps now often the main method of interaction, those days are probably numbered).

It’s all part of a shift towards products that people want to have on display rather than tucked away out of sight, which can probably be traced back to the original translucent iMac in 1998 – an all-in-one computer that was a genuine object of desire rather than something purely functional.

Back then most headphones you could buy were black, but during the development of the iPod Apple decided to make the buds that came in the box white to match. It was a stroke of marketing genius (albeit one that was largely accidental) that created a new status symbol almost overnight and made the type of headphones you wear a fashion statement.

Other brands suddenly started adding white headphones to their ranges so that even those who didn’t own Apple products could feel part of the crowd. In fact, there’s a strong case to be made that the headphone industry wouldn’t be as massive as it is right now without that simple decision to invert the colour.

Not all of Apple’s decisions regarding headphones have been quite so well received, but while its removal of the 3.5mm port from the iPhone 7 annoyed a lot of people at the time, it seems pretty prescient 10 years later.

Wired headphones are now largely reserved for serious home listening (and influencers), and Apple’s own AirPods wireless earbuds, which it launched at the same time as the iPhone 7, are everywhere.

Of course, for sonic purists many of these developments are not seen as improvements because they often come at the expense of sound quality, or are seen in some way to dilute the fundamentals of the hi-fi hobby.

Apple’s next move is unlikely to change that, particularly if it turns out to be a new screen-toting version of the HomePod, but there’s no denying that its influence has made hi-fi and audio products more accessible, more user-friendly, and more fashionable. Not bad for a computer company.

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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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It’s hard to look at the WiiM Sound and Apple HomePod 2 side by side and not feel a strong urge to compare them.

The HomePod 2 turned up in 2023 and, while a new version feels overdue, this one is still taking home What Hi-Fi? Awards and setting the sonic standard for other smart speakers to aim for.

The WiiM Sound, on the other hand, is brand new. It’s WiiM’s first attempt at a smart speaker, and while the brand’s attempts at affordable hi-fi separates have produced mixed sonic results, it is unquestionably a company that is capable of impressive things when the stars align. You're rarely short on features, that's the sure.

WiiM has made a bit of a name for itself over the past couple of years with its competitively priced streamers and streaming amps, but will its first standalone speaker put the HomePod 2 in its place?

WiiM Sound vs Apple HomePod 2: Price

With the WiiM Sound coming in at £299 / $299 / AU$499 and the Apple HomePod 2 setting you back £299 / $299 / AU$479, there’s nothing between these two speakers price-wise (give or take a few dollars down under).

That gives us nothing to go on in terms of budget, but it is perhaps worth bearing in mind that the HomePod 2 is now three years old and still costs exactly the same, whereas the WiiM Sound has only just gone on sale.

Apple products also very rarely see significant discounts and tend to fall in price only when they have been succeeded by something newer and shinier. WiiM, on the other hand, tends to be rather generous with its discounts whenever sales events come along.

For now, though, this one’s a dead heat.

**Winner: Draw**

WiiM Sound vs Apple HomePod 2: features

Apple products often require you to trust the wisdom of the company’s designers in the face of what might seem like some slightly irritating limitations – and that’s perhaps more true of the HomePod 2 than anything else in its current line-up.

There are plenty of impressive features here: Siri is brilliantly implemented and consistently responsive; it automatically adjusts its sonic behaviour in real time depending on various acoustic conditions; you can ‘hand off’ music from your iPhone simply by tapping it on the HomePod; and there is also support for Spatial Audio.

The problem is, you really won’t get the most out of a HomePod 2 unless you are a committed Apple customer. This is first and foremost a voice-controlled speaker, but you can’t ask Siri to play music from Spotify, Tidal or any streaming service other than Apple Music.

Yes, you can use AirPlay to do so, but that slightly defeats the object of buying a so-called smart speaker.

You’ll also need to use Apple Music if you want to listen to anything in Spatial Audio, and while the HomePod does support Dolby Atmos movie soundtracks, it will do so only if connected to an Apple TV 4K. If that is the case, you can pair two HomePods together and have yourself a very aesthetically pleasing Atmos setup of sorts.

In comparison, the WiiM Home doesn’t care what brand of smartphone you have in your pocket.

There are no onboard microphones, although the remote does have one and allows you to use Alexa, which has no such limitations on which streaming service you can use. All the major ones are supported, including the Connect versions of Spotify, Tidal and Qobuz, while Google Cast, Bluetooth 5.3 and DLNA are available too. You also get a 3.5mm socket if you would rather go wired.

As with the HomePod, you can pair two WiiM Sound speakers together (and even add the WiiM Sub if you have a suitable WiiM streamer or amp), and there are various tools within the WiiM Home app that allow you to tweak the sound and optimise it for its particular surroundings.

In terms of hi-res audio, the WiiM Home is happy to play files up to 24-bit/192kHz, but the HomePod is a little fussier. When streaming directly from Apple Music you’ll get 24-bit/48kHz, but anything over that is not supported. How much you would notice the difference is up for debate, but it doesn’t feel like a huge loss on a speaker like this.

This one feels a bit like the Android vs iOS debate in speaker form. The WiiM Sound is certainly the more flexible of the two speakers, but even with its limitations the HomePod 2 still offers a whole host of nifty features, including all of the smart home gubbins.

It’s very close, but the WiiM Sound takes it by a nose.

**Winner: WiiM Sound**

WiiM Sound vs Apple HomePod 2: Build and design

Put these two speakers side by side and you could almost be forgiven for thinking they emerged from the same factory.

Both have a very similar space-age biscuit-barrel aesthetic, but the squarer WiiM Sound is slightly taller than the HomePod 2 and ever-so-slightly fatter, albeit only by a few millimetres. The HomePod is about 200g lighter as a result, but unless you’re the piece of furniture that it’s going to be sitting on that’s not something you’ll need to worry about.

Both are also covered in tightly woven fabric and have touch-sensitive panels on top for controlling playback and volume. On the HomePod this can also be used to summon Siri and silence alarms, but the majority of your interaction with it will be via voice.

The main difference between the two is the 1.8-inch touchscreen on the front of the WiiM Sound, which is sharp, colourful and highly customisable. It will show the artwork for whatever you’ve got playing, but there are also various clock faces and dynamic wallpapers you can choose to display on it, plus it gives you an easy way to choose sources and adjust certain settings.

(If you want one that looks even more like the HomePod, there is also a screen-less and remote-free version called the WiiM Sound Lite that costs £229 / $229 / AU$399.)

If you were to crack both speakers open things would look more different (although we wouldn’t recommend it). The HomePod has a woofer at the top and five tweeters at the bottom arranged for 360-degree sound; the WiiM Sound uses two silk-dome tweeters and a 10cm paper-cone woofer in a forward-facing configuration.

The truth is there’s very little in this. There’s something to be said for how clean the HomePod looks – the way the power cable connects is certainly more elegant – but its minimalism does mean there’s no aux-in or LAN port, as there is on the underside of the WiiM Sound. And the WiiM has a screen, so that's enough to claw back a point or two in its favour.

You could give it to the HomePod for being a leader rather than a follower, but it’s probably fairer to call it a draw.

**Winner: Draw**

WiiM Sound vs Apple HomePod 2: Sound

We were pleasantly surprised at how good the original HomePod sounded, and its successor brought nothing but improvements.

“Tighter, more solid, and better organised both spatially and rhythmically, it’s altogether more engaging, exciting and enjoyable to listen to,” noted our five-star review.

That translates to a speaker with boundless energy, infectious enthusiasm, and excellent tonal balance. It produces vastly more bass than you might expect from a speaker of its size, and it’s almost always well controlled, losing a little bit of conviction only when faced with the very deepest note in James Blake’s notoriously challenging Limit to Your Love.

With the Dolby Atmos version of The 1 by Taylor Swift, there’s real warmth and clarity to the vocals, while the harmony in the chorus is a brilliant advert for what Spatial Audio can do, giving the whole composition an ethereal feel.

If we’re being picky, a forward-firing speaker will project further into a room, but the HomePod 2’s more open, fuller-bodied approach probably suits the environments it’s likely to find itself in better anyway.

That said, the more traditionally configured WiiM Sound couldn’t completely fill our test room either. And that’s not the only issue we have with its performance.

While the WiiM Sound’s presentation is pleasingly smooth and easy to listen to, it can run into problems when asked to play more complex tracks. Our review found that things got rather muddled with Starburster by Fontaines D.C., with a lack of precision slightly scuppering the song’s sense of rhythm.

Vocals are up-front and clear, but after a while you notice that the treble is smoothed out a fair bit, and the bottom end isn’t as powerful as we’d like. Basslines that should be taut and funky can sound a little tubby and lightweight, something we don't find with the pleasingly agile and nimble bass reproduction of the HomePod 2.

The same songs played on the HomePod 2 are better defined, more detailed, and more rhythmically precise, while its more powerful sound means basslines are properly deep, tautly pulled, and bound along with agility and precision.

There’s also better dynamic contrast, greater authority in its projection, and the soundstage is more spacious.

Overall, the HomePod 2 is both more commanding and subtle, resulting in a performance that’s just more exciting and engaging all round but still nice and nuanced. It’s an easy win for Apple here.

**Winner: Apple HomePod 2**

WiiM Sound vs Apple HomePod 2: Verdict

We can usually forgive minor imperfections when it comes to design or features, and we’ll even overlook a slightly higher price tag if the performance justifies it. If there’s one thing we won’t compromise on, though, it’s sound quality; and that’s why the Apple HomePod 2 takes this one.

It’s rare for a product to ace all categories, and the HomePod’s biggest weakness is definitely Apple’s stubborn refusal to allow voice control with all streaming services – particularly when you consider there are no such limitations on an iPhone.

With its lively, natural sound and typically high-quality construction, the HomePod 2 is the better use of £299 / $299 / AU$479. Just don’t buy one if you own an Android phone.

**Overall winner: Apple HomePod 2**

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Also consider the Sonos Era 100 or spatial audio Era 300

Check out our feature on the making of the original HomePod

When it comes to the best projectors on the market right now, there are plenty of options, ranging from flagship units that cost the same as the deposit on a small house to affordable ones for kids' playrooms and camping.

But, if you're looking for something mid-range, we're always keen to recommend the BenQ W2720i.

And right now, you save £300 off its original launch price, dropping down to just £1699 at Richer Sounds.

At first, it'll look like £1999 with this excellent discount only available for VIP Club members. However, signing up to said club is completely free and takes only a few minutes.

We called the BenQ W2720i "the king of affordable 4K projectors", and that's an even easier statement to make now that it's £300 off.

At first glance, you're looking at a system made for living room, more casual use, with it featuring a built-in sound system, auto set-up, unusual AI-bolstered performance enhancements and Google TV smart platform.

But, it's so much more than that. Right out of the box, the W2720i's pictures are phenomenally sharp with a three dimensional feel that is full of texture and detail.

That's thanks in part to the Filmmaker Mode, designed to deliver images that stay true to the main established image standards with 2500 lumens of claimed peak light output.

Ultimately, the BenQ W2720i is far more of a serious home theatre projector than you might've believed at first with 120Hz feeds, three HDMIs, one of which provides ARC support for passing sound, and a Fast mode for reducing input lag.

Connectivity-wise, the W2720i supports wi-fi, Bluetooth, Apple AirPlay and Google Cast. Plus, its integrated Android TV smart system has all the popular streaming services onboard.

When it comes to sound, the in-built system isn't exactly the most powerful we've heard, but the speakers can project dialogue and ambient effects that help good film soundtracks feel busy a decent distance away from the projector's body.

This led our expert testers to say: "This creates a larger sound stage than most projector sound systems manage, as well as making some of the sound seem to be coming from at least somewhere in the vicinity of the on-screen action."

For serious film nights, you might want to find an external audio solution, but we said the W2720i is perfectly OK as a standalone all-in-one solution.

In short, the W2720i is a remarkable all-rounder with a combination of living room-friendly smarts and home cinema-friendly picture quality that'll cost you £300 less right now, coming in at £1699 at Richer Sounds.

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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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Read our review of the NAD C 3050 (with MDC2 BluOS-D module)

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

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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Read our Mission 778X review

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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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Happy Boxing Day! To celebrate this day of delightful deals, we've found a doozy: the KEF LS50 Wireless II active speakers have hit their lowest price yet, with Richer Sounds offering them for a measly £1499 – a £700 reduction from the usual £2199 asking price.

Note this discount applies exclusively to the titanium grey colourway, with the carbon black, mineral white (pictured above) and crimson red special edition finishes remaining at their full retail price. Stocks are running low, though, so be quick!

Best Boxing Day KEF speaker deal

The KEF LS50 Wireless II earned a coveted five-star rating in our in-depth review, representing a significant upgrade over its already impressive predecessors.

These active speakers pack considerable advancements into their familiar and striking chassis, most notably KEF's innovative Metamaterial Absorption Technology (MAT). This clever tech uses a maze-like plastic structure behind the tweeter to absorb 99 per cent of unwanted sound waves that would otherwise distort the forward output.

KEF has also implemented its 12th generation Uni-Q driver array, which places a 25mm aluminium tweeter within a 130mm aluminium mid/bass driver.

Power comes from dedicated amplification – 100W of Class A/B amplification for the tweeter and 280W for the mid/bass driver – ensuring ample grunt for most listening environments.

In wireless mode, the speakers can handle files up to 24-bit/96kHz, with peak support extending to 24-bit/384kHz and DSD256 when wired.

Streaming capabilities are comprehensive as well, with the KEF Connect app providing direct access to Spotify Connect, Tidal Connect, Amazon Music, Qobuz, and Deezer.

The LS50 Wireless II also support AirPlay 2, Google Chromecast, Bluetooth 5.0, and are Roon Ready. Physical connectivity includes HDMI eARC – a welcome TV-friendly addition – alongside coaxial, optical and 3.5mm auxiliary inputs, plus dual subwoofer outputs.

In our review, we noted how these sonic advancements are clearly audible. The MAT technology delivers noticeable improvements in treble cleanliness, while mids sound cleaner-cut, and bass more defined compared to the originals.

The soundstage benefits from greater spaciousness and instrument separation too, making for a more captivating and less congested presentation across the frequency range.

At this reduced price, the LS50 Wireless II in titanium grey represents exceptional value for a pair of premium active speakers that combine serious sound quality with comprehensive streaming features and elegant design. Rush to Peter Tyson before they're gone!

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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.

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Read our full Sony Bravia Theatre Bar 9 review

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Sonos Arc Ultra vs Sony Bravia Theatre Bar 9: which flagship Dolby Atmos soundbar is better?

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

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

Like a tower of treasures piled high with tempting goodies, Black Friday is already yielding plenty of deals worth a look.

But how do you know which ones are genuinely good finds, and which are just fool's gold? Don't worry, because we have been keeping a beady eye on the best deals on offer right now.

Take, for instance, this impressive deal on a five-star projector – the BenQ W2720i.

You can snag it for £1599 at Richer Sounds, lopping £400 off its original price. This is only available for VIP Club members, but the good news is that it's free and quick to sign up for.

With its sharp and detailed presentation, this What Hi-Fi? Award winner is not to be sniffed at.

The BenQ W2720i is truly a projector for all seasons which led us to say in our full review: "The W2720i's combination of living room-friendly smarts and home cinema-friendly picture quality is seriously hard to resist."

At first glance, you're looking at a built-in sound system, auto set-up, unusual AI-bolstered performance enhancements and Google TV smart platform that make it look like your everyday casual living-room projector.

But, it's so much more than that. Despite its relatively high price for a projector, which might put you off a bit, there's a multitude of good reasons why it's got a more premium price tag.

You've got Filmmaker Mode, designed to deliver images that stay true to the main established image standards, 2500 lumens of claimed peak light output and a fully calibrated projector right out of the box.

In short, the BenQ W2720i is more like a serious home theatre projector with impressive 120Hz feeds, three HDMIs, one of which provides ARC support for passing sound, and a Fast mode for reducing input lag. All of which will be enticing news for gamers.

And if, like me, you hate a cable, you'll be pleased to hear the W2720i supports wi-fi, Bluetooth, Apple AirPlay and Google Cast. Plus, its integrated Android TV smart system has all the popular streaming services onboard.

So, how does it hold up when it comes to actually projecting your movies, TV shows and games? Well, in our full review, we said: "So many aspects of the W2720i’s pictures feel right, in fact, that it’s actually hard to break them down into their constituent elements. We instead keep finding ourselves just getting caught up in what we are watching."

And while the W2720i's built-in sound system isn't exactly the most powerful we've heard, the speakers can project dialogue, ambient effects and the trebly sound of good film soundtracks a decent distance away.

Ultimately, it's a remarkable all-rounder that's currently enjoying a lovely price drop of just £1599 at Richer Sounds, so is certainly worth a second look.

MORE:

Read our BenQ W2720i review

Amazon Big Deal Days TV and home cinema deals: our experts’ handpicked recommendations

And check out Amazon Prime Big Deal Days: the best deals on headphones, TVs, speakers, home cinema and more

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

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

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.

MORE:

These are the best soundbars we have reviewed

We rate the best surround sound systems

Sonos Arc Ultra vs Sony Bravia Theatre Bar 9: which flagship Dolby Atmos soundbar is better?

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?

The original Audio Pro C20 wireless speaker was something of a Swiss Army Knife. As multi-faceted as Inspector Gadget and as polymathic as Stephen Fry, the Award-winning C20 was as comfortable sitting below your TV accompanying your latest movie marathon as it was perched in your kitchen serving up a slice of Saturday morning Sade.

The new Audio Pro C20 W promises to build on the original model’s many talents, and while it doesn’t bring in a host of proverbial new tools to the metaphorical party, Audio Pro promises to have sharpened the ‘W’ edition’s blades in pursuit of more potent performance and greater overall usability.

That all sounds promising on paper, so here’s hoping the Swedish audio brand hasn’t messed too much with a winning formula.

Price

The Audio Pro C20 W officially retails at £450 (approx. $600 / AU$900), which is the same original UK price as the standard C20 when we reviewed it in early 2024. Credit to Audio Pro, then, for keeping prices stable in these tricky economic times.

There aren’t too many wireless speakers floating around for that sort of money, although the excellent Sonos Era 300 retails at full price for £449 / $449 / AU$749 if you want a former What Hi-Fi? Award winner. Otherwise, you’ll have to spend more cash on the likes of the five-star Bowers & Wilkins Zeppelin Pro Edition (£699 / $799).

Build & design

Like the Olsen sisters or that creepy pair from The Shining, it’s incredibly hard to tell the difference between the old C20 and the newer model. That’s because, in essence, there are almost no differences on the exterior between the generations, aside from a back panel which has shifted from black on the older iteration to shiny silver on the newer version.

There is a walnut finish that’s exclusive to the C20 W (and costs £40 more), but if you placed the two generations side by side and had both daubed in the same white, grey or black finish, spotting the difference would be nigh-on impossible from a front-on perspective.

As before, the C20 W can be controlled via the speaker’s top-mounted control panel, on which are housed playback and volume buttons, a Bluetooth pairing toggle, a power button and a selector for cycling through the six options of wi-fi, TV, phono, line, optical and Bluetooth sources.

We’d maybe like those buttons to be a little more tactile, and there’s always a small delay between pressing a given input and the speaker’s response to the command, but such things aren’t enough to ruin the general experience.

That control panel also offers the choice of six programmable presets which can be configured to your favourite input, streaming service, song or album by holding a preset button down for three seconds on the content you’d like to save. If you want to do things the more modern way, you can also lock in your presets via the new Audio Pro W app. More on that, later.

In terms of drive units, don’t expect much of a switch-up. As before, the ‘W’ edition uses a single 16.5cm woofer at its core with twin 25mm tweeters flanking either side, all powered by a total power output of 190 watts. A magnetic front grille is provided in the box, with Audio Pro’s ‘Sound Compensation’ mode adjusting the speaker’s output depending on whether you go for grille on or grille off.

The main drivers, then, are unchanged, but if Audio Pro is to be believed, the resulting audio quality should be a step up from the not-inconsiderable talents of the current C20. According to Audio Pro, the goal “wasn’t to tweak the sound, it was to rethink it from the ground up”.

That rethink includes improved input stages for uniform sensitivity and an improved dynamic range, as well as changes to the speaker’s acoustical design for more optimised performance. Those more mechanical tweaks are complemented by a tuning overhaul in pursuit of further sonic gains.

Features

So much of the original C20’s appeal came from its excellent versatility. Here was a box that was as happy being a soundbar for your TV (provided you had room) as it was connecting wirelessly to your iPhone, with the ‘W’ iteration looking to refine that experience.

For your physical connections, the C20 W offers a set of RCA inputs, a moving magnet phono stage, an optical input for digital sources and an HDMI ARC for once again hooking it up to your TV. There’s also a sub out option, so you can boost your bass by adding a subwoofer if you so choose.

Wireless support is extensive. Google Cast and AirPlay 2 are both on the menu for offering wireless playback up to 24-bit/96kHz, while Bluetooth 5.0 is also built in. As before, you get access to Spotify Connect and Tidal Connect, as well as Audio Pro’s own multi-room offering, which is backwards compatible with the older, non ‘W’-adorned generation of speakers.

The C20 W’s app has been updated throughout, with a fresh layout and easy navigation for controlling all aspects of the speaker, including selecting inputs and linking your streaming services. If it looks rather familiar, that’s because the new platform comes courtesy of LinkPlay, WiiM’s parent company. That’s no bad thing – the usability and depth of the streaming platform supporting WiiM’s expanding roster of products have been one of the main drivers of the brand’s mushrooming success.

You can set up multi-room playback in Audio Pro’s simple-but-effective control app, where we teamed up two C20s in a stereo pair. We also linked up other Audio Pro speakers (such as the new C5 W and A28 W) together for a wholesale multi-room set-up.

It’s a reasonably easy process, and aside from a few instances of the app momentarily failing to recognise our test speaker, we find the core elements involved to be simple and easy to navigate.

Sound

Audio Pro may have teased a complete reinvention, but to our ears, what we hear is more akin to a subtle realignment as we begin our testing by streaming Tidal. It retains that clear, open and spacious presentation we’ve come to expect from the brand’s established range of wireless speakers.

The C20 W offers an expansive, open soundstage, granting a pleasing airiness to the likes of Ramin Djawadi’s choral Across The Oceans Of Time or Massive Attack’s Paradise Circus.

Those qualities of refinement and clarity walk hand in hand with a gift for overall organisation and cohesion. Even when things become challenging or overly dense, the C20 W has the poise and refinement to avoid ever sounding cluttered or slipshod.

Ludwig Goransson’s Can You Hear The Music is a tricky beast that adds layers and layers of skittering strings and woozy horn blasts, but the Audio Pro keeps its cool and handles it with grace and maturity.

