As part of our regular ‘Ask The Industry’ column, we reach out to some of the biggest engineers in the world of hi-fi and AV to give us their invaluable insight into subjects close to their hearts.

They have dedicated years to product design, learning, researching and developing all in the name of producing the best products possible.

This month, we are talking turntables, more specifically, turntable design and what some of the best engineers in the business have learned since they started immersing themselves in the subject. Here’s what they had to say.

The original Naim NAP 500 power amplifier was launched in the year 2000, with the NAC 552 preamplifier joining it in 2002. For more than a decade, this combination was the pinnacle of Naim amplifier performance, and was usurped only when the company launched its ultra-high-end Statement combination in 2014.

Today, that Statement pre/monobloc pairing costs a cool £234,997 / $299,997 / AU$440,000, so there certainly remains plenty of leeway for the NAC 552/NAP 500 DR to thrive.

Given that these 500 series products launched almost a quarter of a century ago, it seems natural to wonder how competitive they are against current rivals. You have already seen the star rating, so you know the answer to that.

However, you should also know that neither product has remained unchanged over the years. Each enjoyed a huge performance boost when Naim added its Discrete Regulator (DR) technology into the respective power supply designs around a decade ago.

It is also worth noting that, while the world of consumer electronics in general moves at a lightning pace, mature technologies such as analogue electronics tend to progress glacially at best. As a result, a well-engineered, no-compromise design from decades ago can still compete at the highest level, as this four-box stereo amplifier proves.

Features

Judged on specifications, the NAC 552 preamplifier (£26,999 / $34,999 / AU$56,500) looks as basic as they come. It is a line-level unit, so if you need a phono stage, digital inputs or Bluetooth connectivity, you will need to add those as outboard boxes.

It isn’t quite from the Stone Age, however, so you do have a remote control.

At least there are plenty of inputs, though all of them are single-ended. Naim’s engineers didn’t see the benefits of including balanced connections on a domestic product when this preamp was designed. The company’s latest 200 and 300 series products, interestingly, do include the option.

Look on the back panel and you will find seven of the company’s long-favoured DIN connectors and two conventional stereo RCA pairs. So, a choice of nine input connections; but look at the front panel and you will find only six input buttons. What gives?

Each input button can be linked to any of the rear-panel connectors, which is the kind of flexibility we didn’t expect in what is otherwise a purist product. Equally, there are multiple line-level outputs for those who still use a recorder, be it reel-to-reel, cassette or digital.

There are two rows of buttons on the NAC 552’s front panel. The top line selects what you listen to, and the lower row decides the source to be recorded – the two work independently, which is handy.

To the left of the buttons, there are dials for volume and balance; these connect to carefully selected motorised potentiometers. No issue with that in principle, though the volume control in particular works in an abrupt way that makes small changes at low levels harder to perform than they should be.

The NAP 500 DR (£26,999 / $34,999 / $53,000) is more limited on the connection front, as power amplifiers usually are. Its input is a three-pin XLR per side, but only two of the pins are connected, so it's a single-ended link. Naim supplies a dedicated lead. A word of warning: if you get the left and right-channel leads mixed up, all you will hear is silence.

Design & build

Take a look inside the NAC 552 preamp and you will find that the sensitive audio circuits are mounted on a heavy brass suspended subchassis to minimise any sonic degradation caused by external vibrations. The assembly sits on springs and floats pretty freely, so the preamp shouldn’t be moved around without the four transit bolts being in place to avoid damage.

The preamp’s power supply is housed in an outboard unit called the 552 PS. Separating the audio and power-supply sections in this way reduces any unwanted mechanical or magnetic interactions.

This external supply weighs in at a robust 13.9kg (compared with the preamp’s 12.9kg) and features a hefty 800VA toroidal transformer. Electrically, it is a split-rail design that connects to the NAC 552 via a multi-pin Burndy cable and Naim’s Snaic 5 (DIN) lead.

The two-box approach continues with the NAP 500 DR power amplifier. Its outboard supply, the NAP 500 PS, packs a massive 1100VA toroidal mains transformer, delivering no fewer than 12 DC feeds, each dedicated to specific parts of the amp’s circuit. The connection between the NAP 500 DR and the power supply is also done using Burndy cables, in this case, a pair.

The Class A/B NAP 500 DR is something of a powerhouse, rated at 140 watts per channel into an 8-ohm load. While this is a pretty generous figure, in reality, this beast sounds considerably more muscular than even that number suggests – but more on that later.

Like the preamp, the NAP 500 DR is a beautifully made unit inside and out, just as we would expect at this level. Its casing opens on both sides in a dramatic gull-wing manner, revealing the internal circuitry.

We note that both these Naims have admirably neat circuit layouts and display obsessive attention to detail when it comes to housekeeping things such as cable routing. Both units are packed with quality discrete components rather than ICs – a deliberate choice made on performance grounds.

Compatibility

An amplifier at this level clearly needs a first-class partnering system. If there are any doubts about your source or speakers, get those sorted out before even thinking about getting this pre/power. This Naim combination is utterly ruthless at exposing flaws, particularly in source components, so it pays to ensure those you use allow the amplifier to shine.

Our reference system already features the Naim ND555/555 PS DR music streamer, which is the natural partner for this amplifier. We also connect a Technics SL-1000R/Kiseki Purpleheart MC record player feeding a Cyrus Phono Signature/PSX-R2 phono stage to play our records. Our reference Burmester 088/911 MkIII amplifier serves as a good benchmark for this Naim pairing.

As for speakers, our usual ATC SCM50 are pressed into service alongside JBL’s excellent Summit Ama and the Fyne Audio F1-8 standmounters. We use Naim’s own Super Lumina interconnects alongside the company’s NAC A5 speaker cable, as well as our usual premium Chord Company and Vertere leads.

Once everything is up and running, we’re pleased to note that neither Naim unit gets particularly hot in use. So, while we would still recommend placing them in a rack with plenty of ventilation, heat build-up is unlikely to be an issue.

Sound

Ever heard the Radiohead song Everything In Its Right Place? It's an absorbing piece of music, but also a fitting description of this Naim combination’s sound. This amplifier is wonderfully organised and stable. Every instrumental note, vocal track and sound effect gels seamlessly to produce a musical whole that seems more than the sum of its parts.

It is a crisp, direct and bold presentation, one concentrating on conveying the physical aspects of the music while still having the refinement necessary in this part of the market. There is a pleasing no-nonsense quality to the presentation, where the amplifier’s control and composure makes the music feel almost simplified, so effortless does it all seem.

Corny as it sounds, listening to the Naim in full flow feels as though we have a direct link to the music’s emotional core, making it difficult to step back to analyse the results. This combination simply does what an amplifier should, and that’s to make the signal louder without corrupting it in any significant way.

For this to happen, certain qualities have to be present, and in this regard, the NAC 552/NAP 500 DR tick all the boxes. This amplifier sounds impressively transparent, allowing the quality and character of the source and recording to shine through. Excellent detail resolution should be a given at this level, and the Naim duly obliges. Importantly, the verve and energy in the music aren’t diluted, as can often happen in the search for ever-greater levels of insight and clarity.

Listen to a demanding track such as Beethoven’s Fifth Symphony and the Naim pairing is happy to let you follow an individual instrumental strand, or simply to sit back and enjoy the experience. The symphony’s savage dynamic sweeps are delivered with ferocity coupled to a degree of authority that eludes all but the very best.

That claimed 140-watts-per-channel figure is healthy, but barely hints at the muscle on offer here. Naim watts, it seems, are different from others.

Yet power is only part of the equation. This pairing’s impressive detail-resolution translates into convincingly realised instrumental textures. There is delicacy where required, of course, but also a sense of palpability that’s uncommon.

The same applies to voices. Mount The Air by The Unthanks is a lovely, natural-sounding recording, and the Naim reveals the full scope of the group's immaculate vocals with real finesse.

Tonally, we have no complaints. This four-box is essentially neutral and refuses to favour any part of the frequency range over another. It sounds authentic in a way that eludes much of the competition.

Our reference Burmester 088/911 MkIII shows that it is possible to have a more spacious soundstage, but the Naim counters with class-leading image solidity and focus. Instruments are sharply rendered and locked in position, even when the music gets demanding. To our surprise, the Burmester pairing sounds a little blurred in comparison.

Naim’s products are famed for their rhythmic ability, and the NAC 552/NAP 500 DR is as exceptional as we had hoped for. When asked to play Massive Attack’s Angel, this amplifier doesn’t hold back, delivering a feeling of unstoppable momentum coupled to a full dose of the song’s brooding menace.

Lows are delivered with a thrilling mix of power, agility and grip. It’s an enthralling performance; one which leaves us luxuriating in the music rather than thinking about the mechanics of hi-fi.

Verdict

25 years is a long time for any product to be in production. Having talked to Naim’s representative, there is no sign that this pre/power is going to be put out to pasture anytime soon. We are glad of that.

The Naim NAC 552/NAP 500 DR pairing remains an exceptional performer and is up there with the best we have heard at this level. Highly recommended.

Review published: 18th May 2026

SCORES

• Sound 5
• Build 5
• Features 3

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Integrated vs pre/power amplification: the pros, cons and which is best for you

Famed American brand JBL has been making all sorts of audio products for its impressive 80-year lifespan.

In that time, an absolute raft of speakers, amplifiers and portables have been served up by one of the most dominant and productive names in audio, with JBL growing from making domestic loudspeakers to pouring out a host of hi-fi, headphones and portable speakers to become one of the most respected brands of its type in the world. Chances are, you own at least a JBL Bluetooth speaker – or you know somebody who does.

Yet across almost all categories of consumer audio, competition has rarely been so fierce. Apple continues to dominate the wireless earbuds space, whereas myriad novice brands are using aggressively priced, feature-laden offerings to upset the market and undermine the established order.

It’s a scary, ever-changing world out there, so how does JBL reflect on 80 years in the business, and how does it plan to ensure that it makes it to at least 80 more?

To find out, we headed to the company’s Los Angeles headquarters to speak to Sharon Peng, Senior Vice President of Harman, and Mikael Herje, Director of Global Headphones, to talk about the past, present and future of JBL.

Ahead of the curve: JBL’s audio philosophy

To understand JBL’s sonic philosophy, it’s useful to have a little historical context. When James B. Lansing (hence ‘JBL’) started speaker and driver production in 1946, he did so at a pivotal moment in audio history wherein loudspeakers were becoming more ingrained into both the public and private listening spheres.

