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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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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.

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It's spooky season! The leaves have turned, the weather's getting worse (or better, depending on your perspective), and we're all getting re-acquainted with our favourite chunky sweaters. Summer, we hardly knew ye.

We haven't completely doubled down on the spooky tunes for this month's edition of Now Playing – there's a dedicated best Halloween test tracks rundown if that's your jam – but we have made a few nods to this very special time of year in the list below.

What all of the tunes have in common is that they'll shock your system into bringing its A-game, be that via brain-melting basslines or blissed-out progressive house beats.

Oh, and there's a tune from a plucky up-and-comer called "Taylor Swift", who has a new album out. Apparently, it's rather a big deal...

• Listen to our Now Playing playlist on Tidal

Uh Uh by Thundercat

If you want a song that will make you question your life choices for just over two minutes, Thundercat’s Uh Uh will almost certainly do it to you. That’s because his fast-paced electric bass guitar playing verges on superhuman, as he effortlessly plucks the strings at an incredible speed.

This makes for excellent sound testing, as even the most premium soundbars and surround-sound speaker packages can struggle to get enough detail into every note. There’s really no hiding place here, with subtle changes in tonality and bass giving life to the track.

Quiet vocals accompany the drums and guitar, providing an extra layer of subtlety that can catch some systems out. Get it wrong, and the track will sound more like an undefined and jumbled mess.

The track's beginning also acts as a brilliant test for your surround speakers, as a distorted whooshing passes around the listener to create a dizzying tunnel of sound. While it may be short, Uh Uh will tell you everything you need to know about your speakers.

Words by Robyn Quick

The Fate Of Ophelia by Taylor Swift

In case you somehow missed it, a new Taylor Swift album has just been released, so of course I couldn’t help but highlight a track for this month's edition of Now Playing.

The Life Of A Showgirl is a lot glitzier and energetic than her previous effort, The Tortured Poets Department, which served up an onslaught of melancholic tracks, and while I still need time to assess this new album, I can already vouch for its opening salvo.

The Fate Of Ophelia opens with a deceiving bar of sombre-sounding piano that invokes the vibe of her last album, though it quickly gives way to a funky bassline which then opens up to an explosive, dangerously catchy chorus.

The track keeps up the pace from here, with a compelling storyline running throughout and a moody bridge that ramps up to one final punch of that infectious chorus.

It sets the tone for the album as a whole, leaning into the theatrics and energy that embodies The Life Of A Showgirl, and it’s an exceptional hook to get you invested into what surely must be one of the most anticipated records of the year.

Words by Lewis Empson

Zombie by The Cranberries

This month I went on a bit of a journey, revisiting Irish protest songs after watching Netflix’s latest divisive show about the Guinness family.

In doing so, I revisited one of my favourites tracks of all time, Zombie by The Cranberries, which also feels oddly appropriate given that the spooky season is upon us.

Written and delivered with fiery fury by lead singer Dolores O'Riordan, the song is a masterpiece from start to finish, full of emotive, evocative lyrics lamenting the violence in Northern Ireland at the time, in particular the tragic loss of children during an IRA bombing in 1993.

With changing dynamics, grungey, distorted guitar parts and shouted lyrics, the song is vastly different to most of the band’s other work and remains one of its best and most memorable to this day.

For hi-fi fans, O'Riordan’s incredible vocals, which rapidly alternate in both volume and pitch remain a benchmark only the best hardware will do true justice to.

Whether it’s simply to enjoy the amazing track, or give your separates a run for their money, If you haven’t heard it, I’d strongly recommend giving Zombie a listen, especially given its ongoing relevance in today’s troubled world.

Words by Alastair Stevenson

Eyepennies by Sparklehorse

Eyepennies joins my list of sad/tender songs – alongside Nick Cave's Into My Arms, Elliott Smith's Between The Bars, and Tom Waits' Martha – that make truly terrific test tracks.

Why? It's less about specific musical elements and more about conveying the emotion of the song: the sombre weight of the track, the heart-achingly tender but definite piano notes, and the late Mark Linkous's whispery soft but carefully sung lyrics. PJ Harvey's guest vocals offer another dimension, but the steady repetitive beat is also a great test of a system's handling of rhythm and dynamics.

This song could easily sound monotonous or dreary through a less capable system, or not have the appropriate balance of weight and delicacy – it's a tightrope that should have your attention hooked to the song's narrative while also feeling every inch of emotion seep into your skin.

Words by Kashfia Kabir

K-Pop Demon Hunters soundtrack

Some songs are just fun. There's no need to pick them apart to parse which note or instrument is faithfully conveyed through your headphones or speaker – they come through as a whole meal, concocted as a perfect pop song for pure enjoyment.

And KPop Demon Hunters has a whole soundtrack full of them.

The mega-hit animated film about a K-pop girl band fighting demons has a cracking soundtrack that I've had on repeat for the past two months – and I'm yet to tire of it. The triple threat of Takedown, How It's Done and Golden are absolute bangers that will be stuck in your head for days and weeks on end. They're propulsive, punchy, catchy and fizzing with energy. Just pure fun.

Words by Kashfia Kabir

You Make Me Feel Like It's Halloween by Muse

It's nearly Halloween, and that means it's time for scary movies, scary costumes and, if you can find then, even a few scary songs. While Werewolves Of London might be a bona fide belter, it's a little too simplistic to be labelled as test room fodder, so it's time to turn to our favourite Teignmouth trio for a scarily good time instead.

We included You Make Me Feel Like It’s Halloween as part of our best Halloween tracks to test your hi-fi system a couple of years back, and, like a zombie crawling from its earthy grave, it feels appropriate to resurrect it now that October is in full swing.

As far as guilty pleasures go, this is as much fun as Muse have been in a long while. A completely overdone pantomime of over-the-top guitar screeches and Psycho-inspired strings, you’ll want a system that can bring out the blend of anxiety and pure camp from the composition.

Words by Harry McKerrell

The Happy Dictator by Gorillaz

Gorillaz have been around so long they're essentially doing side quests at this point. It's not easy to keep up with the band's fictitious overarching story, a tale whose disparate plot points have included the commandeering of a piratical submarine, extended stints in prison and the establishment of a semi-Satanic cult in America.

Suffice to say that, as the title of the band's new track reveals, we're now on to the formation of a totalitarian dictatorship in an unspecified Eastern nation. It's a natural progression.

As the Gorillaz project has never been shy in bouncing around its bizarre narrative, the group has reflected such eclecticism in its musical output. This time, it's the Mael brothers, AKA Sparks, who have been recruited for The Happy Dictator, bringing their idiosyncratic, pleasingly camp electro-pop stylings to Gorillaz's latest release.

It's an odd one on first listen, a sort of airy, chirpy number that borders on the parodic. Once you can accept that's the whole point, of course, it's hard not to get it out of your head as Ron and Russell repeatedly sing, "Oh, what a happy land we live in / Oh what a happy land, oh yeah."

Faux propaganda has rarely been so catchy.

Words by Harry McKerrell

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

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

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

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

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Summer's almost over, or at least, it is if you live in the UK. The nights are drawing in, the leaves are turning brown (rather prematurely, it has to be said), and we're all preparing to hunker down for the long slog that is the British winter. See you in eight months, sun!

While that's bad for our tans and probably not much better for our mental wellbeing, it does mean that we'll be spending a lot more time inside, glued to our hi-fi or welded to our favourite headphones. That, inevitably, means lots and lots of listening (and lots of fodder for next months' edition of Now Playing).

Not that August's generally lovely weather stopped us from discovering lots of new test tracks, mind. You can't keep us away from a sound system, with the tunes below giving our test gear a good going over in the warmup to winter. Don't pull a muscle!

• Listen to our Now Playing playlist on Tidal

Euro-Country by Cmat

“I think we’re gonna' diе trying, I wish we weren’t this way”.

You might think this lyric seems like something right out of a break-up song, but you would be mistaken. Instead, Euro-Country acts as a yearning to feel connected to one’s homeland and a struggle with identity.

It begins with lyrics in the Irish language, and Cmat has crafted a song that’s part love-letter, part political anthem. It’s hard to pin the genre down as well, with aspects of country, folk and pop emerging as it goes on.

Her wailing vocal performance is incredibly moving, with emotion and rage seeping through every note. As the drums reach their crescendo, for example, Cmat matches this energy with a furious cry that ends with “It was normal building houses that stay empty even now".

Cmat’s full Euro-Country album has just been released, so I’ll be strapping in for some (hopefully) excellent tunes.

Words by Robyn Quick

Won't Be A Thing To Become by Colin Stetson and Sarah Neufeld

This is a test track that we have used numerous times over the years, but I still can’t quite get a handle on it.

It’s a two-hander between saxophonist Colin Stetson and violinist Sarah Neufeld. The way each instrument’s distinct tone, timbre and textures remain clear and insightful while also dovetailing into each other when it comes to the rhythmic structure of the piece is something that is very difficult to get right, even with very capable hi-fi equipment.

What is important is to feel the deep, rich tones of the opening notes and layered subtleties of the strings, and to lose yourself in the otherworldly and slightly unsettling, moody composition.

The instruments should be delivered with a physical and visceral feel through the very best hi-fi, while also having a controlled, agile and dynamically expressive hold over the ebb and flow of the track. It’s a mesmerising tune, and definitely worth repeated plays.

Words by Kashfia Kabir

The Rope by Wunderhorse

Indie rock band Wunderhorse has been serving up grungy bangers for a few years now, but I’m ashamed to say that they have snuck under the radar for me until recently.

Formed in 2020, the band saw success with its 2022 album Cub, which contains the visceral track Teal – also worth a listen. Since then, they have supported some of my favourite artists, including Sam Fender and Fontaines D.C.

The group's latest offering, The Rope, leans into the edgy sound that they have established for themselves, though it's balanced out with a catchy guitar riff that cuts through the heavy track to superb effect.

It’s exciting and moves at a decent pace, with lead vocalist Jacob Slater’s lyrics piercing through with a raw and emotive quality that ties this record together perfectly.

Lyrically, The Rope feels fairly heavy. It is introspective and desperate, with the chorus hinging on Slater frantically pleading “don’t let go of the rope”, though that is swiftly followed by a reassuring and almost uplifting sentiment of “and if you’re rolling easy, go steady / You gotta' do what you do to get along”.

That's in keeping with the rest of Wunderhorse’s discography, which can be thematically weighty at times, but I think it solidifies their raw and pragmatic sound.

Play this track through a pair of earbuds or headphones that can balance the roughness without sounding abrasive or unkempt, and you’ll find plenty to like.

Words by Lewis Empson

My Mind Is A Mountain by Deftones

Has it really been five years since Deftones released their last album? It sure has. Not only was the recording of Ohms completed during the start of the COVID-19 pandemic, it was released when the infamous ‘Rule of Six’ restrictions were in place in the UK. Crikey, what a strange time that was.

Their 10th album, Private Music, has just been released, marking the longest that the band has ever taken between albums. Perhaps that’s why it sounds so polished – and why it feels like the quintessential Deftones record.

There’s nothing envelope-pushing, genre-bending or style-mutating here. Private Music suggests that the band has done its evolving and has settled on what Deftones is. This is Deftones at their most Deftones-y, and it’s excellent.

This is typified, as you would hope, by album opener My Mind Is A Mountain. Sudden, brutal heaviness; chugging guitar riffs; propulsive percussion; soft, sweeping singing and contrasting, emotionally strained shouting – it’s everything you want from Deftones distilled into a three-minute track, and it sounds lush and dramatic through proper hi-fi.

Words by Tom Parsons

In A Silent Way by Joe Zawinul

The jazz enthusiasts among you may be looking at the artist listed here and getting confused.

Though pianist and keyboardist Joe Zawinul is the original composer of In a Silent Way, it was taken by Miles Davis, who is generally considered more famous in mainstream music, and used as the titular track of his 1969 album of the same name.

The catch? Davis thought Zawinul’s original work was a little too complex and chose to simplify the composition and cut entire sections – a move that led Zawinul to re-record the piece with a different band and his original composition a year later.

That’s the version we have here. This gives it a more haunting feeling in my mind, with the beautiful, slow-burning track alternating between modal and diatonic passages built on the E major or A major scale leaving an intentional sense of ambiguity.

On top of this, with a beautifully played soprano sax lead, that is masterfully backed up with a complex keyboard section that intertwines rumbling low and sparkling high parts, it’s a masterclass in composition that demands a decent hi-fi setup to do it true justice.

Words by Alastair Stevenson

Lonely Night in the Park by Bruce Springsteen

Bruce Springsteen has been on something of a streak recently, releasing a wealth of music he recorded but, for whatever reason, chose not to release, over his long and storied career.

I’ve always had a soft spot for The Boss, and found a sea of hidden gems in the releases, including Rain in the River, about which I wrote a separate feature.

But his most recent lost track release, Lonely Night Park, is by far my favourite. The wonderfully composed track was released on the 25th of August to help celebrate the 50th anniversary of his iconic Born to Run album.

According to Springsteen the track was “heavily considered” to be included on the album, but for undisclosed reasons didn’t quite make the cut. Listening to the newly released 1975 studio outtake from Springsteen’s Born to Run Record Plant sessions, I honestly can’t understand why it was cut.

Featuring an upbeat, booming backing track expertly delivered by the E Street Band along with Springsteen’s energetic, narrative-led vocals it’s a powerhouse demonstration of everything that made me fall in love with The Boss as a teenager and continue to listen to him over 30 years on.

Whether you're an existing Springsteen fan or newcomer to his work, this track is well worth a listen.

Words by Alastair Stevenson

Jealous Type by Doja Cat

The complete antithesis to my rocking recommendation above, I have also been listening non-stop to the latest single from pop star/rapper Doja Cat. Jealous Type is a synth-laden dance-pop banger dripping in glittery ’80s disco influence, which appears to be the theme Doja’s upcoming album, Vie.

The funk-inspired bass riff that underpins this track is my favourite part, and it demands a pair of headphones or earbuds that can deliver taut and precise bass to make it truly shine. That strong bassline requires a system that doesn’t stumble where timing is concerned, as the song can easily lose its lustre if your audio gear isn’t striking the beat with precision.

Doja Cat’s sparkling layered vocals glide effortlessly over the densely packed melody, which contrasts said bassline rather nicely. An early section of the track that layers Doja’s lyrics over producer Jack Antonoff’s vocals is a standout, and it sounds particularly good on a pair of headphones that sonically lean on the richer side.

Spatial separation is also a must with this track, as it can otherwise sound ill-defined on a less-talented set of headphones or a middling Bluetooth speaker, ultimately resulting in its slick production being lost within a jumble of digital effects.

Done right, however, this track shines as a modern pop anthem.

Words by Lewis Empson

Mirrors by Justin Timberlake

Justin Timberlake might not be the hottest property in music any more – he has rarely been what you might call a 'credible' pop artist (not that kind of pop artist) in the same vein as an Elton John, say, or a Prince Rogers Nelson.

You might think NSYNC were just another generic boyband, or that Timberlake's earlier work was soft R&B fluff watered down for a mainstream audience. You may even think that 2011's Friends with Benefits was a bad movie (you'd be dead wrong on that one, you fool).

Think all of those things if you will, but don't tell me that Mirrors is anything short of a pop masterpiece. The penultimate salvo from 2013's The 20/20 Experience is outrageously well crafted, and when you've got a proper system to give it its due, the track's bold, brassy synths knock you for six before switching to snappy, Jackson-esque verses leading into that anthemic falsetto chorus.

Pop tunes can often be throwaway or breezy affairs, but Mirrors demonstrates that there's nothing wrong with genuinely orchestral bombast amid the more lightweight fluff.

Turn it up loud on a capable setup and the results are utterly breathtaking.

Words by Harry McKerrell

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It's been a mixed few weeks for music fans.

Metal maniacs mourned the death of Brummie legend Ozzy Osbourne at the end of July, Tyler the Creator dropped a new album from pretty much nowhere, and Nine Inch Nails released their first new music in five years with a sampler from their soundtrack to 2025's Tron: Ares sci-fi sequel.

We even had a not-so-small music scandal courtesy of AI-generated group The Velvet Sundown hitting a million hits on Spotify. Well, humanity had a good run...

This month's edition of Now Playing pays tribute to such a turbulent time, at least to a small degree.

There's no AI-generated music on this playlist (and there likely never will be!), just everything from classic pop to a groovy summer classic and a spicy pick from the UK's most divisive group.

And yes, there is, of course, a nod to the recently departed Prince of Darkness.

God's A Different Sword by Folk Bitch Trio

It’s rare that I come across a brand new album, let alone a brand new artist, that instantly captures my attention.

Folk Bitch Trio are a folk/indie act whose debut album, Now Would Be A Good Time, only came out a couple of weeks ago and the first track – God’s A Different Sword – immediately won me over.

The young Australian trio’s harmonies are outstanding. They each have lovely vocals on their own but put together, the harmonies are incredibly layered, textured and soar high into the ether.

It’s a lush, acoustic sound; intimate while also allowing plenty of space for their vocals to luxuriate. That they are high school friends perhaps affords them an extra layer of closeness and cohesion, while there is a maturity to their tone that feels impressive for a debut LP.

Some songs are in danger of meshing into one another, but the tracks where their beautiful harmonies are the focus, such as the first track and another personal favourite, That’s All She Wrote, really leave their mark.

Words by Kashfia Kabir

The Wizard by Black Sabbath

Last week Ozzy Osbourne, the Prince of Darkness, father of metal and all round music legend, died, which is why I found myself feeling the need to revisit one of my favourite albums featuring his iconic vocals: Black Sabbath's original self-titled masterpiece.

On this stellar record, full of bangers and credited as the origin point of all metal – heavy, sludge and everything else in between – there is one song that holds a special place in my heart: the album’s second track, The Wizard.

While it is not as famous as the band’s breakout success, Paranoid, it’s the first track I heard from Sabbath and one of the main reasons I love metal as a genre to this day. Starting with a haunting harmonica intro, it's a brilliant example of what made the group so special.

With a thundering bass part provided by Geezer Butler, a tight but powerful drum section by Bill Ward, and topped with Ozzy’s immediately recognisable vocals and Tony Iommi’s lead guitar, I challenge anyone to make it through the track without head banging.

If that wasn’t enough, according to Butler, the song is about Gandalf from Lord of the Rings, which automatically makes it even cooler.

Words by Alastair Stevenson

Smooth Criminal by Michael Jackson

Whatever your views are on Jackson, you can’t deny that, during his golden period, he and Quincy Jones were pumping out arguably the finest pop music the world had yet heard.

Off the Wall. Wham. Thriller. Smash. Bad. Wallop. Three back to back classics, and all worthy of a place in your collection – if, of course, they’re not there already.

I could’ve gone for pretty much anything from this enviable glut of creative wonderfulness, but it so happens that Smooth Criminal has been lighting up our test rooms over the last few weeks.

Let’s be honest, you probably already know why it’s such a titanic piece of pop perfection. Jackson’s superb vocal gymnastics. The track’s ever-changing, ever-evolving use of various styles and moods. Jones’ pinpoint production. That outrageously entertaining central hook. Those slap-you-in-the-face percussive stabs.

Put them altogether and you’ve got a proper masterpiece that hasn't aged a day.

Words by Harry McKerrell

As Alive As You Need Me To Be by Nine Inch Nails

Nine Inch Nails are a band synonymous with experimentation and being at the forefront of the industrial music genre.

With Trent Reznor and Atticus Ross back together releasing new work under the name for the first time in five years courtesy of the group's latest single, As Alive As You Need Me To Be, it’s clear why.

Released earlier this month off the back of the band revealing their Peel It Back tour dates, the track is a tour de force of everything that made Nine Inch Nails’ work so iconic.

It’s the third song from the Cleveland group's upcoming Tron: Ares film score, which is set to tell the story of humanity’s first meeting with AI beings.

Featuring dynamic composition that mixes grooving synth parts with Reznor’s iconic growled vocals and an EDM-inspired rhythm section, it’s an incredible track – especially if you’re a fan of Nine Inch Nails' older work.

The rapidly shifting dynamics and mixed time signatures also make a demanding song that will really push any hi-fi system’s precision, dynamism and tonal balance.

Whether you’re an established Nine Inch Nails devotee or a complete newbie, I’d strongly recommend any music fan give it a listen.

Words by Alastair Stevenson

Summer Madness by Kool & The Gang

This track is so mellow it hardly bothers to get started. A world away from the disco cheese that Kool And The Gang became known for, Summer Madness just simmers for the majority of its four-minute run time, and is occasionally cut through by its soaring synth. True, the end of the track does build to a climax, but for the most part it creates a lazy mood perfectly befitting its summer vibe.

It’s also as great a test of your system as any of Kool And The Gang’s end-of-the-night foot stompers. There’s a lot of subtle detail to be dug up away from the main synth work, and come synth time there’s nowhere to hide for your system’s treble.

It’s also one of the most sampled R&B tracks ever. Think Summertime by Jazzy Jeff & The Fresh Prince (it’s even referenced in the lyrics) and You Know How We Do It by Ice Cube, but it’s also been used by Erykah Badu, Aaliyah, Snoop Dogg, Gang Starr, Paul Hardcastle and many more.

Not bad for a song that can barely be bothered to get out of bed.

Words by Joe Svetlik

Yes by Coldplay

Yes, it’s Coldplay, ok? Let’s just get this over with from the onset, shall we?

I make no apologies for recommending a track from the most divisive British group since Oasis – in fact, if everyone’s going to go all wet-eyed over the reunion of the Gallagher brothers like they're the saviours of music, I don’t see why I shouldn’t indulge in a bit of Coldplay as part of my current test rotation.

Just drop your preconception and give Yes a chance. A far cry from the middle of the road safety of 2005’s X&Y, Yes represents the more Avant-garde direction Coldplay took with 2008’s enjoyably bombastic Viva La Vida.

Big, lush strings veer up and down as tingly guitars twang away underneath Chris Martin’s surprisingly meaty, confident vocals, making for a composition that feels as front-footed and creatively confident as anything the group has done before or since.

If the likes of Speed of Sound and Clocks have you reaching for the cyanide, the refreshingly off-kilter approach of Yes might be right up your street. Very... un-Coldplay, shall we say.

Words by Harry McKerrell

MORE:

Read last month's edition: eight test tracks that have been playing on repeat in the What Hi-Fi? test rooms

These are the best audiophile headphones for getting the most out of your music

Check out our ultimate test tracks collection

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

I spent a considerable amount of time listening to KEF’s first-ever soundbar, the XIO, this past month.

The 5.1.2 single soundbar is quite the proposition on paper, boasting Dolby Atmos and DTS:X immersive surround sound support, a relatively compact design (at least compared to soundbars of similar ambition that come with separate subwoofers and/or satellite speakers), and a comprehensive companion app that acts as a gateway to plenty of streaming connections, including Amazon Music, Qobuz, Tidal Connect, Deezer and Spotify Connect.

There’s a lot to like under the hood as well. KEF’s trademark Uni-Q drivers – a staple of the company's stereo speakers – are present, albeit perhaps not in the form you are familiar with, where a tweeter and mid/bass fit into a single assembly.

The Uni-Q MX drivers in the XIO – three forward-facing and two upwards-firing – instead have a dual diaphragm arrangement that features a mechanical crossover to allow the high-frequency central section to operate separately.

But what did I learn about KEF's debut 'bar throughout my days of testing it alongside my colleagues? Well, ultimately – and excuse the spoiler for those who have yet to read our full KEF XIO review – that it is a huge success, so much so that it has overtaken the Sennheiser Ambeo Soundbar Max as the best high-end model in our best soundbars buying guide.

It also has trumped the Sennheiser as the best premium model in our best Dolby Atmos soundbars page.

That said, it isn't perfect. Here are three areas in which the XIO stands out, and a couple of things that me and my colleagues aren’t as keen on.