The versatile speaker is, in truth, talented across the sonic spectrum. Via streaming, the well-integrated midrange is a highlight, sounding cohesive enough to be a part of the ensemble but distinct enough to shine on its own terms, allowing for vocal passages to come to the fore with sufficient personality and brio to keep us engaged.

We’re pleased to find that Audio Pro has once again resisted the urge to pump in excess helpings of blobby bass into its latest wireless recipe. As before, the C20 W can reach deep enough to sound full and hefty, yet it has the control and restraint to keep that lower end firmly in check.

In doing so, it gives authority to the synth pulses on Muse’s Madness without allowing them to become amorphous or ill-defined. Just make sure you’ve got the C20 W placed somewhere suitably stable, as poor quality surfaces can make it sound just a touch boomy if you’re not careful.

So the baby hasn’t been thrown out with the bathwater, but does the C20 sound better now that there’s a ‘W’ attached to the end of its name? Pitted against each other (quite literally side-by-side), the C20 W is a step above its predecessor. It’s not night and day, but it’s enough for us to notice a difference from one speaker to the other.

The C20 remains impressive, but against the newer version, it sounds a little rounded off, even soft, thanks to the new degrees of richness and clarity the updated unit brings to the party. Play Jay Z’s Allure, for instance, and Jay’s central performance, not to mention the bounce and weight of the track, are more authentically uncovered when the ‘W’ model is called into action.

The original C20 is a little more forgiving, and it will smooth off any peaky top-end harshness that you might find on, say, a slightly raw recording of Debussy’s Claire de Lune, but when all’s said and done, it’s the newer speaker which offers a clearer and more cohesive performance.

As the C20 W is about more than mere wireless streaming, we take a break from Tidal and make use of its handy optical input. Once connected to our Cyrus CDi CD player, the Audio Pro ups its game, sharpening up its presentation to bring out more detail while upping the ante dynamically as it sinks its teeth into Hans Zimmer’s soundtrack to The Dark Knight.

If you’re considering dipping your toes into the vinyl craze, you can plug a turntable directly into the Audio Pro C 20 W thanks to its built-in phono stage. We were a little lukewarm regarding the older C20’s vinyl talents, so we’re pleased that the ‘W’ edition adds more clarity and a touch more energy when paired with our Rega Planar 6/Nd7 turntable.

It’s not a perfect performance, and if you’re serious about your records we’d advise investing in a dedicated phono stage, but the C20 W does a serviceable job when tasked with tackling Lukas Graham’s Happy Home and a chunk of Fleetwood Mac’s Rumours. Even if the midrange is a touch hollowed out, it’s a clearer and more dynamic performance than the older C20 can muster.

Verdict

The excellent C20 W sees Audio Pro honing an already Award-winning recipe. In retaining the versatility of the original while adding boosts to usability and sonic performance, Audio Pro has elevated a great wireless speaker to new heights. In our book, ‘W’ might as well stand for ‘Winner’.

Review published: 7th October 2025

SCORES

• Sound 5
• Build 5
• Features 5

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Read our review of the Sonos Era 300

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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.

MORE:

Read our first impressions: Moon 371 hands-on review

Interview with product director Dominique Poupart and what he thinks differentiates Moon Audio from its rivals

Our guide to the best hi-fi streaming systems

The 65-inch C7K (known as the QM7K in the US) arrives on our test benches on the back of a remarkable run of TCL TV form across a wide range of price points and screen sizes.

It’s fair to say, then, that the auspices for the C7K are seriously good. Can it really keep TCL’s good times rolling, though, when its large screen and promising feature count come at such a (relatively) low price?

Pricing

The TCL C7K’s price is definitely one of its star attractions, with the 65-inch model we’re testing costing just £899 / AU$1595. This TV is known as the QM7K in the US, where it launched for $1500 but is now available for around $900.

That makes it significantly cheaper than the recently reviewed C8K model that sits above it in the 2025 TCL TV range.

Yes, there are plenty of 65-inch TVs out there these days that are cheaper than £899, but you’ll be very hard pushed indeed to find any of those cheaper models getting even close to matching the C7K’s feature set and, as we’ll see, performance.

If 65 inches isn’t quite right for you, the C7K is also available in sizes ranging from 50 inches all the way up to 115 inches. Bear in mind that the different-sized versions of the TV will have slight specification differences, such as the number of dimming zones. We have already reviewed the 98-inch TCL C7K, though, and it’s excellent.

TCL also produces a Q7C model which, the company says, is identical to the C7K in all ways but one: the Q7C doesn’t have the anti-reflection film that the C7K does. Given how much such elements can affect picture quality, this review shouldn’t be seen as also covering the Q7C.

Design

The C7K looks and feels exactly like what it is: a premium TV being sold for a barely even mid-range price. Its screen is wrapped in a slick, narrow brushed-metal trim, behind which a narrower black back section protrudes to provide room for the new Bang & Olufsen multi-channel speaker system to breathe.

The screen sits on what appears to be the same metal central desktop mounting plate as the one provided with the C8K, and this stand attaches to the screen using the same wide-neck-with-detachable-cover arrangement into which you can ‘tidy’ all your cabling.

The C7K is robustly built, and since it’s quite a bit slimmer than the C8K, it is arguably the more attractive of the two – especially if you’re looking to wall hang your TV.

The C7K doesn’t get the same premium silver metal-finished remote control the C8K has, but the elongated black handset provided still bears a premium brushed metal-style finish (even though it’s really all plastic). It feels comfortable to hold, too, the buttons are numerous but helpfully well spread out, and there are direct access buttons for Netflix, Prime Video, YouTube, TCL Channels (a curated selection of streamed TV channels) and Disney Plus.

Features

There’s far more to get through here than you have any right to expect for the price.

Starting with those headline-grabbing facts that, despite its affordable price, the C7K’s screen is illuminated by Mini LEDs rather than the usual large ones, and that these Mini LEDs are organised into a remarkably numerous 1008 independent dimming zones.

Add to this a claimed peak brightness of 2600 nits, and you’ve got some core specifications that most really high-end TVs would struggle to match.

We’ve been around the block enough times to know, though, that it’s not just how many Mini LED dimming zones you’ve got; it’s what you do with them that counts.

That is where TCL’s new AIPQ Pro picture processor will hopefully play its part, controlling those dimming zones and Mini LEDs with enough intelligence to ensure they boost contrast and general light control without drawing undue attention to themselves.

The C7K joins all the other new 2025 TCL TVs we’ve seen to date in deploying a whole ‘Halo Control’ suite of new hardware and software technologies to deliver better dark-scene consistency.

This sees the features we have mentioned already joined by other innovations such as new super-condensed LED lenses claimed to focus light more effectively and stably; a new six-crystal light-emitting chip reckoned to deliver nearly 30 per cent more brightness and more than 30 per cent more energy efficiency; the introduction of Polyimide to the liquid crystal molecules to make their microstructure more controllable; and 16-bit bi-directional screen control delivering 65,000 levels of precise light control.

This isn’t even the full extent of the innovations TCL has introduced to the C7K’s new CrystGlow WHVA panel, but we’ll leave it there before your eyes start to glaze over. And because the resulting picture quality is what really matters in the end.

The C7K’s connections are good for a TV in its price range. Four HDMIs lead the way, as we’d expect of a premium TV, and these are backed up by a single USB port, an optical digital audio output, an ethernet port and the now obligatory wi-fi and Bluetooth (v5.4) wireless connections. The wireless connectivity includes Apple AirPlay and Chromecast support.

It’s slightly disappointing that only two of the C7K’s HDMIs support high frame rate gaming, rather than all four of them, and that one of these gaming-friendly HDMIs has to do double duty as the only one equipped with the eARC HDMI technology required to ship sound – including lossless Dolby Atmos and DTS:X – to compatible soundbars and AVRs.

Most premium TVs provide more than one USB these days, too, though that matters much less.

Most households will be more than content with the C7K’s connections overall – and we shouldn’t forget that this is a 65-inch TV that costs only £899.

The C7K scores major brownie points with us for supporting all four of the key high dynamic range formats: HDR10, HLG, Dolby Vision and HDR10+.

In fact, it even supports the versions of Dolby Vision and HDR10 that can adapt their picture presentation to the ambient conditions in your room, and its Dolby Vision support further extends to a low-latency Dolby Vision Game mode.

Other gaming features include support for 4K feeds at frame rates up to 144Hz – and that frame rate support remarkably (and arguably a bit pointlessly at the moment…) jumps to 288Hz using TCL’s Game Accelerator technology, provided you don’t mind the resolution dropping to Full HD.

VRR is supported right up to the 288Hz maximum, and there’s support for the AMD FreeSync Premium Pro VRR system as well as the core HDMI one. TCL’s screen will automatically switch into its fast-response Game mode when a game source is detected, rendering 60Hz game graphics in this mode in just 13.2ms.

As we’re seeing with most mid-range and high-end TVs these days, the C7K lets you call up a dedicated Game Bar main menu screen when a game source is detected, from which you can check information on the incoming game signal and activate such game aids as an onscreen crosshair, a system for brightening just the darkest parts of the image, and support for the super-wide aspect ratios supported by a few PC titles.

Smart features on the C7K are provided by Google TV, complete with support for the Google Assistant voice-recognition system. TCL has also seen to it that its version of Google TV includes all of the UK’s main terrestrial broadcaster catch-up TV services – something that regular Google TV systems fail to do.

It’s a pity, perhaps, that there’s no support for Freeview Play or Freely, but all the key individual UK broadcaster catch-up apps are present and correct.

Last but not least on the C7K’s extensive feature list is its all-new Bang & Olufsen sound system. This replaces the brand’s previous Onkyo collaboration with new high-fidelity speaker designs fed by 60W of power and capable of handling both Dolby Atmos and DTS:X soundtracks.

Picture quality

With the 98C7K having already shown us that TCL’s new C7K range can deliver the goods even on a screen as big as 98 inches, it’s no great surprise to find that the more modestly sized 65-inch C7K is at least as good.

Particularly stellar for its price is its contrast. On the most basic contrast level, it can deliver both extremely intense, vibrant HDR peaks by sub-£1k 65-inch TV standards, and some of the deepest and most neutral, natural-toned blacks and dark scenes the mid-range LCD TV world, at least, has to offer.

What’s more, it’s able to deliver its light and dark extremes on screen simultaneously, without either significantly compromising the other. By which we mean that shots where bright highlights stand out against dark backdrops appear without distracting light halos around them; the bright objects in such shots aren’t heavily dimmed to achieve that lack of haloing; and for the most part, blacks remain as inky as they do with uniformly dark shots.

Throw in excellent shadow detail reproduction (the C7K is actually slightly better in this respect than the more overtly punchy C8K) and an almost complete absence of either fluctuating dimming zones or noticeable jumps in brightness during cuts between bright and dark shots, and you’ve got a brilliantly effective and, thanks to its consistency, immersive backlight system that punches well above the TV’s weight.

The C7K’s impressive brightness holds up strikingly well even when an HDR shot fills the whole scene with intense light, too, looking at least twice as bright with such shots as even the best new OLED TVs can – further contributing to the excellent consistency of the C7K’s HDR images.

The brightness and contrast both play their part, too, in the C7K’s precociously brilliant colour performance. In its Standard picture preset, colours across a huge spectrum look radiantly beautiful, combining vivid intensity with a level of blend and tone subtlety that feels too good to be true on a TV as affordable as this.

The colours the Standard mode produces might not be particularly accurate to established video standards, but every tone looks impeccably balanced against the rest, painting extremely enjoyable – and believable – worlds for anyone not obsessed with true-to-creative-intent accuracy.

If you are obsessed with true-to-creative-intent accuracy, even after witnessing the splendours of the 65C7K’s Standard preset, then worry not: the C7K’s Filmmaker Mode delivers pictures that follow the established HDR and SDR standards impressively closely. They do this, too, without ending up looking drab or washed out, as can be the case with the Filmmaker Mode on LCD TVs with less impressive ‘native’ screen talents.

As part of our C7K tests, we ran it side by side with the step-up C8K, and we were startled to see during this head to head that the C7K’s colours actually look slightly richer and more rounded in its Standard preset than they do on the C8K – perhaps because the C7K’s slightly reduced brightness versus the more expensive C8K doesn’t put its Quantum Dot colour system under quite so much strain.

The head-to-head also shows, though, that the 65C8K delivers slightly more effective colours in its Movie and Filmmaker Modes than the C7K.

The excellent subtlety of the C7K’s light and colour handling helps it deliver impressive sharpness with native 4K sources, while the latest AiPQ processor also upscales HD sources to the screen’s 4K pixel count very handily, adding sharpness and density without exaggerating noise or creating significant unwanted processing side effects.

The C7K retains its clarity excellently when required to handle 24fps motion too, suffering pleasingly little with either hardware judder or resolution loss over moving objects.

There are a couple of niggles with the C7K’s pictures to report. A small patch of yellowish colour sometimes creeps in just below the middle of the top black bar when watching wide aspect ratio films (though we suspect this might be an isolated issue with our review sample), and occasionally, slightly too much detail is revealed in dark areas, revealing faint traces of noise along with the ‘correct’ shading information.

That’s basically it on the negative front, though. The 65-inch C7K is, overall, every bit as excellent a performer for its money as every other 2025 TCL TV that has come through our doors so far.

Sound quality

As with the C8K, the C7K’s audio isn’t quite as all-round brilliant as its pictures. The new Bang & Olufsen influence is enjoyably evident both in the extremely clean and prolific detailing the speakers present with good film soundtrack mixes, and in the way it can hit trebles other TVs cannot reach without sounding whiny or harsh.

The midrange is nice and open, too, providing plenty of room for soundtracks to ebb and flow, as well as helping vocals sound well-rounded and reasonably contextual.

The main problem is that the speakers don’t lean into low frequencies as enthusiastically and effectively as they deal with the higher end of the spectrum. So bass doesn’t reach as deep as trebles reach high, and what bass there is is delivered a bit too politely. This results in a slightly treble-heavy presentation where background and ambient sound effects can sometimes draw more of your attention than they should.

Exceptionally dense soundtrack moments, such as the swelling score during the extreme close-up of an eye opening near the start of Blade Runner 2049, sound slightly more swallowed and condensed than they do on the more powerful C8K, and very deep and extended bass sounds also exhibit a little chuffing and buzzing interference that the 65C8K typically avoids.

Despite these niggles, though, the C7K’s sound is good overall for a TV in its price range. It’s just not quite as good as that of its step-up sibling, and leaves room for improvement next time round.

Verdict

TCL has done it again. The C7K follows the C8K and C6KS in scarcely putting a foot wrong – and once again it does so at a price that also makes it outstanding value.

SCORES:

Picture 5

Sound 4

Features 4

ALSO CONSIDER:

• TCL C8K review
• Amazon Fire TV Omni Mini LED review
• LG QNED93 review

British brand Marshall has lifted the lid on its new Marshall Heston 60 Dolby Atmos soundbar and the Heston Sub 200 subwoofer.

Marshall describes the Heston 60 as a “compact but mighty soundbar” to suit smaller spaces while “still delivering huge sound.”

That puts it in square competition with the Sonos Beam (Gen 2) which has been the recommended small option in our best Dolby Atmos soundbar guide for quite some time.

The Dolby Atmos soundbar can be mounted two ways, meaning it can be placed flat against the wall or standing on a TV bench. As a result, the logo and control panel are both magnetic.

Marshall adds that it is using “specially designed waveguides and angled front drivers” to make sure you get the same sound experience in either position.

Under the hood, the ‘bar has two woofers and five full-range drivers, boasting a total power output of 56W.

In terms of connectivity, the Heston 60 offers access to Bluetooth 5.3 and wi-fi, as well as an HDMI 2.1 port (eARC), a 3.5mm aux port, an RCA input and USB-C. There is also support for AirPlay 2, Google Cast, Spotify Connect and Tidal Connect.

There are four sound modes to choose from as well: Movie, Music, Night and Voice. Where Movie mode is meant to “raise the volume on drama and intensify effects”, Night mode “reduces loud effects and keeps speech clear” according to Marshall.

Turning to the Heston Sub 200, Marshall says this subwoofer “delivers exceptional bass that transforms movie night into a main stage experience.” Bold claims, indeed.

It packs two 5.25 inch subwoofers and two 120W Class D amplifiers, with a peak total power output of 236W.

Featuring the latest Bluetooth LE Audio wireless technology, the brand claims this makes it easy to move around your home.

These two new models can be controlled via the Marshall app so you can pair them with each other and with any Marshall soundbars you may have.

You can get both products in a cream or black finish.

The new Heston models follow on from the release of Marshall’s first soundbar; the larger and more expensive Marshall Heston 120, which we had in our test room earlier this year.

While we were impressed by its clear dialogue and decent level of bass, its weak Dolby Atmos performance and lack of dynamics meant it earned a three-star overall rating.

At its hefty price of £900 / $1000 / AU$1799, the five-star Sonos Arc Ultra trumped the Marshall 'bar's performance when we ran them head-to-head.

The Heston 60 will launch costing £500 / $700 / AU$999 which means it is significantly more expensive than our current recommend small Dolby Atmos soundbar, the Sonos Beam Gen 2. The Sonos was on sale for £340 at the time of writing.

The Heston Sub 200 is priced at £430 / $600 / AU$899, pitting it firmly against the Q Acoustics QB12 subwoofer which launched at £499 / AU$1,399 (around $670).

Both the Heston 60 and Heston Sub 200 will go on sale from 23 September. We'll hopefully get units in for testing before then to see how they compare to the competition.

MORE:

Here's the Marshall Heston 120 review

Check out the best subwoofers

And these are the best Dolby Atmos soundbars we have tested

It was teased at High End Munich earlier this year, but we now have official details and prices for the Eversolo T8. This is Eversolo's first streaming transport, i.e. a product with all the latest network streaming software and features but without a DAC built in; so you will need to plug it into an external DAC or into the digital inputs of your amplifier.

It's a neat way to add modern streaming powers to a hi-fi system that already has a great DAC. It could also prove to be a smart route for the brand, considering how we have heaped praise on Eversolo's excellent streaming software and its capability as a digital source in the DMP-A6 and DMP-A10 streamers that we have tested.

The T8 aims to deliver “clean, precise digital audio” and features carefully isolated digital outputs, an ultra-high precision clock, and all the bells and whistles that come with Eversolo's proprietary software ecosystem.

The Eversolo T8 features a 6-inch touchscreen display that lets you select the numerous music apps and services available, control playback, adjust settings and more. This display screen dominates the front of a sleek, aluminium chassis that boasts shielding from its internal circuitry as well as from outside electromagnetic interference.

Expect all the streaming features we encountered in the flagship DMP-A10 music streamer: AirPlay 2, Bluetooth, Tidal Connect, Qobuz Connect, Deezer, Amazon Music, internet radio, DLNA and LAN access for playing from connected storage and hard drives, as well as bit-perfect playback of Apple Music's hi-res library, internet radio and a wide variety of third-party music apps that you can download directly to the unit.

It features Wi-Fi 6 and is Roon Ready certified, too. A quad-core ARM processor, 4GB RAM and 64GB internal storage aim to provide smooth daily use and “efficient data management”.

The T8 features an ultra-high precision femtosecond clock system (a femtosecond is one quadrillionth of a second), which is responsible for maintaining the timing of every audio signal with accuracy and reducing jitter. The T8 promises to deliver “focused sound, well-defined imaging, rich detail, and natural dynamics.”

It also houses a “super-silent” linear power supply, which is further isolated from the digital circuitry. If connecting an external DAC via USB, Eversolo says the T8’s USB Audio output is further isolated from noise generated by the power stage and potential ground differences, to ensure only clean audio signals are transmitted.

There are only digital outputs on this unit: AES/EBU, optical and coaxial. The unit supports playback of hi-res files up to DSD512 and 32-bit/768kHz PCM, although the coaxial output is limited to 24-bit/192kHz.

Additionally, there are two SSD slots in the T8 to hold a sizable digital music library, supporting up to 16TB (2 x 8TB) of maximum storage capacity. Room correction software that can be used with a separate mic or your smartphone's mic is on board, and you can control all features and playback with the included remote control and by using the Eversolo Control app.

The T8 can be used with a wide variety of DACs, and it aims to provide “flexibility, depth, and a high-end audio experience for music lovers and audiophiles alike.” The Eversolo T8 streaming transport is available for pre-order now and costs £1199 / $1380 / €1380.

MORE:

Read our Eversolo DMP-A10 music streamer review

And read our Lumin U2 Mini streaming transport review

Our guide to the best music streamers you can buy

Eversolo is a young company and it shows. There is a sense of adventure and ambition about its products that we rarely see from longer-established alternatives. This Chinese brand was founded in 2014, but here in the UK, it only really came to our attention somewhere around 2023, when the mostly excellent DMP-A6 streamer (tested at £759 / $859 / AU$1399) made something of a splash.

What a splash it was. That music streamer still seems as modern as they come, with a combination of slick ergonomics and class-leading usability that makes almost all its sub-£1000 rivals seem a generation older. Factor a generous feature set and good sound into the equation, and the result remains tempting.

The range-topping Eversolo DMP-A10 we have on test here feels like that first model on steroids, sharing its excellent ergonomics and modern styling but now shooting for the stars when it comes to performance.

Does it succeed? Considering the price, the answer is mostly, but that’s not the full story, so read on.

Features & connectivity

Calling the DMP-A10 just a music streamer is somewhat underselling its talents. Yes, it will pull music files from any storage connected to it or on your home network. As expected, all the usual streaming services and internet radio are present, as is Bluetooth, AirPlay and Roon Ready compatibility.

Like most streamers that come our way, it has digital inputs but alongside the usual trio of USB (Type B), optical and coax, it also adds HDMI ARC to make integration into a two-channel AV set-up easier. We connect it to a 32-inch Sony W8 TV and everything works seamlessly. So far, so good, with the Eversolo up there with the best-equipped of its rivals.

Then it adds proper analogue preamp functionality. There is a pair of single-ended RCA inputs sitting above a balanced XLR option, and that combination is mirrored on the output side, with one stereo pair marked for use with subwoofers. Just add a power amplifier and a pair of speakers, and off you go.

Better still, an Eversolo DMP-A10 driving a pair of good active speakers would make for a wonderfully minimalist set-up that, on paper at least, would have nothing to fear from traditional separates alternatives.

This Eversolo isn’t unique in offering such a range of features, but add that to its beautifully presented touchscreen display, exceptional build quality and nicely sorted software app, and you have something unusual in the world of high-end hi-fi.

We have to tell you about the Eversolo Control app. It's a world away from the clunky off-the-shelf efforts we usually see from small high-end companies that don’t have the software resources to do the job properly in-house.