In 1946, JBL produced the D130 driver, the company’s first mass-produced loudspeaker unit which was used in cinemas, hi-fi systems, guitar amplifiers and even concert systems. By the 1960s and 1970s, it was producing the likes of the C38 Baron, a compact enclosure for domestic use, and the L100-A, the iconic ‘Quadrex’ grille-fronted speaker designed to bring modern acoustic engineering into the home.

At the same time, JBL speakers were soundtracking some of the biggest events in musical history. The 1969 Woodstock festival, perhaps the most famous live music event of all time, used JBL speaker components to power the likes of Jimi Hendrix and The Who, while 1974’s Cal Jam festival saw JBL part of the loudest sound system ever assembled at the time.

JBL’s sound, therefore, was informed by both home and large-scale use, with two very different use cases – public and private – feeding into one unified sonic philosophy. Music had to sound, according to JBL, energetic and alive, but it also had to retain the clarity and intimacy of the original recording. Straddling that particular line has been integral to 80 years of the company’s sonic philosophy.

The famous Harman Curve, meanwhile, continues to be the anchor point for the tuning of JBL’s audio output.

The curve essentially offers a specific target frequency response, based on Harman’s own series of controlled tests. And, for example, with the newly adjusted JBL Tour One M3 flagship over-ears, the brand has added around 3-5dB to the 4-8kHz range and refined the low-to-mid range for a “cleaner, more natural soundstage”.

The Harman Curve continues to guide audio production, but it isn’t the only way of ensuring consistent audio quality. “We have a core panel of people with all different kinds of backgrounds,” says Sharon Peng, including R&D sites in China, Denmark and a large engineering team in Northridge, Los Angeles.

These 40-strong panels are trained to listen to each JBL product critically, ensuring consistent, in-depth feedback during the research and development stages of production.

Competing with giants

It’s a tough question, but somebody has to ask it: how does JBL plan to compete with its heavyweight rivals? Especially in those product areas which are so heavily dominated by certain, seemingly immovable brands. For Bluetooth speakers, it is, perhaps, not such a problem – JBL is easily the market leader in both the US and Europe, with a 34 per cent volume share of the market in 2019.

In other categories, though, it’s trickier to carve out such success. A US study from 2022 found that Apple or Apple-owned brand Beats accounts for roughly 50 per cent of all wireless headphones/earbuds sold in the US, with JBL holding firm with around 11 per cent. That’s a strong showing, no doubt – but it could be stronger.

How? According to Mikael Herje, the answer still lies not only in JBL’s commitment to constantly improving its sound, but in the brand’s versatility. In terms of headphones, “We lead with a headphone that fits everyone, but also on the universal play part – you can connect to any device from any source – that’s kind of unique to us.”

JBL has to offer something unique to the market, all while staying true to its own audio philosophy. For Sharon Peng, that philosophy is expressed in three words: “It’s powerful, it’s dynamic, it’s energetic. For each category, we’re trying to set the bar higher.”

A willingness to adapt to the market doesn’t hurt, either. Changes in the Harman Curve showcased on the tweaked Tour One M3 came about due to changes in users’ listening habits.

With listeners wearing products longer than before, the desire to produce a more forgiving sonic signature became important in order to prevent user fatigue. So the brand aimed for a more balanced sonic signature with less emphasis on bass reproduction.

An exciting new space

Spatial audio is set to be an important thread in JBL's future.

The company’s Harman-owned headquarters feature entire rooms dedicated to the development and refinement of spatial technology, including a bespoke mixing studio and an immersive demonstration room which uses a multi-speaker array to showcase JBL’s development in this exploding area.

We are treated to a demonstration in partnership with Flux’s ‘SPAT’ technology, a creative engine which helps sound engineers design, perform, and deliver immersive audio for live events. And it’s hard not to be impressed by both a bespoke demonstration video and a rendition of Elton John’s Rocket Man as it bounces around the in-built speaker array above, in front of and behind our heads.

JBL is going big on spatial audio – which it sometimes refers to as ‘immersive audio’ – as a means of taking sound beyond the limits of mere audio resolution. According to Sharon Peng, spatial audio “stimulates more areas of the brain than traditional stereo”, boosting the music’s emotional impact and placing the listener “in a believable environment”.

Headphones and earbuds such as the JBL Tour Pro 3 and JBL Tour One M3 have already implemented spatial sound within their specification lists, with JBL keen to push the tech further into the future.

For Mikael Herje, spatial audio isn’t for everyone, but its implementation in certain areas is only going to grow as time goes on. For gamers, for instance, “the spatial feature is very important for the gamer to feel like they’re immersed in the situation. Our R&D team is doing some advanced research, focusing on gaming headphones and our premium sector of the Tour series [of wireless headphones].”

80 more years?

80 years is an impressive milestone for any company, but you can bet that JBL will want to be celebrating quite a few more anniversaries in the future. The world of audio has changed profoundly since James B. Lansing helped develop JBL’s first mass-production drive unit back in 1946, and you can guarantee that it will change even more as technological innovations continue at an increasingly frightening pace.

Where, then, does JBL fit into that future? And, more importantly, how does it plan to shape it? For Harman CTO Armin Prommersberger, AI and cross-platform integration are going to be integral to near-future development.

Harman’s CTO sees a world of audio that is far more connected, with a smart ecosystem of devices communicating and communicating across speakers, headphones, mobile devices and even car audio.

What about that AI? For Prommersberger, it’s a big deal: “The future speaker analyses what you’re playing, how loud you like it, and then adjusts it in real time,” meaning hardware can push beyond physical limitations to create a sound that is more attuned to the user’s individual needs.

JBL has already used its real-time ‘Sound Boost’ audio processing technology that uses AI algorithms to maximise speaker performance for the likes of the Charge 6 and Flip 7 portables, with the same tech now coming to the upcoming Xtreme 5 and Go 5, too.

Sharon Peng agrees that AI is already taking JBL’s sound beyond the limits of physical hardware: “With AI, you can go to the limit to get better sound. We have AI for voice clarity for the soundbars, so you will hear much clearer voice communication. Dynamically, we’re using an AI model to enhance the human voice.”

Whatever happens, keeping the consumer in mind remains a core priority, with both Peng and Herje emphasising the need to keep that signature JBL sonic philosophy at the heart of every product, be it a pair of £100 wireless earbuds or a high-end set of hi-fi speakers.

“The thing is, our standard is the same, but there is a limitation on the physical side depending on hardware,” says Peng. “But in our mind, the standard is the same".

“It has to be consistently repeatable across all the production levels. All of those design principles and system optimisation need to converge. We want to make sure we reach a certain level, subject to materials.”

80 years is a long time to be in the game, and in that time, JBL has produced some legendary products, from its legendary JBL L100 icons to its ever-dominant series of Bluetooth speakers. Whatever the future holds, we're excited to see what the next 80 years has in store for JBL.

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These are the best Bluetooth speakers you can buy

Musical Fidelity has announced the launch of its new M5xi and M6xi integrated stereo amplifiers.

Adding to the company’s established M-Series of hi-fi separates, each new model promises a combination of “high-end engineering with modern connectivity” to deliver “exceptional power, precision, and musical transparency”.

The M6xi is the more premium of the pair, so that’s where we’ll start. The new model is built around amplifier topology derived from Musical Fidelity’s Titan amp, configured internally as two independent mono power amps and a separate preamplifier delivering 210 watts of power into 8 ohms.

The M6xi's main transformer and power supply are housed within a metal enclosure, reducing electromagnetic interference to preserve audio purity and promising a more natural and transparent performance as a result.

The new amp features a built-in moving magnet / moving-coil phono stage with enhanced internal shielding, again to preserve sonic purity. There are also HDMI eARC, optical, coaxial and USB-C digital inputs on board, as well as four RCA line inputs, a balanced XLR input, a line output and a pre output.

Bluetooth is not on the menu, with Musical Fidelity eschewing the technology to focus as much as possible on pure sound-per-pound performance.

The more affordable M5xi amplifier’s topology is also derived from Musical Fidelity’s established Titan model, but it delivers a slightly lower power output of 140 watts into 8 ohms.

Again, the M5xi is constructed as two independent mono power amps with a separate preamp stage, while premium signal-path components promise “exceptional stability, authority and musical control”.

Like its bigger brother, the M5xi features a moving magnet / moving-coil phono stage equipped with enhanced internal shielding.

In terms of physical connections, the more affordable amp offers HDMI eARC, optical, coaxial and USB-C digital inputs, alongside four RCA line inputs, a line output and a pre output. As above, there is no Bluetooth available here, either.

Both amplifiers deploy a heavy metal chassis with a centrally mounted volume-dial placed front and centre, flanked by input/output selection buttons on either side.

Both amps are available now in silver or black finishes. The Musical Fidelity M5xi is priced at £2099 / €2290 / $2690, while the M6xi will set you back £2699 / €2990 / $3499.

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The Sony PS-LX310BT has been sitting proudly on our list of the best Bluetooth turntables for a number of years now, and for good reason. The five-star record player debuted all the way back in 2019, and yet in the years since its release, it’s been nigh-on unrivalled for its hugely appealing blend of simple usability, sonic prowess and outstanding value.

Picking up the PS-LX310BT’s mantle is the new Sony PS-LX3BT which, along with its more premium sibling, the PS-LX5BT, sees Sony make a much-anticipated return to Bluetooth turntable production.

The new LX3BT model promises the same combination of usability, flexibility and overall value as its predecessor, and if it can juggle a quite impressive number of proverbial balls while keeping costs low, and performance a priority, Sony may be onto another low-cost winner.

Build & design

The Sony PS-LX3BT isn’t the most alluring turntable in the world by any stretch of the imagination. Lift it up and you’ll be surprised by how light and somewhat insubstantial it feels in your hands, while that rather functional all-grey finish isn’t exactly going to set pulses racing unless you happen to be taking a break from watching paint dry.

Yet what were we expecting for this kind of money? At this level, we’re simply seeking a deck that’s easy to operate and simple to navigate, and that’s exactly what Sony has delivered – a fully automatic turntable that you can get playing straight out of the box.