Like: exciting yet precise sound

'Exciting' and 'precise': two words that can rarely be confidently used when describing a soundbar's sound. But the XIO is not your average ‘bar in terms of sonic performance.

KEF has clearly put a lot of effort into ensuring its debut soundbar is tough competition for its rivals, producing an overall sound that is thrilling yet balanced.

When watching John Wick 2 on 4K Blu-ray with Dolby Atmos during testing, for example, we noted in our review: “The deep revving of engines feels textured with the rhythm of the vehicle throbbing, but it does not overpower the lighter soundtrack.

“One car leaps over a bump in the distance and then moves into the forefront, displaying the soundbar’s sense of precision. You can really feel the three-dimensionality of the sequence as the vehicle moves across the screen.”

Like: clear and tight bass

Moving on to the XIO’s performance with lower frequencies, we are not disappointed here either.

This is partly down to the four ‘P185’ bass drivers housed within the soundbar.

The P185 is a rectangular design, 51 x 180mm in size. KEF claims that each of these has the same radiating area as a traditional circular 10cm driver unit, but that the rectangular shape allows the soundbar chassis to be considerably slimmer than would otherwise be the case.

Directly comparing the KEF model to the Sennheiser Ambeo Soundbar Max, we find that both soundbars take very different approaches to the bass.

While the Sennheiser better succeeds in spreading the sound around the room and providing a better floor-shaking bass than the XIO, 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," to quote our review.

Despite the XIO not having the biggest bass sound in this product category, then, we find it is the best all-round bass performer we have seen so far at this price point.

Dislike: no HDMI passthrough

This may not seem like a big deal considering the huge array of streaming capabilities the XIO offers, but the absence of HDMI passthrough could be a drawback for many.

In terms of connectivity, the XIO features one HDMI 2.1 eARC socket, one optical connection and Bluetooth. This is a common offering in the budget-to-mid-market soundbars that pass through our test rooms, so it comes as a surprise not to see a more generous spread on the XIO's rear panel.

Having more HDMI 2.1 inputs or 4k/120Hz passthrough would allow users to connect their sources – their games console, Blu-ray player and/or set-top box – to the soundbar rather than the TV, with simply one cable then going from the bar to the telly.

If KEF decides to produce a second model down the line, we hope more HDMI connections will be on the menu.

Like: amazing music performance

It's not a given that a soundbar is as good with music as it is with movies, so it came as a pleasant surprise that the XIO delivers excellent musical expression.

With Music mode activated, the delivery is more direct but still just as compelling. Each frequency feels distinct and crisp on its own, while still coming together into one overall cohesive presentation.

When listening to Radiohead’s Codex, for example, we found during testing that “the mellow bass feels well separated from the midrange but still melds together well”.

We added that “vocals sound natural, but the slightly echoing effect baked into the track is still picked out”.

Indeed, the XIO stands out in the soundbar realm for being a capable music system too.

Dislike: no display

While the XIO’s look is pleasing overall with its flat and compact dimensions, we were disappointed to find there is no display on the soundbar itself.

This would not be as big an issue if the buttons on the ‘bar were a little more tactile and you could therefore be more assured that the product has received a command. But the buttons blend in with the chassis, making it a little fiddly.

On the Sennheiser Ambeo Soundbar Max, for example, there is a small text display that visualises which EQ mode is activated or what the volume has changed to.

While not a deal-breaker by any means, it is a user-friendly feature that makes the setup process that bit easier.

MORE:

Check out the full KEF XIO review

And here's our review of the Sennheiser Ambeo Soundbar Max

These are the best Dolby Atmos soundbars we recommend

KEF was one of the first specialist hi-fi manufacturers to get into home cinema speaker packages back in the early nineties, and it has continued to operate in the market since then.

It may come as a surprise, therefore, that the brand is only now releasing its first soundbar.

Enter the KEF XIO, a 5.1.2 premium soundbar that the company says is designed to excel with music as well as movies.

This is a tough ask considering most soundbars struggle to achieve this duality. KEF is equipped to do this better than most, though, given its expertise in both fields.

Price

The XIO launches at £1999 / $2500 / AU$3600, placing it firmly in the high-end premium soundbar category.

That pits it firmly against the Award-winning Sennheiser Ambeo Soundbar Max, which was originally priced at £2199 / $2500 / AU$4000 when we first tested it back in 2019. Now, though, we are seeing regular discounts down to £1999 / $1999, although the Australian price has remained mostly unchanged.

The Sennheiser currently holds the crown as the best high-end model in our best soundbars guide, and is our current benchmark at this price.

Build

The XIO comes in a choice of two finishes, black or silver, with cloth grille panels covering the ends, front and back.

Unlike its Sennheiser rival, which has a bulky design that really needs to be wall-mounted, the XIO (which can also be wall-mounted) fits nicely under a TV with its shallow height. It has an overall mature and premium appearance, too, which we think will blend well into most living rooms.

This relatively thin design is quite a feat considering the XIO houses an impressive 12 drive units, each with a dedicated Class D power amplifier. Added together, KEF claims the complement of amplifiers delivers a meaty 820 watts of peak power.

There are six Uni-Q MX drivers, three of which are on the top of the soundbar for upward-firing sound, but with the one in the centre employed only when the soundbar is wall-mounted. That leaves the remaining three facing forward.

The MX isn’t like a traditional Uni-Q design. Rather than having two separate drive units, a tweeter and mid/bass, that fit into a single assembly, this new MX driver has a dual diaphragm arrangement that features a clever mechanical crossover to allow the high-frequency central section to operate separately.

Then there are four ‘P185’ bass drivers. The P185 is a rectangular design that is 51 x 180mm in size. KEF claims that each of these has the same radiating area as a traditional circular 10cm driver unit, but the rectangular shape allows the soundbar to be considerably slimmer than would otherwise be the case.

That’s not all. KEF has arranged the four P185 drivers into two pairs that face in opposite directions, so that any vibrations generated by each driver are cancelled by the opposite reaction of its partner. This layout should result in appreciably less vibration being generated by the soundbar and fed into its support, which bodes well for the XIO’s bass performance.

The P185 is an interesting design for more than its shape. It has a distinctive indented surround that KEF calls ‘P Flex’ to allow the cone greater freedom of movement and control.

Perhaps even more unusual is the Velocity Control Technology (VECO) built into the drive unit. Here, a flexible PCB printed with a sensing coil takes the place of a traditional former (the component that the main coil wraps around) and measures the speed of movement. This allows the soundbar’s ‘brain’ to compensate for any errors detected.

Finally, there are two conventional full-range drivers on either side. Given that they are only 50mm in diameter, maybe ‘full range’ is pushing it, but what they do is push the soundfield wider.

You can wall-mount the soundbar or keep it flat on a table. When it is wall-mounted, the orientation changes so the forward-facing drivers now point upwards. In this guise, what was the central driver is now activated and pointed at the listener. The bulk of our testing was done with the soundbar facing forward sitting on our rack.

On one side of the XIO, you will find a panel with indented touch buttons for power, output and volume. Sometimes these are not as precise in use as we would like. When we press a button, it is not entirely clear whether the unit has registered the command. If we had an on-unit display, this would be less of an issue.

The XIO comes with a lightweight remote that is simple to use with a clear layout. While the remote covers the basic commands, the KEF Connect app has a more comprehensive range of controls, which we suspect most people will lean towards.

Features

In terms of inputs, the XIO has HDMI 2.1 eARC, optical and Bluetooth.

It is also possible to connect an outboard subwoofer either through a standard line-level analogue output or via wireless transmission. Alongside the XIO, KEF has launched the KW2 RX adapter (costing £149 / £160 / AU$280) to allow this wireless sub connection.

At this level, we really expect a soundbar to have dedicated HDMI inputs as well as an HDMI eARC port. The XIO’s main rival, the Sennheiser Ambeo Soundbar Max, has three HDMI inputs. Largely due to its age, they're not 2.1 spec, so won't support 4K/120Hz from a games console, but they are still useful.

The Samsung HW-Q990F, which is more affordable than the KEF XIO and a full system in a box to boot, has two HDMI 2.1 inputs and full 4K/120Hz passthrough.

With these extra HDMI inputs, you can connect everything to your soundbar rather than going through the TV. KEF's approach in having all of your sources running into your TV is far from uncommon, but is something we expect more from mid-range and budget models.

In terms of 3D sound formats, the XIO supports Dolby Atmos, DTS:X and Sony 360 Reality Audio, and when it comes to music, there’s plenty to choose from, including Amazon Music, Qobuz, Tidal Connect, Deezer and Spotify Connect.

The KEF Connect app is simple to set up and use, with easy-to-navigate sections at the bottom. From there, you can select the XIO’s output, see the exact volume setting, and control all the streaming services.

There is also the useful ability to change the speaker volume sensitivity. You can make one press of the plus button increase the volume by multiple or single steps, for example. There’s the option to set a maximum volume limit as well, which is handy for young and sensitive ears.

In the KEF’s EQ settings, there are different sound profiles to choose from. Default has a great sense of balance and naturalness. Movie, on the other hand, projects the audio to fill the room, giving a more spacious sound field and a greater feeling of movement to sounds. However, there are losses in terms of focus and impact at lower frequencies. This leads us to use Default more often.

As you would expect, there is a Night mode that compresses dynamic peaks and bass impact, which is handy for those times when you don’t want to disturb the other people in the house. Understandably, it also removes much of the tension from the sound, and voices sound less natural than in Default or Movie, so it should only be used when it’s really needed.

Music mode, meanwhile, creates a more cohesive and directed sound that is, as the name suggests, best reserved for stereo music.

Finally, there’s a Direct setting with minimal processing and equalisation. This mode is noticeably quieter and reduces the impact of the surround effects. While we’re normally fans of such ‘pure’ sound modes, on this occasion we find the sonic performance loses too much in the way of entertainment.

The XIO also features ‘Intelligent Placement Technology.’ This allows the soundbar to detect if the orientation changes, and you can calibrate it to further adjust its performance based on the space.

Built-in microphones allow it to measure your room, including being able to detect walls and furniture.

Once it’s set up, it produces balanced results in our test room. Turn the EQ modes off, and the sense of immersion is much reduced.

Sound

We begin our full sound testing with Jurassic World on 4K Blu-ray with DTS:X sound.

As the unwitting children get a first glimpse of the park, the expressiveness of the score is immediately portrayed with a pleasing musicality. The sparkle of the brass feels crisp but not sharp, while the midrange is full-bodied and solid.

We move to later in the film, where things have turned south and our protagonists are being chased by hyper-intelligent raptors. The tension of the pursuit is really heightened by a tight bass with plenty of punch.

As the raptors run after a moving truck, the pounding of their feet on the ground has the right balance of being muffled yet impactful.

Despite the XIO’s slim and relatively compact dimensions, it still manages to produce an impressively wide and immersive soundstage.

When watching Labyrinth on 4K Blu-ray with Dolby Atmos, this becomes apparent. As our protagonist, Sarah, is stuck in the Bog of Eternal Stench and attempts to escape, the sound of the rocks rising surrounds the listener and makes the impact feel palpable as they come to the surface.

The XIO’s ability to spread sound around the space feels incredibly natural, all while keeping each frequency clear and unmuddled.

Take the opening scene of John Wick 2 on 4K Blu-ray with Dolby Atmos, as Keanu Reeves’ rugged character embarks on a hair-raising car chase. The deep revving of engines feels textured with the rhythm of the vehicle throbbing, but it does not overpower the lighter soundtrack.

One car leaps over a bump in the distance and then moves into the forefront, displaying the soundbar’s sense of precision. You can really feel the three-dimensionality of the sequence as the vehicle moves across the screen.

We test the XIO against the Sennheiser Ambeo Soundbar Max and find that the two have very distinct strengths and weaknesses.

The Sennheiser certainly has a bassier and bigger overall sound, managing to spread the audio around the room more. As objects move across the screen, it is able to project the movement of the sound in a more emphatic way, wrapping us in the sound field a little more convincingly.

But 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.

The XIO certainly produces less bass than its rival, but those lows are better formed and more controlled. If you do want greater low-end heft, however, then there is always the option of adding a dedicated subwoofer.

When we switch to Music mode to test out some tunes, Tidal Connect and Qobuz Connect work seamlessly.

With Radiohead’s Codex, the mellow bass feels well separated from the midrange but still melds together well. Vocals sound natural, but the slightly echoing effect baked into the track is still picked out.

In fact, the XIO 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.

Overall, this is an effortlessly organised sound that captures the excitement of what you are listening to, whether that’s movies or music.

Verdict

The XIO is supremely easy to listen to, creating an impressively wide sense of space for a soundbar while maintaining balance and expressiveness.

With a comprehensive app and plenty of streaming connectivity, it also works as an excellent sound system for music alone.

KEF says that it wants the soundbar to effectively act as a hi-fi package wrapped up in one product, and it has achieved that. Put simply, it is one of the best soundbars we have heard.

SCORES:

• Sound 5
• Build 5
• Features 4

MORE:

Also consider the Sennheiser Ambeo Soundbar Max and Samsung HW-Q990F

These are the best Dolby Atmos soundbars you can buy right now

In these turbulent and uncertain times, it's nice to have a constant in your life. Something you can always rely on to be there for you, through the good times and the bad, through peace and through unrest, through sunshine and rain.

That's what Now Playing is for! This month's edition, like those which preceded it, is an excuse to bury your head in the musical sand and discover, or simply enjoy, some tasty test tunes.

We're not getting any less eclectic as time goes on. Wolf Alice, A$AP Rocky, Muse and Alice Cooper all on the same bill? You'd have to go to Glastonbury if you wanted to see such a diverse array of talent all in one place.

• Listen to our Now Playing playlist on Tidal

Didn't Know Why by Tunng

Tunng's signature 'folktronica' sound is on full display in this track from their latest album, Love You All Over Again, 20 years after the band's studio debut.

Blending soft, textured English folklore tones with crisp electronica noises, Didn't Know Why is full of shape-shifting sonic surprises. The initial few seconds of crunchy, taut electronic noises that flit across the soundscape are gorgeous – heard on speakers that are particularly open, detailed and clear, these are sounds and textures put together in a way I haven't heard before. It is delightful and unexpected.

This gives way to a beautifully warm and melodic acoustic guitar, with nursery rhyme-like soft singing that tells a darkly pagan story – all further enhanced by the lush textures of the vocals. It may sound fairly simple at first, but the repeated refrain of "Wake up in the morning / Everybody eat your lungs and heart" needs a system with excellent rhythmic ability to maintain the momentum without ever losing interest.

Words by Kashfia Kabir

Bloom Baby, Bloom by Wolf Alice

Wolf Alice have returned with a punchy, edgier new sound that trades their sweet and nostalgic indie ballads for a rockier and shoutier direction, and I, for one, think it's a magnificent shift in tone.

As sceptical as I initially was, lead singer Ellie Rowsell commands this track with growling, snarling vocals, underpinned with a funky bassline and crashing drums, making for a raucously good time. The angsty verses give way to a harmonic, crooning chorus that juxtaposes beautifully, resulting in a technical showcase of Roswell’s superb vocal capabilities.

I have been using this track to test a range of soundbars recently, as it requires a clear, dynamic and punchy sound to truly capture its potent energy. A product needs enough low-end weight to capture the thunderous drums throughout, while a capable handling of dynamics is required for the pre-chorus transition into Roswell’s rapturous “I’m so sick and tired of trying to play it hard” motif.

Bloom, Baby Bloom is also a permanent fixture on my summer playlist. It's the perfect track to blast out of a Bluetooth speaker at a social gathering. It’s got soul and catharsis at its heart – just try not to sing your heart out after a couple of listens.

Words by Lewis Empson

Am I Dreaming by Metro Boomin, A$AP Rocky, Roisee

Most of the time when the lights go up at the end of a film in the cinema, I am one of the first out the door. During the end credits for Spider-Man: Across the Spider-Verse, however, I was seated until the very end.

This was down to an excellently animated sequence playing alongside Am I Dreaming, which recaps the plot of the whole film. I won’t spoil it if you have somehow not seen this movie, but the trippy visuals combined with the toe-tapping track are quite a treat.

After I had seen the movie multiple times in the cinema, the song slowly became a regular test track for me.

Starting with a solo violin accompanied by Roisee’s distorted vocals, the song eases you in with a slow and mellow pace, before Metro Boomin’s entrance shatters that illusion with a fast-paced rap verse.

Because of this mish-mash of styles and personalities, it’s a great test of dynamics for any sound set-up.

Words by Robyn Quick

More Than Enough by Universal Togetherness Band

If you’re thinking that the music video looks like it was shot 30 years earlier than this track’s 2014 release date, that’s because it was. Universal Togetherness Band originally recorded this in 1983, but it sat unreleased in the vaults until 2014, when independent record label Numero Group dug it out, dusted it off and dumbfounded everyone as to why they had never heard of this band.

Want to get up to speed? This great 8-minute documentary tells the story pretty well.

And if you’re thinking it sounds familiar, it was sampled by Hot Chip for Down in 2022. You can see why – it’s quite a hook, especially coupled with that infectious drum beat. Your system will need the full suite of skills to do it justice, from a solid low end for the bass to crisp mids and highs for the vocals.

But we can’t leave without a word on that music video. Talk about vintage charm – from the fuzzy VHS visuals to the literal acting out of the lyrics to the song, it would be raw and amateurish were the track not up to scratch. As it is, it makes the perfect accompaniment, especially 30 years on.

Words by Joe Svetlik

In the House - In a Heartbeat by John Murphy

With 28 Years Later out, I took the opportunity to revisit the iconic original, 28 Days Later. And while the film hasn’t aged terribly well, thanks to the poor quality of the digital recording and camera technology used, its original soundtrack has stood the test of time remarkably well.

Composed by John Murphy, the instrumental track is an absolute banger start to finish. As well as accurately portraying the slow, increasingly desperate tone of the film, it’s a great example how decent composition can truly instil a sense of dread in its listener.

Starting with a minimalist riff in D-minor, the track creeps into your psyche before blasting you with distorted guitars and a growling bass that gets your heart pumping and the hairs on the back of your neck standing to full attention.

Which is why this month, after revisiting director Danny Boyle’s dark, zombie-filled film universe, I haven’t been able to stop listening to the track

Words by Alastair Stevenson

Yellow Mellow by Ocean Alley

One of the leading lights of Australia's indie scene in the past decade, Ocean Alley revels in funkadelic rock, blending psych with reggae, mellow melodic hooks with '70s-inspired noodling instrumentals.

Their breakthrough song, Yellow Mellow, from their eponymous EP is a doozy of a test track, leading with a bluesy cymbal- and keyboard-led jam before breaking into a groove that's impossible not to bop along to, with frontman Baden Donegal's soulful vocal belting out lyrics just as playful ("She put too much sugar on her cereal this morning, just to get her out of bed").

A revealing system will convey the track's poignant pace change and the energy of the funk-infused rhythm, while keeping the unrelenting cymbals in check and the soundscape organised as the guitar riffs come in.

Words by Becky Roberts

Unravelling by Muse

Typical Muse, doing about four songs in one. Everyone’s favourite genre-warpers are back with a brand-new single, Unravelling, their first proper release since the debut of 2022’s generally rather decent Will of the People.

It’s tricky to know what to expect whenever a new Muse track lands, though this one seems to have fallen on the right side of the barmy spectrum. Synthy staccato choruses build to a typically operatic climax as Matt Bellamy wails about “a hymn for our love with no God and no throne” (no idea), but it’s the crunchy, wall-of-sound metal breakdown before the chorus hits that will have your heart thumping and your head banging.

We don’t know when Muse’s next full-length record is scheduled to drop or even what it will be called, but we are tentatively hoping the band cuts free from the leash and lets those metal impulses run wild and free.

Words by Harry McKerrell

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Read last month's edition: 8 tracks we have been using to test in the What Hi-Fi? listening rooms this month

These are the best audiophile headphones for getting the most out of your music

Check out our ultimate test tracks collection

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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Back in April we brought you the news that Porsche was getting a major infotainment upgrade and the addition of Dolby Atmos support.

Now we can add another member of the Volkswagen Group (VAG) to the list of brands getting a sonic boost. Starting in July we are going to see the arrival of the first Audis compatible with the format.

As was the case with Porsche, the feature is going to be limited to certain models, at least with the initial rollout.

In this case, it’s the Audi Q7, Q8, A8 and Audi e-tron GT models fitted with Bang & Olufsen’s Premium 3D Sound System or Bang & Olufsen Advanced 3D Sound System. According to Audi’s press release, they have been “specially adapted to integrate Dolby Atmos”.

As was the case with the Porsche rollout, you will need to access tracks via the streaming services found within the Audi Application Store, which is accessed through Audi’s infotainment system, MMI (Multi Media Interface).

To take advantage of tracks available in the immersive audio format, you will need to have either an Amazon Music, Audible or Tidal subscription.

Like the Porsche rollout, it has been confirmed that Dolby Atmos support won't be backwards compatible with older models and will only be available on models on sale from July onwards.

Audi is the latest automotive manufacturer to announce Dolby Atmos support, with Polestar, Mercedes-Benz, Lotus and Cadillac all offering a more immersive listening experience with certain models.

We shall have to wait to see whether Dolby Atmos in an Audi can reduce anyone to tears until we can take one of the compatible cars for a spin.

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If you're looking for a budget music streamer to add to your hi-fi system, it's quite likely that you will be considering one of WiiM's fine models, such as the superb Pro Plus. But I've spotted an even cheaper option.

You can now get the Audiolab 6000N Play streamer for the ridiculously low price of just £199 at Peter Tyson. That's even cheaper than the £219 you'll pay for the current five-star and Award-winning WiiM Pro Plus.

We reviewed the Audiolab 6000N Play in 2020 when it cost £449, but the price has dropped to £249 in recent years. Right now, however, you can get an additional £50 off if you sign up to Peter Tyson's VIP club – and it's free to join with no hidden charges.

£199 is dirt-cheap for any hi-res music streamer, especially one with Audiolab's pedigree. While it's an older model and may not have all the bells and whistles of newer units, its core network music streaming credentials remain solid.

The 6000N Play is superb value for this ultra-budget deal price. Whether you're looking to modernise an old hi-fi system with network streaming capabilities or simply have a strict budget, this is a fine option at a great price.

With its screenless front, the Audiolab 6000N Play is an unassuming piece of kit, but inside lies Audiolab's hi-fi expertise coupled DTS’s Play-Fi hi-res, multi-room streaming platform.

You have an array of streaming services at your fingertips, including Spotify Connect, Tidal, Amazon Music, Qobuz, TuneIn internet radio and more. As an older product, it may not have support for newer features such as Qobuz Connect and Tidal Connect, but it has the basics covered nicely.

The Audiolab at its core is a network player with DLNA and UPnP compatibility, meaning it can play hi-res music files up to 24-bit/192kHz from a networked server or music library stored on a hard drive.

The unit is controlled via the third-party DTS Play-Fi app, which we found to be relatively fuss-free and simple to use in our testing for all the basic controls, even if it's perhaps not as slick and sophisticated as newer options from WiiM or BluOS.

The Audiolab has a couple of nice features at your disposal too, such as the ability to assign up to six custom presets so you can hit a button and be taken straight to the source of your choosing, whether that’s a streaming service or your favourite internet radio station.

We were “agreeably entertained” during testing, calling the 6000N Play an “insightful and involving listen” and an “affordable way to implement streaming into your system without compromising sonic quality”. Pricier (and newer) streamers such as the Bluesound Node (2024) and Cambridge Audio MXN10 will offer greater punch and dynamic subtlety, but the 6000N Play counters with a clarity, openness and a down-the-middle tonal balance that remains a pleasing listen.

Being able to snag a former Award-winner that is still ongoing for this super-low £199 deal price is unheard of. So if you've been in the market for a network music streamer that suits your needs and tight budget, don't miss out on this fantastic Audiolab deal.