This is about as comprehensive as control software gets, arguably adding a level of customisation that enthusiasts may enjoy but may leave some users bewildered.

Want some examples? There are a myriad of options for the main display, including seven VU meters of various designs, multiple layout choices and even a range of spectrum graphics that provide quite the light show.

The signal path for the analogue input signal is user-selectable. You can send it directly into the volume control, or convert the signal into digital first via a 192kHz-capable ADC (Analogue-to-Digital Converter).

This latter approach allows a range of digital processing, before switching the signal back to analogue and continuing through the volume control and output stage. There are also seven digital filter options, a 15-band graphic equaliser and a 10-band parametric option. Those who like to tweak are in for a treat here.

The DMP-A10 even has built-in room equalisation that can use the microphone fitted in your smartphone or tablet to balance out the frequency response of your listening space. There are only a handful of other streaming products, those from Linn and Lyngdorf come to mind, that offer something similar.

This streamer’s file compatibility is excellent with the DMP-A10 happy to play up to 32-bit/768kHz PCM hi-res music files and DSD512. It is also equipped with Connect versions of Spotify, Tidal and Qobuz, as well as Deezer, Amazon Music and rather unusually, Apple Music.

This Eversolo will not only access music files from anything connected to your home network, but also has two M.2 NVMe SSD slots (hidden behind a flap on the base) to offer local storage for 2 x 4TB of music files.

Build & design

Take a look inside that immaculate casework and you will find an astonishingly neat circuit layout. Eversolo is proud of its custom-designed OCXO clock system that is temperature-controlled and features dual crystal oscillators (operating at 45.1584MHz and 49.152MHz, respectively) to minimise jitter levels.

ESS Sabre’s flagship DAC chip, the ES9039Pro, sits at the heart of the DMP-A10’s digital circuitry, working in partnership with an XMOS316 processor.

The analogue preamp circuitry is fully balanced and features a resistor ladder volume control that emits a fairly loud click for every step change. Some members of our team like the sound, while others find it annoying over time.

Thankfully, there proves to be enough steps to allow subtle adjustments of volume in our system, which isn’t always the case. Even here, Eversolo offers the user the chance to adjust the volume steps to taste.

There is no divergence of opinion when it comes to the little display built into the volume control, which is impressively crisp and easy to read. Like the main front panel display, it is heavily customisable in terms of appearance and the information it shows.

If you aren’t a fan of using apps to control your streamer, Eversolo has also supplied a conventional remote with the DMP-A10. This is a slim, simple affair that’s easy to use and pleasant to hold.

Set-up and compatibility

A product at this level demands a quality system. We have our Burmester 088/911 MkIII reference amplifier on hand, powering the ATC SCM50 speakers. Our alternative set-up is a PMC Cor integrated amplifier driving Epos’s excellent ES-14N speakers. The Eversolo DMP-A10 turns in a good performance regardless of the partnering electronics used.

It is a breeze to set up, taking little more than 10 minutes to get up and running, though working through the various set-up options and processing modes takes considerably longer. That said, the whole process shouldn’t be seen as a chore, and certainly allows us to optimise the product's sonic presentation to match our tastes.

We start by trying the Eversolo’s room equalisation system. It does a decent job, and we can see it being helpful if your room doesn’t have a particularly even response. But, in our acoustically treated test space, the additional processing also robs the sound of a little too much transparency and dynamic subtlety.

We also work our way through the various digital filter settings and settle on Minimum Phase Slow Roll-Off as the best option in our set-up. It just sounds a touch more natural and fluid than the other choices. By most standards, the differences between the filters aren’t massive, and in our experience, the one you like tends to come down to your taste and partnering system.

Sound

Those things done, we are ready for some serious listening. While some of our listening is done using the Burmester 088 preamp, we also spend a fair amount of time with the DMP-A10 connected directly to our Burmester 911 MkIII power amplifier.

In our view, this is the way to go, as it makes the best use of the Eversolo streamer’s range of features, and saves the cost of an additional preamp section. The decision is made all the easier by the streamer’s analogue section being a good performer. Its presentation isn’t the last word in transparency, but it is tidy, nicely detailed and well-balanced.

We stream music files from our Naim Uniti Core server and find the Eversolo consistent in its behaviour regardless of the music or file format being played. As we listen to Beethoven’s Symphony No.9, we find plenty to admire. The DMP-A10 has a solid and refined sound that’s easy to enjoy.

Details levels are good, and the unit assembles that information in an organised and controlled way. There are no rough edges here, just a good amount of insight, richly textured instruments and the ability to convey the sheer majesty of a full orchestra well.

Tonally, things are full-bodied, avoiding the etched, slightly lean presentation that seems to be in fashion in some quarters. Yet, there remains a decent amount of agility and the talent to track dynamic sweeps with conviction. There is a pleasing lack of clutter to the sound, with each instrumental section enjoying a decent amount of space around it. The stereo imaging is nicely broad and deep, and layered with care.

Switching to an old favourite in the form of Massive Attack’s Heligoland proves that the DMP-A10 has a weighty but nicely agile bass, and the ability to punch hard when the music demands. It seems less comfortable with this album’s complicated rhythms though, underplaying their role and in the process diluting the appeal of songs like Flat Of The Blade. The result is that the track entertains less than expected.

This streamer has decent dynamics, though, but softens the extremes, which makes the music sound more comfortable. Now, a comfortable presentation certainly has a place. Such a presentation suits some small-scale acoustic pieces or voice-and-guitar recordings, but it costs the Eversolo a degree of excitement and energy with hip-hop, rock and dance that rivals such as the excellent Cyrus 40 ST streamer has in abundance.

Generally, the DMP-A10 likes to take a more relaxed view of the music, and that holds true whether we listen to the built-in streaming module, the analogue inputs or even the digital inputs.

We are pleased to report that this streamer is a remarkably consistent performer across its various inputs. Bluetooth pairing is slick, and the sound is as good as we can expect from such a limited transmission method.

The internal DAC module is a fine one, rendering the sound from both our Apple MacBook Pro (loaded with Audirvana music software) and the digital output from our reference Naim ND555/555 PS DR music streamer well. Even the analogue inputs, once we choose the more direct and minimal processing signal path, sound good, sharing the streamer’s undemanding and smooth approach to music replay.

Verdict

A product like the Eversolo DMP-A10 is tough to sum up. When it comes to build, features and usability, we have nothing but praise. This Eversolo sets standards in these areas that are unmatched at this price. When it comes to sound quality, however, we find things less remarkable.

This is a good, solid performer. One that digs up a competitive amount of information and presents it in a refined and confident manner that some will admire. It may not be the most foot-tapping or thrilling music streamer on the market, but we still recommend giving it a serious audition.

Review published: 1st September 2025

SCORES

• Sound 4
• Build 5
• Features 5

MORE:

Read our review of the Cyrus 40 ST

Also consider the Audiolab 9000N

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

NAD’s C 3050 is more than it initially seems. On the surface, it’s yet another hi-fi product that has boarded the retro design train. But, look closer and you will find real engineering substance behind those admittedly rather appealing mechanical power meters.

The headline feature, and the main differentiator between the C 3050 and excellent stereo amplifier rivals such as the Arcam A15 or the Rega Elex Mk4, is the option to add a streaming module. Called, rather catchily, the MDC2 BluOS-D, the module is based on a platform developed by NAD’s sister company, Bluesound.

Ticking this box may raise the price from the standard amplifier’s £1349 / $1699 / AU$2699, but it turns the C 3050 into an extremely neat and characterful just-add-speakers streaming system.

Features & connectivity

The NAD brand is built on good value electronics, and even in base form, the C 3050 amplifier still has a lot going for it. It is well equipped with a moving magnet phono stage, two-way Bluetooth (of the aptX HD variety), coax and optical digital inputs and a healthy power output of 100 watts per channel.

There is also a front panel-mounted 6.3mm headphone output and, rather usefully, an HDMI eARC input to help the NAD integrate into an AV set-up.

Add the optional streaming module, and the product’s functionality increases massively. A fully-loaded C 3050 can stream music files from your home network, play internet radio or access any of the usual streaming services through wired or wireless means.

The MDC2 BluOS-D module’s range of abilities should be extensive enough for most users, but we note that there are some obvious gaps in its specifications. It doesn’t play DSD files and the PCM files it does play are limited to a maximum of 24-bit/192kHz.

While we suspect neither of these will be an issue for the vast majority of users, those with more ambitious tastes in file formats may feel shortchanged here.

While Spotify and Tidal in Connect form are available, at the time of writing, Qobuz Connect isn’t. Similarly, Apple AirPlay 2 is on the menu but Google Cast isn’t. Streaming is a software-based world, and that means shortcomings such as these can be remedied with updates.

It will be interesting to find out whether NAD feels the need to do so. We can only hope.

Unusually, NAD has included Dirac Live room equalisation software as part of the MDC2 BluOS-D package. This is the limited bandwidth version of the room correction system and operates from 20Hz to 500Hz. If you want the full range, full-fat version that works up to 20kHz, you’ll have to buy it from Dirac’s online store for around £75/ $99 (around AU$154).

Whether the additional expense is worthwhile is a matter of context. In our acoustically treated listening room, the basic Dirac Live system gives a slightly more even frequency response when using Fyne Audio’s large F502S floorstanders, but it comes at the expense of a slight degradation of low-level dynamics and rhythmic drive.

However, we can certainly see benefits of using the system in rooms that have more serious acoustic issues, so in those cases, the premium version of the software may well make sense.

Build & design

Take a look inside the C 3050’s walnut vinyl-covered casework and you will find NAD’s trusted HybridDigital UcD output stage delivering a solid 100 watts per channel into both 4-ohm and 8-ohm speaker loads. The output rises to a claimed 135 watts per channel on short-term dynamic peaks.

That should be enough to drive any price-compatible speaker to decent levels in all but the largest of listening spaces. We certainly didn’t have any problems driving a range of speakers, including the Acoustic Energy AE300 Mk2, the KEF LS50 Meta, the Fyne Audio F502S and the Neat Mystique Classic floorstanders (reviews coming soon).

A Texas Instruments PCM5242 differential 24-bit/192kHz DAC chip is at the heart of the C 3050’s digital circuits. NAD’s engineers chose this DAC for its dynamic performance and resistance to clock jitter.

We have no issue with the C 3050’s build and finish. It feels like a quality product with solid casework and sturdy controls. The fit and finish are good too, giving the NAD a proper premium aura. The streaming side is taken care of by the well-established BluOS app. This is one of the better pieces of streaming control software on the market and is stable, easy to use and intuitive on the whole.

It doesn’t take long to get a sound from the C 3050 once we get it out of the packaging. Our sources are the Technics SL-1000R/Nagaoka MP-200 record player to test the NAD’s moving magnet phono stage, Naim’s ND555/555 PS DR music streamer to feed the analogue and coaxial inputs, alongside a Cyrus CDi for the optical.

We have an iPhone 12 Pro Max to test the C 3050’s Bluetooth performance. Of the list of aforementioned speakers, we spend the most time with the KEF LS50 Meta connected to the NAD, as these seem the most appropriate partners in terms of price and quality.

Sound

We start by listening to the NAD using the built-in streaming module. It all works smoothly, with none of the clunkiness that a less well-engineered add-on solution could suffer from.

And you know what? The C 3050 sounds great.

As we work through a collection of music that spans a broad range from a small-scale folk group like The Unthanks (the Mount The Air album) and Rachmaninov’s Symphonic Dances Op.45 through to Nick Cave’s Wild God set, the NAD doesn’t skip a beat.

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.

The NAD doesn’t just excel with the subtleties either. It may be refined, but when the music demands, there is bite here too. The Rachmaninov piece shows the C 3050’s dynamic prowess and ability to convey the piece's power and authority. It sounds muscular, delivering lows with a richness and punch that’s enjoyable. The presentation is airy but still manages to retain the music’s exuberance.

Soundstaging is reasonably expansive and nicely focused. It stays stable even when the music becomes demanding. Our listening room is a decent size at 3 x 7 x 5m (hwd), and the C 3050 has no trouble filling it with sound.

Of course, it can be made to sound stressed if you really push things. But provided your speakers aren’t unusually insensitive (or your room isn’t massive), we think this amplifier has you covered.

Feeding Mary J Blige’s No More Drama from our Naim music streamer into the C 3050’s line level input proves that the NAD has surefooted rhythmic drive and a good degree of punch. It delivers the album’s basslines with verve, while neatly swerving the sludgy feel that such a full-bodied and rich low-end can sometimes impart.

The story remains positive when we try the NAD’s digital inputs. The sound through these retains the characteristics we so like from the streaming module and line stages, and the on-board DAC has no issue when we work our way through the various music file resolutions from 16-bit/44.1kHz to 24-bit/192kHz.

Even the phono stage is good. It is reasonably quiet but still sounds agile, informative and dynamically interesting. It's good enough to handle the likes of the Rega Planar 2/Nd3 without leaving us feeling that we need to upgrade. Considering the general standard of built-in phono stages in most rivals, it is fair to say that NAD has done a great job here.

Verdict

That applies to the complete product. The NAD C 3050 is a high achiever across the board, from the better-than-average Bluetooth performance to the capable DAC module and talented streaming section. While the basic amplifier is a fine performer, it would still struggle to topple class leaders like the Arcam A15.

However, add the MDC2-BluOS-D’s streaming smarts into the equation and the story changes dramatically, catapulting the NAD to class-leading status as far as streaming systems are concerned.

The attractive retro appearance may be the thing that draws people to the C 3050, but it’s the product's all round abilities as a streaming package that makes it such a strong buy. Highly recommended.

Review published: 18th August 2025

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Ruark Audio R610

Also consider the Naim Uniti Atom

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

When it comes to music streaming, Apple Music is my weapon of choice. Cheaper than Spotify, it features a much nicer interface and, most importantly, provides greatly improved audio quality with access to Dolby Atmos.

That's why I've stuck with it for more than 12 months now, despite being a serial switcher of streaming services. Overall, I have very few complaints as I find the service is constantly improving; there is one feature, however, that I wish Apple would borrow from Spotify.

Now, I should preface all this by saying that I am deep into the Apple ecosystem. I have an iPhone, iPad, Apple TV 4K and an Apple Watch, and generally speaking, I'm a huge fan of how everything is interconnected.

That being said, I feel as though I am hitting a roadblock when it comes to controlling my music on multiple devices. For example, I often use my iPad or Apple TV 4K to stream music, but sometimes I need to skip or pause the track, often when I'm busy doing something else.

This is where I often think of whipping my phone out to pause, or tapping my watch to skip to the next track instead of rummaging around for my Apple TV remote – only then to remember that Apple Music doesn't sync playback across all my devices.

In times like this, I am reminded why Spotify Connect is truly one of the best music streaming features around.

The synced cross-platform playback that shows universal media controls on the Spotify app, regardless of which device you're streaming on, is something I wish every music streaming app had, especially Apple Music.

The ability to play music on my streaming device, wireless speaker or even my PlayStation 5 and pause, skip or adjust the volume using my phone makes things so simple and easy.

Considering Apple puts such an emphasis on its connected ecosystem, I'm surprised that AirPlay hasn't seen progression similar to Spotify Connect. Admittedly, it is capable of streaming video, which is a huge bonus, but controlling AirPlay still feels a bit clunky compared to the slick and cohesive experience of swapping tracks on Spotify Connect.

Apple Music is set to get a handful of upgrades with the upcoming iOS 26 update coming to iPhones and iPads very soon, but no such feature was mentioned at WWDC earlier this year.

Spotify still remains on the back foot due to the lack of high-resolution music streaming, but when it comes to a slick wireless streaming experience, it takes the upper hand compared with Apple Music.

MORE:

Read our full Apple Music review

And check out our picks for the best music streaming services

As well as our list of the best wireless speakers

One of the most exciting products revealed at High End Munich show earlier this year was the Eversolo Play streaming amplifier: a neat, compact unit that combines amplification, streaming and various inputs into one box – you simply have to add speakers.

More interestingly, there is a CD Edition with a CD drive included, and it's this Eversolo Play CD Edition that we have in for review.

Our review process can take many days (sometimes weeks), but with a feature-packed product like this, there are plenty of features, settings and specs that surprise us or pique our interest when we start setting the product up. So below you'll find a handful of cool features on the Eversolo Play CD Edition that stood out to me during the first day of the testing process.

Of course, my colleagues and I on the review team will be spending plenty of more hours and days listening to the Eversolo Play CD Edition to bring you the full details of its performance, but for now, here is a small taste of what this versatile streaming amplifier offers.

1. It's not just a CD player, it's also a CD ripper!

The CD drive in the Eversolo Play CD Edition can play CDs (but not SACDs, Eversolo has confirmed). But I also learnt it doubles up as a CD ripper.

Load up your CD and you'll find an option to rip the album appear on the screen – once selected, the Eversolo goes into CD ripping mode.

It's a straightforward and pretty swift process, with the display showing you all the options and progress at every step. I particularly like the animated graphic of the CD album (in our case, Weezer's Green Album) turning alongside the progress bar.

You have the option to rip the CD in FLAC or WAV formats, while the unit can also fetch metadata such as album artwork and track names – just make sure the Play is connected to your network.

Where do the ripped CDs go? The Play has 32GB of internal storage, so once the ripping process is finished, you simply have to head to the File section, select the Music folder, and you'll find your ripped CD tracks waiting for you there, ready to be played.

Another neat trick: long-press on the ripped CD album folder (on the unit's touchscreen display, just as you would on a smartphone), and you get options to rename it or even delete it entirely from the Eversolo Play CD Edition's storage.

2. You can play hi-res and lossless Apple Music tracks natively

Apple Music (in)famously doesn't integrate its streaming service into third-party hardware, so you tend to have to rely on AirPlay (iOS only) or Chromecast (for Android) to stream your Apple Music playlists to a hi-fi streamer.

The problem is, AirPlay 2 is still a lossy protocol that doesn't support lossless or full hi-res streaming, despite Apple Music's library being full of hi-res and lossless quality tracks.

Eversolo has a solution, in that it essentially allows you to download the Android app version of Apple Music directly on to the Play (under the App section), meaning you can access Apple Music just as you would on your smartphone – and it unlocks lossless and hi-res playback.

While it doesn't display sample rate and bitrate data in detail as with Qobuz Connect or Tidal Connect streams, our review sample shows that a stream of Waxahatchee's Right Back To It is being played at PCM 96kHz, while playing They Might Be Giants' The Mesopotamians switches to PCM 44.1kHz.

At first, you do get the usual Android app pop-up information about needing an external DAC to play full-fat 192kHz files, but you can disregard this in the Eversolo Play as it will natively play up to 24-bit/192kHz. We will be exploring this further during our full review.

Make sure you select the Hi-Res Lossless tier in Apple Music's sound quality settings (you can do all of this directly from the Play's screen) to get full-fat hi-res lossless ALAC files played directly from Apple Music.

3. "Listen At Will" feature will play "randomly recommended" songs – but it really is random

Here's a fun feature I've not encountered before. The Eversolo Play (and CD Edition) has a "Listen At Will" option, which will "automatically play randomly recommended tracks from both logged-in music services and your local music library.”

I am logged into my Apple Music, Qobuz and Tidal accounts on our review sample and the unit can see our local Naim server full of CD-quality and hi-res digital files.

Now, I initially took this to mean that this feature will play from our saved playlists – any favourited songs, or songs on heavy rotation – or at least, something quite familiar and oft-played.

But the selection here is truly random, and the Eversolo offers a completely different experience from the algorithm-led shuffle feature on most streaming services.

I've spoken with our Eversolo contact and they said this feature is very much designed to be fully random, to "deliver surprising musical discoveries". I quite like this novel approach, and more time with the Play will tell if this "lucky dip" feature does throw out surprise new favourites I never would've otherwise discovered.

At the moment, our sample unit keeps playing Weird Al Yankovic songs. I can't remember the last time any service has recommended his work to me – it must be years! The "Listen At Will" feature did play The Streets' Turn The Page and a few other unfamiliar tracks, but oddly, every other song – so far – has been a Weird Al parody track.

Either way, at least it has a sense of humour.

4. Its built-in phono stage works with MM and MC cartridges

Plenty of all-in-one streaming amps these days include a phono stage. Whether it's the Ruark Audio R610, the NAD C 3050 or Cambridge Audio Evo 150 SE, you'll find a moving magnet (MM) phono stage built in to cater to the still-booming vinyl revival.

In the Eversolo Play CD Edition, its built-in phono stage also works with the more premium and audiophile-friendly moving coil (MC) cartridges. It's unusual to have MC compatibility in this kind of product, let alone at this kind of price point, as good MC models tend to start around £400 and above (see: Ortofon Quintet Blue and others on our best cartridges list).

The Cyrus 80 AMP coming out later this year is the only other streaming amp I can think of that offers both MM and MC support, and that's set to cost between £5000 to £6000.

For the considerably more affordable Eversolo Play to offer both MM and MC support here is quite the bonus – it's nice to have the option here for those who want it.

We haven't tried this unit's phono stage's quality yet, so stay tuned for the verdict in our forthcoming review.

5. So many display and light customisation options

The first thing I did after connecting the Eversolo Play CD Edition to our test room's network and speakers was to log into all my music streaming services.

The second thing I did was to delve into the control app and unit's settings to marvel at the multitude of display options for the large 5.5in LCD touchscreen.

There is so much to choose from. There are multiple layouts for the 'Now Playing' screen available, from minimal album artwork to detailed information about sample rate, bit depth and file type alongside the usual artist, track and album names.

You can also choose to have the popular retro VU meter displays (there are multiple styles and colours to choose from) or go very 80s with a choice of spectrum graphics.

It's not just the screen that you can customise. There is a lovely, subtle RGB light ring around the volume dial, and you can choose from over a dozen solid and gradient colours to suit your tastes and style.

It's perhaps rather superficial, but I think these customisation options allow you to have a bit of fun (or even keep things entirely minimal) when using modern streaming products like this Eversolo.

6. It's double the price of the WiiM Amp Pro – will it be double the performance?

Most of the streaming amplifiers we tested previously cost about £1000 and above, but more budget options have recently popped up.

The recently reviewed WiiM Amp Pro is the cheapest streaming amp we've tested at £399 / $379. Its clear, detailed, lively and enjoyable performance earned it four stars.

At £699, the Eversolo Play CD Edition is double the price of the Amp Pro, occupying a larger footprint than the WiiM but also retaining the appealingly compact and square dimensions.

Interestingly, both units are powered by Class D amplification and have a claimed rating of 60 watts per channel (into 8 ohms). Numbers alone aren't an indication of actual sonic performance, of course, with both brands emplyoying different DACs and their circuitry and tuning will be different – but we are curious to find out just how much of a step-up the Eversolo will be and if the Play CD Edition will require different speaker partnering to get the best out of it.