In truth, we find the PS-LX3BT simple and unfussy in its set up and operation. The automatic operation means you don’t even need to touch the tonearm here. Playing and stopping tracks is made easy via ‘start’ and ‘stop’ buttons respectively, and once your record has reached its end, the tonearm will automatically return to its resting start position without the need for manual resetting.

The trio of control buttons on the player aren’t luxurious to the touch – if anything, they feel cheap and a little tacky – but they're so large and clearly marked that even your nan could operate them.

The new player features an aluminium tonearm with a precision pivot bearing, as well as an aluminium die-cast platter and a rubber mat. At the end of the tonearm is a pre-fitted moving magnet cartridge with a tracking force of 3.5g, but as there’s no easy way to remove the cartridge from the tonearm, your options for upgrading are pretty limited – though it is possible to replace the stylus.

This being an automatic turntable, there’s very little for you to do aside from take your new purchase out of the box, set it down onto a stable and level surface, hook it up to an amp and dig out your chosen vinyl. There’s no need to set tracking weights or fiddle with cartridges – plug it in, switch on the power button, release the tonearm from its fastener, press ‘start’, and the PS-LX3BT will do the rest.

Okay, the trickiest task you may have to contend with might be attaching the removable transparent lid, but even then, it’s hardly rocket science. If we were being picky, having the on/off switch at the front of the deck might be a little more user-friendly than having to lean over to search out the power button housed right at the back, and an ‘on’ light might have been nice for indicating when the turntable is powered up, but neither are huge issues.

This isn’t glamorous design, but it is pleasingly functional and well-suited to users who might not have much, or any, previous experience of owning a record player.

Features

Look above your trio of start, stop and up/down buttons on the PS-LX3BT and you’ll see chunky dials for switching between record sizes – either 7 or 12 inches – or picking either 33⅓ or 45 RPM speeds.

The deck also has Bluetooth, offering support for the aptX Adaptive codec for hi-res streaming up to 24-bit/96kHz to compatible Bluetooth speakers and wireless headphones.

Dear old nan might find getting to grips with the nuts and bolts of her new-fangled Sony deck easy enough, but she’s possibly in danger of coming unstuck when it comes to Bluetooth. It’s generally a simple process to get the PS-LX3BT beaming out to receptive headphones or portable speakers – just press the large Bluetooth button to put your record player into pairing mode and your nearby wireless device should connect automatically – but there are a few potential pitfalls to watch out for.

If you’re unwittingly stuck in pairing mode, for instance, you’ll get no sound from your deck. We also found that getting out of said mode sometimes requires a bit of a manual reset, either by turning the turntable off and on again, or by moving away from the connected input on your amp and then switching back.

Quite impressively for a turntable of this type and price, the PS-LX3BT is equipped with a built-in phono stage, which is handy if your amplifier doesn't have one. This also means you can plug the turntable straight into a pair of active speakers, without needing to go down the traditional hi-fi separates route.

Alternatively, you can bypass the Sony phono output to use either a separate phono stage for an upgrade path or one built into a compatible stereo amplifier, such as the one found in the Rotel A8 or Arcam A5+ amps. Just make sure you’ve toggled the switch on the back from ‘line’ to ‘phono’ if you’re using an external phono stage.

Sound

We want a revealing system to expose the PS-LX3BT’s talents, so perform much of our listening with the Sony’s line-level output connected to the Award-winning Arcam A5+ (£749 / $1200 / AU$1595) integrated amplifier to test the turntable’s built-in phono stage. The speakers we use, meanwhile, are the Epos ES-7N (£1890 / $2850).

For a deck that does a lot on a shoestring, it’s perfectly fair to keep one’s expectations reasonably modest. Even with that in mind, it doesn’t take long before the PS-LX3BT confounds our expectations admirably. A sprinkle of textural insight here, a good dose of punch there – this is a far heartier metaphorical meal than we’d perhaps anticipated.

If our gastronomic metaphors are getting a little muddled, there’s very little that’s muddled about how the PS-LX3BT goes about presenting our music, as we move from classic pop through to drum’n’bass and a bit of good old fashioned prog metal. We’re taken with just how composed, controlled and well-organised the Sony sounds, marvelling at the effortless cohesion and solidity it brings to the entirety of Michael Jackson’s Bad album.

With that solid sonic foundation in place, the Sony deck has more than enough room to further showcase its talents. Jackson sounds like his iconic self as he howls, screeches and croons his way through the likes of Dirty Diana and Man In The Mirror, with the PS-LX3BT granting genuine energy and personality to the King of Pop’s irrepressible vocal stylings.

In fact, the Sony has a genuine sense of musicality, and at this level that was never a guarantee. Rudimental’s recent Rudim3ntal record is appropriately forthright and punchy through the PS-LX3BT, while Nas’ Illmatic walks a satisfying line between hazy smoothness and authoritative punch. The highest compliment we can give? We’ve completely forgotten we’re listening to a fully automatic turntable that only costs £299 / $400 / AU$469.

Okay, there were always going to be limitations. Whack on Avenged Sevenfold’s barmy avant-garde metal workout Life Is But A Dream, and just occasionally you’ll hear the Sony start to creak under the pressure as it strains to keep up with the constant pace changes across what is an often bafflingly bizarre and complex record.

Still, the overall ability displayed really is commendable, and that’s before we’ve tested out Bluetooth performance. We beam some of Illmatic out to a pair of Sony WH-1000XM6 over-ear headphones, a JBL Charge 6 Bluetooth speaker and even a pair of Ruark MR1 Mk3 desktop speakers and, lo and behold, the resultant sound hangs together admirably. Nas sounds alive and characterful, with bolder tunes such as N.Y. State of Mind still punching through with verve and intent.

While playing the Sony via its line-level output connected to the Arcam A5+ produced many nods of appreciation from our testers, switching things over to the Arcam’s built-in phono stage does take things up a notch. Through the Arcam’s phono input, the performance is more open and dynamic, all while adding greater leading-edge precision to the likes of Jackson’s Billie Jean and Man In The Mirror.

That said, switching back to the Sony’s built-in phono stage doesn’t evidence a disastrous drop-off. Music is a little smaller in its scale and loses some of the Arcam’s clarity, but as we quickly readjust, we find that our affections for the PS-LX3BT’s core performance haven’t been dampened much by hearing what the A5+ has to offer.

Sony’s phono stage is still a good one, especially when you consider how much the PS-LX3BT can do for such a modest outlay. To make an impromptu desktop system, we connect a pair of Ruark MR1 Mk3 to our test turntable, moving back and forth between the Sony's phono stage and that of the Ruarks, and discovering that the PS-LX3BT’s phono input is clearer, more open and more detailed than that of the MR1 Mk3.

Verdict

Right now, it’s hard to think of a turntable that does so much so well yet costs so relatively little. If what you seek is a plug-and-play automatic turntable with Bluetooth powers, impressive ease of use and a sound that’s accomplished and enjoyable, the Sony PS-LX3BT is a top-to-bottom delight.

For all those nervously setting out into choppy vinyl waters, this is the boat that will see you sailing blissfully through. Highly recommended.

Review published: 14th April 2026

SCORES

• Sound 5
• Build 4
• Features 5

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Best Bluetooth turntables: wireless record players tried and tested by experts

There are plenty of well-remembered classic turntables. The Thorens TD160, Linn LP12 and Technics SL1210 come to mind, and we wouldn't have to work hard to add another dozen famous names.

However, we're not interested in those well-loved decks here. Instead, we've dug deep into the past 50 years of What Hi-Fi?'s history to find a few gems that seem to have slipped the collective hi-fi consciousness.

Not all of these record players were sonic class leaders, but they all have something that has us longing for an evening playing records in their company.

Bang & Olufsen 1800 (1984)

What Hi-Fi? is all about performance above most things, but even we aren’t immune to the stylish charms of Bang & Olufsen’s 1800 record player. This was a belt drive budget turntable, costing around £99 back in 1984, yet still managed to pack automatic operation and all the style the brand is so famed for.

Surprisingly, considering its ultra-slim plinth, the 1800 featured a fully-sprung sub-chassis to make it less sensitive to external vibrations. There was no platter mat as such; here, it is replaced by thin rings of Nextel that were claimed to reduce any static charge on the record.

The 1800’s arm was a thin, wand-like affair. It was fitted with one of B&O’s MMC (Moving Micro Cross) cartridges, a range of moving magnet cartridges designed specifically to work with the low-mass arms fitted to the company’s record players.

Most 1800 turntables would have been bought to complement Bang & Olufsen’s electronics, and so they featured a DIN output. Users would need a suitable DIN to phono adaptor if they had a more conventional third-party amplifier.

What did the B&O 1800 sound like? Our review at the time talks of a sweet, clear and organised presentation, built on a taut and tuneful bass performance. Lows were considered a little lightweight and perhaps the treble lacked a touch of precision compared to the best at the price, but the combination of the 1800’s elegance, ease of use and tidy sound makes it something of a budget classic in our view.

Cranfield Elite Rock (1982)

Linn’s LP12 had become a dominant force in the UK high-end turntable market by the early ’80s, and its suspended sub-chassis design was mirrored in many other decks of the day. So, the arrival of the Cranfield Elite Rock, with its solid design, heavy plaster-loaded structure and silicon damping trough was something of a shock.

The Rock originated from research done by the Cranfield Institute and was packed with innovative engineering solutions. However, it was the use of silicon fluid (sitting in the trough over the record) to damp arm resonances that proved the most controversial aspect of its design.

This added another step before playing a record, as the trough needed to be swivelled out of place to put the record on the platter, then pushed back. Also, if you weren’t careful, it was possible to spill the silicon fluid onto your records, which was messy.

The thing is, the whole arm-damping idea really worked, giving the cartridge a much more stable base to work from. This arrangement also made the sonic differences between tonearms less significant, and so the Rock got great results from affordable but capable options such as Rega’s RB300.

If you think that records sound warm and smooth, listening to the Elite Rock will prove a real shock. It had a dry and precise balance with some of the tautest bass of any record player.

Detail levels were exceptional, as was the Rock’s composure when playing demanding music. The Elite Rock may not have been the best finished high-end deck on the market, but it was right up there with the very best sounding options at the time.

Dual CS505-2 (1984)

Back in the early ’80s, if you wanted a good-quality, affordable turntable but couldn’t stretch to Rega’s Planar 2, you bought Dual’s CS505-2. This was a well-engineered and decently made budget deck that delivered a sound well above that achieved by most rivals.