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Read our original Audiolab 6000N Play review

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The one thing you should check before buying second-hand hi-fi

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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Do portable Bluetooth speakers need a wired audio connection? It’s not quite a question as old as time, and perhaps not as important as whether there’s life on other planets (definitely) or what the best flavour of Monster Munch (picked onion, obviously), but it has cropped up recently amongst our review team following a spring period packed with Bluetooth speaker testing.

We’ve had the five-star JBL Flip 7 and JBL Charge 6 pass through our doors, as well as the classy Bang & Olufsen Beosound A1 (3rd Gen), all portable models capable of delivering excellent wireless sound to take with you on your travels. After all, isn’t that the point of a Bluetooth speaker?

Well, yes and no. Connecting your smartphone (or other music source) to any of the aforementioned units’ predecessors was done exclusively via Bluetooth, but according to JBL, one request from customers was the inclusion of a wired audio connection. Why? JBL told us it's because their customers wanted to be able to hear the higher-quality 24-bit lossless audio provided by the best music streaming services these days, like Apple Music, Amazon Music, Qobuz and Tidal.

And that's what JBL did. The new Flip 7 and Charge 6 feature wired listening for the first time, supporting up to 24-bit/96kHz hi-res lossless audio playback from a smartphone, laptop or other source device using USB-C. The new B&O Beosound A1 (3rd Gen) that we just tested offers a wired listening option via USB-C for the first time, too.

This all feels a bit counterintuitive, considering the type of portable products we’re testing, but it’s hard to deny the sonic gains achieved by using a wired cable. Naturally, a wired connection will offer better sound quality than the very compressed and lossy Bluetooth wireless connection, and we can confirm from our testing that all three speakers undoubtedly sound better when using USB-C.

Sound-wise, wired is the way to go

To quote from our recent Beosound A1 (3rd Gen) review: “A wired connection to an iPhone 15 offers noticeable sonic improvements, with the speaker hardening up just a touch but finding new levels of clarity, punch and spriteliness when listening to the same songs on Tidal via wired compared with Bluetooth”.

It’s the same with the two JBL speakers. From our JBL Charge 6 review: “Switch to wired lossless listening, and there is considerably less noise in the background. You get subtler depths to both detail and dynamic shifts when listening via USB-C, too, but the character remains the same as Bluetooth.”

Well, that’s that then, isn’t it? If a wired connection makes your Bluetooth speaker sound better, why wouldn’t you include one and, more importantly, why wouldn’t you use it? We’re all here for better sound, aren’t we?

Better sound, less convenience?

Yes and no. The reason we ask the question in the first place is that we do wonder if people who buy portable Bluetooth speakers (especially the affordable ones) really care enough about sound quality to prioritise a physical connection over the more convenient Bluetooth one.

Better sound is great, of course, but the Bluetooth performance you get is still great by current standards for a portable product. And let’s be honest… isn’t the cable-free convenience of a wireless speaker the whole reason you buy them in the first place?

It’s much less convenient in practical terms to be physically tethered to your JBL or B&O as well. The fun of a Bluetooth buddy is that you can be standing on the other end of a field or have the speaker in any place in the house and still control your tunes. It’s nice to be able to switch tracks quickly from your phone at a house party rather than having to drop what you’re doing and, hunched over like a gremlin, start trying to find Tina Turner on Tidal.

Plus, if you are using a cable, you may have to relinquish use of your smartphone and not have it on your person at all times – which means not being able to check those all-important WhatsApp messages the second they come in, or being able to change the music as easily. Unless you want to be carrying both around at the same time, you’re going to have to leave your smartphone by your speaker in order to keep it connected. That can be impractical if your speaker is placed out of reach, and if you're using a short cable.

A Bluetooth speaker gives you so much freedom and flexibility – that's the whole point. We imagine most people will still use the JBLs and B&O exactly as intended – wirelessly – for the most part, but it's nice to at least have the option for wired listening for those who really want it.

Being able to simply switch from wireless to wired gives you the best of both worlds. It’s having your cake and eating it, but the cake here is a JBL Flip 7. Or maybe it’s a lossless USB-C tether...

It's nice to be heard

What we appreciate most is manufacturers actively listening to consumers about their desires and concerns. JBL is a huge player in the portable speaker game, and it has a proven record of listening to feedback and making improvements to its products. Sony has recently exhibited similar behaviour, adding foldability and strengthened hinges to its five-star WH-1000XM6 over-ears after customer feedback.

Will we start to see a wired connection option become commonplace with Bluetooth speakers going forward? We're not sure, but it is encouraging to know that there is a growing appetite for higher-quality and hi-res music listening from the users of these popular portable Bluetooth speakers.

Across products of all types and prices, users are demanding better sound alongside ever-improving convenience. Now that's something we can get behind.

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7 tracks we've been enjoying in our test rooms over the past month

A month ago, we asked our readers how you listen to hi-res music in your hi-fi system? Do you exclusively use streaming services, or do you buy and download hi-res files?

Overwhelmingly, your answers indicated a combination of the two methods, with owning music being a huge priority.

With so much choice available in how to stream music – Apple Music, Amazon Music, Qobuz, Tidal – these days, as well as various download sites available (Bandcamp increasingly gets a mention), we found that our readers use a variety of different listening methods available today that suits their needs, preferences and ethos.

Many of you use streaming as a complement to CDs and vinyl – proving that you don't have to choose a side in any format war – while others have eschewed physical formats entirely in favour of hi-res streaming or digital downloads.

The most common thread throughout, however, is the importance of high-resolution sound quality, as well as being able to own the music you buy. It's a sentiment we agree with entirely.

Owning music you love is the priority

Forum member Cork says: "I listen to hi-res for music that I think was well recorded, typically music recorded relatively recently. I like to own the music, so I purchase CDs for non-hi-res and primarily use HDTracks for hi-res (occasionally I use Bandcamp). FWIW, I'm very happy with HDTracks because I *am* an older listener who likes jazz, classical and "dad rock". I like to listen to an album once before I purchase it, so I use Tidal to check out albums; I listen to Tidal's hi-res version if one's available."

Simon Broch says: "I listen to a lot of hi-res music which I store locally on a Bluesound hard drive connected to my hi-fi system. I don't use streaming services as I much prefer to own my music."

"I am downloading more frequently from Bandcamp where I can stream most of my favourite new music.... I also like to buy music in a way that best rewards the artists."

We have to say we agree with Adam Ranson's position, especially as a frequent user of Bandcamp to discover and support artists directly.

MusicSloth says they would consider streaming if the monthly subscription fees were lower for "essentially "borrowing" music", and is sticking to digital FLAC downloads for now, also citing how external storage devices and hard drives are cheaper to buy these days.

We like his mantra: "Pay once, listen as often as I want to."

Combining streaming for music discovery and then buying downloads

Many users simply use streaming services like Tidal and Qobuz for music discovery, and then buy and download the digital hi-res album on HDTracks, Qobuz Store or Bandcamp to own the album permanently.

"Both. I purchase, mainly from Bandcamp, and stream via Tidal," says Forum member hootywwfc.

ruffian22052 does the same, but with different services. "I’m listening to music via Apple Music in the highest quality available, but when I find an album I really love, I’ll buy it from Qobuz in whatever the highest res version I can find. That way, I’ll have all my favourites, and an extensive CD collection (which I’m ripping slowly to my NAS), to keep me happy if I ever have to give up my Apple Music subscription."

A commenter on Facebook reinforces their preference for owning music they love. "I use streaming services to audition music, then buy a lossless digital copy to have and hold in my own home storage whenever I find music I genuinely love. I don't want to be at the mercy of shifting licensing agreements when it comes to the core collection of great music."

Fellow member busb echoes the sentiment about owning music and paying artists fairly, but issues a warning about disappearing downloads: "Until a couple of years ago, I'd say that streaming was my favourite option – renting rather than buying. Using iTunes has enabled me to locally cache a huge amount of music including classical & individual songs.

However, differences in SQ [sound quality] aside, dozens of tracks and/or whole albums suddenly become unavailable, despite downloading them. "This song is no longer available in your region." Others may be able to explain the whys, but there's no technical reason music can't effectively be available forever – you don't need to make another batch of CDs or LPs! If I "buy" music, I don't own it but do have the right to listen to it – you don't get home to find some CDs or LPs are missing.

I do agree that equitable payment needs to be sorted out but politics seems to be intervening. I'd say to anyone thinking of streaming: be aware that your favourite music may suddenly be unavailable!"

Sticking to streaming or download exclusively – but sound quality remains important

And of course there are those that exclusively use one method.

"I stream via Amazon Music Unlimited using the Alexa app; would not be without it now," says DREADZONE.

"For me it is internal streaming, I download the album or track to my Server / NAS and stream to my Linn streamer. I don't use any of the streaming sites to stream music." - michael hoy.

"Almost exclusively streaming," says a Facebook commenter. "Saves getting out of the chair to change the disc!"

"I am a dedicated downloader," says James McWilliams, "having abandoned streaming a couple of years ago. Qobuz is my download site of choice. It has a great selection of keenly priced jazz and classical music in its BNF collection and there are regular sales and special offers. I rarely download Hi-Res as, to be honest, I can't detect a difference relative to CD quality. I see the main advantages of downloading relative to streaming as being ownership and the ability to listen offline."

Many have embraced the convenience that streaming brings, after a lifetime of collecting physical music. "I am just streaming. Tidal and Apple Music are my streaming services," says Welzar. "Streaming Hi-Res and CD quality sounds as good or better than my CD collection without all the hassle of dealing with CDs."

For those who ripped their CDs back in the day and now combine them streaming, Joe_Christmas says that using a third-party platform like Roon has transformed the way they listen to all their music, both streamed and stored locally.

"I mostly listen to hi-res music streamed online through the Bluesound ecosystem – mostly Tidal, though I have a Zen Innous for all my old CDs. I don't download from Tidal/Spotify and have never really had an issue with disappearing tracks or albums – I mostly listen to jazz/folk/Americana.

A game-changer for me was Roon, which allows for the proper integration of both my sources – being able to create a playlist from a mixture of Tidal and my own CDs is tremendous, and its player functionality is significantly better than Tidal, Spotify and Bluesound."

Many users have confirmed lifetime subscriptions for Roon that they use in conjunction with a Tidal subscription and a NAS drive full of stored CDs. But many have gone streaming only, with commenter Alex now "instead preferring the Tidal versions rather than what I have ripped on a PC and stored."

There was a lot of love for Tidal and Qobuz in particular for their sound quality. Richard Ridgeway streams via Qobuz as "they only stream CD or better audio," while AndyC405 prefers Tidal "primarily for the hi-res stream quality and because I'm concerned about what the artists earn."

We had two shoutouts for something a little bit different.

Commenter GRPR has a particular focus when it comes to streaming: "It's all about Dolby Atmos from a streaming perspective. Apple Music on an Apple 4K TV. I have enough stereo and surround titles on my own music servers, which is around 42 TB at this point. It's the new releases in Atmos that I want to use streaming for."

And brandavon shows love for the niche Blu-ray Audio. "Tidal, SACD and Blu-ray Audio" are their preferred formats. "Blu-ray Audio should've taken off instead of vinyl having a restore. I use Tidal the most as there's never been enough SACD and Blu-ray Audio discs."

Streaming as a complement to vinyl and CD listening

Many users also mix up the streaming discovery with the physical formats like vinyl and CD, stating how owning and listening to music on a physical unit is more emotionally involving than a digital file.

Forum member mavplace64 says: "I grew up in the age of vinyl, then converted to CD and have returned to vinyl about 15 years ago. So vinyl is my main source for music purchases and preferred way to listen to music. About 4 years ago I set up a streaming system with a streamer and DAC using Tidal and Qobuz, this I use only really to discover new music but still stream at the highest quality I can.

Storing and purchasing downloads has never interested me as there is no emotional involvement for me. Maybe being of a certain age and listening to an album rather than individual tracks means streaming and downloading will never be for me."

Chris_Horner plays records when it's all about sound quality, but uses streaming for its convenience and ease – for instance, as background music when they are cooking, have people over, working on something or just want it to be easy without having to deal with flipping an LP.

"Different sources for different priorities," he wisely says – something that plenty of us can identify with in how we listen to music these days.

And we have to salute eduard, who has spent a lifetime enjoying hi-fi and buying music. Bitten by the 'hi-fi virus' at 14 and using a tape deck to record vinyl from friends and the local library, eduard has now discovered streaming at age 65, upgrading their entire system and enjoying the vast amount of music at their fingertips and how easy it all is to use a tablet compared with putting on a CD or vinyl...

"I am not only pleased by the sound quality – I agree there will always be the dream of a next higher level – but especially by the hundreds of new discovered albums and artists, I never would have discovered when I had to buy those music."

A happy convert, indeed.

A happy coexistence – but things could be better?

Unlike the format wars of the past, it's clear that there are so many options and permutations to hi-res streaming and downloads these days, that there really is no one answer. The prevalence of better than CD quality and hi-res audio being available both as digital downloads and on popular streaming services means that we now have greater access to high quality music than ever before.

And they can all happily coexist together. Sticking to just one type of listening feels like a rarity, as our readers show how streaming, downloads and even CD and vinyl can all be part of your hi-fi ecosystem. Streaming as a music discovery tool to then buy the albums you enjoy is a common theme – in fact, we are struck by how strongly many of you felt about owning music you buy and how important this was, rather than 'renting' music, alongside ensuring artists are paid fairly.

Our What Hi-Fi? readers obviously care about sound quality, so it's no surprise that this is a top concern, with most of you perfectly happy with the hi-res quality on offer via streaming or downloads.

However, some of you noted how hi-res Masters on streaming don't necessarily sound as good as they could be...

MattJKing71 writes: "The quality of many Masters are often so poor that Hi Res can barely shine. Qobuz and Tidal had some good masters but not the range (a 16-bit/quality compression is why I've held out for Spotify to go Hi Res and will download to play at home offline to avoid streaming glitches."

davidbix also queries the mastering quality. "So much hi-res stuff that's out there isn't done that well. For brand new releases, they'll use the same mastering steps from the CD-quality version even though the hi-res audience obviously doesn't want the kind of dynamic range compression that's long been too common... It's rare that I'll find a hi-res title that matches or exceeds both the vibes and perceived sonics of a good vinyl pressing, so I don't go back to it as much as I'd like.

It doesn't help that a lot of the best hi-res releases are SACDs that aren't legally available to stream. (Whether in-print or otherwise, often from speciality reissue labels like Mobile Fidelity, Analogue Productions, Intervention Records, or Impex.) So listening to them in a more convenient fashion requires jumping through a lot of hoops."

There's always room for improvement, as the chase for ultimate hi-fi sound is never-ending. But it looks like the majority of you are enjoying music in the variety of ways that are available today, finding a happy balance between them all.

Thank you again to all our readers who commented and shared their opinions.

MORE:

Rainer Finck on his hi-fi career highlights as a 30-year Marantz engineer and original developer of the Philips Bitstream DAC

Hi-res music streaming services compared: is Tidal, Qobuz, Amazon or Apple Music better?

Our pick of the best music streamers across all budgets

Eversolo is fast building a reputation for making solid, innovative digital music devices, and its latest product looks to bolster that. The Eversolo Play is the brand's first streaming amplifier, and combines amplification, digital-to-analogue converter (DAC) and wireless streaming skills in one package.

Inside the Eversolo Play is an AK4493 DAC chip and Class D amplifier that, Eversolo claims, will drive bookshelf speakers "to recreate every nuanced detail". We don't have information on the power rating figures yet, but we will find out at the Play's debut at High End Munich 2025 show.

The Eversolo is decked out with streaming features, featuring support for Tidal Connect, Qobuz, Deezer, Amazon Music and TuneIn Radio. It is also Roon Ready certified.

You can also stream locally stored files on a NAS drive over the network thanks to compatibility with UPnP and WebDAV. And finding tracks should be easy thanks to Eversolo's own library management system that works across platforms.

It also boasts an impressive list of ports including HDMI ARC for connecting to a TV, optical and coaxial inputs for CD players and external streamers, a subwoofer output and phono input for hooking up a vinyl turntable.

It has multi-room talents too, so you can place one Play in each room (with speakers) and share music throughout the home.

The mobile app lets you control the Play, plus you can use your phone to analyse a room's acoustic characteristics to adjust the Play's output accordingly.

The body is a CNC construction with an aluminium alloy, to maintain structural rigidity while shielding against external electromagnetic interference. And a heatsink stops components from getting too hot to maintain optimal performance.

That screen is a sizeable 5.5 inches, and lets you control Eversolo's redesigned interface. Eversolo's super slick, user-friendly interface was a highlight during our DMP-A6 streamer review, so we're hoping that the new streaming amplifier brings more of its delightful use case and extensive features to win us over.

The Eversolo Play is also available in a CD Edition, which has a built-in Hitachi-LG CD-ROM drive. The Standard Edition is set to cost €699 (around £600 / $790 / AU$1200), while the CD Edition costs €799 (around £680 / $900 / AU$1400).

That's a rather attractive price considering most established hi-fi brands offer streaming amplifiers that cost much more than that. Our Award-winning Technics SA-C600 (with CD player) costs £769; in contrast, the WiiM Amp Pro (no CD player) is just £399.

Also at High End Munich 2025, Eversolo is showcasing its new flagship DAC Z10, a streaming transport T8 and its sister-brand Luxsin's X9 headphone amplifier and DAC.

MORE:

Read our Eversolo DMP-A6 review

These are the best music streamers around

And the best DACs

Summer's just around the corner, so you might be expecting us to pack this month's edition of Now Playing with nothing but sun-soaked pop bangers and throwaway feel-good tunes. Or maybe you like to think that we have abandoned our test rooms altogether and run off to catch some rays, downing tools as we enjoy some volleyball on the beach, saving the testing of that new pair of floorstanders for a rainy autumn day.

Well, you're wrong on both counts. The testing grind never stops, and nor does our quest to find the best tracks for doing so. This month's list is as broad and varied as ever, with a little bit of Slipknot here and a touch of Portishead there, peppered with hints of '90s nostalgia and a big slice of lunar loveliness courtesy of Clint Mansell's Moon soundtrack.

Hey, you can't take your hi-fi system to the beach. Sunny weather? What sunny weather? Get back inside and keep listening!

• Listen to our Now Playing playlist on Tidal

Moon OST by Clint Mansell

There are many remarkable things about the sci-fi film Moon from 2009: directorial debut of Duncan Jones (David Bowie’s son); a compelling, thoughtful story that deals with what it means to be human; Sam Rockwell’s incredibly personable, emotive, affecting performance. And then there’s the music.

Clint Mansell’s stark but impactful compositions go hand in hand with the film’s equally stark visuals, as they tackle the desolation and loneliness of being in space. The soft, minimal piano composition underpinning the title track (Welcome to Lunar Industries) is at turns gentle and ominous; these are soundscapes that echo the monotonous and mechanical labours of Sam’s daily humdrum life alongside the vast, unknowable mysteries of space.

There are repetitive motifs that are hypnotic and unsettling, discordant and melodic: I’m Sam Bell, Too… ratchets up the tension as the film’s central horror unfolds, while Are You Receiving? plunges you into deep silence with only some haunting notes reverberating around you.

This is a stunning soundtrack to enjoy on a system that offers a wide, expansive stage for the minimalist music to flourish, not to mention keeping a firm handle on the timing and dynamics to immerse you in the nail-biting, melancholic atmosphere. It’s a haunting, captivating soundtrack with such a delicate, emotional pull – simply gorgeous.

Words by Kashfia Kabir

Buy Moon OST on Amazon

What Was That by Lorde

I’m a huge fan of Lorde’s 2017 electronic pop masterpiece Melodrama; so when I heard a snippet of What Was That teased on TikTok a few weeks ago, I was immediately intrigued. Lorde's new track, her first solo release since her 2021 album Solar Power, has been highly anticipated, and while I don’t believe it's her strongest song lyrically, it’s still an undisputed banger.

While it starts low-key, the track quickly gives way to an infectious, grungy synth baseline, juxtaposing the electronic atmospheric effects and Lorde’s raw, emotive vocals nicely. The track is brimming with angst, and though it retreads her retrospective style of teenage instability, it still manages to sound energetic and fresh.

What Was That acts as the lead single for her new album titled Virgin, set to release next month, and I am eagerly waiting to find out if we have a worthy Melodrama sequel on our hands here.

Words by Lewis Empson

Buy Melodrama on Amazon

In This Diary by The Ataris

If you're old enough to have grown up watching The OC, One Tree Hill or any of the multitude of rip-off shows that followed, then chances are you have heard at least one or two of The Ataris’ songs – even if you don’t know it.

As a millennial who falls into that camp, I have a soft spot for the band, which provided many of the bangers that contributed to the soundtrack of my teenage and early university years.

In fact, most of the songs from the group's 2003 album So Long, Astoria, still have the heart icon ticked on my Tidal account.

This week, whether it’s an imminently approaching milestone birthday, the fact I realised The OC is free on ITVX, or general nostalgia, I found myself re-listening to the acoustic cut of In This Diary.

Will it race to the top of our best hi-fi test tracks list? Not a chance. But I love it, over-the-top emo-overtones and all.

I have no shame admitting I’ve spent a good amount of time nodding along to its increasingly resonant line: “being grown up, isn’t half as fun as growing up,” over the past month. So true.

Words by Alastair Stevenson

Buy So Long, Astoria on Amazon

Left Behind by Slipknot

A little like our old favourites System of a Down, Slipknot are surprisingly effective for testing your hi-fi and headphones. It’s hardly the first name to spring to mind when someone says the phrase “audiophile’s dream”, nor are you likely to hear Psychosocial blasting out from the halls of a high-end hi-fi show, but Corey Taylor and co. shouldn’t be excluded from your setup’s weekly workout routine.

Left Behind makes for a great sampler, partly because there’s a lot of textural density and musical meat to be found within the track’s multi-layered instrumentation (there are nine band members, by the way) and partly because it’s a tune with a very particular and identifiable sound.

This is Slipknot at their rawest and most anthemic, evidencing that hard, industrial sound – clanking percussion, dirty guitars and powerful vocals – that was to become their sonic signature.

You can spend your time trying to pick out whether late drummer Joey Jordison sounds like he’s hitting his marks with appropriate dexterity or if a given bass passage is revealed with sufficient agility, but aficionados will be able to play Left Behind for the sum of ten seconds and know immediately if a system has captured its hard-edged, intimidating intensity.

Words by Harry McKerrell

Buy Iowa on Amazon

Adrenaline Addict by Suicidal Tendencies

If you know them, you love them. At least that’s my experience as a die-hard Suicidal Tendencies fan since I discovered them in the mid-90s.

The iconic punk band has its fingers in many pies, being loved by funk-punk aficionados, skaters, and thrash metal fans alike. Their first single in six years, Adrenaline Addict, is a great example of why they are so adored.

The chaotic, genre-jumping track mixes the high-energy punk vocals for which Mike Muir is famous, with a high-octane scoop sound bass line that interlinks with a thrash-metal lead guitar part to great effect.

For those willing to give it time, or who are generally more adventurous, it's a blissfully obtuse track that strikes all the right chords to delight established fans while offering enough meaty hooks for newbie listeners to get their teeth into.

If that wasn’t enough to tempt you, the band currently has an all-star lineup. Ben Weinman (of The Dillinger Escape Plan fame) is alongside Dean Pleasants on guitar, with Tye Trujillo (son of Metallica’s Robert Trujillo) on bass and Jay Weinberg on drums.

Words by Alastair Stevenson

Glory Box by Portishead

If you didn’t know by now, Portishead’s Dummy is a perennial favourite for music lovers and hi-fi tinkerers alike. It’s a titan of the trip-hop genre, so much so that we’ve got our own pristine vinyl copy on standby in our test rooms just waiting to give the next hopeful spinner a sonic evaluation. Like Massive Attack’s Mezzanine or Radiohead’s Kid A, it’s very much test-room royalty.

We could have been using any number of Dummy’s tracks during our recent testing forays, but Glory Box is always a reliable favourite for making a host of assessments whenever a new deck enters the arena.