We'll investigate it further during the full review process, so stay tuned for our final verdict in the coming weeks.

MORE:

Read our WiiM Amp Pro review

Check out our guide to the best CD players

I tried Lorde’s transparent CD in 7 different disc players – but did it play on any of them?

I’ve been using Apple Music for 10 years, and this one hi-fi feature would make my listening complete

Technics may be known more for its rock-solid, direct-drive turntables (such as the excellent SL-1300G), but the Japanese audio brand's digital-first and streaming hi-fi products have earned a great reputation with us.

The superb Technics SL-G700M2 is one such product, which combines a CD player with network streaming in an impressive way, both in design and sonic performance. We originally tested this terrific Technics unit at £2899, but you can now snap it up for £2599 at Peter Tyson and Richer Sounds.

That's a massive £300 saving on a premium hi-fi product, and one we would highly recommend if you are looking to upgrade your current hi-fi setup to the next level or have an equally high-calibre system.

The Technics SL-G7000M2 is an impressive product that puts digital sources first. It gives you the best of both worlds: it supports all the major streaming apps and protocols for high-quality wireless listening, as well as playback of physical formats like CDs and SACDs.

Connection via wi-fi or ethernet is stable, and while you need the Google Home app for initial set up before using the Technics app for control (a double-step that is a little clunky, but you only need to do this once), the unit is seamless in use with AirPlay, Bluetooth, Google Cast, Spotify Connect, Tidal Connect and more.

We've recently checked with Technics, and Qobuz Connect support is on the horizon too. You can also access any stored libraries on the same network and play in full native hi-res quality via the USB type B input. Up to hi-res 32-bit/384kHz PCM, DSD512 and MQA files are supported.

Of course, a big appeal of the G700M2 is that it incorporates a CD player, which can also play the higher-quality SACDs. Technics has taken care with the internal DAC, circuitry, and power supply of this premium unit to ensure the best sonic performance.

In our review, we said: "It is a detailed and insightful presentation, and manages to organise the musical information in a cohesive and entertaining way." The Technics is clear, controlled and authoritative across all genres we play, and doesn't try to artificially enhance any excitement.

This is a measured and balanced performance that is rather understated but also inherently musical and engaging. This balance is consistent across all sources we use, from streams to CDs to digital files. Pair it with equally capable speakers and amplifier, and you have a terrifically talented system.

Special mention has to go to just how beautifully made the product is, befitting its premium price tag. The metal casework is sleek, the buttons and dial are smooth in use, and the disc-loading drawer in particular "glides in a beautifully damped way."

As an all-round proposition, the Technics SL-G700M2 is hard to better – yes it's a premium source, but it more than justifies the price point. And with £300 off at Peter Tyson, it's even better value and worth considering.

MORE:

Read our full Technics SL-G700M2 review

Check out the best CD players and the best music streamers we recommend

6 test tracks we've been playing in the What Hi-Fi? listening rooms this month

Yamaha unleashed the world's first soundbar back in 2005 with the YSP-1, an innovative piece of home cinema equipment that, at the time, was a whole new concept.

20 years later, the Japanese audio brand has launched its latest model, the True X Surround 90A.

It's set to maximise cinematic scale and immersion, backed by over two decades of expertise and development – Yamaha says that this soundbar has been years in the making.

It follows on from the True X lineup, which launched back in 2023, and which included the Bar 50A, Bar 40A and SW-X100A subwoofer, and the nifty True X Speaker X1A wireless surrounds, which could also be used as individual Bluetooth speakers.

We reviewed the True X Soundbar System and generally approved of its "agile, fast sound" and its "well-integrated sub". Think of Yamaha's new 90A soundbar system as the True X set-up on a heavy dose of steroids.

The whole system has been redesigned, with a hefty main soundbar unit that houses no fewer than 19 drive units.

There are four full-range, custom-designed, eye-shaped oval drivers, which Yamaha says deliver "rich midrange tones and impressive volume from fewer components, preserving sonic purity across the frequency range".

These newly designed drivers, which are backed up by three tweeters for higher frequencies, have allowed Yamaha to condense the number of drivers in the soundbar without sacrificing clarity or introducing distortion.

However, it seems to be the opposite story when it comes to the height speakers, as Yamaha has upped the number of drivers compared to other models on the market.

Whereas most Dolby Atmos soundbars make do with two up-firing units, Yamaha has implemented an array of top-mounted beam tweeters, with six drivers at each end of the soundbar.

Yamaha's proprietary beam speaker technology, which is backed by its YDA-141 high-performance amplifier, is calibrated and angled to fire sound towards your ceiling with "remarkably accurate sound localisation".

These height-focused beam speakers have been inherited from the YSP-1 – yes, that soundbar from 20 years ago. The YSP-1 featured 40 beam-firing drive units, which bounced sound around your room to create a convincing surround effect.

They exclusively handle height channels on the new system, and they're poised to do quite a remarkable job if Yamaha's claims are to be believed.

According to Yamaha, the X90A's Dolby Atmos height effects will set the bar (pun intended) for the soundbar market as a whole; it even claims that they will rival dedicated ceiling-mounted speakers, with a "truly dynamic" and "authentic" three-dimensional sound experience.

Yamaha has also included new True X wireless speakers with this package. They look like stretched versions of the existing surrounds included on the current True X system, which disappointingly means that they don't feature upward-firing drivers.

However, it looks like the height effect from the soundbar should handle this, so Yamaha ensures that we needn't worry.

The final piece of Yamaha's new sonic puzzle is a brand-new wireless subwoofer. It sports a patented symmetrical flare port design, with both the inlet and outlet ports sharing an identical shape.

They're connected to an internal plate that is integrated into the base of the sub, which allows for controlled airflow. Yamaha says it will deliver "powerful yet natural low-frequency reproduction", with minimised distortion and port noise.

The True X Surround 90A features a sleek design with a metal chassis and a built-in display; an appreciated addition, as we noted that the LED lights on the previous model were difficult to interpret at times.

It supports Dolby Atmos and DTS:X, and Yamaha claims that it's the first soundbar to support the Auro 3D immersive audio format. It also includes the Surround: AI soundfield optimisation technology, which is found on Yamaha's AVR lineup, which can analyse content in real time to deliver the most immersive sound.

Connectivity-wise, you'll find HDMI eARC and HDMI passthrough (Yamaha has yet to confirm the specifications of this HDMI out socket), as well as optical. Wireless streaming is possible via Yamaha's MusicCast platform, as well as Bluetooth and Apple AirPlay.

Pricing and availability are yet to be confirmed; however, Yamaha has provisionally priced the system at £2499 (US and Australian pricing to be confirmed) with a September release date in mind.

That puts it well above the likes of the Samsung HW-Q990F (£1699 / $1999 / AU$1999), and instead puts it more in line with the Sonos Arc Ultra Immersive set or Sony's Bravia Theatre Bar 9 with the optional subwoofer and surround speakers.

It's a competitive market, so Yamaha has its work cut out. However, with the promise of immersive cinematic sound and some serious pedigree behind it, the True X Surround 90A is shaping up to be an interesting addition to the soundbar market.

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Read our hands-on review of the new Yamaha True X Surround 90A

That Was Then... Yamaha YSP-1 review

Here are our picks for the best Dolby Atmos soundbars

Read our Samsung HW-Q990F review

Apple Music has been my go-to streaming service for the last ten years. I started using it as soon as the streaming service launched on 30th June 2015 – our original review (five stars) went live the following month – and I've not stopped using it since.

It helped that I already had a sizeable iTunes library, and figuring out how my downloaded and ripped files would behave when moving over to a streaming-first service was useful during our original review.

In fact, Apple Music remains the only product for which I've read the T&Cs in full – as Apple was tight-lipped about certain specifications (such as the bitrate songs were streamed at), and trawling through the fine print for additional information was necessary to discover them (answer: 256kbps AAC, during launch).

Apple Music's interface, excellent catalogue and integration with iOS devices, not to mention its very intuitive algorithm for music recommendations and expertly curated playlists, have kept me in good company for the last decade.

It sounds good, too. While Tidal sounds punchier and more detailed, and Qobuz offers greater clarity, I still find that Apple Music sounds, well, musical when played through headphones, wireless speakers and hi-fi streamers. It's clear, dynamic, well-balanced and sounds particularly natural and emotive with voices.

Since launch, Apple Music has grown swiftly to compete with streaming giant Spotify in catalogue (over 100 million) and it boasts 93 million paid subscribers, while – more importantly to us at What Hi-Fi? – it also made spatial audio mainstream and introduced 24-bit hi-res lossless tiers (from 48kHz to 192kHz sample rates) – at no extra cost.

In fact, while rival streaming services have increased their prices multiple times or have different pricing for different audio quality tiers, Apple Music has only implemented one significant price rise for its main individual tier. It started at £9.99 per month; it's now £10.99 per month.

I always reach for Apple Music when I'm listening on headphones or through Bluetooth speakers, especially when at home. At work, however, I tend to use Tidal Connect and Qobuz Connect – not just because of their better sound quality (which makes testing products easier), but also because the Connect version of those streaming services makes streaming to hi-fi kit so much easier, and I get to listen in hi-res quality.

Hi-res streaming has evolved – AirPlay needs to catch up

In fact, when Apple Music celebrated its 10th anniversary earlier this month, I was musing on what I'd like to see changed or improved about the platform. And I quickly realised that what I wanted wasn't anything to do with Apple Music itself, but with AirPlay. Indeed, this Apple wireless protocol is in serious need of an upgrade.

Streaming products are becoming more common these days, and the ability to stream in 24-bit hi-res quality is also becoming more widespread as music fans want better quality sound. It's not just wireless speakers that boast Bluetooth, AirPlay or internet radio; network music streamers from WiiM, Eversolo, Bluesound, Cambridge, all-in-one systems from Ruark, Naim and more do, too – and they now support Tidal Connect or Qobuz Connect, or both!

We use a Naim streamer in our hi-fi test rooms, while I use a WiiM Pro Plus in my home hi-fi system – being able to stream music from Qobuz/Tidal in hi-res quality over a network so easily, and without my phone's apps or notifications affecting the playback makes for a rewarding music listening experience.

AirPlay, in comparison, is lagging behind. AirPlay is already integrated into a huge number of third-party wireless speakers, streamers, music systems, AV receivers and more. Unlike many of Apple's iOS-only features that remain within its own ecosystem, AirPlay is widely available for all.

It's a shame, then, that it hasn't evolved into a Connect version that would allow Apple Music's subscribers to enjoy their library in a more streamlined and higher-quality way.

The most recent update, AirPlay 2, brought us multi-room playback, which was necessary for its HomePod speakers, but I hope upgrading AirPlay to a full Connect model is something Apple will consider in the near future.

A Connect version of AirPlay would elevate the Apple Music experience

AirPlay 2 is a wireless protocol that allows you to stream music (and video) content from your Apple device over your home network to supported products, and claims to deliver 16-bit/44.1kHz quality streams. It's a big step up, both technically and sonically, over super lossy Bluetooth.

Unlike other streaming apps, Apple doesn't allow for Apple Music to have integrated support in third-party hi-fi kit – so you have to rely on AirPlay to stream Apple Music tunes (especially from an iOS device; Android users can use Chromecast) in better-than-Bluetooth quality to your chosen hi-fi streamer.

(The one exception here is Eversolo, which allows you to download the Apple Music Android app directly onto its streamers, which allows you to play in full hi-res.)

However, with AirPlay, the songs streamed come via your smartphone or tablet rather than from the streaming service's servers in the cloud – so if you close the app on your phone, have a call coming in, or play a video, it will interrupt and affect playback.

In comparison, the Connect version for both Tidal and Qobuz sends music straight from their servers to the connected hi-fi product, leaving your phone free to be used as you wish and solely as a remote, with no interruptions affecting the playback. It's such a smoother experience.

This is the main upgrade I'd love to see implemented in the next iteration of AirPlay. It would make so much more sense and streamline the protocol's use when streaming my Apple Music library to hi-fi products.

Will we ever see full hi-res support over AirPlay?

The second update I'd still like to see is one that we've mentioned before. Apple Music's catalogue has songs in lossless hi-res (24-bit) quality, but there is still no way to wirelessly stream that quality, either to its own AirPods or, via AirPlay, to hi-fi or wireless systems.

Apple Music's hi-res files are in the ALAC lossless format (an alternative to FLAC). However, when streaming using AirPlay 2, this gets downsampled to the lossy AAC format (a Bluetooth standard) – which means at no point are you ever getting to enjoy the hi-res or even full CD-spec lossless quality that the 100+ million songs are available in from your Apple Music library.

You can still access it if you go wired all the way, with a DAC in between your Apple Music source and endpoint – but that defeats the point of a wireless ecosystem, and seems retrograde when hi-res wireless is now available more widely.

And while I can live with AAC quality when listening to my AirPods Pro over Bluetooth, I feel shortchanged when I'm streaming to a network player or wireless system – be it WiiM, Naim, Ruark or any other AirPlay-supporting kit – and I can't hear my well-curated Apple Music library and playlists in hi-res quality like I can with Qobuz Connect and Tidal Connect.

The advent of Qobuz Connect earlier this year made the difference all the more stark, and proved just how much a Connect version of AirPlay would bring

I understand that Apple wants to prioritise seamless connection and integration across its own devices and when using its own technology, and AirPlay does offer that with success, even if it's at the expense of dropping audio quality.

The majority of Apple users likely don't care about codecs or bitrates and would rather their products simply worked smoothly 100 per cent of the time. And I agree here, too.

As part of the smaller percentage who does also care very much about getting the best sound quality from your kit, however, I simply wish for better.

We at What Hi-Fi? are big fans of Apple's tuning and balance with its current audio products (AirPods Pro 2 and Max, HomePods, iPhones) – imagine how much better it could be if Apple pushed the needle even further and started to think about delivering true hi-res (and hi-fi) audio quality?

For those of us who use Apple Music as their main streaming source and would love to hear its full quality through our excellent hi-fi kit and catch up with rivals, we can only hope that Apple decides to get a little more audiophile when thinking about AirPlay 3, and delivers a fully Connect-style version as a proper upgrade.

Let's hope it appears before another decade passes for Apple Music, though!

MORE:

Read our full Apple Music review

What is AirPlay 2? How it works, and what speakers and devices support it

Qobuz Connect: what is it? Which products support it?

Even the best TVs will benefit from a dedicated audio upgrade in the form of one of the best soundbars. And if you're in the market for a premium Dolby Atmos model, the Marshall Heston 120 and Sonos Arc Ultra are likely to be on your shortlist.

In one corner, Marshall’s Heston 120 brings rock and roll heritage and distinctive styling to its first soundbar attempt. In the other, Sonos delivers its proven home audio excellence with the Arc Ultra. Both target the same premium territory, but their approaches to achieving audio supremacy couldn't be more different.

The Marshall emphasises visual impact and promises to be “the loudest thing for your TV”, drawing on decades of guitar amplifier expertise. Sonos counters with refined engineering, breakthrough Sound Motion technology, and the ecosystem integration that has made it a household name.

The question, then, is whether Marshall’s bold debut can challenge Sonos's established dominance. So, which one deserves the coveted spot under your TV? Let’s find out.

Marshall Heston 120 vs Sonos Arc Ultra: price

The Marshall Heston 120 commands £900 / $1000 / AU$1799, positioning it firmly in premium territory alongside established market leaders. This pricing reflects Marshall’s confidence in translating its amplifier heritage into the soundbar realm, though it represents a significant investment for the brand’s first attempt in this category.

Sonos prices the Arc Ultra at £999 / $999 / AU$1799, making it marginally more expensive in most markets. If you keep an eye out during sales events, though, chances are you’ll have a few opportunities throughout the year to grab the Arc Ultra at a discount.

Still, by being officially £99 cheaper in the UK, the Marshall Heston 120 just squeaks this round.

**Winner: Marshall Heston 120**

Marshall Heston 120 vs Sonos Arc Ultra: design and build

Marshall has crafted something refreshingly distinctive for a soundbar. The Heston 120's retro aesthetic draws heavily on the brand's amplifier heritage, featuring rotating metal knobs on the top surface that illuminate red when activated.

The removable woven paper grille, wrapped leather trims, and brushed metal panels create a textured, tactile experience that stands apart from typical soundbar uniformity, while three customisable buttons provide quick access to favourite playlists or radio stations.

Overall, the whole ensemble will feel right at home for any musician with a penchant for Marshall amps.

At 110cm in length, though, the Heston 120 demands a fair amount of space, and might overwhelm smaller setups. The unique styling, while appealing to Marshall enthusiasts, may not suit all tastes – especially if you would prefer your soundbar to blend in with its surroundings, rather than make a statement.

Sonos takes a more refined approach with the Arc Ultra, maintaining its minimalist perforated grille design. The subtle dimensional changes from its predecessor – slightly wider at 118cm but lower in height at 7.5cm – also reduce the likelihood of screen obstruction when it is placed in front of a television.

The rear ledge houses touch controls that were previously integrated into the main grille, creating cleaner front aesthetics while maintaining functionality.

Unlike many soundbar comparisons where the designs are similar, then, here we have two very different takes. Given that design is subjective and that both products nail their intended aesthetics, this round depends entirely on your personal preference (and/or available space).

**Winner: Draw**

Marshall Heston 120 vs Sonos Arc Ultra: features and connectivity

Marshall’s offering packs in a 5.1.2 speaker configuration with 11 drivers (four woofers, three tweeters, side-firing midrange drivers on each end, and two up-firing drivers), each driven by dedicated Class D amplifiers. Total power output is a claimed 150 watts.

Both Dolby Atmos and DTS:X support are present and accounted for, while connectivity options include HDMI eARC (for the connection to your TV) and a dedicated HDMI 2.1 input with 4K/120Hz passthrough capabilities for gamers. There is even RCA connectivity for hooking up a turntable, if you fancy.

Music streaming support encompasses Spotify Connect, Tidal Connect, Bluetooth 5.3, Google Cast, Apple AirPlay 2, and Airable internet radio.

Marshall's sustainability credentials deserve recognition, too, with the soundbar designed for easy repair through user-replaceable components. These include the fret, end caps, drivers, and circuit boards – a rare and commendable approach in the soundbar world.

The Heston 120’s physical knobs provide immediate access to volume, source selection, sound modes, bass, and treble adjustments, while the companion app handles more complex EQ modifications.

Four preset modes – Movie, Music, Voice or Night – cater to different uses, though the absence of a Standard or Direct option may disappoint purists. Room calibration employs built-in microphones, though the effectiveness varies depending on your listening environment.

The Sonos Arc Ultra has more speakers than its newer Marshall rival, with 14 custom-engineered drivers powered by 15 Class D amplifiers in a 9.1.4-channel configuration.

The company’s Sound Motion woofer technology makes the headlines. It uses four lightweight motors in opposing corners instead of a single heavy unit to generate enhanced bass response while maintaining compact dimensions. The dual-cone design moves in opposite directions to create force-cancelling effects that help to eliminate mechanical vibration.

However, Sonos makes notable omissions that may frustrate some users. The Arc Ultra lacks DTS support entirely, limiting spatial audio to Dolby Atmos content only.

Perhaps more significantly, the absence of dedicated HDMI inputs forces all sources through the television's eARC connection, potentially creating bottlenecks for users with multiple high-specification gaming devices and limited HDMI 2.1 ports.

The Arc Ultra's strength lies in its ecosystem integration and calibration. Trueplay room correction offers both Quick (using the soundbar's own microphones) and Advanced options, with Android compatibility making for a welcome addition to the previous iOS-only ability.

Voice control supports Sonos's proprietary system alongside Amazon Alexa and Google Assistant – with Sonos Voice Control and Alexa capable of simultaneous operation for different functions.

Features such as Night mode and Speech Enhancement with adjustable intensity levels provide granular customisation options.

**Winner: Marshall Heston 120**

Marshall Heston 120 vs Sonos Arc Ultra: sound

While the Heston 120 wins out in the features department, thanks to its superior format support and connectivity options, inevitably, it is the sound that matters most when buying a soundbar.

On that front, the Marshall's audio delivery reveals both strengths and significant limitations that unfortunately undermine its premium positioning.

The Heston 120 excels in dialogue clarity, maintaining vocal intelligibility even during intense action sequences. Low-level dynamic subtlety ensures voices retain emotional resonance, while the overall tonal balance demonstrates coherent integration between treble, midrange, and bass frequencies.

However, critical weaknesses emerge under demanding conditions. The treble response can become harsh and irritating, with noticeable sibilance affecting speech reproduction. This is particularly evident during dramatic dialogue sequences.

While the Heston 120 produces substantial bass quantities, the low-end lacks extension and tonal flexibility, offering rhythm but minimal nuance in bass reproduction.

The most significant shortcoming, though, lies in dynamic expression and impact delivery. Large-scale volume shifts that should create dramatic tension instead sound flat and underwhelming. This limitation extends to effects that demand punch and solidity – explosions, gunfire, and impacts sound soft and limp rather than exciting and visceral.

The Dolby Atmos implementation proves particularly disappointing as well, confining sound to the television's immediate vicinity rather than creating the immersive, room-filling experience that premium Atmos systems deliver.

Music reproduction is a similar story, with the same dynamic and definition limitations affecting all content types. Vocals emerge clearly, but sound separated from instrumentation, which appears pushed back and cluttered, rather than integrated into a cohesive soundstage.

It’s these hurdles that prevent the Heston 120 from earning more than three stars in our review.

As for the Arc Ultra, it picked up its five-star score thanks to its superior execution across the board. Sonos’s Sound Motion technology, for a start, delivers improved bass response, characterised by improved tonality, agility, and control.

Bass notes exhibit greater force and precision while maintaining tunefulness that makes competing products sound leaden and one-dimensional.

The Arc Ultra's spatial audio capabilities also represent a clear advancement over both its predecessor and most competitors.

Sound-effect placement is remarkably accurate for a solo soundbar, with audio elements appearing to emanate from specific locations throughout the listening environment, rather than merely extending beyond the television's boundaries. Rain effects stretch across the ceiling, voices emerge from above the listening position, and ambient sounds move convincingly through three-dimensional space.

Detail retrieval and dynamic subtlety further distinguish the Arc Ultra's performance. Incidental sounds contribute to atmospheric realism without becoming distracting, while the soundbar handles both micro-dynamics and large-scale volume changes with equal competence.

The overall presentation exhibits increased precision, crispness, and spatial organisation that maintains clarity even during complex, multi-layered sequences.

Musical performance showcases the Arc Ultra’s versatility, too, where it delivers the rhythmic precision and tonal accuracy that has established Sonos’s reputation in multi-room audio applications.