The low price, around £75, didn’t stop Dual from offering a suspended sub-chassis, though, which served the deck well when positioned on less-than-perfect supports. The CS505-2 also included an auto-stop and arm-lift function at the end of a record side, making it more convenient to use than the competition.

Sound quality? Pretty good, with the Dual sounding enjoyably energetic and decently detailed. There was a good sense of balance about the CS505-2’s presentation and enough composure to stay organised when the music became demanding.

Sure, if you had more to spend, better sound was possible, but for the money, for a few years at least, nothing budget bettered the Dual as an all-round proposition.

Michell Syncro (1984)

Michell’s Syncro was introduced as a more affordable alternative to the company’s high-end Gyrodec. The Syncro was still a suspended sub-chassis design, though, which made it less sensitive to external disturbances than more rigid options such as the Rega Planar 3.

The Syncro’s platter was made of glass and covered by a felt mat. It was driven by an AC motor via a long rubber belt. Changing speed was a manual affair and involved moving the drive belt from one step of the motor pulley to the next.

While the Michell could be bought without an arm, it was usually fitted with a Mission 774LC or Linn LV-X in the early days, and a version of the Rega RB300 tonearm later on. Regardless, the Syncro was considered a lucid and detailed performer that could dig deep into the fabric of the recording.

This record player was a well-engineered and capable alternative for those who couldn’t stretch to the range-topping Gyrodec. Looking at it now, we can’t help but be tempted to search eBay for a sample in good condition.

Roksan Radius (1989)

Roksan’s first product was the legendary Xerxes turntable, released in 1985. The Xerxes was a truly ambitious and innovative record player that set the cat among the pigeons in the UK high-end market.

While the Xerxes established the brand, it was a pricey product, and the company needed a more affordable offering to help with growth. That new deck was the Roksan Radius (£399).

This was aimed at a more mainstream audience and came with the new Tabriz tonearm. Speed change was electronic, and the deck used a simplified version of its big brother’s clever isolation system.

The result was a truly capable performer that not only delivered a class-leading performance but did so in a package that was easy to use and much more affordable..

The Radius’s sound was agile and informative. It had a lovely top-to-bottom consistency and a low-frequency performance that prioritised tunefulness and articulation over outright weight and warmth. If you find one in good condition on the second-hand market, you won’t be disappointed.

Pink Triangle Tarantella (1998)

It is hard to believe that the Tarantella is almost 30 years old. Its styling still feels so fresh. This talented deck was something of a revelation back in the late ’90s, combining a striking appearance with class-leading sound quality at an entirely reasonable £850.

Our sample was fitted with the then-ubiquitous Rega RB300 tonearm and proceeded to dominate its price class for a number of years. The Tarantella sounded clear, detailed and musically coherent; a blend of talents that meant that it sounded at home with all types of music.

True, build quality wasn’t perfect, but if you got a good one, it was a pleasure to own. Speed control was electronic rather than manual, and the plinth-mounted LED lights made it look stunning in a darkened room. All in all, this is a modern classic.

Pro-Ject Elemental (2014)

Pro-Ject has long been the master of great-value turntables, and the Elemental was one of its finest. This was a wonderfully minimalist design that cut back on every luxury, leaving just the essentials. Elemental was truly an apt name.

Costs were saved by reducing the plinth size. It was just big enough to house the arm and cartridge. There was no means to level the deck and no form of suspension to isolate it from its surroundings.

However, there was an artificial stone mass anchor below the main bearing to add structural stability and act as an energy sink for noise generated by the main bearing and motor.

The platter was made of MDF and drive was delivered by a smooth-running DC motor. Speed change was manual, of course, but at least the Ortofon OM cartridge was factory fitted and the arm adjustments for bias and tracking weight already set. This was truly a plug-and-play turntable.

Sound quality was great for its £150 price, with good detail and a fine sense of organisation. This was a nicely balanced performer for the money, with a well-rounded presentation that would work well in the kind of budget systems it was designed for.

In the end, despite great reviews, its stark appearance proved too much for customers. Pro-Ject soon reverted to conventional rectangular plinths for its budget offerings, which we think is a shame.

Wilson Benesch Full Circle (1999)

While Wilson Benesch is now best known for its terrific range of high-end speakers, its first product was a record player. It was simply called The Wilson Benesch Turntable and was a determined effort to get more out of the record groove by using careful engineering combined with cutting-edge materials (such as carbon fibre) for the sub-chassis and tonearm.

That first record player was a well-received product, but by the early ’90s it was clear that the turntable market was in decline – thanks to the introduction of the Compact Disc – and so the company focused on speaker production.

However, it didn’t ignore vinyl replay altogether, releasing the Circle turntable around the turn of the century. When it was partnered with the company’s carbon fibre tonearm and cartridge, the package was called The Full Circle.

The Circle replaced the original record player’s suspension system with cantilevered carbon fibre rods. The deck was built around a layered construction that separated the motor (and all its inherent vibrations) from the sensitive cartridge/record interface.

The result was a beautifully simple-looking design that was superbly made and class-leading in performance. So much so that it garnered multiple Awards and five-star reviews from us over its production run. We think it remains an attractive and sonically competitive product to this day.

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If you’ve been eyeing up the Award-winning Sony Bravia 8 II for your next TV, but don’t have the budget to stretch to it, taking a look at the other models in the Sony range might feel like a good starting point.

There’s always the hope that the more affordable models have retained some of the flagship greatness at a lower price – but at the very least, that they’ve strived for the same goals when it comes to getting the best picture performance bang for your buck.

However, despite their similar naming conventions, the Bravia 5 and the Bravia 3 are not only completely different panel types to the OLED-packing Bravia 8 II, but also different from each other – so it’s important to step with caution.

While our star rating is always a great indicator of the products we recommend, when you’re comparing two models at quite different prices, it’s good to understand what the differences are between them, and what you’re getting for the extra outlay. Allow us to explain all.

Sony Bravia 3 vs Bravia 5: pricing

Right now, you can pick up the 65-inch Bravia 5 that we tested for around £1299 / $1000 / AU$2695. That’s not a bad price at all for a Sony-branded Mini LED TV with local dimming, and a nice saving from the launch price of £1699 in the UK.

The Bravia 3 is considerably cheaper, and at the time of writing is available for around £849 / $650 / AU$1399. That’s pretty close to its launch price of £899 in the UK (US and Australian savings on RRP are slightly heftier), but we have known this screen size to go as low as £749 during big sales periods.

We'll tackle the question of value through the course of the review. This round is all about which option is cheapest, and that's comfortably the Bravia 3.

WINNER: Bravia 3

Sony Bravia 3 vs Bravia 5: design

It’s fair to say that neither of these TVs are going to be the best choice if you're hoping to wall mount.

In our review, we noted that the Bravia 5 has a rear panel that sticks out further than its competition, which could make it feel a bit clunky and awkward for wall hanging.

When you consider that the Bravia 5 measures 5.8cm deep, and the Bravia 3 measures in at 7.2cm, we’d say that both of these sets lend themselves best to life on a TV stand.

As you might expect for the price difference, the Bravia 5’s overall aesthetic is a little elevated compared with the Bravia 3. Both have relatively slender bezels, but the Bravia 5 sports a tasteful dark grey brushed metal effect finish, whereas the Bravia 3 is unashamedly black plastic.

It feels all the more lightweight when you’re putting it together too, and at least for our taste, the feet on the Bravia 3 lack some of the sophistication of those on the 5.

We do appreciate Sony’s no-screw mechanism on both TVs though, which allows the TV to just slot onto the stand, saving fuss and making setup out of the box really straightforward.

The Bravia 3 does score points over the Bravia 5 for its two-way stand, which allows you to set the feet into either narrow or wide positions to suit your furniture or soundbar requirements.

The Bravia 5’s feet only have one position, but thankfully that is relatively narrow to allow you to place it on most stands without issue. If you have a soundbar though, you’ll just want to check that it can fit in front of the stand – the Bravia 5 does adjust to two different heights to make sure the screen isn’t blocked by adding one.

Overall, although the two-way stand on the Bravia 3 is a nice addition for soundbar owners, we much prefer the design of the Bravia 5, and think it can accommodate a soundbar in the majority of situations.

WINNER: Bravia 5

Sony Bravia 3 vs Bravia 5: features

One of the biggest differentiators between the Bravia 5 and the Bravia 3 is their panel technology – the Bravia 5 is a Mini LED TV with local dimming across 240 zones, whereas the Bravia 3 is a direct-lit LED TV without any local dimming.

That’s going to have a fair impact on its picture quality capabilities, but we’ll come on to that in the next section.

Elsewhere, the processing chip that runs the show is different between the two models, too.

Given the price difference, it’s not surprising that the Bravia 5 has the more sophisticated of the two – Sony’s flagship XR processor, which also powers the Bravia 8 II.

The Bravia 3, on the other hand, uses the older, midrange 4K HDR Processor X1.

What that means in isolation is hard to quantify, given the TVs’ differing features elsewhere. The XR is clearly a more powerful processor that can draw out more by way of picture subtlety and colour accuracy, but how much that would be as noticeable on a direct-lit LED screen with no local dimming is questionable.

In other words, going for a lower-power processor in the Bravia 3 feels like the right choice for its price and capabilities.

As these are both Sony TVs, their HDR capabilities are the same – they both support HDR10, HLG and Dolby Vision, and don’t support HDR10+.

However, of the two, only the Bravia 5 is IMAX Enhanced certified, and it’s also the only one that offers a range of ‘Calibrated’ picture modes to get the best picture quality from the likes of Netflix, Amazon Prime Video and Sony Pictures Core.

Both have Dolby Atmos and DTS:X spatial audio support, though the Bravia 5 has a better sound system to deliver it on.

The Bravia 5 offers 40W of sound across four speakers (two full-range drivers and two tweeters), compared to the 20W across two full-range drivers on the Bravia 3.

If you’re keen to hook up a games console to your TV, the Bravia 3 wouldn’t be the best pick of the two due to its 4K/60Hz panel, with the 4K/120Hz panel on the Bravia 5 making it a much better choice.

The Bravia 5 also has VRR on two HDMI ports, as well as ALLM on all four of them, whereas the Bravia 3 only has ALLM. That makes the Bravia 5 a clear winner for gamers.

Both TVs use Google TV for their smart features, offering a good selection of streaming apps, along with the addition of YouView in the UK for the catch-up services that Google doesn’t offer.