The track’s sensual, ethereal tone comes through particularly well on vinyl, provided you have a player capable of bringing out such qualities, and so often you’ll find yourself mesmerised by Beth Gibbons’ seductive delivery as she switches between old-school jazz crooning and effusive rock wails.

Words by Harry McKerrell

Buy Dummy on Amazon

Up is Down by Hans Zimmer

If a full-length love letter to the Pirates of the Caribbean movies and their accompanying soundtracks was too much to handle, maybe a smaller appraisal of a single track might be a touch more palatable.

I’ve used Up Is Down pretty much since my first days at What Hi-Fi?, and while I have discovered many go-to favourites on the job, I haven’t found many tracks that have surpassed it for testing several key elements.

A “rollicking orchestral semi-shanty that’s as good as pretty much anything in Mr Zimmer's bulging back catalogue” (to quote...myself), only the finest systems will be able to keep up with those colossal dynamic swings and undulating rhythmic switches.

If you’re not using Up is Down in your test arsenal, it's time to walk the plank, matey.

Words by Harry McKerrell

Buy Pirates of the Caribbean: At World's End OST on Amazon

Chokehold Cherry Python by Ashnikko

This high-octane track is an excellent genre-bending mix of electronic pop and emo, portraying a blood-thirsty protagonist set on revenge.

Ashnikko uses a combination of snarling vocals and fast-paced bass in the chorus, making it a great test of whether the lower frequencies can make the right amount of impact.

The lyrics are kept simple, with the lines “I’m a tickin’, tickin’, tickin’ timebomb / Like a villain die an icon” repeated for most of the song, building from a simple heavy bass to overlaying vocals and an even more intense overall sound.

For fans of the animated show Arcane, this all might sound quite a lot like the kind of song the talented yet erratic villain Jinx would jam out to. No spoilers for those who are yet to watch the series (I highly recommend you do that if you haven’t, by the way), but Ashnikko actually wrote this track with Jinx in mind and even sent it to the studio for the show.

Even though it did not make it into the series itself, Chokehold Cherry Python really captures that heart-pumping feeling of anger and vengeance.

Words by Robyn Quick

Buy WEEDKILLER on Amazon

MORE:

Read last month's edition: seven test tracks that have been playing on repeat in the What Hi-Fi? test rooms

These are the best audiophile headphones for getting the most out of your music

Check out our ultimate test tracks collection

Welcome to another instalment of our monthly Ask the Reader column, where we ask our readers for their input on a key topic of discussion.

In this month's discussion, we want to know how you listen to high-resolution music in your home hi-fi set-up. We're talking higher than CD quality (16-bit/44.1kHz) files, meaning digital files that are in 24-bit quality, going up to 192kHz, as well as DSD files.

It was the case only a few years ago that if you wanted to stream your favourite albums in hi-res quality, then you'd have to buy and download the album from sites such as HDTracks, 7Digital, Qobuz or NativeDSD, store them on a server, hard drive or on your laptop, and then use a hi-res streamer (or network audio player) that could stream those files over your home network and wi-fi.

These days, however, you can stream millions of songs in hi-res quality (24-bit and above) from various music streaming services for a monthly subscription fee. Platforms such as Apple Music, Amazon Music, Tidal and Qobuz offer millions of hi-res songs that you can stream directly from your phone, tablet or laptop, or even via being integrated into the streamer itself. No downloading or storing is necessary – it's all available to stream at the tap of a button.

Recent data shows that music streaming dominates how we listen to music generally (over 88 per cent!), while music downloads have taken a hit to their lowest point in three years. But is that the case for our community of hi-fi fans and audiophiles?

What we'd love to know is how many of our readers still buy and download hi-res tracks, and how many of you simply stream hi-res tracks from streaming services? Do you prefer one over the other?

Do you still have a NAS library full of digital downloads, and if so, how many albums do you tend to buy every month and do you combine it with any streaming service subscription? Do you use services like Roon Ready to organise your library?

Or have you gone on to the fully streaming-only path, and do you stick to one streaming service only or use a combination? Have you made the switch from digital downloads to streaming, and have you found the process easy and practical?

We'd love to know your habits in how you experience hi-res music in your hi-fi system today, and any recommendations or tips you've found on your journey. To get involved, post your thoughts in the comments section of this page, on our social media channels or directly on our forums.

As with previous Ask the Reader columns (which dealt with topics such as OLED burn-in and vinyl buying habits), we’ll compile your insights and comments over the month into a dedicated feature.

Thank you in advance for your contributions!

MORE:

Hi-res music streaming services compared: is Tidal, Qobuz, Amazon or Apple Music better?

Where can you buy hi-res music? Here are the top download sites

What is high-resolution audio? Everything you need to know

Why sound (or picture) quality is our testing priority – but not our only concern

When the Bowers & Wilkins Px7 S2e arrived a few years back, we thought they were an excellent pair of wireless headphones. Boasting a premium quality of build alongside excellent sound and lots of features, it was hard to pick too many holes in their credentials.

Good as the Px7 S2e are, B&W wanted to go one better with the sequel. Promoting them as their most "advanced and capable headphones ever", the Bowers & Wilkins Px7 S3 have arrived burdened by seriously high expectations.

Thankfully, they're another excellent pair of over-ear wireless headphones, but how do they stack up against the older model and, more importantly, should you stick with the Px7 S2e or upgrade to the newer cans?

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: price

As you'll know if you're a frequent hi-fi or headphones buyer, the older a product gets, the lower its price tends to drop. Considering they arrived around two years ago, the PX7 S2e have fallen to roughly £249 / $350 / AU$460 as the five-star over-ears begin the slow process of being phased out.

The newer Px7 S3 won't see prices slashed anytime soon, so their debut figure of £399 / AU$699 is the one you're going to have to pay if you want a pair. Note also that the Px7 S3 aren't yet available in the United States and don't even have a US price tag thanks to ongoing political and economic uncertainties. We'll update you as soon as we have those prices, of course.

A convincing win for the excellent-value Px7 S2e, then.

**Winner: Bowers & Wilkins Px7 S2e**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: build and design

Oh, these really are lovely headphones.

We haven't changed our minds about just how nice the older B&W headphones are. The earcups' two-tone finish with a metallic oval and a textured surround just works so nicely, while gold accents and the cylindrical ‘Bowers & Wilkins’ logo text combine to make a very visually desirable product. Whatever finish you pick – and there are a few more with the Px7 S2e than the Px7 S3 at the time of writing – you won't be disappointed by how they look.

It's the same story with the third-generation cans, which follow roughly the same configuration as their predecessors. There are differences, however, including a decreased weight from 307g to 300g and a flatter, slimmer profile whereby the earcups don't protrude as far from the body of the overall design. That makes the Px7 S3, and their smaller case, more portable and easier to wear for long periods.

We've found both pairs to justify their premium price tags. The Px7 S2e felt like a well-made pair of headphones, a legacy that continues to the Px7 S3. From the fabric used on the headband to the quality of the metal arms, both sets feel like they've been built to last.

Both sets of headphones use old-fashioned button controls, and that's something with which we have no issue. The layout of the buttons makes sense and, once you get used to where everything is, you won't have too much trouble locating your desired functionalities.

The small fly in the ointment? Neither folds away, with the earcups instead swivelling from inwards to outwards, but not collapsing up and into the headband like, say, the Bose QuietComfort Ultra Headphones. It's not a huge deal, but worth noting all the same.

Two lovely sets of headphones, but their slimmer, lighter and more comfortable design gives the win to the Px7 S3.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: features

Scan down each respective spec sheet and you won't find too many gaps. Battery life is a commendable 30 hours for both both pairs, though we're a bit miffed that the Px7 S3 couldn't build on that and add a few more hours to the total. Still, their ability to offer seven hours of playback from a mere 15-minute charge is mightily impressive and super convenient.

Codec compatibility is solid for both. There's support for the higher-quality Bluetooth codecs, with both offering aptX Adaptive as well as both USB-C and 3.5mm cable connections provided in both boxes. The S3 take things a little further, offering all flavours of aptX so you're covered if you have a compatible device; aptx Adaptive, HD, Classic and Lossless are all available, plus 24-bit/96kHz quality when listening via USB-C.

The accompanying Bowers & Wilkins Music App is where you'll control your headphones, with the newer cans working from the updated version of the platform. It's a place we like to be, allowing owners to adjust their phone settings, change the sensitivity of the wearer detection feature for automatic pausing, select noise-cancelling modes or access the customisable five-band equaliser. You even get many streaming service libraries, including the likes of Deezer, Qobuz, Tidal and TuneIn, all in one place.

The Px7 S3, naturally, will have some features not available with the older cans. Auracast will be available soon, meaning the Px7 S3 can receive audio transmissions from compatible broadcast sources when the time comes. This will be available alongside LE Audio support and the LC3 higher-quality codec as a future over-the-air update, says B&W.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: noise cancelling and call quality

The Px7 S2e’s noise-cancelling capabilities are solid, and it's a similar story for the third generation of the brand’s premium over-ears. Thanks to their repositioned eight-mic array, the Px7 S3 have a natural-sounding ability to block out unwanted sounds and intrusions in much the same way as their predecessors.

Neither set matches the cocoon-like feeling of impermeability you get with the Bose QuietComfort Ultra Headphones, nor are they quite as comprehensive at reducing mid and upper frequency noises compared with Sony WH-1000XM5 and AirPods Max rivals, but the subtler ANC is decent enough from both sets when it comes to reducing the rumble of engines. The Px7 S3 are a little better than the previous model, as we would have hoped, and we certainly discern more of a difference when switching between full-fat ANC or the more permeable pass-through mode.

Voice calls are competently handled by each contender. Repositioned microphones and B&W’s ‘ADI Pure Voice’ voice processing technology tease “outstanding voice clarity” for the Px7 S3, and while the Px7 S2e weren't bad with voice calls, we feel that the newer model is better at muffling background noises such as passing cars or the whooshes of wind and air.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: sound quality

Make no mistake, the Bowers & Wilkins Px7 S2e are an exceptional pair of headphones at this price. Their sound is excellent, and it only took the brilliance of the Award-winning Sony WH-1000XM5 to prevent us from considering them to be the absolute leaders in their given field. Some of our test team actually prefer the older B&W cans to the Sony, so it's a very close run thing.

Why are the Px7 S2e so good? They remain tremendously detailed for wireless headphones at this level, able to bring out finer details and communicate dynamic shifts to an extent that few rivals can match. The B&W cans have the transparency to dig out the emotional depth to vocals, making sung performances sound authentic and sincere rather than rote and non-committal.

They're great at the lower-end, too, all while retaining a lovely feeling of space and scale. To quote from our review: "How the headphones render lower frequencies remains a highlight, with bass depth and punch in head-bopping supply. Bowers has not only aired out the soundstage slightly for added openness and coherency but also smoothed the presentation somewhat. It’s sweeter and easier to listen, and none of their predecessors’ clarity and tonal balance has been relinquished either."

So, there's no need to get the newer Px7 S3 then, right?

Wrong. The Px7 S3 are the step above, elevating an excellent pair of headphones to exceptional new levels. Compare them with any price-comparable rival and the Px7 S3 will hold their own and, more often than not, trump the competition. They offer class-leading levels of insight, instrumental detail and sonic punch. Even against the more expensive Dali IO-8, we found them to be more capable of pulling out textures with greater talent and a more perceptible feeling of weight and body.

To borrow from our recent review: "These are wireless headphones that dig deep into your music, eschewing a broad or general sonic overview and instead pulling out instrumental timbres with the relentless curiosity and enthusiasm of a bloodhound on the scent of a new lead." High praise.

We loved the bass reproduction of the outgoing B&W, but here the bar has been raised. The newer model offers a lower-end reproduction that drops to new depths, yet the B&W are cultured enough to keep things from sounding blobby or unwieldy. Powerful bass reproduction blended with true finesse isn't easy, but it's a trick the Px7 S3 pull off like it's no big thing.

Across the board, if sound quality is your key priority, the Px7 S3 have to be somewhere at the top of your shortlist. In a straight shootout against the Px7 S2e, they're the clear winners to our ears.

**Winner: Bowers & Wilkins Px7 S3**

Bowers & Wilkins Px7 S2e vs Bowers & Wilkins Px7 S3: verdict

Regardless of which pair they're put up against, the Bowers & Wilkins Px7 S3 are some of the best wireless over-ear headphones you can buy at their premium price point. If sound and style matter to you (and you're rather keen on a healthy feature set, too), we'd have no problem recommending them, even at full price.

What's the case for the Px7 S2e, then? In short, it's a question of price and value. The older cans arrived at £379 / $399 / AU$599, yet now that they're often more than £100 / $100 / AU$150 off, the sound-per-pound value they represent is seriously attractive.

Like so many things in life, this one might simply come down to a question of money.

MORE:

Check out our Sony WH-1000XM5 vs Bowers & Wilkins Px7 S3 head-to-head

These are the best noise-cancelling headphones we've tested

19 of the best Bowers and Wilkins products of all time

It's not often a brand that’s so new to the market makes such an impact on our review team. But that’s exactly what happened when we tested the Eversolo DMP-A6 music streamer.

We’ve already stated a couple of elements of its design that would feature in our dream music streamer should we ever have the opportunity to build one and now the Eversolo can be yours with £160 off at Peter Tyson.

This discount sees the asking price drop to £599 from our 'tested at' price of £759 which is quite a sizeable saving. You’ll need to be a member of Peter Tyson’s VIP Club but it's quick to sign up to and, more importantly, free to join.

In our Eversolo DMP-A6 review, we weren’t short of praise for this music streamer. It’s quite the package, with an attractive, compact design, brushed aluminium finish and a wonderfully large and intuitive six-inch LCD touchscreen which we loved getting to grips with.

We said, “It does a fantastic job of mimicking the same experience you get when using a smartphone or tablet’s touchscreen… the album art is lovely to behold in full colour, and being able to read the source, song and artist name, data rate, file type and file resolution all at one glance is a design triumph”.

It also boasts all the streaming features you could really wish for, including UPnP support and support for Tidal Connect, Spotify Connect, Qobuz, Deezer, Amazon Music and even Apple Music. It’s also Roon-ready certified with aptX HD Bluetooth also available when using compatible source devices.

During testing, we praised its “taut, punchy sound” and the fact it “delivers music with solid, clear notes and good space around instruments”. It might lack the ultimate hi-fi credentials of the class leaders at the money but it’s still a very enjoyable listen. Combine this with an unparalleled user experience and this £160 discount at Peter Tyson and you have a streamer deal that really should be investigated.

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We're back for Round Two! Last month saw the inaugural edition of What Hi-Fi?'s Now Playing playlist, a regular rundown of the artists and tracks we have been enjoying for our testing and listening pleasure; and now we're ready to do it all over again with a brand new selection of musical treats for you to wrap your ears around.

While last month's edition went big on classic '90s indie anthems, majestic folk newbies and a timely reminder that Macklemore had some incontrovertible bangers in his locker, this time around couldn't be more different. Volume Two includes blissed-out '80s synth sounds, a Radiohead-induced anxiety attack, plus the return of Lady Gaga and a grown man delivering face-melting bass licks while dressed as a fluffy orange cat. Enjoy!

• Listen to our Now Playing playlist on Tidal

Denial Is A River by Doechii 

I discovered Doechii through this standout track earlier this year and its playful personality, '90s hip-hop vibes and vivid lyrics immediately hooked themselves into my brain. Denial is a River has been on repeat in my playlist at home and at work, and it’s all thanks to Doechii’s incredibly crystal-clear diction and her honest, quirky yet precise storytelling skills.

Her energy is infectious as she talks through her recent failed relationship, her success – and its darker pitfalls – after being shot into fame, while a propulsive beat underpins her force-of-nature personality. From the way she puts emphasis on specific words to the ‘breathing exercise’ that ends the song, this is an addictive listen that comes to life on a system that can keep up with Doechii’s snappy, characterful rapping.

Words by Kashfia Kabir

Buy Alligator Bites Never Heal on Amazon

Favourite by Fontaines D.C.

Irish alternative pop rock band Fontaines D.C. are fresh off a Brit Award win, and for good reason; their 2024 album Romance was a triumph and a musical highlight of mine, even if I was late to the party in discovering it. Hits such as Starburster, Romance and Bug are the record's standouts, but it’s outro track Favourite that has become, pun intended, my absolute favourite.

This wistful and melodic track explores the passage of time, giving off a dreamy and upbeat vibe that’s underpinned by an indescribable melancholy; it sets out to invoke nostalgia and it does so perfectly. While I can happily bop along to its catchy repeating guitar riff, paying attention to the lyrics for just a moment is often a detrimental mistake – “cities on return are often strange?” / “every time you blink it, you feel it change” are two especially mortifying lines which should get my point across.

Anyway, enough of my existential crisis, what makes it such a great track for testing audio equipment? Its plucky strings and upbeat tempo are perfect for assessing timing, as any product with a solid rhythmic drive should serve the track well. Further, the acoustic instrumentation requires a rich, warm-sounding pair of headphones or speakers to capture its intent. If your system can deliver both these aspects, expect to be rewarded with this head-bopping, thought-provoking tune.

Words by Lewis Empson

Buy Romance on Amazon

Love is an Ocean by The Midnight 

Love is an Ocean is the latest new track from one of the biggest names in synth-wave – a cool category that makes music using retro synths.

If you’re a fan of The Midnight's previous work, or indeed synth-wave in general, it’s an outright delight. Written by band members Tyler Lyle and Tim McEwan with contributions from Amanda Warner, Love is an Ocean has everything you might want in a test record.

Wonderfully retro vibes with textured swooning synths and the band’s classic 'too cool for school' vocals? Check. Screeching 80s-style synth saxophone solo reminiscent of THAT Lost Boys scene? Check. Detailed, textured composition that’ll put any hi-fi system through its paces? Check.

It’s just that awesome and one of the tracks I’ve kept coming back to this month. If you haven’t already, I thoroughly recommend giving it a listen as soon as possible.

Words by Alastair Stevenson

Abracadabra by Lady Gaga 

Like many people on the internet a few weeks ago, my social media feed was filled with Lady Gaga performing jittery choreography surrounded by an entourage of frilled background dancers. This was, of course, the accompanying music video to her latest single release Abracadabra.

The track is an absolute earworm that cannot be satisfied with a single listen, and with it Gaga reminds us what she’s become so well known for. Her ability to create high-energy pop tracks that you just want to keep listening to is admirable, and she also has a brilliant tendency to make nonsense lyrics catchy – the crux of the chorus is: “Abracadabra, amor-oo-na-na / Abracadabra, morta-oo-ga-ga / Abracadabra, abra-oo-na-na.” Classic Gaga.

As the track begins, you are immediately hit with a wave of fast-paced beats and bubbling synths that draw you into the song's melodramatic feel, before the chorus kicks all of this into hyperdrive with its toe-tapping energy. Hearing this alongside the music video is an experience of its own, as 40 dancers join Gaga with extravagant costumes and intense, angular dance moves.

The addition of an opera-like bridge brings in an extra level of camp, with Gaga’s voice echoing around your ears like you are inside a tunnel. It may not be the best of her discography, but it’s still a little bit of magic to the ears.

Words by Robyn Quick

Buy Mayhem on Amazon

Burn the Witch by Radiohead 

If Björk was the inevitable candidate for inclusion in our inaugural Now Playing rundown, Radiohead were never going to be far behind when the time came for the sophomore effort. The National Anthem? Pyramid Song? Let Down? Which would we choose first?!

While the temptation to go fully left-field and choose haunting piano-led downer Codex from the near-impenetrable King of Limbs pulled strong, I've been unable to get Burn the Witch out of my head or off my 'Most Played' Tidal playlist. Described as a three-minute anxiety attack, it's a prescient, adrenaline-inducing polemic whose ever-amplifying drama and deft-handed orchestration make for a fine challenge of a speaker's organisational and rhythmic abilities.

The accompanying video above, which essentially blends the cosy stop-motion charms of Trumpton with the eerier occultism of The Wicker Man, is also worth investigating.

Words by Harry McKerrell

Buy A Moon Shaped Pool on Amazon

The Orange Cat's Special Time Outdoors by Thundercat

The office is quiet, save for the sound of a few clackering keyboards, the hum of an air conditioner and maybe a little Taylor Swift leaking from some nearby headphones. At his desk, a man who is too old to be familiar with any song aimed at the under-fives begins to sing an innocuous tune: “I am an orange cat / I like to eat / My little tasty treats / Have a nice picnic.” Nearby co-workers shift their chairs further away as they glance at one with bemusement and pity in their eyes.

Thundercat has featured in many a What Hi-Fi? rundown, but I’ve chosen The Orange Cat's Special Time Outdoors – performed on befuddling child brain rotter Yo Gabba Gabba! – for three main reasons. First, it’s a genuine bop with a typically complex, meandering baseline that will challenge even the nimblest system to keep up. Second, the idea that its writer and performer chose to go this hard on a track aimed at small children brings me genuine joy. Third, the image of a fully grown man dressed in an orange cat onesie grooving on his six-string bass while professionally trained actors in oversized character costumes dance disjointedly to his funky tune will never not be funny to me.

“I am an orange cat / I like to roam…”. Those poor kids must have been baffled.

Words by Harry McKerrell

Arrakis by Black Sun Empire

Well this is a change of pace. I first heard this on a random drum and bass compilation in the early noughties, and straight away it jumped out as a cut above your standard wallpaper D&B.

From the creepy intro that’s straight out of a David Lynch film, to the trance-style elements that help the track build just before the two-minute mark, to the frankly monstrous bass that should register on the Richter scale, it’s a true workout for any system, and when the break finally comes, it’s like machine gun fire.

Even if it’s not your cup of tea – and believe me, I can understand why it might not be – you’ve got to admit, this is some pretty stellar production work from the Dutch outfit. Before you give it a blast, you should probably warn the neighbours though...

Words by Joe Svetlik

Buy Arrakis on Bandcamp

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A free ‘music for everyone’ catalogue, innovative music discovery, and an interface as intuitive as they come – it’s little wonder Spotify is the world’s most popular service and has carried a five-star What Hi-Fi? verdict for more years than I have been on the team (eleven). But time waits for no man, or indeed streaming service, and as rivals such as Tidal, Apple Music and Amazon Music have blessed their subscribers with much higher-quality (hi-res) streams, Spotify has well and truly fallen behind. It was high time for me and other members of team What Hi-Fi? to revisit our Spotify review, and while we never enjoy downgrading product ratings, we felt we had to dock it a star for the first time in its 17-year lifetime.

Indeed, while Tidal (our current favourite), Apple Music and Qobuz can bask in their five-star delivery of hi-res (24-bit) streaming quality, alongside catalogues and user experiences that have more or less closed the gap on the green streaming giant in recent years, Spotify is, believe it or not, still offering the same audio quality (320kbps) it began offering Premium subscribers 15 long years ago. While 320kbps bitrates were reasonably considered “high-quality” for streams back in 2009, they are about as advanced in the streaming world today as CRTs are in the TV one.

This hasn’t all eluded the world’s most valuable music company, of course. For the uninitiated, Spotify did indeed announce its intentions to grace its good users with higher-quality audio – not hi-res, but next-best CD-quality (‘lossless’) – in 2021, and like many of us I’ve been frustratingly holding out for that promise to materialise. The delay hasn’t impeded subscriber growth, with paying subscriber numbers continuing to steadily rise, and I’m not oblivious to the fact that many people simply don’t (and won’t ever) prioritise audio quality enough to shun a service that largely ticks every other box for them. But the absence of high-quality audio has taken a toll on its merit for us and anyone else who cares about sound quality.

To cut a (very) long story short, higher-quality audio is still supposedly coming to Spotify and could now emerge as something different to the originally announced ‘Spotify HiFi’ tier. It could even arrive with a different name.