The integration between frequency ranges creates cohesive, engaging reproduction that translates across diverse musical genres effectively.

**Winner: Sonos Arc Ultra**

Marshall Heston 120 vs Sonos Arc Ultra: verdict

The Marshall Heston 120 is an ambitious but ultimately flawed debut in the premium soundbar category. While its distinctive design will appeal to brand enthusiasts and those seeking visual uniqueness, the audio performance falls significantly short of expectations at this price point.

The fundamental issues with dynamic expression, spatial-audio implementation, and overall engagement prevent recommendation despite the clear dialogue reproduction and attractive build quality.

Marshall’s inclusion of DTS:X support and a dedicated HDMI input provides practical advantages over the Sonos, but these connectivity benefits can’t make up for its substantial sonic limitations.

Sonos, meanwhile, delivers a comprehensively superior product with the Arc Ultra, justifying its premium positioning through genuine technological innovation and proven performance excellence. The Sound Motion technology, combined with its spatial-audio capabilities, provides an immersive experience that defines successful Dolby Atmos implementation.

The Arc Ultra's limitations – primarily the absence of DTS support and dedicated HDMI inputs – represent practical compromises rather than fundamental performance flaws.

For users whose source devices and content libraries align with Sonos’s format support, these limitations should be manageable, especially considering the audio quality on offer.

**Overall winner: Sonos Arc Ultra**

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US hi-fi manufacturer Cary Audio has unveiled its latest streaming amplifier, the DMS-300A. Adding to the brand's established DMS range, the high-end streaming amp promises to "bring the best of both worlds together" – streaming and amplification – in a "sleek, powerful package".

The DMS-300A offers 75 watts per channel of Class A/B amplification into 8 ohms. Designed and manufactured in the United States, the new unit promises to deliver a "rich, dynamic sound" with plenty of musical realism.

In terms of its streaming capabilities, the DMS-300A is capable of handling hi-res PCM files up to 32-bit/768kHz, as well as DSD512.

It is also compatible with a wide variety of streaming services and platforms. Qobuz Connect, Tidal Connect and Spotify Connect are all supported, along with Apple AirPlay and Bluetooth with aptX codec support.

The high-end streaming amp has UPnP and DLNA compatibility, meaning it will be able to access your digital music files stored on NAS drives or laptops on the same network.

It also has Roon Ready certification.

In terms of physical connectivity options, the new streaming amp offers coaxial and optical digital outputs, as well as coaxial and optical inputs and three USB-A ports. Three line-level inputs and a 3.5mm stereo jack are also available.

The Cary Audio DMS-300A is available now in either black or silver finishes, priced at $5995 (further prices and availability pending).

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Marshall made its name with its rock and roll guitar amps, and the British brand has also been making wireless headphones and Bluetooth speakers for quite some time.

The Marshall Heston 120 is, however, its first soundbar.

As well as rocking classic Marshall styling, the Heston 120 has a 5.1.2 speaker configuration and supports both Dolby Atmos and DTS:X. It’s also being marketed by Marshall as “the loudest thing for your TV”. A bold statement indeed.

But how does the new soundbar actually perform?

Price

The Marshall Heston 120 costs £900 / $1000 / AU$1799.

That puts it firmly at the upper end of the market and in direct competition with five-star favourites such as the Sonos Arc Ultra (999 / $999 / AU$1799) and the Sony Bravia Theatre Bar 9.

The Bar 9 launched at the higher price of £1399 / $1400 / AU$1795, but we have seen regular drops that bring it down to a price more comparable with the Heston 120’s.

The quality of these Dolby Atmos soundbars ensures there’s some stiff competition for Marshall’s first soundbar.

Build

Soundbars have a tendency to look quite dull. And we get it, it’s hard to make a black or white rectangular bar look jazzy.

Marshall has made its model stand out with a retro design in keeping with its other products. The rotating metal knobs on the top, for example, certainly take a page from Marshall’s amp designs.

These knobs allow you to adjust the volume, source, sound mode, bass and treble. They even illuminate red when you interact with them, with a more solid colouring on the selected setting.

There are also three buttons that can be customised for super-quick access to your favourite playlists or radio stations.

At the front of the soundbar, there is a removable grille made from sturdy woven paper. The body consists of wrapped leather trims and a brushed metal panel.

It might not be to everyone’s taste, but the textured feel and light-up display do certainly make it a unique proposition.

The only thing to be aware of is that it has quite a long design, as the soundbar measures 110cm in length.

That means you will need a full rack to accommodate its size. For those on the hunt for a smaller bar, Marshall has said that a more petite model will be released later in the year – the Heston 60.

Under the hood, there are five full-range drivers, two tweeters, two mid-woofers and two subwoofer units.

Three of the full-range drivers are positioned at the front of the soundbar, leaving the remaining two at either end in order to fire the sound sideways. The tweeters and mid-woofers are upwards firing.

That leaves the rectangular bass drivers facing forward towards the listener, with four passive radiators around the back to boost the lower frequencies.

On a sustainability note, the soundbar is designed so that it can be repaired easily. That includes being able to unscrew and replace the fret, end caps, drivers and circuit boards.

This is a rare and positive sight on a soundbar. The only other recent soundbar we can think of with a similar repair-focused design is the premium Bang & Olufsen Beosound Theatre.

Features

Each driver is powered by a dedicated Class D amplifier, giving a peak power output of 150W for the 5.1.2 bar. For comparison, the Sonos Arc Ultra has 14 drivers, 15 Class D amplifiers and a 9.1.4-channel configuration – though Sonos doesn’t quote a peak power output.

Of course, it’s not the number of drivers of amplifiers that matters – it’s what you do with them.

Unlike the Sonos Arc Ultra, the Marshall Heston 120 supports DTS:X as well as Dolby Atmos, which will be a big deal to a fairly small portion of hardcore home cinema fans.

In the music streaming department, the Marshall supports Spotify Connect and Tidal Connect, plus Bluetooth 5.3, Google Cast, Apple AirPlay 2 and Airable internet radio.

There is HDMI eARC for connection to your TV, plus a dedicated HDMI input, which is something the Sonos Arc Ultra doesn’t have. The Marshall will even pass through 4K/120Hz signals, which will be music to the ears of hardcore gamers with precious few HDMI 2.1 sockets on their TVs.

The Marshall Heston 120 doesn’t come with a remote, but you can of course control volume through your TV’s remote, and there is, inevitably, a companion app.

Through this app you can control everything from volume to EQ. The app is easy to set up and provides a simple selection of menu options.

On the home page (or via the button on the top), you can switch between the Heston 120’s different EQ modes: Movie, Music, Voice and Night. It’s worth noting there’s no Standard or Direct option here.

Movie mode widens the soundstage while keeping the midrange central, whereas Music narrows the sound to make the vocals more direct.

Voice works to highlight the dialogue, and Night compresses the dynamic range and reduces bass so as not to disturb others in your household (or your neighbours, if you’re really cranking the volume).

You can fine-tune the EQ in Movie and Music, and the other modes offer the option to adjust the intensity of the setting.

Through the app you can also calibrate the soundbar to the room using its built-in microphones.

The changes in our dedicated test room are minor, but in the less ideal conditions of a typical living room, they could be more pronounced. It’s certainly worth going through the simple process to find out.

Sound

After a thorough running-in period, we begin our testing in earnest, using an array of Dolby Atmos movies that include Civil War, Blade Runner 2049, Dune: Part Two and more.

As you would very much expect, the soundbar is a huge improvement on the sound you get from a TV, with far greater weight, body and spaciousness. It’s not, however, in the same league as the very best soundbars in this class, particularly the Sonos Arc Ultra with which we compare it.

That isn’t to say that this Marshall doesn’t have some strengths. The clarity and detail with which it delivers dialogue are impressive indeed. No matter how intense and wild the action becomes during the climactic battle of Civil War, the Heston 120 ensures that the characters’ voices emerge clearly.

There’s decent low-level dynamic subtlety, too, which ensures that these voices also retain their intended emotional resonance.

Broadly speaking, there’s good tonal balance and cohesiveness here, with the treble, midrange and bass merging fluidly.

But there are issues, too. The treble can be provoked into brightness that irritates the ears, and there’s a sibilance that draws out the ‘s’ sound in voices, most notably Austin Butler’s Feyd-Rautha in Dune: Part 2.

And while the Heston 120 produces plenty of bass, it doesn’t extend as deeply as we would like and doesn’t have the tonal flexibility of the best. There’s rhythm to the bass notes, but not a lot of nuance.

The bigger issue, though, is that the Marshall Heston 120 isn’t particularly engaging to listen to. There are two main reasons for this: a lack of dynamics and a lack of punch.

As we said, low-level dynamics are decent, but bigger shifts in volume are poorly handled. Just when we’re expecting a big, dramatic shift – a sandworm bursting through the dunes, for example – we’re left disappointed by the flatness of the Marshall’s delivery.

It’s a soundbar that is capable of going quite loud, but it doesn’t seem either willing or able to produce the volume changes necessary to deliver real drama. In fact, we even wondered if Night mode had been activated inadvertently (it hadn’t).

And while the soundbar is relatively rhythmic, there’s a lack of solidity to the leading edge of notes, so effects that should be exciting and impactful (the gunfire and explosions in Civil War, for example) end up sounding a bit soft and limp.

The final flaw in the Marshall soundbar’s performance is its underwhelming Dolby Atmos delivery.

The Atmos sound stretches beyond the extremes of the partnering TV, of course, but not very far. The whole presentation is confined to the far wall of the room, not stretching out towards the listening position, let alone above it.

This gives the whole presentation a rather distant feel, and while truly room-filling sound is almost impossible to get from a solo soundbar, rivals such as the Sonos Arc Ultra have a much better stab at it – and make the Marshall sound very confined in comparison.

As a helicopter hovers above the main characters, it should sound as if it’s directly above the listener. From the Marshall, it sounds as if it’s hovering just three or four feet above the top edge of the TV.

Does the Marshall Heston 120 perform better with music? Not particularly.

Despite the change in preset from Movie to Music, the same broad traits remain, and everything we play, including Hammer by Lorde, Trials Of The Past by SBTRKT and Invincible by Tool, suffers from the soundbar’s lack of dynamic expression and definition.

Like the dialogue in movies, the vocals in music are presented with good clarity and detail. Unfortunately, they’re left sounding separate from the rest of the track, with the instrumentation pushed to the background, where it sounds rather cluttered and soft.

Verdict

The Marshall Heston 120 is certainly an improvement on any TV’s speakers, producing a weighty sound and clear dialogue. That’s really the very least we expect from a soundbar, though, particularly one in this price range.

Ultimately, the Heston 120 commits one of the cardinal sins of home audio – it sounds lifeless.

A lack of dynamics and punch means those big movie moments sound flat and soft, and the disappointing Dolby Atmos doesn’t surround you in sound the way the best soundbars do.

The unique design is nice and will draw the eye of many a musician, but there are much better soundbars available for the same money.

SCORES

• Sound 3
• Features 5
• Build 4

MORE:

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The five-star Sennheiser Ambeo Soundbar Max has been our favourite premium soundbar since we tested it back in 2019, when it earned a What Hi-Fi? Award for its overall excellent performance. Fast forward to 2025, and it has remained on that esteemed list ever since.

However a new player has entered the scene that could well trump the Sennheiser – and anyone familiar with the world of hi-fi should recognise the name.

The KEF XIO directly challenges our long-time favourite with a similar specification sheet in a smaller package. Can the Ambeo Soundbar Max hold its own against this newcomer? Let's find out.

KEF XIO vs Sennheiser Ambeo Soundbar Max: price

The XIO launched at £1999 / $2500 / AU$3600. It is still early days for the product, but we are hoping to see its price drop during sales events such as Black Friday.

Higher up the price ladder is the Sennheiser Ambeo Soundbar Max which was first released at £2199 / $2500 / AU$4000.

Since its launch, we have seen that price drop to as low as £1549 in the occasional sale. It is now regularly available for £1999 in the UK, placing it in direct competition with the KEF.

**Winner: draw**

KEF XIO vs Sennheiser Ambeo Soundbar Max: build

Both soundbars take very different approaches when it comes to their design.

The Sennheiser Ambeo Soundbar Max is quite the beast, weighing in at 18.5kg. The brand has opted for this beefy build to negate the need for an external subwoofer, instead favouring large drivers capable of covering a far more significant portion of the frequency range.

Because of its size, the Ambeo will inevitably block a few inches of the bottom of your TV screen if placed in front (unless you raise your telly of course), so it is best enjoyed wall-mounted. It's worth considering if this is something you think would work for you, and finding the perfect positioning can be a bit of a tricky task.

Still, once it is set up, the soundbar is quite straightforward to use. It has a screen display on the front of the 'bar, which is handy for knowing at a glance what EQ mode has been selected.

The KEF comes in a sleeker package with relatively compact dimensions. You can wall-mount the soundbar or keep it flat on a table, so it is rather more flexible than the Sennheiser.

The differences continue under the hood. With the XIO, there are six Uni-Q MX drivers, three of which are on the top of the soundbar for upward-firing sound when the 'bar is placed on a stand under the TV, but with the central unit unemployed in that orientation. The rest are facing forward.

When the soundbar is wall mounted, though, it intelligently deciphers which position it has been placed in and redesignates the drivers. So what were the upward-firing drivers now take on the role of the left and right channels, with the previously unused middle unit taking on the vital centre-channel role.

There's no display with the XIO, which can make it difficult to tell what setting has been selected. Overall, though, the KEF's sleeker design and enhanced flexibility when it comes to placement mean it beats the Sennheiser in this category.

**Winner: KEF XIO**

KEF XIO vs Sennheiser Ambeo Soundbar Max: features

One negative of the KEF XIO when it comes to physical connections is that it does not have an HDMI passthrough, instead including only HDMI eARC and optical.

The Sennheiser Ambeo Soundbar Max boasts three HDMI 2.0 inputs and one HDMI 2.1 port, which supports eARC, meaning it can handle Dolby Atmos in its lossless True HD format.

While these ports aren't capable of delivering next-gen gaming features such as VRR and ALLM, they can pass through signals from external sources in 4K HDR, including Dolby Vision.

That's a big positive for those looking to wire up all their connections through the soundbar instead of the TV.

Both models have an app to customise your listening experience and have Bluetooth connectivity. The XIO uses the KEF Connect app, where you can calibrate the soundbar to the room, switch to different EQ sound profiles and use the various streaming services.

The Sennheiser Smart Control app also offers "a dizzying number of sound personalisation options", as we say in our review. When we tested it, we did find that the Smart Control app was a bit clunky to navigate.

It also includes a microphone in the box, which allows for a simple automatic room calibration setup – something the KEF does not feature.

All the big hitters in audio format support are included with both 'bars, including Dolby Atmos, DTS:X, and Sony 360 Audio.

The same can be said in terms of music streaming support, although there are a few differences here. Apple AirPlay 2 and Google Cast are available on the Ambeo but not the XIO.

Both soundbars also support Spotify Connect and Tidal Connect. KEF's model does, however, offer more options with Deezer, Qobuz and Amazon Music all on the cards.

The lack of physical connections on the XIO here means that the Sennheiser Ambeo Soundbar Max must take the crown for features.

*Winner: Sennheiser Ambeo Soundbar Max**

KEF XIO vs Sennheiser Ambeo Soundbar Max: sound

Now for the main event. When we tested the Sennheiser model, we were immediately blown away by its floor-shaking bass yet overall balanced sonic performance.

While watching Unbroken, for example, we find that the Ambeo provides a "brilliant, focused build up as the plane approaches, then a huge, room-filling zoom as it flies by."

The quality of dialogue is not sacrificed, either. Voices feel natural and weighty, with the bass frequencies helping to flesh them out.

With the XIO, we get a more transparent listening experience, as each frequency is clear and unconfused. It does not reach the same weight of bass as the Sennheiser, but we find during testing that this is not so much of a problem.

We comment in our review: "The KEF counters with more clarity, greater precision in the way sounds are rendered and notably more finesse in the way low-level dynamics are delivered. It’s the more transparent performer, and it ultimately gives us greater insight into the soundtrack being played."

Moving on to their performance with music, the Sennheiser Ambeo Soundbar Max manages to portray a coherent and warm sound. When listening to The Two of Us by The Beatles through Tidal, we say it is not the "snappiest speaker we have heard" but does still manage a "rhythmically astute" performance.

The XIO, on the other hand, impresses us just as much with music as it does with films. KEF's entry captures the excitement of the music more than the Sennheiser, with a brilliant musicality.

In fact, we say that it can "easily serve as a standalone music system, which is more than we can say for the vast majority of soundbars that come our way."

Because of the XIO's excellently expressive performance and coherent meld of frequencies, it's a no-brainer for this category.

**Winner: KEF XIO**

KEF XIO vs Sennheiser Ambeo Soundbar Max: verdict

Even though these soundbars will cost you the same price now, there are quite a few differences in terms of the audio quality they offer.

Where the Sennheiser is a brilliant performer with a bass-heavy but overall balanced sound, the KEF XIO provides such an easy listening-experience as both a home cinema and a standalone music system.

The XIO's lack of physical connections may be a drawback, but it more than makes up for it with its compact design and overall sound quality.

**Overall winner: KEF XIO**

MORE:

Read the full review of the Sennheiser Ambeo Soundbar Max

And here's our in-depth look at the KEF XIO

These are the best Dolby Atmos soundbars right now

Network transports are having a bit of a moment. It is widely understood that music streamers integrate a DAC – but what if you already have a perfectly good (or very good indeed) DAC in your hi-fi system chain and just want to add streaming powers without doubling up?

That's where a network transport, also referred to as a streaming transport or network streaming bridge, comes in. We've recently tested the Lumin U2 Mini and Lindeman Limetree Bridge II to great five-star success, and high-end streaming specialist Lumin has just announced a new flagship network transport in the form of the U2X.

Featuring key technologies derived from the company's flagship X1 streamer, the new U2X promises to "meet the demands of audiophiles seeking pristine sound quality and seamless functionality".

The U2X supposedly delivers a "significant boost" in processing power over its predecessor (U1X) thanks to its use of its most advanced, high-speed System-on-Chip processor, which was launched in 2022.

This allows for better real-time handling of high-resolution files and enhanced upsampling, as well as future-proofing.

Also included is a high-precision 10MHz clock, which allows the U2X to be used as either a master or slave clock through its 10MHz single input and two outputs.

This unusual feature (at this price level) is useful if your system includes external master clocks or multiple digital devices that require precise synchronisation, allowing one unit to dictate the timing for the other units.

Lumin says this helps to "enhance audio accuracy and fidelity," as well as minimise jitter by ensuring all devices are working with a consistent timing reference.

The Lumin U2X's file support is extensive: it supports up to 32-bit/768kHz hi-res PCM audio files and native DSD512 playback, alongside DSD256 up/down sampling; even MQA files are on the menu.

Thanks to UPnP compatibility, the U2X can access your digital audio library stored locally on connected NAS drives. Streaming features include support for Tidal Connect, Qobuz Connect, Spotify Connect and KKBOX, as well as TuneIn internet radio and AirPlay. It is also Roon Ready and Audirvana certified.

In terms of digital outputs, the Lumin U2X offers a single optical, two coaxial (RCA and BNC sockets) and AES-EBU connections. Standard Ethernet and optical fibre network ports are available.

One of the three available USB ports is isolated from the noisy network, while the other two are free for music storage.

All streaming features and connected music libraries can be managed by the comprehensive Lumin app, which has also been updated to offer simpler view options on your smart device.

As with Lumin's other flagships, the U2X and its accompanying external power supply are housed in a chassis that is CNC-machined from a solid block of aluminium, with thick walls that provide ultimate rigidity and isolation from unwanted interference.

The low-noise external supply separates the digital processing elements from the analogue components, while also maintaining a clean signal path for 'optimal' sonic performance.

The Lumin U2X is available from August, priced at £8995 / $9990 / AU$18,200.

MORE:

Read our Lumin U2 Mini review

We asked hi-fi engineers what makes a music streamer sound great – and it's about much more than just chipsets

Best DACs 2025: USB, desktop and portable digital-to-analogue converters

I started my Amazon Prime Day reporting with one of the best soundbar deals of all time, with the Sonos Arc dropping to a new all-time low price.

At £529, I was astounded by how cheap the Award-winning Dolby Atmos soundbar was, and I couldn't possibly see it get any cheaper.

Well, I was wrong, because the Sonos Arc has dropped to its new lowest ever price, and it's comfortably under £500.

At £489 on Amazon, the Arc is an absolute bargain; that's a further £40 saving on the previous lowest price from a couple of days ago.

No other retailer that we can see is offering this five-star soundbar at this price, and with a deal this good, we'd recommend snapping it up while there is still stock available.

Before we continue, we should mention that this deal is, for some unknown reason, only available on the white model.

However, the colour of your soundbar won't affect the sound quality, so we still think it's well worth highlighting this deal.

The Arc remains a benchmark 'bar, thanks to its excellent sound, delivering a convincing Dolby Atmos performance thanks to its considered handling of height effects.

It also provides a detailed, controlled and refined sound with plenty of weight and authority.

It's been the undoing of many premium Dolby Atmos soundbars that have entered our AV testing facility, and at this price, it's an even bigger threat to the likes of the Sony Bravia Theatre Bar 9 and Sennheiser Ambeo Soundbar Plus.

It fits in nicely with Sonos' wider ecosystem, meaning you can tie it into an existing Sonos multiroom system.

Furthermore, you can link it to a pair of Era 100 or Era 300 speakers and a Sonos Sub for a full Dolby Atmos surround sound speaker system.

It's also compatible with the Sonos app, which may be good or bad news depending on where you stand on the state of the app. It's faced some challenges, with recent updates being quite controversial.

That being said, the Arc still supports a wide range of wireless streaming options, including Apple AirPlay, Spotify Connect and Tidal Connect.

At £489, the Arc is a sensational soundbar with a clear, dynamic, and controlled sound that will easily enhance any movie night at home. Snag the Sonos Arc (in white) at its lowest-ever price from Amazon now.

MORE:

Find more home cinema deals on Amazon this Prime Day

More great TV deals to be had at Richer Sounds

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Suppose you're happy with your non-streaming stereo system but would like to listen to Spotify (or another service) on occasion without having to add another full-width box to the mix?

Did you know that you can easily and affordably bless it with such streaming skills simply by connecting a streamer the size of a stack of cup coasters and the price of your internet bill (or a downpayment on a tomb, according to Google's AI Overview, via the New Statesman, of 'what generally costs £70').

One such streamer in this niche market is the WiiM Mini, which can be picked up with a 22 per cent discount this week.