Using Google’s interface also means that both TVs have access to features such as Google Assistant and Chromecast, as well as AirPlay 2. While we did notice a few small glitches initially in the Bravia 3’s handling of the UI, overall, both TVs work smoothly and without issue.

The Bravia 5 also has the compatibility to work with the Bravia Cam, to control the TV by gesture – something the Bravia 3 does not offer.

We don’t particularly value the extra tricks the Bravia Cam adds to the TV-watching experience, particularly considering its £199 / $200 / AU$149 price tag, but if you do, the Bravia 5 is the only set out of the two to get it.

All things considered, it’s not exactly surprising that the Bravia 5 has better features than the Bravia 3, given its higher price tag. However, it’s when you look at the wider market that the winner becomes clear.

The Bravia 5 shoots above its pay grade in many respects, including by being one of Sony’s XR Backlight Master Drive panels. That’s a premium feature found on many of its much pricier TVs that aims to boost picture quality and reduce power consumption by improving local dimming performance.

However, when you consider the Bravia 3 against other competitors at its price, its specs are disappointing. There are similarly priced TVs that use better panel technology and have local dimming and better gaming features.

For those reasons, the Bravia 5 takes the win here again.

WINNER: Bravia 5

Sony Bravia 3 vs Bravia 5: picture quality

That feeling of the Bravia 5 delivering value for money only continues when it comes to picture performance.

It might be the cheapest Mini LED model in the Bravia lineup, but the picture quality doesn’t feel compromised by its more affordable ambitions – the Sony DNA runs clearly through this set.

In particular, that XR Backlight Master Drive panel does exactly what we’ve seen it do elsewhere, in that it maximises the performance of the backlight, meaning we get impressively bright and well controlled pictures for this price category, with even and consistent blacks and minimal blooming.

It means the Bravia 5 really holds its own in the contrast stakes, which ensures – when combined with its well-judged shadow detail – that both bright and dark scenes look as natural and cinematic as each other.

All this greatness only starts to become compromised in extremely complex HDR shots, or when you watch the Bravia 5 from much of an angle, when its more affordable local dimming mechanism might become more apparent. Overall though, this is a great performer at its price.

Unfortunately, the Bravia 3’s handling of contrast and shadow detail is not such good news. What strikes us most is how the entire picture has an almost grey hue, which means it lacks solidity in blacks from the get go, and makes dark scenes almost unwatchable.

The panel almost seems to glow in darker sequences, losing a lot of detail in the process, but even in scenes with lots of light, the image lacks contrast. This means Sony’s calling card of excellent three dimensionality is largely lost, which is a big hit on our overall picture enjoyment.

Thankfully, the Bravia 3 manages to look much more like a Sony TV when it comes to colour.

As long as you switch from the out-of-the-box settings to Professional mode, colour performance is pretty good, looking balanced and natural, while retaining a degree of believable richness.

The Bravia 5 has a little more flexibility on its presets, thanks to its more sophisticated processing, but ultimately also manages a great mix of punchiness, shading subtlety and balance, even retaining an impressive amount of colour saturation during darker scenes.

Both TVs manage to show off Sony’s talent for motion processing, with sweeping panning shots handled admirably by the Bravia 3. The XR processor in the Bravia 5 will arguably push motion handling that little bit further, by way of subtlety and realism, but there’s no reason for complaint with either set here.

Despite this, the overall picture quality is a clear win by the Bravia 5 – even at the set’s individual price points.

Once again, the Bravia 5 punches above what we might expect at this price, giving 4K images a sense of density, texture and clarity that we are more used to seeing in Sony’s more expensive TVs.

While some of Sony’s famous picture processing is still evident in the Bravia 3, its poor backlight control leads to a loss of contrast and shadow detail that’s hard to forgive. This is an easy win for the Bravia 5.

WINNER: Bravia 5

Sony Bravia 3 vs Bravia 5: sound quality

While we all know that a soundbar or surround sound system will always make your new TV sound its best, both models do a pretty good job for built-in TV audio.

Even with the pretty modest speaker set-up in the Bravia 3, Sony manages to provide impressively clear dialogue alongside a decent sense of low-level dynamics.

Sound even has a good sense of height to it, giving more space to big effects such as explosions or planes flying overhead. Bass could be heftier, but to be honest, the Bravia 3 already outperforms what we have come to expect from a TV at this price.

The Bravia 5 is equally impressive. No elements in a mix pass the Bravia 5 by, yet the processing is also sophisticated enough to ensure no detail takes on more significance than it should.

The four drivers here create a spacious soundstage that offers a good sense of height, with both dialogue and sound effects placed accurately within it.

There’s power to the sound too, but also a level of precision that ensures sound is never distorted.

Like the Bravia 3, it’s lacking a little bass, but we would always take that over too much, and overall find the sound to be precise and immersive. We’re calling this one a draw.

WINNER: Draw

Sony Bravia 3 vs Bravia 5: verdict

From the get-go, this head-to-head might have looked like a shoo-in for the more expensive, better specified, and better reviewed Bravia 5.

But even when you consider both of these TVs’ positions within their respective markets and price categories, it’s hard for us not to recommend – if you are truly torn between the two – that you try to save up the difference and opt for the Bravia 5, or consider a different TV at the Bravia 3’s price instead.

The Sony Bravia 5 follows in the footsteps of the other five-star TVs from Sony’s most recent TV lineup, offering impressive features for its price, a formidable picture performance and a pretty decent sound performance to boot.

By comparison, the Bravia 3 is lacking the features we might expect at this level, and delivers a picture performance we find almost unrecognisable as a Sony TV.

For anyone considering these two TVs, hoping to get Sony’s famed picture processing on a bit of a budget, the clear winner is the Bravia 5. From everything we have seen so far, it’s the clear value proposition in Sony’s current TV lineup.

OVERALL WINNER: Bravia 5

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here’s hoping it happens.

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Lucky, that’s what I call it. The chances of having three of the most significant small speakers of the past 60 years all in one place at the same time, and in proper working order, are small. But here I am, listening to mini-monitor royalty and loving every minute.

Two of the speakers in this group, the BBC-designed LS3/5A and the Acoustic Energy AE1, can rightly claim to be legendary. I think the third, KEF’s LS50, has done enough in the past decade or so to lay claim to that status in the future.

The LS3/5A arguably originated the high-quality mini-monitor speaker category. This is a properly small speaker (about the size of a shoebox ) with an internal volume of around five litres.

It was originally developed for use in outside-broadcast vans and cramped studios, primarily to monitor speech, but was quickly hijacked by hi-fi enthusiasts who loved its gorgeous midrange performance and exceptional stereo-imaging skills.

The LS3/5A was one of the fruits of an extensive BBC research project into speaker design and was first introduced in 1975. The BBC isn’t a speaker manufacturer, of course, so the speaker’s design was made available under license to third-party manufacturers to make.

KEF was the supplier for both of the drive units, but didn’t make the complete speaker until the mid-’90s. Its version of the LS3/5A, the gloss black one we have in our test room, was made to celebrate the company’s 35th anniversary. Only 500 pairs were ever produced.

Given that the BBC had some of the best audio engineers in the business at the time, and resourced them well beyond the capabilities of any commercial speaker manufacturer, it's no surprise that the LS3/5A turned out to be a technical tour de force back then.

The use of a Bextrene cone in the 11-cm mid/bass was considered cutting-edge technology in a world where just about everyone else still used paper; and the thin multilayer birch-ply cabinet was intentionally designed with a bit of ‘give’ to move any resonances out of the midrange and down into the bass frequencies, where our hearing is less sensitive. The sealed (non-ported) enclosure was heavily damped to control those resonances.

The LS3/5A’s high frequencies are delivered by a 19mm mylar-dome tweeter with a perforated metal cover. The foam strips that surround it reduce reflections off the front panel and cabinet edges

KEF lists the LS3/5A sensitivity at a miserably low 82.5 dB/W/m and a modest power handling of just 30 watts. Essentially, high volume levels and wide-ranging dynamics are off the table if you want the speakers to survive.

This is where Acoustic Energy’s AE1 came in. It launched in 1987 and was a determined attempt to produce a small speaker that ticked all the boxes. The company succeeded, proving that a small box (about the same frontal area as the LS3/5A but a fair bit deeper) could really produce wide-ranging dynamics, high volume levels and a decent dose of bass. Its detail resolution was exceptional for the time.

This performance was made possible by a formidable-looking all-metal driver array that was cutting-edge back then, and an engineering ethos that focused on minimising dynamic compression. An ultra-rigid cabinet that was lined with plaster to reduce internal standing waves and an unusual straight-edged mid/bass cone profile also helped.

The new Acoustic Energy AE1 40th Anniversary model (£1499/$1999) we have isn’t identical to the 1987 original, though. Think of it as a resurrection that is faithful to the original’s character and engineering principles, but tweaked with the benefit of four decades' worth of progress.

The first-generation drive units are no longer available, so AE’s engineers had to remanufacture them. The new drivers adhere to the original’s design ethos, but are tweaked for improved performance where possible.

Both have ended up a few millimetres larger than before (the tweeter is 29mm in diameter and the mid/bass is 12.5cm). Modern manufacturing methods and advances in design mean that both are better behaved than before. The improved drive units have allowed the engineers to simplify the crossover network, so improving the speaker’s performance.

In addition, the cabinet, which is the same size as before, has also improved. It forgoes the mess and complexity of the earlier model’s concrete-lined interior, and is now made with composite sandwich panels tuned to retain the original’s sonic character while being easier to manufacture.

All these things have incrementally improved the AE1 without changing its distinctive sonic signature. I have to say that the build of this 40th Anniversary edition is light-years ahead of the first generation, and the speakers look lovely in their high-gloss finish.

The third of our speakers is KEF’s LS50 Meta (£1299/$1599). This has become something of a modern classic. The LS50 was first introduced in 2012 to celebrate KEF’s 50th anniversary – it seems that KEF likes its anniversary models – and was upgraded to include the company’s clever metamaterial technology eight years later.

The heart of this speaker is the Uni-Q driver array that mirrors the AE1’s use of aluminium diaphragms, but places the 25mm dome tweeter in the throat of the 13-cm mid/bass rather than above it.

This coaxial configuration aligns the acoustic centres of the drivers, giving the LS50 even dispersion characteristics, which ensure an impressively wide listening sweetspot and enviable soundstage stability as we move around the room.