Having re-reviewed Spotify in recent weeks, and compared it directly against Tidal, here is what I believe Spotify’s forthcoming plan needs for the service to, in terms of quality and value, regain its position at the front of the pack.

1. To keep its price within reach

At £11.99 / $11.99 / AU$13.99, Spotify Premium's monthly fee is already one shiny pound coin (or dollar) more than the paid tiers of Apple Music and Tidal. According to the latest Spotify HiFi rumours, high-quality audio is expected to come via a higher-priced plan or, more likely, a Premium tier add-on. Spotify's CEO, Daniel Ek, said recently that we are looking at "probably around a $17 or $18 price point", which would be 54 to 63 per cent higher than its rivals' asking prices.

Under this higher price could well be additional features that its competitors don't offer – advanced mixing tools, a headphones optimiser and library filtering functions have been rumoured – and you could argue that some sort of premium is justified for the Spotify experience. But $17/18 – about £14 / AU$25 – does seem an awful lot when folks have become used to having the world's music at their fingertips for a tenner a month for years.

2. To extend high-quality audio past Spotify Connect

When Spotify HiFi was announced, the idea was that lossless streams would be delivered via Spotify Connect, a streaming protocol that lets you quickly and easily cast songs from within the Spotify app to compatible audio devices, from wireless speakers to music streamers (nowadays, it is supported by pretty much all streaming-savvy audio hardware). That method of delivery still seems sensible and would be a boon for many who play streamed music through a home audio system. After all, the similar Tidal Connect feature (for Tidal, of course) supports hi-res casting, although Apple Music's AirPlay 2 casting method does not. 

But considering those two rival services support lossless and hi-res audio via their native iOS, Android and desktop apps, we would hope for the same in-app support from Spotify. Perhaps this has always been Spotify's intention and it simply chose not to mention it in the original announcement, but as time has gone by it now seems imperative that lossless playback is supported on phones, tablets and computers.

3. To go beyond CD-quality 'lossless' audio

Spotify officially promised 'lossless' (16-bit CD-quality) audio via its HiFi plan, whereas Tidal, Apple, Amazon and Qobuz now offer lossless and, better yet, 24-bit hi-res audio. Honestly, most Spotify subscribers – even those who care about audio quality enough to pay more for it – will likely be perfectly happy with CD quality. Significant (or even any) audible differences between CD and hi-res quality would only be apparent and therefore meaningful through insightful audio or hi-fi systems anyway – not typical wireless headphones and Bluetooth speakers. 

But for sound-prioritising owners of transparent kit who likely would benefit from the jump from 16-bit to 24, Spotify's 'only' lossless catalogue could face a tough time tearing them away from their current hi-res service. And if we are benchmarking Spotify against its rivals for outright value, sound quality is the most important factor in how What Hi-Fi? reaches verdicts for all audio products and services it tests, so falling beneath its peers' specification here, despite an upgrade to lossless, might not cut it.

However, with the ideal upgrades mentioned above, at a competitive price, bolstering its already class-leading music discovery, strong podcast offering, ubiquitous device support and pop-culture wins (like ‘Wrapped’), Tidal et al will undoubtedly have a tough time getting their noses back in front. Spotify would not only continue to be the most popular service but also one of, if not the, highest in quality. It's been a long time since that was the case, but such a conquest could be nigh.

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The world’s most popular music streaming service was somewhat left behind in 2021. While rivals Apple Music and Amazon Music significantly upgraded their catalogues’ audio quality to 24-bit hi-res, all loyal Spotify subscribers could do was watch helplessly on, as the service’s promise to improve its own, lowly 320kbps library failed to materialise. (The non-loyal subscribers? They jumped ship.) This went on for four years.

Sure, Spotify continued to pioneer the streaming experience during that time with innovative discovery features, its milestone addition and growth of audiobooks and podcasts, and the pop culture hit Spotify Wrapped playlist – and had market-leading subscriber numbers to show for it.

But that agonising wait for higher-quality audio, plus a string of price hikes that made it one of the most expensive options out there, ultimately saw its value wane next to the better-sounding competition. We had no other choice but to drop Spotify’s long-held five-star What Hi-Fi? review to a four-star one.

In September 2025, however, better-quality audio finally came to fruition as Spotify Lossless, giving Premium subscribers 24-bit hi-res audio for no extra cost. Undoubtedly forced into a corner by its rivals doing the same thing in 2021, the company went beyond its initial promise to offer ‘only’ 16-bit CD-quality streams. Hurrah!

Now, Tidal has been our favourite music streaming service for the past decade, having won our What Hi-Fi? Award since 2014, the year it launched with a CD-quality catalogue. (If that doesn’t put Spotify’s tardiness on the audio quality front into perspective, we don’t know what does.)

But with the arrival of much-improved sound quality now completing what is an otherwise near-faultless streaming offering, can Spotify regain that title for the first time since 2013? We’ve re-reviewed Spotify, comparing it with its rivals today, in search of the answer.

Price

Alongside Deezer and YouTube Music, Spotify is one of the few streaming services today that offers a free tier, allowing you to listen to millions of songs without spending a dime.

Naturally, this tier has caveats – audio quality is capped at 128kbps on its web player and approximately 160kbps on its desktop, mobile and tablet apps; you can’t ‘download’ songs to listen to offline; and – the big one – you have to tolerate adverts popping up between every few songs.

While Spotify Free also limited user playback control by predominantly offering a song-shuffling experience since its refresh in 2018, as of September 2025 it now allows listeners to pick and search for specific songs, while also allowing them to access songs shared with them over social media straight away. This is a massive boon for Spotify Free listeners.

The paid-for Premium tier, which around 40 per cent of Spotify’s near-700 million users subscribe to, scraps those aforementioned limitations while delivering more features.

The audio quality cap is significantly higher now that Spotify has, after a four-year delay, introduced Lossless for hi-res listening up to 24-bit/44.1kHz in FLAC quality. Spotify Connect allows Premium subscribers to cast the catalogue directly to the vast majority of wi-fi-enabled speakers, TVs and audio systems available today. And also included is 15 hours of audiobook listening per month, which can be expanded for an additional cost.

Spotify has also recently gone pretty heavily into personalisation and AI functions that allow subscribers to, for example, add transitional effects between songs, create their own playlist cover art, and generate their own AI-curated playlist simply by typing in their genre and mood or other prompts.

So what does Premium cost? You have a few options. A standard individual Premium subscription sets you back £11.99 / $11.99 / AU$15.99 per month, while a student subscription is available for £5.99 / $5.99 / AU$7.99.

Even better value is Spotify Duo, which gives two people living under one roof Premium accounts for £16.99 / $16.99 / AU$22.99. Want Spotify for everyone in the household? Premium Family gives Premium (or child-friendly and parent-controlled Kids) accounts to up to six people for £19.99 / $19.99 / AU$27.99 per month.

Spotify prices had remained static for a long time, but mounting legislative and market pressures have caused them to increase multiple times in recent years across various markets internationally.

Spotify’s paid-for Premium subscriptions are therefore more expensive than those of its closest competitors. Apple Music, Amazon Music and Tidal charge £10.99 / $10.99 / AU$12.99 per month for their Individual plans, for example, with their Family plans similarly undercutting Spotify’s. Only Qobuz sits above it with a £12.99 / $12.99 / AU$19.99 subscription.

Catalogue

The immensity of Spotify’s catalogue has historically won the service points for being the world’s biggest. A decade ago, its song library was 30-million strong, but today that figure is, according to the service, "over 100 million".

There’s more or less parity when it comes to the catalogue size of the major services these days, though – that figure (or "over 110 million" if you’re Tidal) is commonly quoted, essentially meaning that they all deliver choice overload, and then some.

Where Spotify’s catalogue stands out from its rivals’ is in its podcast and audiobook offerings, which are significantly more comprehensive and integrated. Tidal doesn’t offer such sections, while Apple has separate Podcasts and Books apps instead, for example.

Since the acquisition of podcasting production specialist Gimlet Media in 2019, “nearly 7 million podcast titles” have been made available to stream and download on Spotify, including a raft of original content, with big names such as Joe Rogan, Amy Poehler, Alex Cooper and Ben Shapiro appearing in the US Podcast Chart at the time of writing.

Many hits were initially exclusive to Spotify, although recently the service has pivoted away from exclusivity to license them out to other platforms and grow ad revenue.

For audiobookworms, there are 350,000 to tuck into. Again, Premium users get 15 hours of listening time with their plan, with the Audiobooks+ plan doubling that time for £8.99 / $11.99 / AU$12.99 extra per month, or 10-hour top-ups available for £9.99 / $12.99 / AU$15.99.

Features & user experience

Another traditionally gleaming jewel in Spotify’s crown has been its interface and user experience across its mobile, tablet and desktop apps and web player.

Competitors have made headway in these areas in recent years, with AI-powered curations, artist-based ‘radio station’ mixes and somewhat homogenised layouts pretty much a given, yet the green streaming giant still edges ahead here.

The well laid-out Search section (or Browse on desktop/web) complements that all-important search bar with shortcuts to Music, Podcasts, Audiobooks, (local) Live Events, Videos and (learning) Courses suggestions, as well as more granular shortcuts based on music genre (Indie, K-pop etc), your current activity (Workout, Cooking & Dining) and popular Spotify curations (New Releases, Charts).

Your Library is where you can access saved playlists, artists and podcasts, while Create is all about building playlists and sharing music with others. You can create a playlist in collaboration with your Spotify-using friends, blend their tastes into a playlist, or invite them to help you build a shared song queue.

You can also ask Spotify to curate an AI Playlist based on your prompt, which can be as simple as ‘give me some music similar to my top artist’ or as out there as ‘make me a playlist for raking leaves off my driveway’.

With the latter, a ‘Raking Leaves Energy’ playlist was created in moments to keep me ‘energized’, suitably featuring Doja Cat, Lady Gaga and Tyler, The Creator… although really we were after autumnal tracks perfect for the UK weather.

We went back to add ‘autumnal’ to the prompt and up came Suede, Hayley Williams, Mazzy Star and The Mountain Goats, among others. Much better, although we would’ve preferred fewer doubling (and even tripling) up of artists. A (fun!) work in progress, then.

Also logically organised, the Home page is where you'll find your current favourites and most played, as well as assorted, algorithm-led curations (such as ‘Picked for you’ and ‘Made For’) based on your listening habits.

Whereas Spotify (and other services) once used algorithmic skills to suggest specific tracks or albums, recommendations have since evolved to increasingly take the form of categorised mixes. Of them, music discovery mixes such as the ‘Discover Weekly’ and ‘Release Radar’ headliners remain at the forefront of the Spotify experience and are arguably where the service still just about gains ground on its rivals.

Generally, such playlists are pretty spot-on, offering a good mix of both old and new, and even including new remixes of songs from artists you have listened to. The more we listen, the more they evolve; and the more we discover, the more we thank our lucky stars that such algorithmic ingenuity has advanced since Spotify’s pioneering efforts.

Spotify’s ‘Wrapped’, which every December invites users to view a montage of data about their year’s listening activity and share it on social media, is another of the service’s masterstrokes in the streaming space.

Now that hi-res quality has been added, the only real gap in Spotify’s feature offering is spatial audio. While Tidal, Apple Music and Amazon Music offer Dolby Atmos-powered songs and experiences for ‘immersive’ listening that aims to open up the soundfield beyond the confines of a traditional stereo image, taking particular advantage of songs that have been specifically produced or remixed in Atmos, Spotify seems to be ignoring the buzzy audio technology completely.

As we generally find spatial audio mixes hit and miss, we don’t believe the omission is a deal-breaker. But we can imagine fans of (and those intrigued by) the tech understandably being disappointed by it.

Ultimately, Spotify is highly impressive when it comes to music discovery, catalogue and user experience. It’s little wonder that many competing services have come and gone in the 17 years Spotify has been around, but even those alive and kicking today don’t quite match Spotify’s level of completeness.

Sound quality

How Spotify streams sound is the single biggest area of improvement in years, with the introduction of Spotify Lossless taking the service’s peak audio quality from 320kbps to over 2000kbps (24-bit/44.1kHz). This can be taken advantage of in the Spotify desktop and mobile apps, and over Spotify Connect with compatible products.

This is a significant upgrade – a read of our hi-res audio explainer will illustrate to you the technical magnitude between these compressed (lossy) and uncompressed (lossless) audio qualities, respectively – and indeed one that can be heard.

For our testing, we use a range of premium wireless earbuds and headphones (connected to an Android phone either wirelessly via Bluetooth or wired with a USB-C cable) as well as a high-end wired headphones/DAC combo connected to a laptop.

We stream several songs in the two qualities from the Spotify mobile and desktop apps, and the Lossless streams are notably more involving. They’re clearer, punchier and more open and detailed, generally sounding less congested and messy than the 320kbps version too.

The difference is night and day, even when listening wirelessly through the least premium Bluetooth headphones we tried (the Bose QC Ultra Earbuds 2nd Gen), which is good news considering that everyday wireless headphones are what many people use to listen to Spotify.

If that includes you, it’s worth knowing that even the most efficient Bluetooth technology typically found in consumer electronic devices compresses music in order to transmit it wirelessly, and therefore isn’t lossless. So if you’re listening to Spotify (or any streaming service) wirelessly over Bluetooth headphones or speakers, you won’t get uncompressed 24-bit streams and won’t be taking full advantage of the lossless quality on offer.

So far, so good. But how does Spotify now sound compared to Tidal? It’s difficult to compare any music streaming service against another exactly like for like, as there is no way we can check whether even the same songs found on both services are taken from the same master recording.

However, from the 20+ tracks we played (mostly 16-bit/44.1kHz, with some 24-bit/44.1kHz too), the Tidal streams generally sounded that bit clearer, fuller and more refined. As an example, we tee up Big Thief’s All Night All Day (16-bit/44.1kHz) and immediately hear greater texture in the shaker and drumbeat opening. We’re more drawn into the dense jingle-jangly instrumentation, and captivated by the extra layer of Andrienne Lenker’s vocal that surfaces.

Tidal not only edges it for songs with the same bitrates but is also capable of playing higher bitrates. Indeed, the elephant in this section of our review, for audiophiles at least, is that Spotify’s new quality ceiling of 24-bit/44.1kHz compares unfavourably to the 24-bit/192kHz upper limit of Tidal and every other hi-res streaming service. So have we really waited four years for Spotify to fall short of the competition still?

Unfortunately, yes, and that will rightfully bother Spotify Premium subscribers who stream through high-end headphones or hi-fi systems that are transparent enough to reveal the extra detail in those higher-quality streams, such as our Chord Hugo 2 DAC feeding a reference pair of Grado headphones.

We play Toto’s We Made It through the set-up on both services, and the 192kHz Tidal stream reveals the sonic benefit at least in part brought by the higher bitrate. It’s an even better advert for the track’s radiant, squeaky clean production – more instrumental texture is eked out while the interplay between the slicing cymbals, jaunty piano and potent bass note is rhythmically tighter.

Why the 44.1kHz limit then, Spotify? According to one of its engineering managers, as discussed in a Reddit AMA, Spotify recognised that supporting full hi-res audio would offer “greater objective precision”, but also stated that facilitating it would require “greater data volume and bandwidth requirements” across its “user base of hundreds of millions”.

They then continued to say that “the difference between audio quality settings can be very subtle and hard to detect for most people”. So Spotify’s decision to impose a 44.1kHz ceiling seems to logically come from having weighed the extra practical and technical considerations against what will satisfy most subscribers, even if that will understandably irk the niche number of subscribers who could benefit from a higher one.

Verdict

It’s easy to see why Spotify remains the mass market choice. With a uniquely vast audiobook and podcast offering, the option of an accessible-to-all free tier, an edge when it comes to discovery, curation and personalisation features, and an expansive music catalogue that now offers much-improved audio quality, Spotify will indeed be the most complete and ideal music streaming service for most people.

The new Lossless streams have narrowed the monumental gap in audio quality between Spotify and its rivals that has existed for years, while the recent focus on audiobooks and podcasts gives the service yet another strong string to its bow.

However, there are reasons to look elsewhere aside from questions around artist pay-outs and other political reasons that have cropped up in recent years. It’s a tad more expensive, for one, and other hi-res services may offer usability that better fits their equipment or preference, for another.

More importantly, those who prioritise sound quality, particularly those who own sophisticated audio hardware, will ultimately still be better served by Tidal and others that sit ahead of Spotify in the sound-prioritising pack.

Review published: 29th September 2025

SCORES

• Sound 4
• Features 5
• Ease of use 5

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How to cancel Spotify Premium – and should you?

You may have to give up your family home’s wall-hogging TV and your mum’s famous mac and cheese when you go back to school, but if there’s one thing you’ll be sure to take with you, it’s access to all the world’s music at your fingertips. Indeed, music streaming services more or less make our phones and laptops unlimited jukeboxes for a mere tenner a month or – good news, students – almost half that price if you are over 16 years old and go to college or university. 

Now, Spotify’s student plan is famously good value and likely has more excellently soundtracked house parties around the world to answer for than it does songs in its all-encompassing catalogue. But rival service Tidal, which Jay-Z kickstarted nearly ten years ago, is vying for students’ monthly subscriptions and actually has a cracking case for doing so for three reasons:

1. Tidal sounds way better

Tidal’s sound quality is in the same ballpark as that of Apple Music and Amazon Music, whereas Spotify offers much lower quality than its closest competitors. In a nutshell, Tidal offers CD-quality and hi-res streams with bitrates maxing out at 24-bit/192kHz, or a data rate of 9216kbps. In comparison, Spotify’s data rate maxes out at around 320kbps. (A higher-quality Spotify HiFi tier has been promised but is yet to materialise.) You can read all about high-resolution audio if you’re interested in what all these bitrates mean, but essentially the gap between the two figures gives you the gist of it: Tidal’s streams can carry and communicate much more data (details) in a song and therefore offer much more insight into it.

You probably won’t hear these differences through a pair of cheap wireless earbuds, as they won’t likely be revealing enough to expose those differences – in which case, this argument for higher sound quality is moot. But if you listen to music through more advanced audio devices – premium wireless headphones, wired headphones or an audio system, say – you’ll have the opportunity to hear and benefit from the superior quality of Tidal streams.

2. Tidal has Dolby Atmos spatial audio songs

You’ve probably heard of ‘Dolby Atmos’ or ‘spatial audio’ or both, whether that’s in the cinema, Netflix catalogue or Apple’s extensive marketing. These similar technologies aim to deliver more immersive and enveloping 3D sound than what stereo and traditional surround audio do. In music terms, that translates to mixes (or remixes) that sound very open, spacious and often experimentally fun. It’s 'cinema for the ears', so to speak, and the metaphorical Marmite of this generation’s music technology. Still, if such mixes are for you, or you simply want to try out this buzzy format, Tidal is your service of the two. Its library boasts thousands of Dolby Atmos tracks, new songs and old, whereas Spotify has none.

3. Tidal is marginally cheaper

Both Spotify and Tidal offer discounted student subscriptions, with sign-ups commencing with a 30-day free trial (i.e. one month free). 

The monthly fee after that initial free period is $5.49 / £5.49 / AU$6.49 for Tidal, with Spotify costing an additional 50p / 50c per month. OK so it’s not a huge difference – the price of a couple of pints over the course of the year? – but, as I’m sure is reminiscent of your parents’ back-to-school lecture, every penny (/cent) counts.

• Subscribe to Spotify Premium for students
• Subscribe to Tidal for students

So what would you be missing out on?

Tidal has a lot going for it, then – much better sound, spatial audio and the most competitive student price out there. But Spotify replies with a few advantages of its own that you should feel comfortable missing out on before making Tidal your next jukebox. 

The first is Spotify’s library of podcasts and audiobooks – something Tidal doesn’t have. Then you have slightly superior music discovery when it comes to the number of algorithmic playlists available to you, although Tidal is very much riding this algorithm wave and also serves up personalised playlists like ‘My Daily Discovery’, ‘Custom Mixes’ and artist radios based on your listening habits. The last one is Spotify Wrapped, which has become a bit of a pop culture moment every December and admittedly causes a flash of FOMO every year for us Tidal subscribers.

MORE:

Considering Apple Music instead? Here are all the hi-res music streaming services compared

12 best songs of 2024 (so far) to test-drive your hi-fi system

3 reasons to buy the Google Chromecast before it's gone forever

Fancy trying Amazon Music Unlimited? To celebrate the 10th edition of Prime Day, Amazon is offering Prime members five months’ free subscription to its music streaming service. Don't fret, non-Prime members, you're still being offered three whole months of free membership – everyone can get in on this deal.

This free trial offer is only available to new customers who haven't previously taken out a trial and is valid until 4 pm GMT today (18th July) – that means there are only a handful of hours left to take advantage of this great offer.

It provides an Amazon Music Unlimited Individual Plan and, if you choose to continue with your subscription following the free five-month trial period, you'll be charged £11 / $11 a month. However, if you’re already an Amazon Prime member, the monthly fee will be reduced to £10 / $10 per month.

Prime Day Amazon Music Unlimited deal

Amazon Music Unlimited gives you access to over 100 million tracks, thousands of playlists, stations and podcasts, as well as offline playback and hands-free listening using Alexa, all without ads. Some tracks are available in CD-quality and some in spatial audio.

We rate Music Unlimited highly, awarding it four stars in our review. While it doesn't quite have the reach of Spotify, the seamless usability of Apple Music or the quality of Tidal, it is still a compelling offering at the price, especially if you're firmly entrenched in Amazon's ecosystem. Now, with nothing to pay for the first five months, it's definitely worth checking out.

Remember, to get in on the action you must sign up before 4 pm today (18th July) to get your five months of free Amazon Music Unlimited before the offer ends.

MORE:

Read our Amazon Music Unlimited review

Best music streaming services: free streams to hi-res audio

Amazon has revealed the official dates for Amazon Prime Day. The two-day sale will take place 16-17th July 2024 – that's three weeks today.

Prime Day is one of the biggest sales of the year, besides Black Friday and Cyber Monday. Amazon spearheads the annual bonanza, but other retailers usually join in the bunfight so as not to miss out. 

This year's event will be the 10th annual Prime Day in the UK. It should be a rare chance to grab a bargain during the otherwise slower summer months.

Though Amazon is staying tight-lipped on what deals will be available, it has mentioned Bose and Samsung as among those taking part. Last year saw discounts on Bose's QuietComfort Ultra Earbuds, despite them only being weeks old. Samsung is rumoured to launch its Galaxy Buds 3 the week before – could they receive a discount too?

Amazon has also announced some early deals, including 45 per cent off Amazon Fire TV Omni QLED smart TVs and five months' free Amazon Music Unlimited.

For all the up to date info on the best deals around, stay tuned to our Prime Day page which we'll be updating in the run up to and during the event.

MORE:

Browse all of today's best Amazon deals

How to get an Amazon Prime free trial

These are the best Alexa speakers

Tidal has announced it is replacing its MQA streams with FLAC versions, following its introduction of the FLAC format last spring to complement the existing MQA offering. It is also scrapping 360 Reality Audio tracks, sticking only with Dolby Atmos as its immersive audio format of choice. The changes will come into effect on 24th July.

Tidal emailed a subscribing What Hi-Fi? team member the following email yesterday evening:

"On July 24 2024, we’re replacing the music in TIDAL’s MQA catalog with FLAC versions. In addition to this change, we're removing all podcasts and music available in 360 Reality Audio."

So, no more MQA or 360 Reality Audio on Tidal. We can't say we are hugely surprised by the service's move. The days of it supporting MQA seemed numbered when it not only added FLAC but chose it as its "preferred format for high-resolution audio”. Earlier this week, Lenbrook (owner of PSB, NAD, Bluesound and, since September, MQA) announced it was joining forces with HDTracks to launch a new MQA-powered hi-res service to rival Tidal, Qobuz, Apple Music and Amazon Music. So MQA streaming does live on...