• In the UK, the WiiM Mini costs £69 at Sevenoaks, Richer Sounds, Peter Tyson (or £71.20 at Amazon).
• In the US, the WiiM Mini costs $71.20 at Amazon.

This deal will end on Friday (so says the Richer Sounds website anyway), in line with the end of the Amazon Prime Day sale.

This compact, puck-shaped streamer simply plugs into stereo systems or powered speakers to make them streaming savvy, giving them AirPlay 2, Spotify Connect, Tidal Connect, Amazon Music Cast and other streaming protocols.

It is essentially a gateway to your favourite streaming services, online radio stations, and music from your phone, laptop or NAS server.

Our expert reviews team hasn't actually tested this WiiM Mini streamer, but we have reviewed the model-up WiiM Pro Plus, which impressed us enough to win a What Hi-Fi? Award in October and was enjoying a generous Prime Day discount itself... before stock sold out.

The Pro Plus's success, and that of other WiiM streamers we have also tested since and can recommend, goes some way to vouch for the Mini model. For one, our experience of the WiiM's intuitive control app and simple operation also bodes well for the Mini's usability too.

And while we cannot vouch for the sound quality of the miniature, entry-level streamer, we can only hope it follows in its sibling's footsteps. Its 4.6/5 rating from 4000+ global Amazon reviews is certainly encouraging.

Also, while the Mini model will undoubtedly (and expectedly) sound poorer than its notably pricier streamer siblings, it does actually sport a feature that its newest family members go without: AirPlay 2.

For the uninitiated, AirPlay 2 support allows iOS/PadOS users to stream their music from their phone or iPad through to the WiiM Mini and the audio system it is connected to (via your choice of USB Type-C, 3.5mm aux or SPDIF Toslink).

If you own a more sophisticated audio system that you would like to stream music through regularly, we would recommend looking considerably higher up the best music streamer market than any of the budget WiiMs.

But for modest setups or occasional use, the WiiM could well smarten it up just fine. For £69 / $71.20, we would say it's worth a punt for curious souls, wouldn't you?

MORE:

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The Canvas HiFi is a home cinema anomaly. Is it a soundbar? Sort of. Is it a two-channel hi-fi system? Yes, but also no. It’s actually easier to affirm what the Canvas isn’t.

It’s not a Dolby Atmos soundbar, which might surprise you, considering it's designed to attach to your TV to produce cinematic sound.

It’s also not really a soundbar at all if we’re speaking in the traditional sense, as it’s designed for your TV to be mounted directly onto it.

While that might be a dealbreaker for some, especially the mainstream crowd, we find that this oddity in the world of home cinema audio is rather charming.

It also teaches us an important lesson: you don’t need a shedload of processing to create a cinematic sound experience.

Price

We have Canvas HiFi's Canvas 65 model, which is officially priced at a rather ambitious £2899 / $4999 / AU$5999. This is, unquestionably, a premium product, and the price tag should confirm that.

If you’re after a Canvas to fit your 55-inch TV, then you can expect to pay the same price, though owners of a 77-inch TV should expect to cough up £2999. Those lucky enough to have an 83-inch TV, meanwhile, will need to fork out a whopping £3299.

It’s worth noting that the speaker system itself is the same size regardless; however, the grilles are different sizes to match your TV.

That means if you upgrade from a 55-inch TV to a 65- or 77-inch TV, you won't need to replace your whole system. Instead, just grab a new grille and everything will match up smoothly.

If you’re looking for competition in this price range, you’ll need to skip the usual soundbar suspects – such as Sonos, Sony and Samsung – and set your sights a little higher towards the likes of Bang & Olufsen’s £2300 Beosound Stage. We haven’t reviewed it, but its design-centric, premium standing aligns with the Canvas in some ways.

For a more conventional soundbar solution, the Sennheiser Ambeo Max is your best bet. That beast of a bar generally retails for £2199, however, it’s been on the market for a handful of years, so you’ll find it for closer to £1999.

Loose comparisons aside, it’s hard to directly relate the Canvas to anything in the soundbar category. In truth, it feels more closely related to a set of stereo speakers, though that involves pricing up an amplifier, plus having trailing cables and dealing with a lengthy set-up process.

Build

While the design of any soundbar is an important factor, arguably it’s a bigger deal when it comes to the Canvas Hifi, as it serves as a stylish companion to your TV while also upgrading the sound.

We have the Canvas set up in the floorstanding orientation, with a Sony Bravia 8 OLED TV affixed to the top, and can confirm that this duo looks rather suave. It creates a monolithic, freestanding look, with the included black fabric grille creating a seamless all-in-one aesthetic.

There are a couple of things to note, however. Set-up is quite involved, with multiple boxes and an Ikea-style guide that gets the job done, but could be more descriptive.

The guides to get your TV into position without leaving a gap are more like suggestions, but we managed to get the Canvas set up properly after a small amount of trial and error.

Note, you will certainly need at least two people to set the Canvas up, and we can’t comment on the wall-mounting process, though the parts required for that are included in the box.

Also included with the Canvas HiFi is a basic black fabric cover, which can be affixed easily thanks to magnets. Other fascias are available, and we gravitate towards a stunning light oak panel, which features a slatted wooden design.

Be warned, though, that these additional covers are extraordinarily pricey, with that aforementioned wooden option costing a cool £1199. Fabric grilles, on the other hand, will run you £499, though these prices increase in relation to the size of your TV.

There are a couple of other niggles we have with the Canvas’ design.

First and foremost, the cubbyhole for the power and HDMI sockets is a bit too small, meaning plugging the system in can be a bit awkward, especially if you have a rigid HDMI cable.

Furthermore, the free-standing set-up does mean that the TV leans backwards slightly, as the feet on the bottom of the system are designed to angle the sound upwards.

We get that this has been done for the sake of sound performance, but be wary of placing your Canvas HiFi and TV in a place with either lots of ambient light or right under an indoor light, as the angle can result in noticeable reflections on your screen.

Features

Here is where we’d usually list an exhaustive reel of features, including sound formats, calibration settings and the like. However, the Canvas HiFi is a surprising subversion of the premium soundbar market, as it doesn’t have quite so many gimmicks attached.

Let's start with the most important feature: the drivers. They’re hard to miss with the front cover detached, as they dwarf anything seen in the likes of the Sonos Arc Ultra or even the behemoth that is the Sennheiser Ambeo Max.

Within the MDF cabinet, which is supported by Canvas’s patented BridgeBrace technology for extra rigidity, you’ll find three pairs of drivers, all provided by high-end driver manufacturer SB Acoustics.

There is a pair of 16.5cm paper cone mid/bass drivers housed in die-cast aluminium chassis, dual 29mm silk dome tweeters with aluminium front plate waveguides, and, last but not least, a pair of low-loss, high precision passive radiators.

Powering these beefy speaker units are quad Class D amplifiers pumping out 250W of power each; that’s a total of 1000W of amplification. These are paired with Burr-Brown DACs, which support up to 24-Bit/192kHz digital signals.

The Canvas HiFi, therefore, rightfully takes the title of “most hi-fi soundbar to enter our testing room”; the clue is in the title, we suppose.

While the sheer magnitude of the drivers and amplification is undoubtedly rather impressive, the software is where the Canvas is let down slightly.

Frustratingly, there is no remote in the box; not the end of the world, as HDMI CEC handles volume adjustment, but to access the other inputs and calibration settings, you’ll need to use the Canvas app on a smartphone.

Specifically, an iPhone, if we’re being honest, as, while an Android app does exist, it’s borderline unusable. Room correction only works with an iPhone’s built-in microphone, and the wi-fi set-up crashed repeatedly on our Samsung Galaxy S25 Ultra.

Switching to an iPhone 16, we had less trouble setting the system up, but we wouldn’t call the app smooth.

Canvas does have an app update launching in the near future, which hopefully will clear some things up. Saying that, the current state of the app, which is required for a lot of the Canvas HiFi’s functions, is in a bit of a sorry state.

It does allow for a handful of basic functions, including a basic room correction feature (more on that in the sound section), as well as a way to turn the Bacch 3D sound processing – the only audio processing option on offer – on and off. You can still calibrate the system with an optional Zen microphone, although it's a substantial accessory, cost-wise.

Thankfully, for playing music, you can bypass the Canvas app and cast directly to the bar with Google Cast, Apple AirPlay 2, Spotify Connect, Tidal Connect and Roon. Canvas also says it can be integrated into a range of multi-room set-ups from companies such as Sonos, Bose, HEOS and more via the optical Toslink connection.

Sound

The Canvas’ proposition, if it wasn’t clear by now, is all about offering a hi-fi-level cinematic sound. So does it deliver on this promise? We certainly think so.

We’ve paired the Canvas HiFi with our Sony Bravia 8 reference TV, our Oppo UDP-203 4K Blu-ray player, as well as a range of reference discs including Dune: Part Two, Civil War and Blade Runner 2049.

Before we get stuck into sound performance, we should discuss our preferred settings, as although there aren’t many to choose from, we do make an immediate discovery.

To our ears, the Canvas sounds best with room correction and Bacch 3D processing switched off; this sort of makes sense when we remember that it's a stereo product.

One setting we do switch on, however, is the HDMI volume boost feature. Without it, the Canvas sounds quiet, and needs to be turned up to quite a high volume in order to reach its full potential.

When turned up too high, it can sound strained, so this feature helps to level things out by introducing a 10dB volume boost, allowing the Canvas to deliver punchy, cinematic audio without losing nuance or focus.

It’s designed to compensate for lower volume outputs from built-in streaming apps. However, we find it improves the experience across the board.

Leaving the Canvas HiFi in its natural state, we’re immediately floored by how crisp and natural it sounds. Detail levels are exceptional, with the clattering of helicopter blades in Civil War sounding textured and precise.

Voices are another highlight, as the conversation between Officer K and Joi in the bleak sci-fi apartment in Blade Runner 2049 sounds wonderfully authentic and emotive, and they’re underpinned with a richness that makes them sound genuinely lifelike.

Where the Canvas HiFi truly excels, however, is with low-end punch.

Bass is presented with a level of weight that you could liken to an external subwoofer; it’s deep, rich and nicely controlled. This is evidenced in the bass-heavy Harkonnen arena fight in Dune: Part Two, which is presented with plenty of low-frequency heft, meaning the scene is conveyed with ample drama.

We appreciate how direct and clear the Canvas sounds, as it doesn’t try to add anything with processing. Dolby Atmos is great when implemented correctly, but the simplicity and focus on pure audio quality are where the Canvas shines.

It’s also skilled with music, as evidenced with a handful of tracks that we play through the Canvas, including Churchyard by Aurora and Bloom, Baby Bloom by Wolf Alice. Timing is handled very well, and the naturalness of voices and instruments does an excellent job of replicating the music with texture and detail.

There is, however, one sticking point that just holds the Canvas HiFi back from true greatness. Its handling of dynamics is, unfortunately, not quite good enough. Scenes and tracks with big moments of impact or dynamic shifts lack the crescendos that we look for in products such as this.

The Canvas has no trouble building up a moment of suspense or a verse that is about to enter a bombastic chorus, but it never quite hits the peak, resulting in a slightly weak pay-off.

It’s a shame, as the clarity, detail levels and the sheer weight of the sound make for an otherwise thoroughly engaging sound.

We also find that the included black fabric grille can rattle in scenes with heavy bass. This might be due to the lightweight acoustic cloth used in conjunction with the lightweight design and magnetic connection. It introduces what sounds like distortion, but removing the standard grille negates this issue.

Trying the heavier wooden fascia fixes this issue, though spending £1299 to fix an issue isn’t exactly an ideal scenario.

Verdict

The Canvas is a prime example of niche, audiophile gear straying away from the exclusive world of hi-fi and into the realm of home cinema.

We’ll admit, we had some prejudices when we found that this pricey sound system didn’t support some of the most commonplace cinematic audio features, but those notions were quickly dispelled.

Its clear, detailed and weighty sound is supremely cinematic, and even though it doesn’t quite deliver the goods where dynamics are concerned, we find that there’s lots to like here.

Sometimes, simplicity is a pro in itself, so if you want a straightforward and effective stereo upgrade for your TV, all in a stylish package, then this quirky speaker system is certainly worth a look.

SCORES

• Sound 4
• Build 4
• Features 3

MORE:

Read our review of the Sennheiser Ambeo Max

Also consider the Sonos Arc Ultra

Read our Sony Theatre Bar 9 review

Best soundbars: options for every need, recommended by our experts

At first glance, the BenQ W2720i looks as though it could be a tough sell.

Its built-in sound system, auto set-up, unusual AI-bolstered performance enhancements and Google TV smart platform make it look like a casual living-room projector. Yet its relatively high price, Filmmaker Mode, 2500 lumens of claimed peak light output and the fact that it has been fully calibrated before shipping make it look like a serious home theatre projector.

Meanwhile, its support for 120Hz feeds and a Fast mode for reducing input lag even get you wondering if it’s another one of BenQ’s dedicated gaming projectors.

The more you use the W2720i, though, the less it looks like a projector with an identity crisis and the more it looks like one of the finest projector all-rounders we have ever seen.

Price

On one hand, the BenQ W2720i’s £1999 / $2599 / AU$3299 price tag looks a little high for a projector which, in some ways at least, gives off a casual living-room vibe.

On the other hand, though, some of its specifications and features make the W2720i start to look a much more serious proposition than it first appears, to the point where its price actually starts to look like quite a bargain. Provided, of course, that its performance lives up to its on-paper promise.

The W2720i’s unusual positioning, with feet in two usually separate projector camps, makes direct competition hard to find. Based on price more than anything else, though, we should mention BenQ’s own X3100i and the Hisense C1.

The X3100i is a cute cube-shaped projector with a focus on gaming that also happens to excel with video, while the C1 is a really likeable living-room projector with good picture and (unusually) sound quality tucked inside a lovely metallic blue cubic design.

Design

While a fair bit larger than your average casual ‘coffee table’ projector, the W2720i is still quite pretty by projector standards.

Its edges are all nicely rounded off, its top edge enjoys a comely curve that further softens the projector’s presence, and the promisingly substantial, centrally placed lens is tucked within a neat recess adorned with silvery strip highlights.

Its smooth matt grey finish looks and feels more premium than those wrapped around many living room projectors, too.

The remote control that BenQ provides with the W2720i is equally attractive, thanks to a nicely rounded shape that sits comfortably in your hand, a premium white gloss finish, and a logical, spacious button layout.

The buttons are backlit, too, to make them easier to find in a dark movie-night environment.

Features

This is where the W2720i starts to get really interesting, mixing as it does features and specifications that would normally be found only shared across different projector types.

Its optics are built around a DLP system, illuminated by LED lamps claimed to deliver 30,000 hours of use without replacement. That’s enough for around 15,000 movies – or one movie every day for 40 years – unless you happen to be obsessed with Titanic and Killers Of The Flower Moon, anyway.

The LED lighting delivers up to a claimed 2500 lumens of peak brightness and a promising claimed dynamic contrast ratio of 2,000,000:1, while colour coverage is stated to achieve 90 per cent of the DCI-P3 HDR spectrum and 98 per cent of the Rec 709 SDR spectrum.

In keeping with BenQ’s more overtly home theatre-targeted projectors, the W2720i has been calibrated for accuracy in BenQ’s factory before shipping, with a certificate of calibration included in the box.

Fans of relatively accurate, ‘serious’ movie viewing experiences will also be pleased to hear that the W2720i carries a Filmmaker Mode designed to deliver images that stay true to the main established image standards.

The W2720i’s connections go further than those of most projectors by including three HDMIs, one of which provides ARC support for passing sound – including Dolby Atmos tracks – out to a connected AVR or soundbar, and one of which supports 4K/120Hz feeds (though not VRR) from a PlayStation 5, Xbox Series X or suitably capable PC graphics cards.

Given the game-friendly nature of one of the HDMIs, though, it’s a pity that the W2720i doesn’t provide a dedicated Game mode as a shortcut to the projector’s most responsive settings.

There is a ‘Fast’ picture option that reduces the time the projector takes to render images, but when you select this it generates a message saying you also need to manually turn off a bunch of other features, including keystone correction, noise reduction and the projector’s 4K sharpness enhancement, to get the fastest response out of the projector. Which only underlines the feeling that it would surely have been better if BenQ had just set up a Game preset with all these adjustments done for you.

Making BenQ’s thinking here even more strange is the fact that if you set your games console or PC to feed the W2720i a 4K/120Hz HDR feed, the projector suddenly decides that it can actually automatically turn its noise reduction and motion enhancer 4K features off for you.

Your reward for following the Fast mode instructions and going to the trouble of turning off as much of the projector’s image processing tools as possible is an input lag time of just 17.8ms – a great result by projector standards.

Other connections include two USBs (one offering 2.5A of power for, say, a video streaming ‘stick’, and one media reader); RS232C and 12V trigger ports help you integrate the projector into a home entertainment control system; plus 3.5mm and digital optical audio output alternatives to the eARC HDMI route. Though the W2720i does also carry its own built-in 2x5W stereo speaker system.

For cable haters, the W2720i supports wi-fi, Bluetooth, Apple AirPlay and Google Cast. The wi-fi option is particularly important here, as this feeds the video streaming apps the projector carries as part of its integrated Android TV smart system. The W2720i is far from the first projector to incorporate Android TV, but it does make a better fist of it than any other projector we have seen to date.

For one thing, its Android TV implementation runs reasonably slickly and stably during our tests, without the myriad bugs and app failures we see all too often in the smart projector space. Even better, all the key video apps seem actually to be nativised to the projector’s capabilities, rather than any of them serving up lower-quality generic feeds from basic open website portals.

Even the W2720i can’t, of course, suddenly overcome Android TV’s blind spot when it comes to some of the UK’s main broadcaster catch-up services. So there are no functioning BBC iPlayer, All4 or ITVX apps, for instance.

The likes of Amazon Prime Video, Apple TV, Disney Plus, Netflix, YouTube, Discovery+ and Paramount+ are all present and correct, though, which will quite likely be enough for many households. And you can always add a relatively cheap streaming stick to cover those missing apps.

The W2720i supports high dynamic range playback from both its built-in streaming apps and external sources, with HDR10+ support joining the basic HDR10 and HLG formats. There’s no Dolby Vision support, but getting even one of the premium HDR formats on a projector is still quite rare.

The W2720i’s HDR credentials are boosted, too, by an HDR Pro system designed continually to optimise HDR10 and HLG pictures to the projector’s capabilities – a bit like the HDR dynamic tone mapping systems that many TVs carry these days.

The set-up process for the W2720i features an unusual but helpful combination of automated and manual options.

An auto screen-fit system adjusts the picture to match the size of your screen, while an AI Cinema Mode can automatically adjust the picture based on analysis of both the content you’re watching and the tone and level of light in your room. But there are also manual vertical optical image shift and 8-point geometry correction tools, plus a reasonably helpful 1.3x level of optical zoom.

The attractive on-screen menus also provide access to a ‘Cinemaster’ suite of adjustments, containing Colour Enhancer, Pixel Enhancer 4K, Motion Enhancer 4K, Global Contrast Enhancer and Local Contrast Enhancer options. While you need to handle these options with care, they actually add up to quite a useful set of picture fine-tuning tools.

While content support for 3D continues to dwindle, finally, the W2720i still provides playback support – assuming you sort yourself out with the necessary BenQ 3D glasses, of course.

Picture quality

Any lingering doubts about the W2720i’s talents potentially falling awkwardly between casual and serious home theatre stools are quickly and emphatically put to bed when we finally sette down to see what it can do.

So many aspects of the W2720i’s pictures feel right, in fact, that it’s actually hard to break them down into their constituent elements. We instead keep finding ourselves just getting caught up in what we are watching. This is, of course, exactly the experience you want from a projector – but we guess you want a bit more detail than that from the supposed professionals. So, with a deep breath, here goes.

First up, the W2720i’s pictures are phenomenally sharp. We hear those people who say DLP projectors like the W2720i don’t deliver truly native 4K resolutions, relying instead on pixel-shifting/double flashing technology to achieve a ‘virtual’ 4K image. But so crisp, detailed, pristine and full of texture and density are the W2720i’s pictures that they really do look 4K, even if pushed to prodigious image sizes. Nor is there anything artificial about this sharpness; it feels entirely natural and organic rather than the result of any sort of aggressive processing.

The sharpness holds up even during 24p movie action scenes thanks to some strikingly natural, cinematic handling of judder with a provided 24P True Cinema setting in play.

The W2720i excels, too, with contrast. Many projectors struggle to strike a convincing balance between the sort of relatively high brightness that HDR sources depend on and the sort of convincing black colours needed to make dark HDR scenes look as convincing and compelling as bright ones. For the most part, though, the W2720i strikes an excellent balance, as bright scenes and image areas enjoy plenty of punch and some surprisingly intense small light ‘peaks’, while dark scenes usually avoid excessive grey clouding and still contain enough shadow details to share the same depth you get with bright shots.

Again, there is typically nothing artificial or forced about the W2720i’s compelling contrast, either. Dark scenes even manage to look consistently stable, without any distracting flickering issues, despite the best picture settings relying on a dynamic contrast system where brightness is continually adjusted to deliver the best results.

The W2720i’s colours continue the natural theme. An impeccable sense of balance, for instance, ensures that no tones look forced or stand out too much against the rest. The projector can cover enough of the DCI-P3 spectrum, too, to mean that even the most vibrant areas of colour don’t look ‘rolled off’ or off-key, and the subtleties of colour tone that BenQ’s projector can deliver ensure that blends look smooth while objects in the picture look solid and three-dimensional.

Skin tones are particularly well handled, too, avoiding both that plasticky look and the green/red/jaundiced tones they can take on with less talented projectors.

Despite its wealth of HDR-friendly features, the W2720i adapts extremely well to SDR sources, and expertly turns its hand to gaming once you have activated the Fast mode and turned off the projector’s video-processing features.

The W2720i’s impressive array of truly nativised video streaming apps contributes to the most consistently excellent streamed picture quality we have seen from a smart projector. The sharpness, cleanliness, contrast and colour balance it achieves with 4K HDR streams from every major streaming app (though especially Netflix) is always a joy to behold.

It’s hard to find negative things to say about the W2720i’s pictures in the context of its price point. There are brighter projectors out there that can push HDR harder, though the W2720i’s ability to deliver real intensity to HDR’s brightest highlights while also achieving natural-looking black levels actually makes its 2500 lumens of light feel pretty perfectly judged. So really our only fair complaints are that relatively large bright highlights of HDR pictures can lack a little subtle shading detail, especially in Filmmaker Mode, and that the projector’s usually convincing dark scenes can suddenly grey out momentarily if a mostly very dark shot suddenly features an extremely bright highlight.