As touched on above, the ‘Meta’ in the KEF’s name refers to a technology that absorbs a claimed 99% of the rearward sound from the tweeter dome, reducing distortion and improving clarity in the process.

Elsewhere, the LS50’s curved front baffle is made of BMC (Bulk Moulding Compound), a material that provides a rigid and well-damped foundation for the Uni-Q array, and the speaker’s rear-firing reflex port is flexible to reduce resonances. Build, fit and finish are as good as we would want them to be.

I listened to all three speakers using the What Hi-Fi? reference system of Naim ND555/555 PS DR music streamer, Technic SL-1000R/Kiseki Purpleheart record player and Burmester 088/911 MkIII amplifier.

The LS3/5A is first, and its excellence with voices is obvious. It may not have the outright resolution of more recent designs, but there is a naturalness to its delivery that is hugely appealing. This is a fleshed-out performance that has a palpability that leaves many modern alternatives sounding thin, clinical and lacking in natural warmth.

If placed with care – a little away from a rear wall and on proper stands – these speakers also stereo image beautifully. That’s down to the well-damped enclosure, controlled dispersion and an impressive pair matching that is within 0.5dB of the BBC-specified reference target.

Given the age of the design, there are shortcomings, of course. Play any music that requires scale and dynamic reach (Stravinsky’s The Rite of Spring, say) or demands low-end muscle and punch (Massive Attack’s Heligoland or Billie Eilish’s Bad Guy), and these BBC speakers wave a white flag. They sound small, dynamically limited and rhythmically flat-footed with music such as this.

In comparison, the AE1 40th Anniversary speakers respond to such challenges with all the enthusiasm of a two-year-old bribed with a bucket of ice cream. These monitors sound bold and punchy, and are capable of sustaining high volume levels without issue.

Detail levels are clearly better than from the LS3/5A, though it has to be said that these all-action monitors don’t have the sweetness and body of the BBC design through the midrange and treble.

They are a more demanding listen, sounding harder edged without erring so far as to be unrefined or fatiguing. Tonally, they are more balanced, though the KEF LS50 Meta goes even further in this respect.

The AE1 are small boxes, so while they appear to bend the laws of physics when it comes to bass reach (given a muscular amplifier), listen carefully and you will find that properly deep bass is still missing.

Much the same can be said of the similarly sized KEF LS50 Meta. If anything, the Acoustic Energy sounds more muscular in the bass and is certainly more assertive generally, though the newer design’s progress in performance is obvious.

In comparison with the others, the LS50 Meta are clearer, cleaner and more spacious-sounding. They dig up a layer of fine detail that even the mighty AE1 don’t quite manage and deliver all that information in a wonderfully cohesive and balanced way. Their low frequencies may not be quite as burly as those the Acoustic Energy produces, but they are impressively agile and articulate.

In most ways, they are the most insightful and balanced speaker here, just as they should be given the age of the other designs. However, that doesn’t diminish the greatness of the others.

There is a reason that LS3/5A remains so beloved by many hi-fi fans. It has a sweet, easy-going manner that suits certain types of music beautifully, and if that’s what you listen to, these speakers remain as hard to beat today as they have always been.

The AE1 is my personal favourite. It is the small speaker that won’t wilt under pressure. It goes loud and delivers wide dynamic swings with enthusiasm. Sure, by current standards these speakers aren’t the last word in transparency and subtlety, but listen to a pair in full flow and the chances are that you won’t care. Feed them a quality signal, and the AE1 40th Anniversary will shine.

KEF’s LS50 Meta speakers have been What Hi-Fi?’s go-to premium standmounters for well over a decade. They are wonderful all-rounders that deliver a breadth of performance that few rivals get close to, let alone better. Of the three sets of speakers here, they get out of the way of the music most effortlessly. We can’t give them a higher compliment than that.

My conclusion? A great speaker remains a great product even as technology marches on. Sure, some limitations become more obvious over time, but the charm of classics such as the LS3/5A and AE1 doesn’t fade.

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Cambridge Audio is heading into unknown waters.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Are you looking to start your vinyl journey?

Then there are a lot worse places to start than the Pro-Ject T1 Evo BT, which offers easy, fuss-free set-up, Bluetooth convenience and a detailed, easy-going sound.

And now the Pro-Ject T1 Evo BT is available at a great new price: £399 at AV.com. That's a good £80 off the price we tested at, and a lower price than Black Friday!

If you're after a Bluetooth turntable in the mid-range price bracket, you'll struggle to find one as accessible and fuss-free as the Pro-Ject T1 Evo BT. It's ideal for beginners, given just how easy it is to use. While you'll have to fit the platter, mat, belt and dust cover yourself, this should be a doddle thanks to some clear instructions.

Bluetooth is easily accessible, thanks to a recessed switch on the plinth’s right-hand side, so with a simple click the sound from your treasured vinyl collection will be beamed to a compatible device. Ideal if you already have Bluetooth speakers or for headphone listening late at night.

Another beginner-friendly feature is the built-in phono stage, negating the need to purchase one separately. However, a set of line-out terminals means those inclined can outsource to an external amplifier or phono stage – we recommend the Rotel A8 or Arcam A5.

However you choose to listen, though, you'll be rewarded with an effortless, undemanding sound.

"What hits us immediately as we spin our first record is the feeling of weight and smoothness the T1 Evo BT exudes," our Pro-Ject T1 Evo BT review reads. "It’s a refined and easy-to-enjoy spinner that demands little from the listener, excelling when we pull out a pressing of Nas’ Illmatic and bask in the groove-laden warmth of tunes such as N.Y. State of Mind."

If sound quality is your priority, you might want to consider a purist turntable for a punchier and more dynamic sound. But as far as Bluetooth turntables go, the T1 Evo BT sets the benchmark at this price.

At £399 at AV.com, this is the lowest price we've seen for the Pro-Ject T1 Evo BT and a rather excellent deal. Ideal for vinyl newbies looking for the next step up over the budget sets.

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With the annual Awards issue of What Hi-Fi? out in the shops now, I thought it would be a good time to look back a quarter of a century to the November 2000 issue of the magazine. How mad is that, by the way? Twenty-five years ago is still in the 21st century…

I chose this particular issue to venture down memory lane – and to juxtapose with the 2025 Awards issue – for a couple of reasons. First, because it happens to coincide with my first stint on What Hi-Fi?, when I served for 15 months or so as deputy editor; I have always been partial to a little bit of nostalgia.

More importantly, though, this particular magazine jumped out at me for the sheer quality of some of the products in the First Test section. And then it surprised me again for the main Group Tests and round-ups: almost all of them are for products that, in effect, simply don’t exist any more. One, though, is for a product type that was only just starting back in 2000, but that has absolutely thrived since then.

There’s something in all that lot, then, to tick pretty much all the boxes for Back Issues requirements.

The cover of the November 2000 issue sums things up rather nicely as far as referencing those product types that have disappeared in the first quarter of the 21st century. The main cover line announces “MiniDisc vs CD-RW – we pick the best digital recorders from just £160”. That’s two down right there.

Four-saken

But there’s more. Taking third and fourth billing (after “Britain’s best £1000 system”) are two more product types that have gone the way of the VHS: “DVD-Audio has arrived!” we trumpeted, above a final round-up – “Put up your jukes” – on a trio of 200-disc CD multichangers.

Now that’s four products right there, I would wager, that most people today under the age of 35 (possibly even older) wouldn’t even have heard of – with MiniDisc possibly the honourable exception.

What I do know is that the concept of a bulky machine holding 200 compact discs caused much hilarity and no little bewilderment in my offspring – three young adults aged between 22 and 27. (Might as well take that November 2000 test headline and run with it…) Back then, though, it was a brilliant way of storing and playing your music collection.

Some stunning First Tests

While the cover of the November 2000 issue doesn’t age particularly well, inside there are a few stunning products making their What Hi-Fi? debuts that have stood the tough test of time remarkably well.

Chief among those is the lead First Test, the stunning and stylish Naim Nait 5 stereo amplifier. This marked the start of Naim’s 5 series of products – and it kicked things off with a real bang, proving to be competitive with such illustrious products as the Arcam Alpha 10, Cyrus 7 and Musical Fidelity A3. Tough rivals indeed.

Talking of the Cyrus 7, further along in the First Tests section is the Cyrus CD 7, the series mate to the amplifier above. Another product in this magazine that punched well above its weight and hung around our Awards judging for many years.

Joining these two heavyweights, and alongside a Linn Pekin tuner (also five stars), is a superb pair of speakers. The KEF Reference Model One-Two blew us away with their class and proved to be even more impressive than the Reference Ones they replaced.

From super dupers to the stuff that streams are made of

After the First Tests section, I was intrigued to see a half-page story announcing that “The world’s favourite hi-fi website just got better!” And yes, before you start being unkind, that was in reference to whathifi.com which had just undertaken a site-wide revamp.

Those were the days still, though, of What Hi-Fi? being first and foremost a magazine, with a website attached to it. It would be a decade and more before things started shifting to the digital-first strategy that the brand enjoys today.

Which brings us to the trio of tests that can no longer stand in 2025. We started with the digital format war of its age: MiniDisc vs CD-RW. There were a mighty 12 products tested, with star ratings ranging from a frankly dire one star for the unfortunate Goodmans GMD920 MiniDisc recorder, to five-star triumphs from Marantz, Sony and the Supertest-winning Pioneer.

I hope some of these fine machines are still doing service out there for their owners; but most people will certainly have moved on with their digital music to streaming from the likes of Spotify at the very least.

Then we come to a “New technology” feature all about DVD-Audio – and specifically testing the JVC XV-D721 player. Which, to be completely straight with you, didn’t cover itself – or the format it had intended to champion, come to that – with glory.

An overall two-star verdict, with another (in one issue!) one-star decision for sound, rather damned both machine and format.

The first steps towards wireless wizardry

But what’s this, tucked into the back of the test section, just before the Temptations? A double-page spread on upgrade headphones: six options, and three of them boasting a shiny new “cordless” feature. Not only new, but also (thank heavens) surprisingly effective at bringing users’ precious music to their ears.

The AKG K105 UHF were particularly impressive, with a five-star rating for sound, build and the overall verdict. I’m not sure we would have guessed at the time that such wizardry would become not only commonplace but the norm for listening on the go – but it’s good to know that we knew a good thing when we saw it.