In a new supporting document explaining the upcoming changes, Tidal says it currently has at least 16-bit/44.1kbps FLAC versions for nearly all MQA tracks today but may not have a replacement for every single one when MQA does disappear. "We are working hard to ensure all existing MQA tracks will be replaced with a FLAC version in a timely manner," it reads.

Subscribers who have downloaded MQA tracks or albums for offline access will need to update their Tidal app to the latest version on 24th July and redownload the tracks in FLAC.

As for Sony's 360 Reality Audio format, Tidal clarifies in that same document that Dolby Atmos will be the only immersive format it supports "due to the number of compatible devices, catalog availability, and artist adoption of the format". When the changes occur in July, you will see the track or album greyed out and unavailable for streaming. Sony's 360 Reality Audio lives on in Amazon Music and Deezer.

It's been all change for Tidal in the past year, with its FLAC introduction and tier simplification, but its landscape now seems settled: "We have no further plans to change our audio format offerings going forward, and we remain committed to providing our subscribers with exceptional audio quality."

MORE:

There's a new streaming service aimed at audiophiles from the people behind MQA

At last! Lenbrook Group unveils its plans for the future of MQA lossless streaming

Hi-res music streaming services compared: which should you subscribe to?

Here's a compact and affordable way to add lossless streaming smarts to your existing set-up. The £95 / $95 / AU$149 FiiO SR11 lets you access music streaming services like Tidal, Spotify and Amazon Music through your legacy hi-fi system, radio or active speakers. Just plug the little unit into them and get streaming.

It supports Apple's AirPlay and is Roon Ready, expanding your options when it comes to playback (Roon lets you stream from a NAS drive or similar device). You can pair the SR11 with any phone, laptop or tablet, or use the bundled remote control. Dual-band wi-fi should help it stream around larger homes, while an ethernet socket will provide a more robust connection.

In terms of outputs, you get optical, coaxial, and USB Type-A and USB-C. It supports 32-bit/768kHz files and DSD256 and has an LCD screen that shows the operating mode, network status, and current volume. 

The FiiO SR11 is out now in the UK and US and next month in Australia.

MORE:

The best music streamers

Use it with the best music streaming services

And the best hi-res music streaming services

LG smart TVs are the first models to offer native support for Dolby Atmos following an update to the Apple Music app.

This update marks an improvement in Apple’s offerings on devices made by other brands. Apple Music’s Dolby Atmos support was previously only available on TV via Apple TV 4K, the HomePod or Sonos devices. 

Hopefully, this is the start of native Atmos audio support rolling out to a wider range of brands. Amazon Music and Tidal also support music mastered in Dolby Atmos, though not currently directly via TV apps. If you have Apple headphones such as AirPods, you can still connect directly to TVs via Bluetooth to access Atmos audio. 

In celebration of this latest update, LG is also offering three months of Apple Music free if you have an LG smart TV from 2018 or later. This trial is available in the UK and worldwide and is accessible via the Apple Music app on TVs running webOS 4.0 or higher. It’s also available on the lifestyle models StanbyME, StanbyME Go, and MyView Smart Monitor. 

For those who don’t know, Apple Music is an ad-free, high-res music streaming service with an extensive library of over 100 million songs. It also conveniently plays Dolby Atmos tracks automatically when using a compatible TV. 

If your TV doesn’t support Dolby Atmos, a full surround system or Atmos-compatible LG soundbar (from 2023 or 2024) can be connected to do the job. This is the route we would recommend in most cases anyhow, as the performance of speakers built-in to TVs is often far from impressive.

If you want to learn more about LG's OLED TVs, head to our guide for all the latest information including specifications and prices.

MORE:

Read our full LG C4 (OLED65C4) review

And our hands-on LG G4 review

LG 2024 OLED TV range: everything you need to know

Denon has revealed a streamlined version of its Home 150 smart speaker. The new Denon Home150 NV keeps much of the DNA as the standard unit, but drops the internal microphones and access to voice assistants - perhaps that "NV" stands for "No Voice". If you want all the benefits of a wireless home speaker but don't fancy chatting with your domestic tech, the 150 NV might be just the thing. 

Denon promises this slimmed-down iteration of the Home 150 doesn't miss a step in terms of sound quality, providing hi-res audio support for files up to 24-bit/192kHz as well as support for DSD 2.8MHz and 5.5MHz tracks.  

The Home 150 NV packs dual class-D amplifiers, with a 25mm tweeter working alongside an 89mm woofer. Around the back, the mains-powered speaker offers a single USB-A input for playing stored music, as well as a 3.5mm analogue input for connecting directly to your source, plus an ethernet port for hooking up to the internet via a wired connection.

Despite having no voice assistant, the Home 150 NV utilises Denon's HEOS platform for accessing and controlling the speaker's multi-room capabilities, allowing you to pump out the same song across multiple rooms or, if you want to mix it up, play a different song for each connected room from compatible HEOS devices. Alternatively, you can use AirPlay 2 to stream Apple Music via the Denon Home 150 NV and then group your new speaker with other AirPlay-compatible models as a way of achieving wireless stereo sound.

The 150 NV's catalogue of streaming services is extensive, with support for AirPlay 2, Apple Music, Tidal, Spotify, Amazon Music HD and TuneIn radio. You can stream music over wi-fi and Bluetooth, too. On the subject of radio, the speaker comes equipped with three quick select buttons that allow you to store your favourite internet stations for faster, more convenient on-unit access.

While its lack of voice control disqualifies it from falling into our "smart speaker" category, Denon's latest unit could be a more budget-friendly alternative to many of the best wireless speakers - smart or otherwise - at this level, including the Sonos Era 100 (£249 / $249 / AU$399) and the Audio Pro Addon C10 MkII (£359).

The new Denon Home 150 NV comes in two colourways - black and white - and is available from July 10th for £189 / $219 / AU$369. 

MORE: 

Read our Aussie cousins' Denon Home 150 / 250 / 350 review

More into wireless earbuds? Read our Denon PerL Pro review 

The best wireless speakers: tried and tested by our expert team

Need voice control? These are the best smart speakers

Spotify is probably the best known music streaming service in the world, but that doesn't mean it's the best for you. Rivals have caught up in terms of usability and the music catalogues they offer, while surpassing Spotify in terms of audio quality – and that's even since Spotify launched its hi-res Lossless quality. Which could leave you thinking: Is Spotify still worth paying for?

We're here to help you answer that question. And if you decide that actually you want to cancel Spotify Premium (whether in favour of another of the best streaming services around, or just to save some money), we'll show you how to do so in a few easy steps.

Let's get started.

• Spotify Lossless still lags behind its hi-res rivals – but that won't matter for most people

How to cancel Spotify Premium

To cancel your Spotify Premium subscription you will need to be signed into your account either on one of Spotify's apps (such as its iOS, Android or desktop apps) or via its website, so you can access its settings. This is best done on a computer, tablet or smartphone. If you're choosing to go via the web, you can go directly to spotify.com/account to get started.

Firstly, go to your Account Overview and then scroll down to Manage Your Plan. Select Change Plan and scroll down to Available Plans. Here you will have an option to select Cancel Plan. Select this, hit Yes to confirm, and you're out and free. Easy!

Your Premium benefits remain until your next billing date, after which your account switches to the free, ad-supported Spotify tier.

Should you cancel Spotify Premium?

So you now know how to cancel Spotify Premium. But should you? 

The free version of Spotify lets you listen to all the same music, and the adverts it introduces into the experience aren't all that regular. But you do miss out on some features.

Free Spotify won't let you 'download' tracks or albums on your device for listening when you are offline, which is a really useful feature if you're travelling or generally want to save on data when out and about. Your songs will play in shuffle mode, too, so if you like to work through an album as the artist intended then you may be left wanting. And then there's the audio quality you get, which is as basic as it comes, topping out at 128kbps on web player and 160kbps on app.

But Spotify's free tier did add certain features recently. You can now search for and play specific songs, play songs you find while browsing and play those shared by a friend or artist.

Want to try something new? Apple Music, Amazon Music, Tidal and Qobuz all offer hi-res audio at a higher quality than Spotify.

If you're interested in making a switch, read our hi-res streaming services comparison for all the pricing, library and usability information.

And hey, if you cancel Spotify Premium and regret it, you can always sign back up for it if you change your mind at any time. What have you got to lose?

MORE:

What is high-resolution audio? And is hi-res music worth it?

How to transfer Spotify playlists to Apple Music

Find the very best streaming services right now

Read the full Tidal review here

JBL has revealed its latest all-in-one music system. Essentially a smaller, more affordable sibling to the L75ms, the L42ms combines that classic JBL aesthetic with a raft of options to keep you connected to your favourite streaming services and source devices.

The JBL offers two sets of analogue stereo inputs (RCA and 3.5mm) as well as HDMI-ARC for hooking up to your TV. In terms of music streaming, the L42ms supports wired or wireless network connection via Ethernet, as well as Apple Airplay 2 and built-in Google Chromecast, not to mention the convenience of good old-fashioned Bluetooth. 

There's also support for Spotify Connect and Tidal Connect, with the JBL Premium Audio setup app letting you set up, and then manage, your connections from a single hub. The app also makes further platforms available - including Amazon Music and Qobuz - and allows access to podcasts and internet radio. You can tap into music on compatible UPnP network storage devices on local networks, or access a USB drive through the JBL's USB-A socket.

If you're into Roon, the L42ms is Roon Ready and sports Samsung's "Smart Things" certification" which integrates the unit into the Smart Things" ecosystem for seamless connection to Galaxy devices and Samsung televisions/appliances.  

Rather cleverly, the JBL comes equipped with a bass contour switch on the rear panel which lets listeners tailor the speaker's bass response to account for its placement in a given room or space. Further, the "Sound-Field Expansion" mode does what it says on the tin, increasing the width and spaciousness of the soundstage for when you want that cinematic, room-filling experience. If you're looking for a versatile alternative to a soundbar (that's also lots else besides), this could be it.

It will likely look better than most soundbars, too, thanks to an attractive, curved frontage defined by JBL's iconic Quadrex grille design alongside tapered edges and a choice of black or natural walnut veneer finishes. We're big fans of the way that the Naim Mu-so 2 looks, and indeed the classy chic of the Ruark R410, but we can already see the appeal of JBL's classy debutant. 

According to Jim Garrett of Harman Audio: "Following on the heels and success of the JBL L75ms, the new L42ms offers music lovers a choice of a more compact solution and a black wood finish option while retaining most of the same features and signature JBL sound found in the larger L75ms". 

The JBL L42ms will be available in black or natural walnut during the first quarter of 2024, priced at £999 / €999 / $1099.

MORE:

These are the best hi-fi systems around 

Want a similarly priced comparative? The Naim Mu-so 2 is a five-star choice 

Also check out the gorgeous, five-star Ruark Audio R410 

Every year, new features and technologies arrive to push the boundaries of consumer electronics further than the year previous, but very few tend to enrich our daily lives immediately, whether that's because they aren’t instantly adopted by the masses or simply aren’t useful on such a frequent basis. Thinking about how my listening habits have changed in the past couple of years, I’ve realised that one fledgling feature has played more of a role in it than anything else: Tidal Connect. 

For the uninitiated, Tidal Connect lets you ‘cast’ the music service's library to compatible audio devices straight from within the Tidal app, with the songs streamed from the internet as opposed to locally on your phone. As Spotify Connect does for, well, Spotify; AirPlay for Apple Music; and Google Cast for Amazon Music (and others – including Tidal, actually). The point is that these technologies let you control your music streaming playback from an app that’s familiar to look at and operate, meaning you don’t have to rely on using the separate dedicated app(s) developed for specific streaming products.

Spotify Connect has long offered in-app control, and the streaming giant has for years focused on improving its own app experience as opposed to maintaining and supporting third-party apps to bake the catalogue into theirs. (That’s why hi-fi manufacturers’ own apps no longer bake in Spotify's library.) AirPlay and Google Chromecast have also been around for a while and are increasingly supported by hardware manufacturers, meaning that thousands of streaming audio products (streamers, wireless speakers) can play several music services without needing their own software.

The rise of such streaming protocols has led to an increase in endpoint streamers, which essentially don’t have their own streaming platform (and app) as such but simply ‘rely’ on these protocols so that streams can be played and controlled directly from an owner’s music service of choice. The NAD CS1 is one example, supporting all those protocols I mentioned earlier but not the BluOS platform that other NAD streaming devices do, and which gives users a one-stop-shop BluOS Controller app from which to access (many) services’ libraries, organise multi-room setups, curate playlists and adjust EQ all under one umbrella. The ELAC Discovery Series Connect is a further example of a streamer driven solely by third-party solutions.

Now that Tidal Connect is being widely supported by hardware with their own app too, I’m finding I’m using those apps less and less as I’m satisfied streaming from the native Tidal app to various products in my house. Being a hi-fi reviewer naturally exacerbates the problem of having various brands’ apps all installed on my phone, but even at home I remember the not-too-distant days of being forced to juggle the DTS Play-Fi app for my streamer, the Sonos app for my Sonos Play:1, and the Naim/Focal app for my Mu-so Qb. Nowadays I first and foremost use Tidal Connect for most streamable products I own and, indeed, come across in my line of work. As someone who streams predominantly from Tidal, it’s pretty darn handy.

But – and it’s a big ‘but’ – I’d hate those dedicated brand apps to disappear. Firstly, the best ones tend to offer optimal multi-room control for multiple products within that brand’s (or family of brands’) catalogue. Secondly, most (except for the most basic ones) offer a library management and interface for files stored locally or on your NAS drive that are miles better than free alternatives like Bubble UPnP – a pretty big deal for those who primarily stream their own networked files. Thirdly, many offer exclusive in-app features that cannot be delivered through a third-party cast solution. And lastly, the most polished can be considered rather swish and welcome accessories for products (typically higher-end) that enhance them as desirable, luxury kit. 

Some are just bloody nice to use (I'm looking at you, Linn, Bluesound and Aurender) and, besides, I don't know about you, but I find it reassuring to know one brand has control over hardware and software when it comes to the sound path, among various things.

Running a software app and keeping up to date with all the licensing and updates requires a department of people for most brands, whether in-house or outsourced. So I’m not begrudging brands who don’t have a sophisticated one of their own – for many, it simply isn’t feasible from a resource and/or financial point of view, and so being able to support third-party protocols instead is a true enabler. But for those who have gone, and still go, to the trouble, I for one very much think it’s worthwhile – and not to mention ‘safe’. What if, say, the software goalposts change out of a brand’s control and one (or more) of the protocols their product(s) support no longer plays ball with a streaming service, or becomes no more altogether? Suddenly, that product is possibly less desirable or – worse – defunct. It’s arguably a slim risk nowadays considering how established many of these protocols are, but a risk all the same.

I can’t imagine dedicated brand apps lasting very long if an app-controlled music management platform as sophisticated and all-encompassing as Roon was free and not $150 per year, mind you. But in the current state of play and despite the downright handiness of streaming protocols like Tidal Connect, I think there’s plenty of life left in the brand playback app yet.

MORE:

Hi-res music streaming services compared: which should you subscribe to?

2023 was a good year for the all-in-one system, but can we have more please?

My success story of the year was also the biggest surprise

CD, streaming and vinyl: this versatile hi-fi system has it all

This isn’t the first time Audio Pro has attempted to – ahem – link some music streaming smarts to your existing audio system. This Link 2 is the company’s latest effort and features a tidier look as well as some upgraded features in an effort to do the digital audio business. 

In the time between the original Link and the new Link 2, though, it’s an idea that’s gained traction at what could reasonably be called the ‘entry-level’ of music streamer. So does the Link 2 have what it takes to stand out in what is suddenly a fairly competitive market?

Price

The Audio Pro Link 2 is on sale now, and in the United Kingdom it’s available for £220, although prices vary across retailers – some list it as high as £270. You can pick one up in the United States for about $290, while customers in Australia will have to part with AU$480 (or something quite like it) to secure one.

We’ve recently tested the WiiM Pro Plus music streamer, and enjoyed it to the extent that we gave it a What Hi-Fi? Award for 2023. Given that the WiiM streamer sells for £219 in the U.K. (and $219 / AU$339 in the U.S. and Australia respectively), it’s obvious the Link 2 is going to have to make a strong case for itself if it’s going to justify its asking price.

Design & Build

There’s nothing wrong with small or functional in a product like this, of course, but nevertheless, it would be nice to get a little more of an impression of where your money’s gone, beyond the way the product performs. There’s not much of this with the Audio Pro Link 2, though, despite the fact that it’s perfectly competently made and finished, it looks a little cheap and feels cheaper still.

It’s available in just one finish (dark grey) and at a tidy 36 x 180 x 126mm (hwd) it shouldn’t be too obtrusive on your kit rack in either visual or physical terms. The corners of the little cabinet are nicely rounded, and the capacitive touch controls on its top are sensitive and responsive. The controls available here include ‘power on/off’, ‘skip forwards/backwards’, ‘volume up/down’ and ‘play/pause’, while there are also four presets and controls for Bluetooth pairing and for scrolling through inputs. The fact that they’re in black on a dark grey background makes them a lot less legible than they might be, though. The same is true of the four LEDs on the front fascia – they indicate the selected input (wi-fi, Bluetooth, USB or line), but until you commit them to memory you’ve little chance of identifying what’s what.

You’re far better off with the Audio Pro Control app that’s free for iOS and Android. It may not be the most extensive or the most visually appealing, but you can at least see what you’re meant to be doing – and it’s very easy to integrate your music streaming service or services of choice too.

Wireless connectivity is via dual-band wi-fi and Bluetooth 4.2, while physical connections are on the rear panel. They run to stereo RCA ins and outs, an Ethernet socket, a USB-A slot, and coaxial and optical digital outputs. The line-level analogue input is particularly useful, as it allows you to hook up a source (like, say, a pre-amplified turntable) and then re-stream to other Audio Pro speakers you may have around your home.

Features

Wireless functionality is the whole point here, of course, and, as well as (fairly ordinary) Bluetooth 4.2 connectivity with basic SBC and AAC codec compatibility, the Link 2 is also compatible with Apple AirPlay 2, Chromecast, Spotify Connect and Tidal Connect. Setting up the Audio Pro in the first place is possible using Apple Home, Google Home or the Audio Pro Control app. The app also allows integration of numerous music streaming and internet radio services, including Qobuz, Apple Music, TuneIn, Amazon Music and vTuner. As far as installation and set-up are concerned, the Audio Pro Link 2 can be ready in a trice. 

Details of what’s what on the inside of the Audio Pro aren’t all that forthcoming. Obviously there’s a digital-to-analogue convertor, as evidenced by the stereo RCA analogue outputs, but while the Link 2 is compatible with AAC, ALAC, FLAC, MP3 and WMA file formats, there’s no MQA support for Tidal. Similarly, the Audio Pro’s ability to wirelessly stream analogue information to other Audio Pro speakers means there’s some A-to-D conversion on board too, but there isn't much in the way of specifics. The resolution of the internal DAC isn't readily available either – we've reached out to the brand for more information and will update this review when we receive an answer.

Sound

There’s no arguing with the tonal balance or the scale of sound that’s on offer here. The Link 2 is a notably open listen – it doesn’t inhibit the soundstage of the equipment it’s paired with in the slightest, and won’t confuse it where organisation is concerned either. The spaciousness of its presentation allows even quite dense, congested recordings like I Follow You by Melody’s Echo Chamber an appreciable amount of elbow-room – the Audio Pro opens it up and ensures that every element of the song is kept at arm’s length from the others. That’s not at the expense of coherence or unity, though – the Link 2 presents the recording as a convincing whole.

And the tonal balance is enjoyable in its neutrality, too. At no point does the Audio Pro overtly stick its oar in or attempt to alter the balance of the song – it’s naturalistic in its tonality from the bottom of the frequency range to the top. Each area of the frequency range gets a nicely judged amount of emphasis, too, so the line from the bottom to the top is straight and smooth, with no areas of the frequency range understated or overplayed.

After that, though, the Link 2 starts to need just a few excuses making for it. Switching to a 16-bit/44.1kHz stream of Belle And Sebastian’s The Loneliness Of A Middle Distance Runner reveals a slight, but definite, shortage of dynamic expression – everything that happens, according to the Audio Pro, happens at a fixed level of intensity from which it is very reluctant to deviate. And there’s a knock-on effect in the streamer’s relative lack of animation: it’s just not all that lively a listen, and sounds matter-of-fact where other, more engaged designs invest the recording with greater spirit and drive.

Along with this slight lack of passion, there are other slight shortages too. Detail levels, for example, are OK-but-nothing-special and the Link 2 isn’t the most enthusiastic when it comes to rhythms either. And this is in spite of the fact that it controls the attack and decay of bass sounds pretty well – it’s not blurring or low-frequency overhang that makes the Audio Pro an uncertain dancer.  

None of these shortcomings are especially major, but they add up to a device that doesn’t sound quite as liberated or as attentive as it really should. And this is put into quite sharp relief when you hear what the very best £200-ish music streamers, such as the WiiM Pro Plus, can do…

Verdict

This is a fuss-free way of bringing wireless streaming smarts to an audio system of a vintage, but the Link 2’s little deficiencies are made to sound significant by the best of its opposition.

SCORES

• Sound 4
• Build 4
• Features 5

MORE:

Read our review of the WiiM Pro Plus

Also consider the step-up Cambridge Audio MXN10

Best music streamers: upgrade to a wireless system

Chances are your home cinema amp will sit on show in your lounge, so it's natural to want one that looks as good as it sounds. That's just what Marantz promises with the Stereo 70s, its newest two-channel AV receiver.

It stands just 11cm tall, which is substantially shorter than other models in our list of the best AV receivers (which average 16.5cm tall). Marantz says the 70s is designed to perform like a full-sized amplifier, with the brand's signature warm, rich, detailed sound (we can't confirm this until we've tested it).

It's certainly a looker. The design is typically Marantz, with extras like a backlit remote control and built-in display promising to elevate the user experience.

It has it on the inside, too. Marantz claims that its Hyper-Dynamic Amplifier Modules (HDAMs) will outperform traditional chip-based op-amps found in rival products, while its six HDMI inputs give you plenty of usability options. Three of these support 8K, which should make it future-proof. There's also support for HDMI ARC, doing away with the need for a separate optical cable.

It plays nice with 192kHz 24-bit digital audio and DSD files, so will do your music proud as well as your movies. Plus it has Denon's HEOS Built-In tech for streaming and multi-room playback. Speaking of which, Spotify Connect, Amazon Music HD, Apple Airplay, Bluetooth, Tidal and TuneIn are all supported.

Sound good? It's available this month in black or silver-gold for £900 (US and Australian pricing is still TBC).

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If you've been considering a switch from Spotify to try out this 'lossless' music streaming that people are raving about, now's the perfect time to do so. For Prime Day, Amazon Music Unlimited is free for a whole four months, meaning you can get 120 days of CD-quality (lossless) and hi-res audio quality without spending a dime. That's much better than paying for lower-quality streaming, if you ask us...

The generous Prime Day music streaming deal, which is valid in the UK, US and Australia, is now available to Prime members who haven't previously had the pleasure of a free trial and who are not current subscribers of the service. But don't worry if you aren't a Prime member – you can still get three months free (again, provided you haven't taken advantage of a free trial before or are a current Music Unlimited subscriber).

Just be aware that you'll need to sign up by Thursday 13th July to take advantage, and note that once your four (or three) months are up, your membership will renew automatically at the standard monthly fee – £8.99 /$8.99 for Prime members; £11/$11/AU$12 for non-Prime members. So maybe set a reminder on your phone if you don't want to end up paying for the service once the promotion is up.

We're certainly keen on Amazon Music as a streaming service, with our review of the platform praising its vast catalogue, decent sound quality and attractive discount for existing Prime members. We prefer Tidal, but hey, the Tidal free trial is only 30 days.

This Amazon deal is, by the way, for the Individual plan (as opposed to the Student or Family plans) and gives you access to around 100 million tracks in standard, lossless and hi-res quality, thousands of playlists and stations, as well as offline playback, unlimited skips and hands-free listening using Alexa.