Neither of these issues occurs often enough, though, to count as a remotely big deal in the context of everything the W2720i gets right.

Sound quality

The W2720i’s built-in sound system isn’t exactly the most powerful we’ve heard. Even at maximum volume, the sound doesn’t get very loud at all, denying soundtracks anything like the sort of impact you want to go with the massive and punchy images the projector can provide.

It’s not all bad news, though. For one thing, the speakers can project dialogue, ambient effects and the sort of relatively trebly sounds that help good film soundtracks feel busy a decent distance away from the projector’s body.

This creates a larger sound stage than most projector sound systems manage, as well as making some of the sound seem to be coming from at least somewhere in the vicinity of the on-screen action.

Low-frequency sounds don’t escape the projector’s bodywork quite as readily, which can leave loud scenes sounding a bit dislocated.

There’s quite a nice tone to bass sounds, though, and while the speakers can’t get loud, they do at least avoid distortion and dropouts.

So, while you’ll want to find some sort of external audio solution for serious film nights, the W2720i can work OK as a standalone all-in-one solution for casual occasions.

Verdict

The W2720i does an outstanding job of straddling the usually incompatible worlds of serious and casual home cinema/home entertainment projection.

Indeed, this is a remarkable all-rounder that is more than good enough to make its asking price look like a steal.

SCORES

• Picture 5
• Sound 3
• Features 4

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The Hisense PL1 ultra short-throw projector won a well-deserved What Hi-Fi? Award in 2024, but with the arrival of the PL2 earlier this year, it now has competition from its very own successor.

Both projectors use the same X-Fusion Laser Technology to beam their big pictures onto your wall, and telling them apart requires very close inspection, but there are technical differences between the two.

We’ve had both the PL1 and PL2 in our testing rooms, and with five-star scores being awarded to both, you might be wondering which one you should allow to live in your lounge.

That’s why we’ve used those reviews to compare them on price, design, features, picture and sound, so you can make a fully informed decision.

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Hisense PL1 vs Hisense PL2: price

Both the PL1 and PL2 were originally launched with prices of £1999 / $2500, but neither will set you back anywhere close to that now.

The arrival of the PL2 saw a drop in price for the PL1, but the PL2 is also now available for a lot less, meaning the gap between the two is now fairly small. The PL2 is generally available for around £1600 / $2000, but we’ve seen it drop as low as £1399 in the UK, while the PL1 is typically available for £1500 / $1500.

The bigger issue is likely to be availability. There aren’t many places that stock the PL1 anymore, particularly in the UK, whereas the newer, better-specced PL2 is easy to find.

Given this, and the relatively minor price discrepancy, we don’t think buying the PL1 over the PL2 would represent a genuine saving, so we’re going to give this one to the PL2.

**Winner: Hisense PL2**

Hisense PL1 vs Hisense PL2: design

Put these two side by side and it’s very clear they’re related, with the same mesh grille on the front and triangular cutout vents on the side. In fact, at a glance, it’s genuinely tough to tell them apart, but if you break out the tape measure, you will find some differences.

Measuring 12 x 53 x 34cm, the PL2 is actually a bit smaller in all directions than the PL1 (above), which comes in at 16 x 55 x 37cm. In reality, that difference is negligible and will only make a difference if the space you’ve got is particularly restricted.

There are no physical lens controls on either of these projectors. Instead, you have to upload a picture of your screen to a website and allow an auto-correction system to adjust it for you remotely, although we achieved the best results by tweaking it afterwards using the adjustable feet on both models.

Most importantly, both of these projectors will easily fit into your setup without being distracting, which is exactly what they’re designed to do. With its slightly more compact chassis, though, we’re going to give this one to the PL2.

**Winner: Hisense PL2**

Hisense PL1 vs Hisense PL2: features

It might be smaller, then, but the PL2 has still been upgraded in a number of key areas.

The most noticeable one is the brightness, which has been boosted from 2100 ANSI lumens on the PL1 to 2700 on the PL2, while the maximum image size is also larger: 150 inches compared to 120 inches.

Both do 4K at 60Hz, which might disappoint some gamers hoping for a higher refresh rate, but the PL2 can manage 1080p at 120Hz if you’re willing to sacrifice some resolution for a more responsive gameplay experience.

HDR support is the same on both – Dolby Vision, HDR10 (and 10+) and HLG.

Around the back of each projector, you will find two HDMI 2.1 sockets (one that has eARC), an ethernet port and two USBs (one 3.0, one 2.0).

Hisense has also found space for an extra HDMI socket on the PL2 (above). It’s only HDMI 2.0, but it does give you more input options if you’re using the eARC port for a soundbar.

If you buy either a PL1 or PL2 in the USA, it will come with Google TV, but elsewhere you’ll get Hisense’s own VIDAA software running the show.

We would prefer they all used the former as the latter is a little clunky, but not disastrously so, and we have no complaints when it comes to app support. Netflix, Disney Plus, Amazon Prime Video and Apple TV+ are all there for you to use, although only the PL1 supports Apple AirPlay if you want to send something wirelessly from your phone.

**Winner: Hisense PL2**

Hisense PL1 vs Hisense PL2: picture

Upgraded specs don’t always translate to a meaningfully better performance, particularly when the price is also higher, but the PL2 (above) is a clear step up over the PL1 when it comes to picture performance – although only if you fiddle with the settings a bit first.

In Filmmaker mode, with the Warm 2 colour profile selected, the PL2 is capable of delivering one of the best pictures you’ll find from an ultra short-throw projector at this price. The extra brightness is particularly noticeable, adding more impact and vibrancy to the explosions and large expanses of desert in Denis Villeneuve’s epic Dune: Part 2.

Scenes that demand a high level of contrast between light and dark don’t look quite as vibrant, particularly when upscaling, and there are times when its middling black levels become more apparent, but overall, the PL2’s picture is generally balanced and consistent.

That doesn’t mean the PL1 is suddenly a bad performer. The picture it produces is sharp, punchy and cinematic, and it never fails to keep up with the frantic chase sequences in Baby Driver. There’s a pleasing level of depth to the image and a nice level of detail, even if black levels can’t compete with those you’d get from one of the best OLED TVs.

When it comes down to it, though, the PL2 is our winner here: bigger, brighter and just that bit better all round.

**Winner: Hisense PL2**

Hisense PL1 vs Hisense PL2: sound

Both of these projectors have the same 2x 15W sound system built-in, with front-facing drivers that promise more than they can deliver.

The PL1 (above) and PL2 boast Dolby Atmos certification, but no matter whether you put them in Standard or Theatre mode, there’s little in the way of height or width, although the latter does sound a little more spacious.

Dialogue clarity is more impressive, and we’d argue that should be the priority with built-in speakers on devices like these anyway. If the overall performance isn’t going to be top notch, at least make sure you can hear what’s being said over any background noise.

Neither projector is capable of generating a huge amount of bass, and if you turn the volume up too much on the PL2, things start to distort, while the PL1 doesn’t offer much in the way of detail or dynamics.

As UST speakers go, this is about par for the course. If you just want to watch the news, they’ll do just fine, but the whole point of owning a projector is to make your viewing more cinematic, so budgeting for a separate sound system is essential, whichever model you opt for.

**Winner: Draw**

Hisense PL1 vs Hisense PL2: verdict

By taking everything we loved about the Award-winning PL1 and refining it, Hisense has delivered a UST projector that offers even more bang for your buck.

The audio performance is still mediocre, but with spec upgrades that translate to a picture performance that’s brighter and goes even bigger, and a price that’s already only slightly higher than that of the PL1, it’s easy to recommend the newer model over the old one.

With the PL1 getting harder to find as time goes on, it might actually be availability that makes this decision for you, but even if you found a shop selling both, we’d still go for the PL2 (above) every time.

**Overall Winner: Hisense PL2**

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Streaming amplifiers are always a compromise. They have to combine amplification, DAC, preamp, multiple wireless streaming protocols and support for dozens of different music apps – all in one box. To make all these elements work seamlessly and deliver a great sound is a hard task.

Ruark Audio, however, has decades of experience in combining multiple functions in one box, to great success.

From powered desktop speakers with Bluetooth (MR1 Mk2), smart radios with streaming features (R1S, R2 Mk4) and all-in-one music systems (R410) – Ruark has already proven it can juggle multiple features while delivering great sound, stylish design and ease of use.

The Ruark Audio R610 streaming amplifier, then, should be a walk in the park, shouldn’t it?

Build & design

Unusually for a Ruark product, the R610 doesn’t include any speaker elements. It’s all electronics.

Inside, the R610 features Class D amplification with 75 watts of power per channel, and a Burr Brown DAC that supports hi-res files up to 32-bit/384kHz.

High-quality components are used, as well as a switch mode power supply that delivers efficient and optimised power to the system. It even sports a moving magnet phono stage, while the streaming platform is identical to the one we experienced in the five-star R410 all-in-one system.

Not unusually for a Ruark product, the R610 looks stunning. A classy design with a high standard of build quality, this “music console” (as Ruark calls it) wouldn’t look out of place in any interior.

The handcrafted slatted wood grilles and metal details on the front – also seen in fellow R100 series products, including the matching Sabre-R speakers – are elegant, and the whole unit is beautifully made.

The large, five-inch, full colour TFT display screen is gorgeous to behold – clear, informative, easy to read and use, with good contrast for displaying album covers.

It’s not a touchscreen interface, but it gives the R610 that harmonious balance of modern and retro aesthetics in either of its two finish options.

The compact footprint is also appealing. Coupled with the Sabre-R speakers that you can buy as a bundle, it is well-suited to smaller spaces.

The R610 is topped off with Ruark’s iconic RotoDial controller, a design which is also mimicked in the separate remote control you get in the box. This identical RotoDial handheld remote fits particularly neatly into our palms and is a well-designed, tactile way to use the R610.

Even better, it connects to the main unit via Bluetooth, not infrared, meaning you don’t need to have a direct line of sight to the unit to control it.

It takes a while to get used to all the icons and what each button does, but once you familiarise yourself with all the functions, it’s all plain sailing.

The buttons are swift and work smoothly, and the circular dial makes it very intuitive to scroll through all the sources and menu options.

Another great touch from Ruark is that a pair of 3m speaker cables are included in the box. This is unusual but wholly welcome – we don't normally see such premium-looking speaker cables included with a product.

It makes setting up your system, especially if this is your first hi-fi set-up and you aren’t au fait with traditional separates, quicker and easier as you don’t have to shop separately for speaker cables (which can start to get expensive).

The cables are nicely braided, are terminated with banana plugs and work well. This does also offer a good upgrade path as the R610’s performance did improve when we swapped them for a step-up set of speaker cables.

Features & connectivity

The R610 streaming amplifier is bursting at the seams with features. In terms of wireless streaming, all the popular protocols and latest apps are supported.

We started testing the R610 when Qobuz Connect launched in May, and the new feature worked without a hitch. Tidal Connect and Spotify Connect are also on the menu, as is support for Amazon Music and Deezer.

You can also opt to stream from your smart device using AirPlay 2, Chromecast or Bluetooth (connection is swift and simple), while DLNA and UPnP compatibility means you’ll be able to play through your digital music collection stored on media servers or NAS devices on the same network.

We tried both wi-fi and wired Ethernet connections, and they proved stable throughout our testing duration.

The Ruark R610 wears its radio heritage proudly, with FM and DAB/DAB+ radio tuners included alongside the usual internet radio stations. There is even built-in support for the BBC Sounds app.

You can save up to 20 presets on the R610, making your favourite playlists and stations easier to access.

It’s worth noting at this point that there is no dedicated app here. This is unusual for a streaming amplifier, but the Ruark R610 is perfectly usable without one.

If using Qobuz, Tidal, Apple Music or BBC Sounds, the native app serves as your natural playback controller, while the R610 auto-senses if you want to stream via the Connect mode or AirPlay, for instance.

It’s when dealing with large music libraries that a tablet or smartphone interface feels necessary, so a third-party app such as M-Connect is recommended.

The R610 also isn’t laden with myriad settings and customisation options, as offered on the BluOS or WiiM streaming platform – so there isn’t much need for an app, really.

The R610’s menu settings are simple and offer straightforward options that are easy to select with the physical control buttons.

Ruark has also confirmed to us that new features should be added in October, which include the ability to hide sources that you don’t use, alarm clock functionality, and support for Bluetooth headphones playback.

That’s it for the streaming side, but the R610 also packs plenty of physical connections. There is a rather good moving magnet phono stage for your turntable, an HDMI ARC input for connecting to TVs, along with digital optical and RCA analogue inputs.

There is also a UBC-C input that supports audio playback; this is also where you would plug in Ruark’s dedicated R-CD100 CD drive.

We didn’t have the R-CD100 at hand, but we used our reference Cyrus CDi CD player with both analogue and optical inputs, and our Rega Planar 3 RS Edition turntable was connected to the phono input as part of our listening.

The only hiccup we encountered during testing was when the two analogue inputs didn’t make a sound at first. A factory reset fixed this problem promptly, and we haven’t had any issues with the analogue section since.

Sound

We start our R610 testing by connecting it to our reference Epos ES-7N standmount speakers, and we're met with a smooth, spacious and open sound.

It’s a dynamic and detailed presentation, allowing high frequencies to soar while keeping basslines in check. There is ample punch and impact to the low end, while a taut and agile sense of rhythm gets us fully in the groove of the song being played.

The bite and shine in the sharper edges of Fontaines D.C.’s Starburster is crisp and full of attitude, but it never sounds thin or harsh.

There is textural depth and body to the cello and piano in Agnes Obel’s The Curse, while the soundscape is layered. The R610 delivers a pleasing breadth of scale as orchestral pieces ebb and flow, with the sense of build-up towards a rousing crescendo coming through with a good amount of drama and weight.

We play through a little bit of everything from ’60s Dusty Springfield to ’70s Bowie, ’90s grunge rock to modern shiny pop, and the R610 takes it all in stride.

Piano notes glide across fluidly but with enough intent when fingertips hit ivory; Outkast’s frenetic energy in B.O.B. is relayed with verve and propulsive momentum; voices are conveyed with clarity and dynamic subtlety.

In terms of speaker matching, we do get a sense that the R610 is holding back a touch with our reference pair; that it isn’t sounding quite as free and lively as we would expect.

We swap our Epos speakers for the mid-priced Bowers & Wilkins 606 S3 – all of the R610’s positive qualities still remain, but this combination still sounds rather reserved.

It isn’t until we plug in the Ruark Sabre-R speakers that the R610 truly shines.

The R610 comes to life now. There is a greater spring in its step, the mid to high frequencies have greater shine and sweetness, and we notice a clear step up in rhythmic agility and fluidity.

Vocals in particular sound far more immediate and natural – you can hear greater nuance in the emotion and inflections in voices when listening through the Sabre-R speakers.

Overall, it’s a more engaging and dynamic sound. The Sabre-R speakers are clearly tuned to match the R610, so it makes sense that they sound their best when paired together.

Our dedicated Sabre-R review goes into greater detail about these small speakers, but don’t be deterred by their four-star rating – they and the R610 fit together like two pieces of a puzzle. They flow together in perfect harmony, highlighting each other’s strengths and delivering a cohesive performance.

If you are considering buying the R610, then the Sabre-R should be considered its most natural pairing.

If space is tight and you need an even smaller pair of speakers, then the titchy Neat Iota II are a good fit – their energy and dynamism suit the R610 well, although they’re perhaps not quite as refined as the Ruark pairing.

Luckily, you can buy the Sabre-R and R610 as a bundle in the UK, while you can purchase them separately in other territories.

The Sabre-R speakers cost £699, so together with R610, the total system will set you back £1899. We just wish there was a little discount when you bought the pair as a bundle.

Elsewhere, the R610’s sound is consistent throughout the various source inputs. The built-in phono stage is of decent quality, which isn’t always a guarantee in streaming amplifiers. We would recommend the Rega Planar 2/Nd3 or Pro-Ject Debut Evo 2 as good options for the R610.

The streaming amplifier is sympathetic to different recording qualities but doesn’t make too much of a fuss about it, either. It conveys hi-res albums streamed from our Naim server with the same care and attention as with lossy Bluetooth streams from an iPhone.

Regardless of how you listen, the R610 doesn’t rob you of experiencing the shifting mood and feel of a song. Ruark simply tries to deliver the music as authentically as possible, so we can enjoy the core intent of the music.

For this type of product, which juggles so many different jobs, it’s a very capable performer. The R610 is a clear step up in performance over the Award-winning Technics SA-C600 (now available for around £760).

There are many streaming amplifiers across the price ranges that get close to offering great performance alongside ample features and specifications, but can’t quite hit the spot in every aspect.

With the R610, Ruark makes it look – and sound – easy. There is an effortless quality with which it delivers music, especially when paired with the Ruark Sabre-R speakers, that is wonderfully pleasing to listen to.

Verdict

If you want a substantial step up that gets closer to the sound of separates hi-fi, we would recommend the pricier Naim Uniti Atom (£2300 / $3799 / AU$5750).

But the Ruark R610 streaming amplifier is a fine example of what can be accomplished in such a compact, multi-faceted form, and at this price.

The R610 is a gorgeous piece of design, it’s lovely to use and however you listen to music – vinyl, streaming, CD, radio – it delivers an engaging, convincing performance.

Review published: 27th June 2025

SCORES

• Sound 5
• Features 5
• Build 5

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The Sonos Beam (Gen 2) has been fending off pretenders to its mid-range soundbar crown for four years now, and the latest challenger comes in the form of the Sony Bravia Theatre Bar 6.

Often similarly priced, but with some key differences that set them apart from each other, both of these soundbars have probably cropped up during your research if you’re in the market for a Dolby Atmos soundbar to upgrade your TV’s sound.

So, which one should you buy? We've reviewed both models and tested them side by side. Below, we’ve compared the two based on their price, design, features, and performance, so you can be completely sure which one suits your needs best.

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Sony Bravia Theatre Bar 6 vs Sonos Beam Gen 2: price

The Sonos Beam Gen 2 is officially priced at £449 / $499 / AU$799, but unless you’re in a real hurry to own one and money is no object, you shouldn’t need to spend that much on one.

Discounts come along fairly frequently, and in the UK, we’ve seen it drop to £400 or lower on a pretty regular basis. It’s even fallen as low as £300 before, but that’s fairly rare.

The Sony Theatre Bar 6 only made its debut this year, so discounts are less likely than on the four-year-old Sonos. Most places are still asking for £499 / $650 / AU$899 for the system.

Given the fact that its RRP is cheaper, and it’s often available with a meaningful discount that makes it even more affordable, we’ll have to give this round to the Sonos.

**Winner: Sonos Beam Gen 2**

Sony Bravia Theatre Bar 6 vs Sonos Beam Gen 2: design

There’s only so much you can do design-wise with something that’s essentially just an elongated rectangle, but there are fundamental differences between these two products.

The most obvious is that the Sony Theatre Bar 6 comes with a separate subwoofer, which means you need more than just a thin sliver of space underneath your TV to accommodate it, but the main unit itself is also a full 30cm wider than the Beam.

In terms of depth and height, though, they’re much of a muchness, and despite that extra width, the Sony only weighs 300g more.

So, how much space do you need for that sub? It’s wireless, so it’s about as flexible as you can get in terms of placement, but with dimensions of 39 x 39 x 21cm, it’ll still take up a fair chunk of floor space.

The top of the Sonos is home to some touch-sensitive controls, and that’s it, whereas the Sony has a couple of upward-firing drivers and no buttons at all, although it does come with a basic but functional remote.

Neither of the soundbars has a display, but most of your interaction with both is more likely to go through their respective companion apps anyway.

This is more of a practical decision than an aesthetic one, which will depend entirely on your particular setup and circumstances, so we’re going to call this round a draw.

**Winner: Draw**

Sony Bravia Theatre Bar 6 vs Sonos Beam Gen 2: features

As briefly touched on above, both of these soundbars support Dolby Atmos, but they go about it in different ways. The Sony has those two upward-firing drivers on top, whereas the Sonos uses clever processing to create virtual height channels. More on both approaches later.

Elsewhere, the Beam is clearly the more feature-packed of the two. Whether it’s the Trueplay calibration system, which tunes the soundbar to the specific sonic signature of your room; the built-in voice control; or the fact that its wi-fi connection allows you to incorporate it into a multiroom music system, the Beam is an all-round speaker system.

The Sony Theatre Bar 6 is also easy to set up using the Bravia Connect app, but you will need to manually input a few distances, such as how far it is between the soundbar and the ceiling, if you want to hear it at its best.

If you own a recent Sony TV, some of the Theatre Bar’s settings can be controlled through the TV’s menus, but the app is probably a more intuitive way to do things.

Sonos made headlines for all the wrong reasons last year when it launched a new version of its app that introduced all kinds of issues, but those largely seem to be fixed now.

For a lot of people, once setup is complete, you’ll have little reason to reach for the app again anyway.

The Theatre Bar is also slightly lacking when it comes to ways of playing music through it.

While the Beam has support for the likes of AirPlay 2, Spotify Connect and Tidal Connect, plus more or less every other music streaming service via the Sonos app, you’ll have to make do with Bluetooth on the Sony, which feels a little old-fashioned in comparison.

**Winner: Sonos Beam Gen 2**

Sony Bravia Theatre Bar 6 vs Sonos Beam Gen 2: sound

With its 3.1.2-channel configuration, the Sony has a more ‘traditional’ setup than the Beam’s quintet of front-facing drivers, and the impact that makes on the performance is obvious.

The Theatre Bar 6 is capable of filling a moderately sized living room in a way that the Sonos can only dream of, and the Atmos effect is much more pronounced, particularly with the way it places sounds directly above you.

It has no trouble making your sofa shake when a scene calls for it, although unless you turn the subwoofer volume down, it’ll also do it when it doesn’t. We’ve got no qualms with its heft, then, but it struggles with anything more subtle.

Things are better when it comes to dialogue, retaining plenty of emotion in the actors’ voices, although during quieter moments they can take on a slightly synthetic quality. Turning the Sound Field setting off seems to solve this, but doing so downgrades the Atmos presentation, so you have to weigh up whether what you’re watching will make it worth what you’ll lose in spectacle.

In contrast, the Sonos Beam Gen 2 might not be able to compete in terms of sheer scale, but it’s more balanced overall.

As our five-star review points out, the Beam delivers a rich, refined sound with plenty of nuance and dynamic range.

In a direct comparison with the Sony, there’s more detail and definition from the Sonos, with crisper, more sparkly treble.

It’s also more precise when it comes to positioning effects within the soundstage, even if genuine overhead sounds are beyond it due to that lack of upward-firing drivers; the technology just isn’t capable of faking that convincingly yet.

That’s not to say the Atmos performance isn’t impressive. It still provides tangible motion, depth and space, but if it’s height you want, you’ll need to look elsewhere.