Which brings us full circle, back from November 2000, to the What Hi-Fi? Awards 2025. The 2025 Awards issue is in the shops now – and it is full to bursting with products that we know are not merely a good thing, but the very best thing out there in their particular category. Now that is praise indeed.

I wonder, though, how our choices today will seem to the What Hi-Fi? observer in 2050 when they are seeking Back Issues comparisons of their own.

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If you’re shopping for a good, cheap, turntable that will do justice to your vinyl this very second, we have only one recommendation.

Ignore all the other cheap, no-name turntable systems that Amazon has on the front page of its Big Deal Days sale, and just buy the five-star Sony PS-LX310BT.

Why? First because, though – for reasons beyond us – Amazon has buried it under a sea of worse options, the player has had its own Big Deal Days discount: you can buy the Sony PS-LX310BT for £179 right now. That's a £20 discount on the turntable's already very reasonable £200 normal price.

The Sony is an easy to use automatic option for people just getting into vinyl. Its plug and play nature and entertaining sound, plus its competitive price are a reason we gave it five-stars. As we say in our review’s verdict:

“The PS-LX310BT is more than just an excellent ‘my first turntable’ option. For those wanting a fully automatic deck with built-in phono stage, it’s one of the best we’ve heard.”

Second, because the cheap turntable we currently recommend in our best record player buying guide has actually gone up in price during the event.

The five-star Pro-Ject Primary E was £199 before Big Deal Days started, but is now £229. Sure it’s still great value, but that’s a big price difference between it and the Sony, hence our slightly nuanced and updated advice for anyone buying this very second.

Third, because most of the cheap turntables Amazon is currently pushing are from brands we’ve never heard of, let alone tested products from. For example, this is the first one the team and I see on Amazon's Big Deal Days hi-fi section. This is the second.

Yes, they may actually be good and we haven’t heard them. But I’ve heard plenty like them during my near two decades as a professional shiny things chaser and unashamed vinyl fan.

In my experience, these systems tend to offer poor audio and, as I detailed in the first every piece I wrote for What Hi-Fi?, have a very heavy tracking force that can damage records if you’re not careful. Which is why we tend to avoid them and recommend you spend more than the price of a vinyl record on your player.

Honestly, deals aside, that’s just a good rule of thumb to go with generally when shopping for hi-fi…

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Canadian hi-fi brand Moon by Simaudio has launched the 371 streaming amplifier, the debut product of its new Compass Collection.

As a stepping stone to the high-end North Collection unveiled in 2023 – which includes the 641 integrated and 681 network streamer – the new Compass Collection aims to be an entry point into the world of high-end audio, while also showcasing Moon's modern, elegant design and "industry-leading proprietary technology".

The Moon 371 streaming amplifier combines amplification, preamp, DAC, streaming abilities and "uncompromising vinyl playback" to deliver an "exceptional performance" from a modern hi-fi product.

The unit boasts 100 watts of power per channel (into 8 ohms), which should be ample enough to drive all kinds of speakers. Meanwhile, the brand's MiND 2 streaming platform forms the core of its operation, allowing you to stream files stored on the same network. Popular streaming services such as Deezer, Qobuz, Spotify and Tidal are supported, and it is also compatible with Qobuz Connect, Spotify Connect and Tidal Connect.

Bluetooth and Apple AirPlay are also on the menu, and it is Roon Ready certified. File support is extensive, with the Moon able to handle hi-res files up to 32-bit/384kHz PCM and DSD256.

The 371 shares some technology seen in its higher-end North Collection products, mainly the MHP (MOON Hybrid Power) supply and MDCA (MOON Distortion Cancelling Amplifier) – both of which aim to deliver high performance levels.

The evolved MHP in this unit aims to provide "ultra-stable" power to the circuitry, while the MDCA claims to eliminate distortion and improve signal linearity to deliver an "exceptionally clean, dynamic and accurate sound reproduction".

You'll find a decent selection of connections, including balanced and single-ended analogue inputs, two coaxial, optical, USB-C and HDMI ARC inputs, pre-outs and a 6.3mm headphone jack.

Moon draws upon its expertise with phono preamps to include a built-in phono stage here, which is compatible with both moving magnet and moving coil cartridges, and aims to "preserve the integrity and detail of every recording with impeccable accuracy".

The 371 is entirely designed and handcrafted in Canada, and features a subtly updated look that remains unmistakably Moon – discreet and elegant. It is available in the brand's distinctive two-tone finish or an all-black version.

A large 17cm colour display dominates the front panel to show album artwork, track information and settings. The streaming amplifier can be controlled by the MiND app, and it also comes with a slim remote control that is designed specifically for the Compass Collection.

Alternatively, you can use the rather fancy BRM-1 remote – a beautifully designed volume control, which has its own full-colour screen – that comes with the North Collection units, but it is at an additional cost.

Moon's chief commercial officer, Etienne Gautier says: "This model embodies our commitment to redefining how we approach audio design. By listening closely to the valuable feedback of our customers and partners, we’ve developed a fresh approach to creating a MOON product. It delivers uncompromising performance and striking aesthetics in a single component, all at a price point that opens the door to premium audio for many music lovers for the first time."

The Moon 371 streaming amplifier is set to cost £6250 / $6500. In comparison, the 'cheapest' product in the flagship North Collection starts at £11,000 / $11,000 / €12,500. We've had an initial look and listen to the 371 at Moon's HQ in Canada, and are expecting a full review sample in the coming months.

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This year's Amazon Prime Day sales event is well underway, and while we haven't had the biggest variety of deals on hi-fi products, these are biggest savings I've found on five-star products we highly recommend.

I always have a hitlist of products that I'm hoping will enjoy big savings during any of these big sales events, and I'm delighted to see that the two WiiM streamers and Cambridge Audio desktop DAC I was hoping would drop in price are enjoying significant Prime Day savings.

I've also found a superb lowest-ever price on a pair of budget bookshelf speakers, and there is a Bowers & Wilkins headphones deal (sadly, not on a speaker yet...) that I just couldn't ignore.

These products are great value at full price anyway – as evidenced by the five-star rating we gave them during our reviews – but we all love a discount, and the big savings you can currently get on these excellent products are worth shouting about.

Cambridge Audio DacMagic 200M desktop DAC

This one may be a few years old, but I still use the DacMagic 200M at home: it's the perfect desktop size, has extensive hi-res audio support (including DSD and MQA files) and is a dream to use.

Sound-wise, it has a full, smooth tonality that's complemented by an open, expressive and authoritative manner. It digs out a great amount of detail – a true all-rounder.

Used with a good pair of wired headphones, this DAC and headphone amp will boost your laptop-based music performance considerably. It's a nicely made DAC, too, and we've never seen it drop down to such a low price before.

WiiM Pro Plus budget music streamer

Our favourite budget music streamer can do it all. A tiny box that brings you easy wi-fi streaming from all the most popular apps and supports all streaming methods, this unit is easy to use, has a great control app, and sounds great for the price.

The Pro Plus remains our current Award-winner, and we can't recommend it enough. This Prime Day deal drops the price to £175 – we'd snap it up if you want the best (and most affordable) way to inject streaming into your hi-fi system

WiiM Ultra music streamer

WiiM's top-of-the-range streamer is its best yet, with the WiiM Ultra offering a lively, engaging sound and a powerful platform. The touch-screen interface is a joy to use, and its only con is that it lacks AirPlay. It also works as a preamp and headphone amplifier.

This is the first time we're seeing a significant deal on the five-star Ultra, with this £70 saving available across Amazon and specialist hi-fi retailers.

Q Acoustics 3010i bookshelf speakers

While I was hoping we'd spot a good deal or two on newer speakers, it's hard to ignore this fantastic drop in price on a pair of Q Acoustics 3010i standmount stereo speakers.

These have been on the market for many years now, but they are five-star performers that are easy-going, musical and will work happily with just about any partnering equipment and in most spaces. While newer speakers from Elac, Dali, B&W and Q Acoustics themselves deliver finer detail and greater precision, we still appreciate just how unfussy these 3010i are.

And with this plunge in price to just £149, the 3010i are a great bargain buy.

Bowers & Wilkins Px7 S3 headphones

While not strictly hi-fi, this great deal on a premium pair of wireless headphones deserves a mention.

One of the best-sounding new wireless headphones we've tested this year, Bowers & Wilkins took the fight to Sony, Bose, Apple and more rivals with the luxurious Px7 S3 over-ears.

They look and feel fabulous, with 30 hours of battery life, support for decent ANC, higher-quality Bluetooth codecs and wired listening. Sound-wise, they are mightily impressive, bringing out even more detail and insight, along with plenty of punch, dynamism and refinement.

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There is a small but significant change happening in the world of hi-fi right now. While traditional separates set-ups are still going strong, many manufacturers are now putting together complete systems that offer customers new to the world of hi-fi everything they need in one box, from all the components to even cables.

This may not feel like a particularly revolutionary endeavour (or even a new one), but it's one that has been missing in recent years. As brands are searching for ways to entice the next generation of hi-fi fans into the fold, I think this is a considered and inviting approach.

At the Bristol Hi-Fi Show earlier this year, I heard a refrain of "smaller systems in a box" being repeated in various rooms throughout the show weekend, with manufacturers feeling the urgent need to entice younger audiences to the world of hi-fi in a more appealing, beginner-friendly way.

You can't expect someone new to hi-fi separates to care about system matching and finding the cables straightaway. Not everyone is as keen about the minutae when starting on their hi-fi journey. Not everyone has the space these days for multiple large boxes, either.

And it would be wrong for us seasoned hi-fi fans to assume and insist this should be the case for anyone with a fledgling interest in good audio kit. I, my friends and so many of my colleagues would have started listening to music on a Walkman, Discman, an all-in-one stereo boombox picked from the Argos catalogue or similar. We didn't care about sampling rates or DSD files; we just wanted to listen to our music in the most accessible, space-saving (and affordable) way possible.

When unboxing the WiiM Amp Pro streaming amplifier recently, I was struck by how generous (and unusual) it was that all the interconnect cables you'll need – optical, RCA and HDMI – are included in the box.

Some brands used to do the same in previous years, but we imagine it stopped being in vogue due to cost-cutting measures. There is also the notion that most hi-fi buyers will already have a box of spare cables, or will choose and buy their own cables separately (and perhaps even carefully match their new components).