Remember, to get this deal you need to sign up before July 13th, so get cracking if you want to spend the next four months listening to your favourite songs in high quality for absolutely nothing. 

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Amazon Music Unlimited review

Best music streaming services: free streams to hi-res audio

Want our five-star recommendation? Read our Tidal review

French hi-res music-streaming service Qobuz has a particularly bon marché on at the moment, with 50 per cent off for two months. Added to the 30-day free trial that’s available to new subscribers, that’s three months for the price of one. Bargain.

The offer applies to a Qobuz Studio Solo subscription, which would normally set you back £12.99 a month but thanks to the deal is just £6.50 – a handy saving on the monthly price of Tidal, Spotify, Apple Music et al. There’s no long commitment either, so there’s nothing to stop you from cancelling as soon as your three months are up.

You'll want to get in there quickly, though; the offer expires on 12th July.

• In the US? Get three months for only $13
• In Australia? Get three months for just AU$20 

As well as offering access to over 100 million tracks in CD quality (16-bit/44.1 kHz) and hi-res (FLAC 24-bit up to 192 kHz), Qobuz also publishes its own reviews, profiles and other editorial content that should give you something to read while you listen, whether that's via its website, iOS, Android, Windows and Mac apps, or through hardware from the likes of B&O, Bowers & Wilkins, Bluesound, Cambridge Audio, Naim, Samsung and Sonos. Qobuz is also available on Apple CarPlay and Android Auto, but we don’t recommend reading while you’re driving.

Offline listening is also available on Qobuz, and if you’re migrating from another platform it’s possible to transfer your playlists using Soundiiz.com, so you can carry on listening without a hitch.

In our original Qobuz review, we praised the sound quality of its CD-quality streams, even if we found there were some gaps in its catalogue compared to rival services. While Tidal does sound very slightly better, this deal makes Qobuz a much cheaper option for a few months, especially if the rumours of a Tidal price hike come to fruition.

Again, you can’t hang around if you want to take advantage either, as it’s only running until 12th July.

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Quick! Act now and get 4 months of Amazon Music Unlimited, absolutely free

Best music streaming services 2023: free streams to hi-res audio

Amazon has announced the dates of Prime Day 2023, one of the biggest online sales of the year.

This year, Amazon Prime Day – essentially the retailer’s take on Black Friday – will take place on Tuesday 11th and Wednesday 12th July, meaning we have less than a month to wait for bargains galore.

The 48-hour sale event will start at 00:01 BST & AEST / 3am EDT on the Tuesday and go right through to the end of Wednesday. During this time, Amazon will be dropping new deals both on the website and on the Amazon app (the latter gives Prime members an early heads-up on the deals) – as regularly as every 30 minutes in some periods.

As is par for the course, Amazon has given us a sneak peek at some of the early Prime Day deals live now and happening in the run-up to Prime Day, and we have listed them below. But what’s far less routine is Amazon’s new-for-2023 Prime Experiences initiative in the UK, which will present customers with the opportunity to buy “limited edition, once-in-a-lifetime experiences” so that they, like an Oral-B toothbrush discounted by 76 per cent, can too ‘Feel Like a Big Deal this Prime Day’. 

Presumably, Amazon will offer a number of diverse Prime Experiences, but right now it has confirmed just one – a trip to the set of Neighbours in Australia. “One lucky Prime member will have the opportunity to take a trip to Erinsborough with a friend, meet their new Neighbours and stroll through world-famous sets as seen on TV. The full list of Prime Experiences and famous faces taking part will be announced in the run-up to Prime Day. Each experience will be paired with a great value Prime Day product and available as a limited, one-off purchase during Prime Day,” reads the Amazon press release.

• Prime Day dates: Tuesday 11th and Wednesday 12th July
• Everything you need to know about Amazon Prime Day 2023
• Not a Prime member? Sign up for an Amazon Prime 30-day free trial

As for the early Prime Day deals starting today, they include:

Discounts of up to 60 per cent on Prime Video TV show and movie rentals and purchases, with titles including Scream VI, Top Gun: Maverick, and The Unbearable Weight of Massive Talent.

Prime members who are yet to try Amazon’s fully-fledged, Spotify-rivalling music service, Amazon Music Unlimited, can now get four months free, while existing subscribers can upgrade to a Family Plan (allowing up to six people to use the same account) for free.

There are also cracking deals and freebies for other Amazon services – £15 credit when a Prime member downloads the Amazon Photos app and uploads their first photo (until 7th July); three months of Kindle Unlimited for no extra charge; three months of free Audible (until 13th July); and 20 per cent off grocery shopping at Amazon.

As likely as night following day are Amazon audio and video products being discounted in the lead-up to every Prime Day, and sure enough from next Thursday (29th June), Amazon will start knocking up to 58 per cent off devices such as the all-new Echo Pop, Echo Show 5, Fire TV Stick 4K Max and Fire Max 11 tablet.

But remember, in order to take advantage of the Prime Day deals live now and over the two-day sales event in July, you’ll need an Amazon Prime subscription. If you don’t have one and haven’t subscribed before, you can sign up for a 30-day free trial today and be covered for this year’s Prime Day(s). 

Amazon quick links

Can't wait for Prime Day 2023? Check out the best Amazon deals right now below.

• Amazon daily deals – today's Amazon deals
• Amazon electronics store – the home of all Amazon electricals
• Amazon devices – Alexa, Echo, Fire TV; all of Amazon's smart devices 
• Amazon TV and home cinema – TVs, projectors, set-top boxes and more 
• Amazon audio and hi-fi – record players, radios, speakers
• Amazon headphones and earphones – wired, wireless, noise-cancelling
• Amazon phones and accessories – cables, SIM cards, phone adapters

In a surprising turn of events last month, Tidal CEO Jesse Dorogusker announced in an Ask Me Anything (AMA) session on Reddit that the service would “soon” be adding lossless hi-res FLAC streams to its catalogue for HiFi Plus subscribers. These FLAC streams will sit alongside the tier’s current hi-res offering of MQA-powered streams that has given the service hi-res status since 2017 – long before Apple or Amazon joined the hi-res music streaming foray.

Yep, when mass-market streaming services were offering low-bitrate streams five years ago, Tidal decided to offer better quality – and to achieve that, it used (and licensed) MQA technology, a method of digitally packaging and storing studio master recordings as files small enough to stream. MQA side-stepped the issue of FLAC and other lossless formats requiring big file sizes that were hard to stream due to average bandwidth limitations at the time. As Dorogusker explained during the AMA, the MQA solution offered “a balance of quality and bandwidth” at a time when the two didn't massively go hand in hand. But now that bandwidth across networks has improved and streaming 24-bit FLAC is more viable (Amazon Music Unlimited now uses it for hi-res streaming, after all), that is no longer an obstacle to overcome. “Hi-res FLAC files will be big,” admitted Dorogusker, “but we think the infra is ready, even on mobile.”

For hi-fi fans, accessing those MQA-powered ‘Tidal Master’ streams on their system has involved owning MQA-compatible hardware – something that has been a point of differentiation for the service, and indeed a sticking point for owners of non-MQA kit. Without some sort of MQA decoder in your grasp, a Tidal HiFi Plus subscription is as useful as a kettle without water. But that won’t be the case for long…

With the addition of hi-res FLAC to Tidal, that hardware requirement will no longer be necessary as FLAC is indeed an open standard. Again, it’s the format Amazon Music uses to power its hi-res streams, and is actually also behind Tidal’s CD-quality lossless streams (available to subscribers of its cheaper HiFi tier). So, when FLAC arrives* HiFi Plus subscribers will have two different flavours of hi-res to choose from – perhaps for the foreseeable, or perhaps temporarily if Tidal decides to ditch MQA down the road – though how MQAs and FLACs will sit side by side and be labelled in the catalogue are yet to be seen.

While some people like the way MQA streams sound and will no doubt be pleased that MQA tracks will remain and their purposefully MQA-supporting hi-fi purchase can still be justified, many see this as good news for audio quality and accessibility. After all, FLAC is unquestionably lossless and, unlike Tidal’s current hi-res streams, will not require an MQA-compatible DAC or system component to unlock their optimal quality. You'll need equipment that can support hi-res audio, of course, but nothing proprietary.

Which type of stream will sound better on Tidal is what we hope to find out if we can, and is something that will no doubt spur a number of Reddit threads following the arrival of FLAC. But regardless, the opening up of Tidal’s hi-res offering will likely expand the HiFi Plus subscription base. If they can get over one thing, of course – the price.

Twenty years ago, the thought of paying £20 / $20 / AU$24 per month for unlimited access to all the world’s music in digital high-resolution quality might’ve sounded as far out as Marty McFly’s hoverboard featuring in the Argos catalogue. Fast forward to just a few years ago though and that kind of fee was an acceptable premium to pay over the lower-quality streaming offerings at the time. Now that Amazon, Apple and Qobuz offer hi-res streaming for between £9 / $9 / AU$9 (Amazon Music, if you’re a Prime subscriber) and £13 / $13 / AU$20 (for Qobuz) per month, however, Tidal’s subscription cost for hi-res is head, if not also shoulders, above the competition.

In its defence, and actually to its credit, Tidal has made a big thing about it paying artists more than other streaming services do for their music. In an email sent to subscribers in March, Tidal stated that it ‘still pays artists more than the others with HiFi Plus – we charge a little more so we can distribute more to artists’. And Dorogusker confirmed as much last month.

Tidal had a ‘Direct Artist Payouts’ program whereby it paid artists directly ‘above and beyond royalties’ based on listeners’ ‘top artists’, claiming to have enrolled 70,000 artists and distributed $500,000 in payments. Last month, however, it changed tact by scrapping the initiative and redirecting money ($6m was the published figure) to its Tidal Rising to support emerging artists.

Giving more to artists is an admirable initiative that I’m sure many Tidal HiFi Plus subscribers will be on board with. But I’m also sure that the subscription cost is preventing some from transitioning from cheaper rival services. And when Spotify HiFi eventually offers CD-quality streaming, that will undoubtedly tug some subscribers away, too.

Dorogusker also stated that Tidal “continue[s] to experiment with new ways to unlock better economic value for artists”, so if the company can find a way to lower its hi-res membership fees while maintaining its artist-first focus – easier said than done, I’m sure – it’ll be very difficult to point hi-fi fans anywhere else when FLAC is onboard. After all, in my mind it has a more comprehensive library than Qobuz, a better user experience than Amazon Music, and is more hi-fi-friendly than Apple Music. That's why it remains What Hi-Fi?'s number one pick as the all-round best streaming service. Its higher price just highlights the value of rivals.

*While Dorogusker’s choice of word initially was “soon”, later in the session he said “we will come back here and tell y'all specifically when”, with another Tidal spokesperson commenting that it would be “later this year”. (Blimey, to think that Spotify said that about its yet-to-arrive HiFi service three years ago…)

MORE:

MQA has gone into administration: what does this mean for Tidal and supported products?

Hi-res music streaming services compared: which should you subscribe to?

High-resolution audio: everything you need to know

MP3, AAC, WAV, FLAC: all the audio file formats explained

Denon's new music streamer has all the goods. Not only is it as versatile as they come thanks to its HEOS streaming platform, but it also supports high-resolution audio up to 32-bit/384kHz – that's much better than CD quality.

HEOS support means you can stream music wirelessly from a plethora of music streaming services, including Spotify, Tidal, Amazon Music, internet radio and more, as well as from other networked devices like NAS drives. You can also create playlists through the HEOS mobile app and use any of Amazon Alexa, Google Assistant or Apple's Siri for voice control.

Then there's the sound quality. Inside the network audio player, Denon's Advanced Processing supports up-sampling to 384kHz and bit-extension to 32-bit, while the asynchronous USB Type B connection supports native hi-res digital files, including DSD256. Four high-precision 32-bit/384kHz ES9018K2M digital-to-analogue converters are configured in a double-differential-mode just like Denon's flagship DCD-A110 SACD player, which should result in quality sound.

This is all helped by Denon's Master Clock design which suppresses jitter, and the isolation of the analogue and digital circuit boards from each other to prevent interference.

You want connections? The DNP-2000NE has plenty, starting with wi-fi, wired Ethernet, Bluetooth and Apple AirPlay 2. HDMI ARC lets you hook up your TV to your hi-fi, and you can even control the DNP-2000NE using your TV remote. Two optical and one coaxial digital inputs are also ready and waiting, alongside a USB Type B input. There are also fixed and variable analogue output options, and one coax and one optical output each. And finally, there's a headphone socket on the front panel.

It's available in three colours: black, premium silver and graphite silver (though the latter comes at a premium, ironically). The Denon DNP-2000NE streamer launches in June for £1399 / $1599 / AU$2999  (or £1599 / $TBC in graphite silver).

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UPDATE: This article was originally published on 12/04/23 and has been updated to include an official comment from Tidal regarding its MQA catalogue.

It’s been quite a week in the world of hi-res music streaming.

Last Friday, news broke that MQA is going into administration. This left us wondering what this means for Tidal, given the streaming service uses Master Quality Authenticated (MQA) technology to deliver hi-res audio to its HiFi Plus subscriber tier.

Well, we might now have an idea.

In a recent AMA (ask me anything) session over on Reddit with Tidal’s CEO, Jesse Dorogusker a number of questions were asked relating to MQA and hi-res audio. In response he said, “we will be introducing hi-res FLAC for our HiFi Plus subscribers soon. It's lossless and an open standard. It's a big file, but we'll give you controls to dial this up and down based on what's going on.”

He didn’t go so far as to say Tidal is removing MQA from its platform entirely but, having read his response, you might think it’s only a matter of time.

However, we reached out to Tidal for comment and a spokesperson told us, "Our existing MQA catalogue will continue to be available on the platform." So, it looks like business as usual, for now at least.

In his Reddit post Dorogusker doesn’t say precisely when hi-res FLAC files will arrive, but “soon” would indicate we are perhaps taking a couple of months, if not weeks.

He suggests file sizes will go up as a part of the format switch, but also that users will have the potential to dial the quality up or down depending on the source they are using. In the same AMA, Dorogusker notes, “we also live in a world that is mobile-dominated, and mobile phones have constraints in memory, data plans, coverage maps - so there's always a consideration for the customer's need between more quality and more bandwidth/storage efficiency.” It appears there will be plenty of flexibility built in, then; but the big question will be how will the switch affect audio quality?

Tidal already uses FLAC to stream CD-quality lossless files in its standard ‘HiFi’ tier but Tidal HiFi Plus supports Tidal Masters through MQA technology. Soon it seems you'll be able to pick between two different flavours of hi-res.

Tidal currently demands a premium for its hi-res catalogue, charging £19.99 ($19.99, AU$23.99) per month – in stark contrast to the likes of Apple Music and Amazon Music Unlimited, which charge £10 ($10, AU$10) and £10 ($10 / AU$12) respectively.

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MQA is going into administration

MQA audio: What is it? How can you get it?

Read our Tidal review

Our pick of the best music streaming services

Ruark has remained ever-reliable to the radio, making the point that the music medium is still hugely relevant today as it announces the next generation of its established entry-level R1 radio. The British audio brand is probably right, though the dominance of streaming services cannot be ignored... which is why this new R1S (£299) supports wi-fi and offers access to Spotify (via Spotify Connect), Amazon Music and Deezer. Ruark says that the R1S will also support Spotify HiFi when the lossless tier eventually shows up.

This marks the first time that networked streaming has been delivered by Ruark’s R1 model, having previously been the reserve of the larger, pricier R2 and the radio systems above it in the company’s well-rounded catalogue.

No internet in your bedroom? No problem. The R1S carries over many of the features of its predecessors. Bluetooth (the latest 5 standard this time) is onboard for easy, offline streaming of music from phones and tablets, as is, of course, FM, DAB and DAB+ radio. Internet radio hasn’t been left out either, with Ruark’s SmartRadio tuner allowing access to stations worldwide and including a source dedicated to podcasts.

Like its predecessor, the R1S has a USB-C port that can charge phones and other devices with that connection, as well as a switchable analogue line input and a headphone jack. The R1S plugs into the mains for power, though it can be made portable with the optional BackPack 3 battery pack (£69).

The R1S wears a familiar design, defined by the gorgeous wooden grille (created, Ruark says, from sustainable wood), the colour display, and the wonderful top-panel RotoDial, which offers perhaps the best on-unit control experience we’ve come across in such a product. Alternative means of control are with the matching remote and the all-new Oktiv app, the latter of which could well be preferred for more easily browsing through stations and podcasts.

Behind all that is the Class A/B amplifier driving a neodymium NS+ full-range driver – a type of pairing that has helped previous R1 iterations win five-star reviews for their rich, musical sound. We can only hope the R1S is able to seal its promising fate with a decent sound performance too.

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Rather than review the Ruark R2 Mk4 Smart Music System in our usual listening rooms, we decided to set it up in a master bedroom.

It’s that sort of product – ideal for a study or secondary space, and very much looking the part for either location with its modern take on a classic radio design.

We were glad we did this. It showed what an effect such a high-quality music maker can have on music listening habits, because the Ruark is just so easy to use, so easy to get playing with a single tap of the power button, that we reckon it must have quadrupled the amount of music we played in that space during its time. And that’s a recommendation in itself.

Design & build

There’s one important potential perception to correct here. It would be easy to look at the R2, see just a big old-style radio, and think, well, £439 / AU$899 doesn’t seem particularly cheap for a big radio. 

But hold on a minute. The better comparison here is not with an old radio: it’s with the latest high-tech wireless speakers, such as those available as part of platforms like Sonos or HEOS.

Because the Ruark R2 has precisely those skills – it is not just a radio. It has wireless networking, direct streaming of services like Spotify, Deezer and Amazon Music, full access to global internet radio stations via its own app, a specific ‘podcast’ source, plus Bluetooth, which can stream anything else you want via your smart device of choice. 

But Ruark’s R2 goes beyond the abilities of most wireless speakers in also including both FM analogue and DAB+ digital radio, something few wireless speakers include.

So what we actually have here is a high-specification streaming music system, boosted by full radio abilities (other than AM, which it doesn’t have). 

We reckon the R2 has one more big advantage over rival streaming wireless systems. Let’s compare the R2 Mk4 with what you’ll get at the same sort of price from major wireless speaker brands. From Sonos, it would be the Sonos Five, at £499 / AU$799. From HEOS it would be either the Denon Home 250, which launched at £449 / AU$849 but is now available at around AU$600, or the Home 350, which launched at £599 / AU$1299 but has settled around AU$900.

Sonically competent as those units may be (and two of them are previous Sound+Image award-winners), they are boring featureless black or white boxes when compared with the gorgeous R2, with its polymer cabinet slightly tilted back, and highlighted by the slatted grille made of wood. Our review unit came in the light cream lacquer with an ash-wood grille (pictured), which drew praise from all those who saw it, while a darker ‘espresso’ with a walnut grille is also available. 

And even though this latest R2 Mk4 has skimmed a few centimetres from the depth of its predecessor (better for window ledges and bookshelves, says Ruark) it is nevertheless larger in size at 34cm wide and 18cm high than either the Sonos Five or the lesser Denon. Yet it’s just such a lovely design that it’s a pleasure to have in the home, compared with a featureless modern box designed to hide rather than contribute to décor.

Another differentiation is the amplification technology within. While Sonos (and we’d guess Denon) uses Class D amplifiers, Ruark’s R2 has genuine traditional Class AB amplification to drive its stereo drivers, which are Ruark’s NS+ full-range design, backed by neodymium magnets. All of which bodes well for the last point of comparison – sound quality.

• Best internet radios – see What Hi-Fi?'s recommendations

Sound quality

Setting up the Ruark R2 Mk4 involves little more than plonking it down somewhere sturdy, and then using the top-mounted Rotodial to follow the initial on-screen set-up instructions. 

The Rotodial has been Ruark’s control of choice ever since the company transitioned from making traditional box speakers to its latter-day focus on radios and music centres, which today range from little mono radios up to the substantial table-sized R7, described as a ‘Radiogram Refined!’

The Dial has a central rotary section, with the power button at the bottom and seven other buttons arrayed around the top. Play/pause is sensibly at the apex, and ‘back’ and’ forward’ are sensibly at the outside, leaving two spaces on either side for alarm, menu, source and preset. There are twin alarms available with options for weekday and weekend alarms; a sleep timer is also available in the app so you can drift off to your favourite night-time tunes. 

Examining the connections at the attractive rear we noted two minijack sockets: one an analogue stereo line input, the other for plugging in a pair of minijack headphones. There’s also a USB-C socket which can be used for playback or for charging, but playback is, we think, limited to MP3s, and of course with a USB-C socket you can’t plug in a standard USB-A stick without an adaptor. Nor can you plug in, say, an iPad with a USB-C to USB-C cable. It simply doesn’t recognise the device, other than offering to charge it.  

But for set-up, it’s pick your language, connect to Wi-Fi, check for a firmware update, and then pick a source – and we were listening to digital radio within a couple of minutes. For radio reception we needed the antenna extended, and it’s worth noting the height of this, should you extend it fully vertically, as it extends to roughly triple the R2 Mk4’s height. 

Meanwhile, the display on the left of the R2’s top third had now illuminated to show us both the time and date or, once playing, the time and radio station/show, or the track, or whatever. It can show colour artwork for radio stations, but you have to specifically press the Rotodial for this, so you don’t see such logos in general use.

And now, the sound. We love the R2 Mk4’s sound, as we have previous Ruark tabletop music systems. They look like classic radios, and they’re able to sound like that – a rich woody sound, and one that remains rich even at quite low levels, thanks to Ruark’s use of adaptive EQ to put a tilt of bass into lower-level listening. So whether trickling out daytime radio as background music or being cranked up for something louder when entertaining or vacuuming, the R2 Mk4 can deliver in full. 

• Best all-in-one systems – see What Hi-Fi?'s recommendations

It’s particularly well tuned for voices to sound engaging and real, both male and female, so that it’s also a great way to hear podcasts. For this, as for internet radio, the best way to find your way around is to download the Ruark’s control app, which is Undok (shown above), provided by Frontier (which presumably makes the streaming and radio platform within the R2). 

Undok has been around for years, and Ruark has stuck with it. It’s attractive and clean, if fairly basic in its implementations, so that finding an internet radio station or podcast requires either a text search or browsing by genre/country, the method used since the dawn of internet radio. Even this could be a little sluggish, we found, but delays can be circumnavigated by putting your favourites into the eight preset slots available for each source. These can then be accessed directly from the Rotodial. Indeed since the Ruark turns on to whatever was previously playing, many users may never need to do more than press the power button to turn on the Ruark at their favourite station. 

[UPDATE: Since our review, we see that Ruark is now recommending the Octiv app, rather than Undok. We're not sure why.]

For much of the time, that’s precisely what we did: we tuned the R2 Mk4 into a favourite station for FM, DAB+ and internet radio, and then we’d just wake up and hit the power button to have music flowing. 

We note that while some Ruark music players use the Undok app for multiroom sharing to other Ruark devices, the R2 Mk4 has been left out of this useful loop, for reasons unstated.

Other than the app there’s no remote control provided, but one is available for around £15 / AU$35, and that has four useful direct-access preset buttons.

When pumping out the compressed radio streams of FM, DAB+ and many internet radio streams, the friendly sound of the Ruark R2 Mk4 might accentuate the bass thump of dance music a little too intrusively; some might even feel there’s a little too much upper bass in general, so that male voices can be a little too full. 

There’s an easy fix for this in the app settings, as the R2 ships with its ‘Loudness’ circuit engaged. Turn it off and the volume drops dramatically, but raise it back up and you’ll enjoy a much cleaner sound: a more ‘modern’ sound, you might say. 

Which way you go will be down to taste; we listened for two weeks with Loudness on and didn’t object, but once we’d found the option we tended to prefer it off.