When it comes to playing music, the Sonos is streets ahead of the Sony. The Beam sounds clear, punchy and rhythmic, while the Theatre Bar is lacking in warmth and roundedness. Unsurprisingly, its bass performance is also a bit woolly and overenthusiastic.

If you value sofa-shaking explosions over subtlety, then you might prefer the Sony Theatre Bar 6, but for everybody else, this one’s a no-brainer.

**Winner: Sonos Beam Gen 2**

Sony Bravia Theatre Bar 6 vs Sonos Beam Gen 2: verdict

There might not be much difference in price between these two soundbars, but when you pit them against one another, it’s clear that they’re actually quite different propositions. And while the Sonos triumphs in almost every category, it's perhaps not quite the clean sweep that it would first appear.

In almost every instance, we’d recommend the Sonos Beam Gen 2 as the best, most cost-effective way to improve the sound of your TV, even if its Atmos performance is perhaps a little lacking from a height perspective.

Where the Sony Theatre Bar 6 stands out is when it comes to filling a space. The subwoofer might need reining in a little to prevent it overpowering the rest of the frequency range, but if it’s a big, bombastic performance you’re after, the Sony certainly delivers.

**Overall winner: Sonos Beam Gen 2**

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Check out the best soundbars right now

And here are the best Dolby Atmos soundbars we have tested

24 of the best film scenes to test surround sound

JBL has just announced its new flagship Dolby Atmos soundbar package in the form of the Bar 1300MK2, which can only mean one thing: its predecessor is primed for a hearty discount.

And that's exactly what we're seeing, as the MK1 version of the nifty wireless soundbar package is currently subject to hundreds of pounds worth of savings.

The soundbar package, which features wireless surround sound speakers that snap onto the bar for easy storage and charging, originally retailed for £1299 at launch, but it's now available for just £799 at Peter Tyson.

So, what makes this deal on the soundbar worth your time? One of the main reasons we rate it highly is its impressive three-dimensional soundfield. We said in our review: "Considering the configuration of each rear speaker, which does not have a side-firing driver facing towards the screen, we are impressed by how seamless and three-dimensional the soundfield is with this JBL system. Even with the rear speakers disengaged, the bar is very capable of projecting audio with a sense of spaciousness."

It also has the advantage that its detachable satellite speakers are battery-powered and can be used when needed and then reconnected to the main soundbar to charge when not in use.

JBL's soundbar system supports Spotify Connect, Tidal, Qobuz, Amazon Music and a range of internet radio stations. There’s also AirPlay 2, Chromecast support and Amazon Alexa voice control capabilities.

Like most soundbars these days, the Bar 1300 can be controlled with a remote control and an app.

This 'bar did not quite get a five-star rating from us due to its lack of sound modes to choose from and a lack of precision from the sub when it comes to handling multiple deep rhythmic elements. However, we still think this is a deal worth considering if you are looking for a streamlined 11.1.4 Atmos experience wrapped up in a soundbar package.

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And here is our full review of the JBL Bar 1300

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WiiM’s first streaming amplifier – the WiiM Amp – made quite a stir, delivering amplification, DAC and wireless streaming features in a compact box that cost considerably less than anything else offered on the hi-fi market.

Its feature-packed, well-built and user-friendly design for such a budget price had plenty of appeal, but we found it lacking in the sound quality department.

The more ambitious WiiM Amp Pro aims to rectify this, while still retaining the same versatile specifications and affordable price that WiiM has become known for. If you’re looking for a space-saving, wallet-friendly streaming amp that you just need to add a pair of speakers to, the Amp Pro could be just the ticket.

Price

The WiiM Amp Pro is yours for £399 / $379 / AU$699 – still a terrifically priced product for those wanting a whole bunch of features and abilities in one compact box. All you need to do is add a pair of passive speakers, and you have a complete, streamlined hi-fi system.

We still haven’t come across any other streaming amplifier for such a reasonable outlay. The Award-winning Technics SA-C600 is a five-star favourite before things start to get too premium, but that streaming amp (which also includes a CD player) clocks in at a significantly pricier £769 / $1099 / AU$1599 these days.

The more budget WiiM Amp is still available for £319 / $299 / AU$495, so the step up towards the Amp Pro isn’t particularly steep.

Build & design

The WiiM Amp Pro looks identical to its younger sibling: a smartly built, very minimal design that puts us in mind of the Mac Mini. The footprint is also the same, with the ultra-compact 6.3 x 19 x 19cm (hwd) dimensions meaning it is well suited to those who are limited on space for their home audio set-up, as it can be placed anywhere from a busy TV cabinet to your work desk or even in a bookshelf.

The sleek aluminium unit has simple LEDs on the front to indicate power, input and volume level. The large volume dial is the only material change here: in the Amp Pro, it has a stepped feel compared to the smoother motion of the Amp’s volume dial.

You can further fine-tune how you use the volume by choosing the level of adjustment one volume step takes in the WiiM Home app – it’s a feature we rarely see in products like this and is a nice addition here.

You can press the volume and control dial to change inputs, but we mainly used the excellent WiiM Home app to control all our music playback from various streaming apps.

Delve into the app and you’ll find WiiM offers a wealth of customisation for the Amp Pro, from fine-tuning the audio for each input with various EQ settings to even customising the LEDs on the unit.

Another way of controlling the Amp Pro is the included voice remote, which is a nicely made handset and is responsive to all commands. Both the unit and remote feel like products with a higher price tag; the perception of high quality outstrips its affordable price point.

You can also set four presets on the remote to readily access your favourite playlists or internet radio stations. It’s not quite as intuitive as selecting presets using the touchscreen display of the WiiM Ultra streamer – you’ll have to remember what’s stored for each preset button, for starters – but it all works just fine.

We also appreciate that WiiM includes the required interconnect cables – HDMI, optical, RCA – in the box, making it easy for users to get started and connect their TV and other audio sources to the Amp Pro straightaway. Every little helps when you’re on a budget, after all.

Features & connectivity

The amount of features packed into the compact Amp Pro remains impressive. Inside is a Class D amplifier offering 60 watts of power per channel into 8 ohms. That’s the same power rating as the Amp, but the Amp Pro’s internals have been upgraded to help improve the overall sound quality.

We are promised wider dynamic range and lower distortion levels, as well as a higher signal-to-noise ratio. There is also a feedback loop from the speaker to the amplifier, to optimise the amp’s performance across a range of speakers.

The DAC chip has also been upgraded to the ES9038 Q2M Sabre DAC – the same one used in the five-star WiiM Ultra streamer – and it can handle hi-res files up to 24-bit/192kHz.

In terms of its streaming capabilities, the WiiM Amp Pro offers extensive support for playing music from most popular streaming services and methods. You get wi-fi and wired Ethernet network access (both stable and easy to set up) and you have everything from the recent Qobuz Connect to TuneIn internet radio supported. Its DLNA capability means the streaming amp can recognise and play local hi-res and CD-ripped files stored on the same network.

Bluetooth and Chromecast are also available, but the one notable exception here is Apple AirPlay 2. New generations of WiiM products have dropped AirPlay support, which will be a huge blow to dedicated Apple Music/iOS subscribers. If you use Apple Music with the Amp Pro, your only choice to stream music wirelessly from your iOS device is via lossy Bluetooth – hardly the best-sounding transmission method

The older WiiM Amp still supports AirPlay 2, however.

The WiiM streaming platform is robust and stable, and it has no problem recognising our iPhone or Naim music servers on the same network.

The WiiM app is swift, responsive and easy to navigate. Its user-friendly interface is a big reason why we’re fond of WiiM’s streaming products, as they make the process of juggling multiple music sources and playing music very smooth and accessible.

Around the back, you’ll find a decent complement of physical connections, which also mirror that which you get on the cheaper Amp. Inputs include HDMI ARC, digital optical, RCA stereo analogue and a USB type-A port for plugging in USB media sticks. There is also a subwoofer output and, of course, a pair of speaker terminals.

There is no headphone jack here, but you can connect a pair of wireless headphones by selecting Bluetooth as the audio output. We connect Sony’s WH-1000XM6 cans and it is a swift, uncomplicated process, with the WiiM’s sound quality remaining consistent here as with the rest of its audio sources.

Sound

We start listening to the WiiM Amp Pro, and we are met with a clean, open and smooth sound. It’s not unlike the sonic character of the WiiM Ultra streamer, which is a great start.

It’s an easy presentation to listen to, giving streamed songs ample space to flourish, with voices projected clearly and in focus, and instruments working together to deliver an engaging, lively sound.

It takes us only a handful of seconds of comparison with the Amp to discover that the Amp Pro has taken a leap forward in performance.

There is more punch, snap and sparkle to the sound than the Amp.

The flattened dynamics we criticised in the Amp’s performance are improved here: the Amp Pro offers greater subtlety to the way dynamic swings are communicated, and there is a more convincing sense of dynamic contrast and rhythmic agility to the sound.

There’s more flair and personality, aided by the Amp Pro digging out more detail overall as we run through our playlist.

Where the Amp used the same simplified brush over all songs, the Amp Pro offers more light and shade, making it a more interesting listen. Doechii’s personality and the way she pronounces words with attitude in Denial Is A River come through with greater intent and nuance here, while we hear more impactful slam and depth at the lower frequencies.

Disturbed’s cover of The Sound Of Silence sounds more muscular and powerful, while Aesop Rock’s gritty Checkers propels forward with nimble footwork. The same songs played through the Amp sound rather disinterested and leaden in comparison.

There is simply more detail and subtlety revealed through the Amp Pro, with a sense of fun and energy that keeps us listening.

We still find there is a hint of restraint to the sound, though, with the WiiM Amp Pro playing it just a little safe. Even acknowledging its budget billing, we would like to hear a better sense of timing and momentum, as well as have it dig out greater texture to the body of instruments to make them sound that bit more realistic.

There are instances – in Dave Brubeck’s Take Five and Radiohead’s The National Anthem – where the Amp Pro gets a little confused with the complex rhythmic patterns and isn’t as musically cohesive as we’d like. Piano notes could have more resonance and textural depth, too. We think there is space for the WiiM to mature – but overall it’s a move in the right direction after our criticisms of the cheaper Amp’s sound.

The Amp Pro’s sonic improvements are heard through the various sources we use, from Qobuz Connect to Bluetooth to our Naim server. We also plug in a Cyrus CDi CD player using the RCA inputs, and we hear the same sonic character, with an increase in grip, detail, dynamics and spaciousness.

We spend the first part of our testing with the Amp Pro paired with our reference Epos ES-7N speakers, but then switch to a more realistic price-compatible pair of budget speakers, the Wharfedale Diamond 12.1. The Wharfedales are a great partner; their easy-going, balanced and dynamic nature works a treat with the Amp Pro, adding a touch of warmth and midrange fluidity to the WiiM’s starker and more efficient presentation.

Verdict

The WiiM Amp Pro’s combination of talents at this price level and for this compact size remains unusual. That it also delivers an improved sound performance over its predecessor while juggling so many different elements is impressive.

We are pleased to see the WiiM Amp Pro moving in the right direction in terms of sound quality; if it can continue at this pace, its potential is sky-high.

The lack of AirPlay will be a disappointment to many potential users here, but if it’s not a priority, we have no problem recommending the Amp Pro for those who are limited in space and budget – its user-friendly design makes listening to music fuss-free and enjoyable.

Review published: 11th June 2025

SCORES

• Sound 4
• Features 4
• Build 5

MORE:

Read our review of the WiiM Amp

Also consider the WiiM Ultra streamer

Best hi-fi systems 2025: CD, vinyl and streaming music players for the home

Amazon’s Fire TV Stick range of streaming devices may not be the most glamorous or technically impressive products that we see in our AV testing room, but they serve a specific purpose and perform said purpose well.

Case in point is the first-generation Amazon Fire TV Stick 4K Max, which offered affordable plug-and-play 4K HDR streaming, with a solid picture performance and feature set that was hard to argue with, especially for the price.

The only thing holding that streamer back was the existence of the then-Award-winning Google Chromecast with Google TV, which just edged out the first-generation Fire TV Stick 4K Max when it came to picture and sound performance.

Luckily for Amazon, Google has since discontinued that device and replaced it with a streamer that’s nearly double the price, and not quite as good. So, it would make total sense for Amazon to strike while the iron is hot, and deliver an upgraded streaming stick that undercuts the Google TV Streamer; and that’s exactly what it has done.

Today, we have the second-generation Amazon Fire TV Stick 4K Max, and with upgraded performance, a significant lack of competition and a tempting price tag, it might just be the easiest no-brainer buy in the AV world.

Price

The Amazon Fire TV Stick 4K Max (2nd Generation) officially costs £70 / $60 / AU$120; a smidge more than its predecessor’s £65 / $55 / AU$99 starting price. While a price rise – albeit minor – isn’t necessarily a welcome sight, what will be more enticing are the discounts that this streamer will inevitably receive throughout the year.

During its own sales events – Big Deal Days, Prime Day and Black Friday – Amazon almost always heavily discounts its own products. You can expect to pay closer to £50 / $40 / AU$89 if you time your purchase right.

Better yet, Amazon’s new streamer benefits from a major player exiting the market. Google’s Chromecast with Google TV was the roadblock preventing the previous generation Fire TV Stick 4K Max from achieving the full five-star commendation; however, that Award-winning streamer has been discontinued.

Google has replaced it with the four-star Google TV Streamer, which costs £99 / $100 / AU$160; considerably more than the Chromecast’s £60 / $50 / AU$99 launch price and, more importantly, the Fire TV Stick 4K Max.

As for other rivals, Roku’s Streaming Stick 4K undercuts the Amazon streamer at £50 / $50 / AU$110, though it’s yet to land in our AV testing room.

Build

The new Fire TV Stick isn’t a radical departure from its predecessors, though there are some identifying features to distinguish this newer model.

It’s still an all-plastic cuboid with an HDMI connector sticking out of one end, akin to an oversized USB thumb drive with the corners rounded off.

Unfortunately, this means that the last generation’s tendency to hog the area surrounding the HDMI socket it's lodged into is once again prevalent, meaning you may struggle to plug a cable into the adjacent HDMI port unless you use the included adapter.

A further design oversight relates to the power socket, which bafflingly uses Micro USB rather than the widely accepted USB-C standard. While we appreciate Amazon including a power adapter in the box, the decision to stick with the older, less convenient and less widely used connection is an odd choice indeed.

Moving away from the stick itself and onto the remote, Amazon has bundled in the same Alexa Voice Remote Enhanced model that can be found with the Fire TV Cube (3rd Generation). It’s functional, comfortable to hold, and features shortcuts to streaming services, which will differ depending on which region you purchase it in.

We would have liked to see the “find my remote” function included here, as it comes as standard on the Google TV Streamer; however, you’ll need to purchase the optional Fire TV Remote Pro for that, which also includes backlit buttons.

Features

The Fire TV Stick 4K Max’s only mission is to bring 4K streaming smarts to your TV, and it does so with a decent list of appreciated features.

HDR, for example, is supported in all of the major formats, including Dolby Vision, HDR10+, HDR10 and HLG, meaning this streaming stick will play nicely with your TV regardless of whether you own a Dolby Vision-sporting LG TV or an HDR10+ only Samsung.

Furthermore, it supports Dolby Atmos audio, as well as up to 7.1 surround sound.

Inside the Fire TV Stick is a 2.0 GHz quad-core processor, and Amazon has been kind enough to double the storage from 8GB to 16GB, though RAM stays at 2GB.

Wi-Fi 6E is also supported, which should offer “smoother 4K streaming”, according to Amazon – though you’ll need a compatible router to access this.

At the heart of the Fire TV Stick experience is Fire OS, which you’ll also find on the company’s Omni-series QLED and Mini LED TVs, as well as (from 2024) Panasonic’s OLED TVs.

It’s a robust, well-supported and versatile operating system, which might not look quite as clean as Apple’s tvOS or be brimming with AI features like Google TV, but it's good for the straightforward streaming tasks that we require of a Fire TV Stick.

One area where Fire OS frustrates is with its ad-heavy nature. Amazon’s services are also pushed to the forefront, which shouldn’t be too surprising considering it manufactured the device, and the ads can be somewhat forgiven thanks to the device’s relatively low price tag.

App support is, unsurprisingly, excellent, with a full range of global streaming apps – including Netflix, Disney+, Apple TV and, of course, Amazon Prime Video – and domestic services such as BBC iPlayer, ITVX, Channel 4 and more.

Fire OS is also home to some niche services, including Mubi, Shudder, BFI Player and others, making this a solid choice for mainstream and indie movie fans.

Something to note with the Apple TV app is that it's exclusively used as a hub for Apple TV+ content and a way to access your existing Apple TV library. The store cannot be accessed directly through this app, so you’ll need to purchase your desired movie or TV series on a smartphone or tablet to watch it on the Fire TV Stick 4K Max.

Music and gaming apps are also well supported, with the likes of Spotify, Tidal and Deezer on board, though Apple Music is unfortunately sidelined. Thankfully, that can be circumvented with the inclusion of AirPlay 2.

Gaming-wise, Amazon’s Luna cloud gaming service and Xbox are the two major players, while casual games that can be controlled via the included remote are also accessible.

Picture

Much like its predecessor, the Fire TV Stick 4K Max provides plenty of positive picture attributes, which makes it a rather compelling streamer for the money. Better yet, it doesn’t have the Chromecast with Google TV to contend with, and instead now has the four-star Google TV Streamer as its major adversary.

We plug the Fire TV Stick into our reference Sony OLED TV and load up a range of streaming apps onto the device to deduce how it handles picture performance.

Firing up Mission: Impossible – Dead Reckoning on Netflix, the Fire TV Stick delivers a sharp and engaging picture, with plenty of detail in the suits worn by Ethan Hunt and his well-dressed gang as they plan out their mission in Abu Dhabi Airport.

There is ample detail to skin textures, and aside from a few instances of skin tones looking a tad on the warm side, the Fire TV Stick generally impresses.

We also take no issue with how motion is handled, as the MV-22 Osprey military aircraft carrying a troop of elite agents tasked with hunting down the hero glides smoothly into frame, with the whirring propellers showing no signs of awkward juddering or stuttering.

Switching to Challengers in HDR10+ on Amazon Prime Video, we’re once again impressed with the detail levels, colours, and motion, deducing that the Stick 4K Max provides a balanced and enjoyable image overall.

Furthermore, the film grain that can sometimes be presented as overbearing image noise on the Google streamer seems cleaner and looks more intentional on the Fire TV Stick.

Feeding the Fire TV Stick some HD content, namely Gladiator II, once again on Prime Video, we do notice that the edges of subjects get slightly softer. That being said, clothing and skin remain detailed enough, and the streamer certainly doesn’t make a big deal of presenting the comparatively lower resolution content.

We compare it directly to the Google TV Streamer with these aforementioned movies, alongside Mad Max: Fury Road and Babylon on the Apple TV app, and this is where things get interesting.

Despite costing a fair bit more than the Fire TV Stick 4K, the Google TV Streamer’s picture looks nearly identical. We can pick out a touch more detail on the Google TV, and colours are slightly punchier (if anything, we could accuse the Google of overdoing skin tones here), but otherwise, we struggle to see the point in shelling out for the pricier Google TV Streamer when it comes to picture performance.

Sound

While the picture performance is practically identical to the Google TV Streamer (albeit for less money), where we see the biggest difference between these two streamers is in sound quality. Make no mistake, the Fire TV Stick 4K is no maestro, but it's a darn sight better than the Google TV Streamer.

Loading up Tidal to stream tracks including Gasoline by HAIM and Taylor Swift, Luther by Kendrick Lamar and SZA, and From by Bon Iver, we’re met with sound that can best be described as solid. It won’t blow your socks off, and timing is one aspect where the Fire TV Stick does falter, but it’s a warmer, more cohesive and dynamic performance compared with the poor-sounding Google TV Streamer.

This is true for movies and TV shows as well, as we return to Mission: Impossible to find clear and detailed vocals that have been prioritised within the greater audio mix. That being said, they don’t sound detached, and the tense soundtrack still has its chance to build suspense effectively.

Verdict

Amazon’s flagship streaming stick is a solid option for anyone whose TV’s built-in streaming apps just aren’t cutting it. Its sharp and colourful picture, paired with its easy plug-and-play usability, should appease those who want to squeeze a bit more life out of their ageing 4K TV, or sidestep their TV’s built-in operating system.

Unless you’re considering stepping up to the Apple TV 4K, which costs double the price, the Fire TV Stick 4K is the go-to 4K streaming device at this level.

SCORES

• Picture 5
• Sound 4
• Features 4

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Read our review of the Google TV Streamer

Also consider the Apple TV 4K

These are the best video streamers you can buy

Apple has announced the latest version of tvOS, the operating system that powers its five-star Apple TV 4K streaming box. The latest edition brings new features and a fresh look to the streamer's home menu and Apple TV app.

Liquid Glass is Apple's new ethos, with a focus on fluidity and translucency; and it's a design scheme that's being applied across iOS, macOS and iPadOS too.

It's perhaps not quite as much of a radical redesign that was hinted at ahead of WWDC, but a more modern and consistent design will certainly be appreciated by Apple fans who are already equipped with the full ecosystem.

The visual upgrades represent most of the changes with tvOS 26, with translucent elements such as the control centre and dock at the top of the home page now featured in the name of enhanced immersion, according to Apple.

Content is now easier to access, too, with larger poster-style artwork for shows and movies within the Apple TV app.

You'll also find a new profiles system, which will work similarly to how the likes of Netflix, Amazon Prime Video and Disney Plus implement their user profiles. Users will be able to toggle a setting that brings the user profile selection page up automatically when the Apple TV 4K wakes.

Personalised content recommendations will apply to each user, alongside user-specific watchlists in the Apple TV app and playlists in the Apple Music app. This new version of tvOS will also include a karaoke mode with Apple Music, which allows you to use your iPhone as a microphone; if that's your sort of thing.

One useful upgrade coming to tvOS that Apple didn't mention in its WWDC livestream is related to AirPlay speakers. With this forthcoming update, users will be able to designate AirPlay-enabled speakers as the permanent audio output option for their Apple TV.

Currently, the Apple TV 4K will default back to your TV's speakers after it's switched off, with HomePods being the only AirPlay-enabled speakers that can be set as your default audio output. With tvOS 26, you shouldn't need to manually select your wireless speakers, which is a nice touch.

There are also new aerial wallpapers and an upgraded FaceTime app coming with this update. tvOS 26 is set to arrive later this year, though Apple has not shared a specific release date.

MORE:

Read our full Apple TV 4K (2022) review

As well as our list of the best streaming devices

And read our full Google TV Streamer review