There are also bass and treble controls, with eight presets available for those, so there are further ways to tune the tone to your preference. We didn’t need these, but they might be useful to counteract the effects of certain room positions, or to tweak certain material.

Finally, there is a hidden ‘3D sound’ option, which isn’t available through the app, only if you access settings using the Rotodial’s own menus. Turning this off clarifies the midrange and treble in particular, so is well worth hunting down. Once we’d found it, that stayed off too.

For some reason we couldn’t get Spotify to ‘see’ the Ruark, but we listened to our own music and streams from Apple Music sent from an iPad Pro via Bluetooth. We didn’t find a pop track we didn’t enjoy through the R4; the warm sound fills all rock and pop with richness and musicality. 

It rolled out the twin basses opening Walk On The Wild Side, and did a lovely stereo job of the doo-de-doos. Leonard Cohen’s voice was one that sounded a tad too thick on the O2 live version of Tower Of Song, but was better with that ‘Loudness’ setting off. 

Of course, the ultimate low octaves are missing, so that it won’t present a symphony orchestra like a real large hi-fi system, but tonally we think fans of acoustic music will love its sound (‘loudness’ on to boost the strength of lower strings) and we were able to drift away delightfully to its rendition of Mozart’s Symphony #25 (Neville Marriner, 1984).

It has its limits. Halfway up should be plenty loud enough for most occasions, and beyond that things can start to sound stressed pretty quickly, especially with complex music or heavy bass, though this happens less if you turn off those ‘loudness’ and ‘3D’ defaults. 

When we cranked Peter Gabriel’s Panopticom, it was able to remain uncongested far louder with loudness off, while the vocals had better cut-through at every level with ‘3D Sound’ off as well. 

Verdict

We love the Ruark R2 Mk4 both as a design and for the easy ways it brings access to music.

It’s not a party machine for going loud, and there are some default settings we’d like to be able to defeat or select more easily, but it’s a powerful alternative to more modern-looking wireless speakers, coming with all mod streaming options, as it were, yet presenting in a stylish retro design. 

It’s a perfect all-in-one for secondary rooms, and for lovers of radio especially. 

• See all our Australian reviews from Sound+Image and Australian Hi-Fi

Spotify co-president Gustav Söderström has reportedly told The Verge that offering lossless audio is still the plan, though don't hold your breath for an imminent launch.

In his recent interview with the US publication, Söderström said that "we are going to do it"; that Spotify HiFi “is coming at some point”. But he couldn't be specific with timeframes at this stage. The company seems to still be navigating a way in which it is happy to deliver lossless CD-quality audio on its service, having initially announced in February 2021 that a higher-quality Spotify HiFi tier would launch by the end of that year. Its plans were undoubtedly scuppered when Apple Music, and then Amazon Music, pipped it to the post by delivering lossless quality that May – and, importantly, at no extra cost for subscribers.

"We’re going to do it in a way where it makes sense for us and for our listeners," Söderström told The Verge on its Decoder show. “The industry changed and we had to adapt.” The report also quotes Söderström stating that the delivery of Spotify HiFi needs to work for the company "from a cost perspective as well", though he would not comment on any label agreements or rivals' activities in the industry.

The publication goes on to report that Spotify HiFi has indeed been ready to go for over a year, suggesting that Spotify employees already have access to the service's entire catalogue in lossless quality. It seems, then, that the ongoing delay is likely due to Spotify still trying to pin down a way to package lossless quality within a more expensive tier that, to make it more appealing, also bundles in further benefits such as Dolby Atmos Music support and premium podcast and library features. This would substantiate previous claims last year that Spotify HiFi streaming could be part of a new $20 'Platinum' tier with extras.

If a premium tier double the monthly fee of the current Premium subscription were to materialise, it would need to make those extras pretty desirable to have any chance of enticing Apple Music subscribers, which have lossless and spatial audio and soon a fully-fledged (and probably class-leading) classical music experience for £10.99 / $10.99 / AU$12.99 per month.

While Söderström's latest comments don't bring us any nearer to a Spotify HiFi release date, it is reassuring to know that lossless audio is still on the table, following murmurs in the hi-fi and technology industries in recent months that it perhaps would not materialise after all.

MORE:

Read all you need to know about the upcoming Spotify HiFi tier

Hi-res music streaming services compared

Apple Music Classical will launch on 28th March with hi-res and spatial audio

After weeks of rumours and leaks, we can reveal that the Sonos Era 300 and Era 100 wireless speakers are, finally, official. 

Sonos Era marks a brand new range for Sonos, consisting of the entirely new Era 300 spatial audio-focused smart speaker and the Era 100 (a reinvented Sonos One) smart speaker. 

Both speakers share many of the key features: wi-fi (specifically, wi-fi 6) and AirPlay 2 for streaming music, Sonos voice control and Alexa support. You also get Bluetooth 5.0 for the first time in non-portable Sonos speakers (they support the standard SBC and AAC codecs) and the potential for wired connections using the USB-C line-in connection.

If you did want to hard-wire a turntable or other source to the Era speakers, you'll need to buy the Line-In Adapter and Sonos Combo Adapter separately – on the plus side, these adapters will cost just £19 and are available in black or white to match the Era 100 and Era 300.

The new Era models can also be used as stereo pairs, as surrounds rears within a home theatre set-up, and can handle audio files up to 24-bit/48kHz from Qobuz and Amazon Music streaming services.

Both Era speakers feature new top panel interfaces with touch capacitive controls, including a new volume slider or 'trough', and both work with the Sonos S2 app for more features. These include multi-room system grouping with other Sonos products, music playback from supported streaming services and Sonos Radio, and Trueplay room correction tuning available for iOS and, for the first time ever, Android users.

Additionally, Sonos has put a lot of thought into the sustainability and longevity of its new products. The Era speakers can be more easily repaired and fully serviced by Sonos thanks to more screws than glue used in the construction; they are made with "a high percentage of" post-consumer recycled plastic (more than 40 per cent, claims Sonos); and they use less power (under 2 watts) when in idle mode.

Sonos Era 300

Where the models differ are in design, usage and price. The Era 300 was designed specifically for playback of spatial audio with Dolby Atmos tracks, with Sonos' principal product manager Ryan Moore stating during our press briefing: "The goal with Era 300 was really to create the best standalone spatial audio experience of any single speaker."

It features a unique hourglass cinched design that looks unlike any other speaker on the market. That's because of the unusual acoustic architecture housed within. Inside are six drivers (four tweeters, two woofers) with custom waveguides that fire sound out forwards, upwards, left and right to surround you with music.  Each of the six drivers is powered by its own class D amplifier.

The Era 300 can also be used as Dolby Atmos rears in a surround system with the Sonos Arc or Beam Gen 2 soundbars and a Sub – a feature that's sure to please AV fans.

Puzzlingly, at the time of launch, Sonos states that the Era 300 "currently supports Dolby Atmos Music via Amazon Music Unlimited" only. With Sonos putting such an emphasis on spatial audio with Dolby Atmos music playback, we think it's a shame that it won't support the format from other music streaming services at launch.

We're hoping this will be resolved soon, and in reply to our question on this matter, Sonos seemed to confirm this: "Today, Era 300 does not support Dolby Atmos Music on Tidal. Over time we will continue to add more listening choices and partners but we don’t have further information to share today. We’ll be adding support for spatial audio via Apple Music soon." And it has been confirmed that Apple Music spatial audio will be supported when Era 300 goes on sale on 28 March.

• Read our first impressions of the Sonos Era 300
• Sonos confirms Apple Music spatial audio support – and not just for its Era 300

Sonos Era 100

The Era 100, meanwhile, is a completely redesigned Sonos One. Moore claimed during our briefing: "There's not a single part of Sonos One in the Era 100.” Replacing one of its most popular wireless speakers is no easy feat, but with the One Gen 2 released in 2017, it was clearly time for a refresh.

The biggest difference is that the Era 100 now delivers stereo sound (to the One's mono). Inside the speakers lie two angled tweeters with custom waveguides that are designed to deliver "detailed stereo separation" and a 25 per cent bigger woofer that promises deeper bass. Three class D amplifiers power the drivers.

Unlike Era 300, Sonos claims the Era 100's small form factor won't do justice to spatial audio/Dolby Atmos tracks, so you'll have to opt for the Era 300 if you want the full spatial audio experience. However, the Era 100 can be used as rear speakers with a wider range of Sonos soundbars: Arc, Beam Gen 1 and Beam Gen 2, and Ray.

Sonos Era pricing and availability

Price? Sonos has priced the new Era speakers rather on the premium side compared with current rivals. The Era 300 is priced at £449 / $449 / €499 / AU$749, while the Era 100 will cost £249 / $249 / €279 / AU$399. 

Respectively, that's higher than closest rivals HomePod 2 (£299 / $299 / AU$479) and the outgoing One (currently £180 / $220 / AU$320) – but whether the Era speakers will live up to their potential remains to be seen. Both models go on sale on 28th March, and will be available in black or white finishes. 

We'll be getting samples of both Era speakers in our listening rooms very soon, so stay tuned for the full, official reviews in due course.

MORE:

Read our Sonos Era 300 hands-on review for our first impressions

Here's everything you need to know about Sonos

And everything you need to know about spatial audio

Read our Apple HomePod 2 review

And here's our original Sonos One review

Sonos Era 300 vs Apple HomePod 2: how do these smart speakers compare?

Sonos Era 100 vs Sonos One: which smart speaker is better?

 It’s been a while since we’ve heard from Revo, but the digital radio brand has announced the release of its new SuperConnect Stereo, the next generation of its excellent Revo SuperConnect internet radio that we first reviewed back in 2014. A fresh take on Revo’s five-star original, the Stereo promises stereo sound, more than 36,000 radio stations from across the globe, as well as streaming support for Spotify Connect, Deezer and Amazon Music.

Inside the SuperConnect Stereo lies a 30W Class-D amplifier powering two 3.5in balanced mode radiator (BMR) speakers. Revo claims the stereo BMRs deliver “wide dispersion and an expanded sweet spot” for better sonic performance. Proprietary EQ configuration, meanwhile, sees Revo seeking to deliver a “warm open sound with clarity, detail and a rich, deep bass.”

As well as internet radio, DAB/DAB+ radio and standard FM tuner, there’s also an optical digital output, an aux input, a pair of RCA connectors, and a 3.5mm headphone jack. This new generation is also equipped with WLAN technology, allowing for wireless audio playback from connected devices over your home wi-fi network, plus Bluetooth 4.2 streaming from tablets and smartphones. 

The Stereo and its many features can be controlled via the included remote, the on-unit controls or the new dedicated UNDOK app that’s available for Android and iOS devices.

The original SuperConnect’s funky, retro styling returns for the Stereo, with Revo teasing high-quality construction from premium materials including a “hand-crafted” cabinet made from “furniture-grade American walnut.” Naturally, the large OLED display now sits in the middle, flanked by the stereo speaker grilles.

The original SuperConnect (tested at £250) won our best radio over £200 Award four years in a row, so we’re keen to see the return of such a well-made, fully-featured radio/streamer back in stores. 

Available now in walnut and silver or walnut and black finishes, the Revo SuperConnect Stereo will cost a hefty £489 ($599 / AUD $899) - that’s nearly double the cost of its decade-old original, although it’s worth noting that the older SuperConnect is still being sold now for a higher price of £389. We’re intrigued to hear if the new Stereo model lives up to the promise when we get it in for review.

MORE: 

These are the best internet radios you can buy

Read our Award-winning Tivoli Model One Digital Generation 2 review

Not into radio? Check out our guide for the best wireless speakers instead 

You’ll likely have seen the term ‘lossless audio’ bandied around in the music space in recent years.

While by no means a new term in the audiophile realm, it has fairly recently expanded into the mainstream courtesy of Apple, Amazon and Spotify adopting it in its recent audio hardware and software products, and consequently shouting about it from its marketing HQ rooftops.

Apple labels many of its Apple Music streams as ‘Lossless’; Amazon describes its ‘HD’ music streams as ‘aka lossless’; and Spotify has (finally) launched a Lossless tier for Premium subscribers. Presumably, hearing the term is what has led to your curiosity and landed you on this very page.

You might have gathered that ‘lossless audio’ generally represents higher quality audio than you may be used to. That’s what it’s being sold as anyway, and if you’ve spent many years listening to lossy MP3s and music streaming services, that could well be the case. But you are just as likely to have heard of ‘hi-res audio’ – perhaps even in conjunction with lossless.

So what is lossless audio exactly? What is the difference between lossless and lossy, and how does lossless compare to hi-res? Right this way, please…

What is lossless audio? 

Whether an audio file or stream is lossless or lossy or uncompressed (it has to be one of those three) depends on whether it has been compressed and, if it has been, how it’s been compressed.

A quick 101 on audio compression: compression is used to make an audio file/stream smaller in size and therefore more practical to store or handle. A compressed stream typically demands less internet bandwidth than an uncompressed stream; a compressed file requires less storage than an uncompressed file.

The problem is that the compression process can discard some audio data so that you aren’t getting all (and in many cases, quite a lot) of the information in the original audio recording, and therefore the original quality.

Essentially, uncompressed audio (typically stored as WAV and AIFF formats) is an exact reproduction of the original studio recording. And then lossless and lossy audio come under the compressed category.

But – and it’s a big ‘but’ – lossless audio (typically stored as ALAC and FLAC formats) is compressed for that practicality mentioned above but in a way that doesn’t lose any information and so shouldn’t affect sound quality, whereas lossy audio (typically stored as MP3 and AAC formats) is more heavily compressed for the easiest transport/storage and does lose information in the process.

You can read about which popular audio formats fall into which category in our audio file formats explained article, but let’s move on to other ways lossless audio is defined.

Lossless vs hi-res audio: what's the difference?

Now, in numerical terms, ‘lossless audio’ is typically accepted as being 16-bit/44.1kHz – which is the bitrate (16) and sample rate (44.1kHz) of CD music files. That’s right, ‘lossless’ quality as it is considered today is essentially what you have listened to for much of your life (and maybe downgraded from, as you adopted streaming!). That’s why you’ll often see ‘CD quality’ and ‘lossless’ presented as one and the same, as is the case on Amazon Music HD’s website (pictured above).

Again, though, it’s important to remember that ‘lossless’ is the term streaming services have chosen to label their CD-quality streams to stand them apart from their lower-quality streams and, if they have them, their hi-res streams. Technically, any recordings packaged losslessly, in FLAC and ALAC for example, are lossless.

The use and definitions of the term ‘hi-res audio’ aren’t exactly resolute either*, but it is widely accepted that hi-res quality is audio that has a bitrate and/or sample rate above CD (‘lossless’) quality. So hi-res audio can be 16-bit/96kHz or 24-bit/44.1kHz audio, though the most common hi-res audio quality commercially available to stream and or download is 24-bit/48kHz or 96kHz.

In practical terms, hi-res audio should sound superior to lossless audio because it has a higher bitrate and sample rate. After all, the increased number of bits means a wider dynamic range, while the higher sampling rate gives greater bandwidth and improved accuracy in defining transients.

So why isn’t everything hi-res? Why do we have ‘lossless’ at all? Because bigger bit and sample rates equal bigger file/stream sizes that demand more bandwidth and storage. That said, as internet speeds rise and file/stream packaging technologies advance, this is arguably becoming less of an issue.

Then there’s the question of whether it’s worth seeking out hi-res or ‘just’ lossless music. In cases where hi-res quality demands higher costs for downloads/streams and/or extra storage, should you try to accommodate it? The answer here depends on whether your ears can audibly hear the difference or not, which might come down to how transparent your music playback set-up is. If it’s not good enough to lay bare the extra insight a hi-res recording offers, then there’s little reason to pay more for it unless you’re willing to upgrade your hardware.

*Apple, for example, categorises its ‘Lossless’ streams as between 16-bit/44.1kHz and 24-bit/48kHz, and its ‘Hi-Res Lossless’ streams as anything over 24-bit/48kHz. Spotify Lossless, meanwhile, is up to 24-bit/44.1kHz quality.

• Everything you need to know about high-resolution audio

How can you listen to lossless music?

Well, you can listen to or rip a CD, of course! Though understandably, many of you reading this may have done away with CDs years ago and are reluctant to look back, while others may not have CD listening experience at all and are similarly dismissive of going down the compact disc route. So, alternative options...

If you want to build your own digital music library, you can download music in lossless from most music download stores that are still hanging around, or you can rip vinyl albums into lossless files using certain USB turntables and software. The thing is, it’s all about streaming for the masses today, isn't it?

Well, good news: music streaming is now very lossless-friendly.

That hasn’t been the case for very long. While more niche streaming services such as Tidal, Qobuz and Deezer have offered a lossless, CD-quality subscription tier for years, often at a higher monthly price, it’s only in the past few years that more mainstream services such as Apple Music and Amazon Music, and now Spotify in 2025, have offered lossless as part of their paid subscriptions – and for no extra cost too.

Can lossless play over Bluetooth?

Oh look, a large fly has just landed in the ointment...

OK so you can use Bluetooth to send a lossless file or stream to your wireless headphones or speakers, but what you’ll hear is a lossy version. Bluetooth inherently has limited bandwidth and so any codec will always compress streamed files lossily during transmission in a way that detrimentally affects sound quality.

That said, Qualcomm (who is behind the higher-quality aptX, aptX HD and aptX Adaptive codecs) has a solution, with its latest aptX Lossless codec being the first to be able to transmit audio files over Bluetooth losslessly. This is providing both the source device (your phone, say) and music playback device (your headphones, for example) support the codec – which isn't as widespread, but is available in products such as Bowers & Wilkins Pi8 earbuds.

If a streaming service has a Connect model that streams music over wi-fi – as does Tidal Connect, Qobuz Connect and Spotify Connect – it is generally advised to go this route so you can enjoy full lossless quality through compatible third-party products using wi-fi, rather than using lossy Bluetooth.

Can lossless play over AirPlay?

Lossless audio over AirPlay doesn’t seem to be as black and white. AirPlay can transmit locally stored lossless hard files losslessly to an AirPlay receiving device – the Airplay 2 protocol supports up to 24-bit/48kHz.

But frustratingly, Apple Music’s Lossless streams seem to convert from ALAC (Apple’s lossless codec) into AAC (Apple’s lossy codec) at a pretty lowly 256kbps when transmitted over AirPlay – and therefore not losslessly.

There has been a suggestion that Apple is working on a software update to enable lossless over AirPlay (we are asking Apple if that is indeed the case), so fingers crossed that this transpires and thus Apple’s lossless offering becomes more validated.

Spotify's new Lossless tier is able to deliver losslessly over Spotify Connect (using wi-fi), and we imagine Apple will no doubt want to make sure its own wi-fi protocol is capable of the same thing.

AirPlay aside, select Apple hardware can play losslessly in other ways. Some, such as the HomePod 2, can natively play lossless audio over wi-fi by drawing directly from the Apple Music servers, for example.

And here's how to play hi-res music and lossless audio on your iPhone.

MORE:

Hi-res music streaming services compared: which should you sign up for?

Spotify Lossless still trails behind its hi-res streaming rivals – but that won’t matter for most people

The problem with hi-res audio is how you might be listening to it

The best music streamers you can buy

Amazon Music Unlimited is getting more expensive, making it the latest music streaming service to put up its prices. 

From February, subscribers in the UK and US will pay £1 / $1 more a month, bringing the price up to £10.99 / $10.99 (the student tier rises to £5.99 / $5.99). That's in line with Apple Music, which raised its prices in October.

Amazon's price rise will take effect from 21st February. Its support page explains the higher cost is "to help us bring you even more content and features".

This will leave Spotify and Tidal as the only major services charging under £10 / $10 a month for their basic ad-free tiers (Apple and Amazon both charge £10.99 / $10.99, while Deezer is £11.99 / $10.99). Which makes a Spotify price rise more of a question of 'when' rather than 'if'.

The economic situation is putting pressure on all kinds of businesses, and streaming services are no different. Spotify is reportedly planning redundancies as soon as this week to cut costs. There's still no sign of its Hi-Fi hi-res streaming tier which it first announced two years ago – its continued silence on the matter has gone beyond frustrating and is now seen as a joke within the tech industry.

Spotify is hosting an event in March, but there's thought to be still no news on its HiFi tier. Its $9.99 price has remained the same since it launched in the US in 2011, so some would say a price rise is long overdue. CEO Daniel Ek recently hinted that higher prices – in the US at least – were in the pipeline.

Amazon Music Unlimited gives subscribers access to 100 million songs in lossless CD quality, plus "millions" of songs in hi-res. Amazon Prime subscribers pay a little less for Music Unlimited (£8.99 / $8.99 a month – this price also rose last year), or they can stick with Amazon Music Prime which is included free with Prime and offers ad-free listening without lossless quality and only lets you shuffle songs in an album, playlist or discography.

MORE:

An excruciating timeline of our six-year wait for Spotify HiFi

Everything we know about Spotify Hi-Fi so far

Hi-res music streaming services compared: which should you sign up for?

The UK's first Roku-powered QLED TVs are now in shops (well, Currys). TCL has partnered with Roku to create the RC630K series of 4K smart TVs, with sizes ranging from 43 to 65 inches, and prices starting at just £319. 

For your money you can expect a 4K resolution on all screen sizes, HDR via HDR10, HDR10+, Dolby Vision and HLG, and Dolby Audio including Dolby Atmos. The headlining feature here is the Quantum Dot technology, which should make for a punchier, more vibrant picture performance than is offered by the standard LCD sets more common at this sort of money.

With Roku on board, you'll have access to a wide range of streaming apps including Netflix, Amazon Prime Video and Disney Plus for movies and TV, as well as Spotify, Tidal, Apple Music and Amazon Music for music streaming. The benefit here is that you won't have to shell out any more money for a streaming stick, and you'll have an extra HDMI port free to connect a Blu-ray player or gaming console.  

Official pricing is as follows:

• 43-inch TCL RC630K (43RC630K) – £319
• 50-inch TCL RC630K (50RC630K) – £369
• 55-inch TCL RC630K (55RC630K) – £419
• 65-inch TCL RC630K (65RC630K) – £700

The TCL RC630K series are available to buy now at Curry's.

MORE:

Best TVs: brilliant budget to premium 4K UHD

Best TV deals

Read our review of the Hisense Roku R50A7200GTUK

If you're in need of a cheap streamer, look no further, because the Amazon Fire TV Stick Lite is now on sale at Amazon for half-off, making it available for just $15, down from $30.

We at What Hi-Fi? haven't reviewed the Fire TV Stick Lite just yet, but we did review the Fire TV Stick 4K, awarding it five stars in our review, so Amazon has already set a precedent for developing excellent streamers. Accordingly, if you want a cheap streamer, the Fire TV Stick Lite is worth a look.

• Black Friday: start date, shopping tips, predicted tech deals

Fire TV Stick Lite early Black Friday Amazon deal

If you haven't used a Fire TV product before, you'll get the familiar streaming experience you get with other platforms all within the context of Amazon. Enjoy all your favorite streaming services alongside robust Amazon integration that includes Alexa voice control support for hands-free navigation.

The Fire TV Stick Lite comes with a remote as well as access to all of your favorite Amazon services, such as Amazon Music, IMDb, Prime Video and Alexa, and enjoy whatever content you like in up to Full HD 1080p quality. If you're looking for a 4K streamer, though, you might want to check out the Fire TV Stick 4K.

With a small footprint and all the ease of use of the Fire TV platform, the Fire TV Stick Lite is a cheap, fully featured streamer on paper that looks to be a solid choice for anybody wanting an easy way to stream. What's more is that the Fire TV Stick Lite is now half as cheap as it normally is, making this stick a great value.

If you're in the market for a cheap streamer for your guest room or an older 1080p TV, this streamer can get the job done for less than it'll cost you for lunch, so make sure to check out this early Black Friday deal while supplies last.

MORE:

Here's our list of all the best media streamers around

As well as our list of the best Fire TV Stick deals

And our list of the best streaming services