But what of newcomers to hi-fi, who are starting afresh and won't have a stash of tangled cables to dig into? Of course we want hi-fi fans to appreciate good kit and take an interest, but shouldn't we appeal to them without expecting them to know what an S/PDIF socket is from the start? Giving them a helping hand as they start their journey can go a long way, especially if we want help them graduate from that one-box wireless boombox.

It's not like this 'younger generation' isn't interested in enjoying higher quality music, especially in old-school physical formats. Just look at the ongoing popularity of vinyl and turntables – sales are continuing to rise year-on-year and people's interest (especially the younger generation, thanks to Taylor Swift, Chappell Roan, Sabrina Carpenter and more releasing their new albums on vinyl) in this pricey but enduring analogue format isn't abating.

The demand for hi-res and higher-quality streaming from Tidal, Qobuz, Apple Music (and even Spotify) is growing, too – so there is a genuine interest and demand for quality. Alongside this is the demand for instant access, for convenience, and for being able to listen to music without any barriers.

Newcomers to the industry like WiiM have also proven there is huge appetite for tech-laden separates components; they're just wrapped up in a more modern, consumer-friendly skin than the long, rectangular black boxes we've come to associate with hi-fi.

WiiM's affordable pricing and super compact form factor are a huge part of their appeal. I think its products are also a great example of eliminating barriers simply by offering all the cables and accessories you need in the box (for no extra cost), as I've encountered with the Ultra streamer and Amp Pro.

It means you can plug your new hi-fi product to your TV or turntable straight away – there's no delay or guesswork, you don't have to know the name of the connections, and if you don't need a specific cable right then, at least you have it spare for later.

Ruark Audio is another brand that also wants to make it easy for younger generations to start their audio journey, or for parents to pass on their hi-fi to their kids.

The Ruark Sabre-R bookshelf speakers and R610 streaming amp can be purchased together as a complete system. It is compact and stylish, boasts all the modern streaming smarts as well as hi-fi heritage.

Unboxing the R610 uncovered a surprise: there were speaker cables included in the box. Now, I can't remember if I've ever seen speaker cables included with a hi-fi product, let alone a modern streaming amplifier. Even the cheapest speaker cables can get pricey once you add up the length you need (and times by two), so this is a great touch by Ruark.

And it makes perfect sense here; the compact R610 'music console' has network streaming, Bluetooth, Tidal/Spotify Connect and internet radio all included, so all you need to do is add a pair of speakers to complete the system. Bundling in a pair of speaker cables brings the customer closer to that ultimate aim: enjoying listening to your new stereo kit straightaway.

Pro-Ject is taking it another step further. Recognising that people want a proper turntable, but many not know all the elements you need in a system to play a record (e.g. a phono stage, an amplifier), it puts everything you need in just one box.

The Pro-Ject Colourful Audio System E and step-up Colourful Audio System 2 provide you with a turntable, a super compact amplifier (that includes phono stage, analogue and digital inputs, even Bluetooth) and a pair of bookshelf speakers, including all the cables needed to hook everything up and get music playing.

Like WiiM and Ruark, the components in this complete Pro-Ject system aren't the full-width size of traditional separates; apart from the turntable, they're fairly compact and easy to fit on most furniture. That they come in a variety of matching, fetching shades is attractive, too.

This means your new customer can have a hi-fi system ready to go from unpacking just one box – without needing to visit a shop, Google for additional components or put in an Amazon order for anything missing.

It's a neat and appealing proposition; much more so for many of the younger generation, who likely won't have ever set foot in a hi-fi shop, or find it a bit daunting. There can be an element of gatekeeping or the need for you to know a system's technical specifications by heart when stepping into the world of hi-fi – but really, the main aim is to listen to and enjoy music, isn't it?

If we as an industry – one which still very much loves and cares for this particular hobby of ours – want the younger generation to get involved and appreciate just how amazing music can sound on great-quality kit, why not make that introduction to 'proper' hi-fi more welcoming and easier to access?

And once they're hooked in, well... we know it's all uphill from there.

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High End Munich 2025 preview: what to expect from the upcoming hi-fi show

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

I have listened to my favourite music on vinyl, CD and streaming – and the differences go far beyond sound

Welcome to the first entry into our weekly Rewind column in 2025! In it our team of audio and home cinema experts detail the top stories and developments you need to know about.

It was a very busy week with the Consumer Electronics Show (CES 2025) taking place in Las Vegas, and our team of reviewers on the ground and back home offering their final verdict on some big name products.

Here’s everything you need to know.

Onkyo’s back

Onkyo set tongues ablaze when it revealed it would have actual new products at CES 2025 at the end of last year. And boy did it deliver at the show.

Not only did it unveil a new Icon line of hi-fi separates, which includes a P-80 network preamplifier, the M-80 power amplifier and the A-50 streaming amplifier, it also treated us to two new desktop speakers. Specifically, the Creator Series GX10DB and GX30ARC.

While we haven’t had a chance to listen to any of the new products yet, the very fact Onkyo is back to making actual audio hardware after a two-year hiatus is a welcome development.

Read the full story: Onkyo returns to hi-fi with the launch of Icon Series electronics at CES 2025

Read the full story: Onkyo launches compact and affordable Creator Series of powered desktop speakers

We took a look at LG’s latest OLED TVs

CES always brings a wealth of new TVs, and this year was no different. One particular highlight was seeing LG’s 2025 range of OLED TVs, which includes the premium LG G5, step-down LG C5 and entry LG B5.

The G5 is particularly interesting as it has new four-stack OLED technology, which replaces MLA and will be available in a smaller 48-inch size. LG claims the new panel tech will let it go way brighter than the older LG G4 which could be a boon if the hardware is implemented well.

We also had a chance to take a hands-on look at the LG C5, which left a very positive impression with our staff writer, Lewis Empson, at the show.

Read the full LG TVs 2025 range guide

Checkout our LG C5 hands-on preview

Technics new wireless earbuds are amazing

Technics is a brand with a strong track record in the world of hi-fi, but its wireless earbuds have always fallen just short of achieving our hallowed five-star rating – until now. Last week our reviewers published their final verdict on the firm’s new Technics EAH-AZ100. Not only are they the best Technics has ever made, they’re so good we now rank them amongst the best wireless earbuds currently available.

Read our full Technics EAH-AZ100 review

...as is Sony’s premium projector

Technics latest earbuds were one of two big products to earn five-star ratings last week. We also kicked off the New Year by finishing reviewing Sony’s premium Bravia Projector 9. After putting it through its paces in our viewing rooms we found it hard to fault, with the Bravia Projector 9 delivering a stunningly bright, colourful, detailed picture and class leading image processing during all our tests.

Read our full Sony Projector 9 review

It was a great year for audio and home cinema at CES 2025

If the above hasn’t sated your hunger for home cinema and hi-fi news, last week we also published our best of CES 2025 show guide. In it our team of experts picked the best home cinema and audio hardware they saw live at the show, making it quick and easy to know what products to keep an eye out for this year.

Read our full best of CES 2025 guide

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We rate the best stereo amps currently available

Our picks of the best wireless headphones

Ultimate Ears is gearing up for a big summer. Not only is the US brand refreshing many of its established portable speaker ranges with fourth-gen updates to the Boom, Wonderboom and Megaboom lines, but it will also be bringing a brand new family member into the world. Say hello to the UE Everboom Bluetooth speaker.

Considering it's a completely new concept, we'll begin with the Everboom. From the outside, the new boy is essentially a scaled-down version of last year's UE Epicboom, sporting the flattened, almost rectangular outline of its larger four-star progenitor. Priced at £250 / $250, the Everboom sits somewhere between the B&O Beosound A1 (gen 2) (tested at £200 / $250) and the more wallet-busting Dali Katch G2 (around £349 / $450), roughly on par with the five-star JBL Charge 5 Wi-Fi (£230 / $230).

So what are you getting for your money? As it happens, quite a lot. While sticking with Bluetooth 5.1 connectivity, the feature-packed Everboom is built to deliver the same powerful, 360 sound as the Epicboom, with internal tweaks – including optimised acoustic architectures and precision-tuned drivers – shooting for punchy highs, clear mids, deep bass notes and distinct, articulate vocals. 

Thanks to its strong IP67 rating, the Everboom can handle the elements with ease and, like most UE speakers, happily floats in water, while an attached carabiner lets you hook your musical companion onto outdoor gear such as backpacks, rucksacks and camping equipment. If you are heading out, the speaker's Outdoor Boost button accentuates certain frequencies so that the sound travels more effectively across the terrain, while a rather nifty "Megaphone" feature lets you turn your speaker into a mini PA system if one of your party wanders off, say. 

Arriving alongside the Everboom are a new swathe of fourth-gen Ultimate Ears models: the cylindrical Boom 4 and Wonderboom 4 alongside the smaller, cheaper Megaboom 4, all of which are IP67-rated. With improved sonic capabilities, design tweaks and more up-to-date features, UE is ushering in a new era for some of its most popular – and affordable - portable lines. 

The new models will now boast that handy Outdoor Boost button as seen on the upcoming Everboom unit, while USB-C charging arrives to replace the outdated micro USB port we criticised the Wonderboom 3 for sticking with. For getting that next-gen sound, the Boom 4 and Megaboom 4 have been updated with enhanced deep bass radiators for bigger, fuller audio, with the Megaboom even offering a podcast mode for listening to your favourite true crime pods.

The Boom 4 and Megaboom 4 will also offer a double-up mode (essentially UE's version of stereo pairing) and all three new fourth-gen speakers will offer backwards compatibility with the preceding generation of models in each respective line, meaning you'll be able to pair a Megaboom 4 with its third-gen counterpart, for example. 

UE's latest Bluetooth speakers are available now at the following prices and in the following colourways:    

- Everboom: £250 / $250 / AU$349 in black or blue (John Lewis exclusive)

- Wonderboom 4: £70 / $100 / AU$150 in active black, joyous bright, hyper pink, cobalt blue (John Lewis exclusive) or lilac (Amazon exclusive). 

- Boom 4: £130 / $150 / AU$230 in black or blue (John Lewis exclusive), with red and lilac colourways launching in January 2025.

- Megaboom 4: £170 / $200 / AU$330 in black or blue (John Lewis exclusive), with red and lilac colourways launching in January 2025.

MORE:

These are our favourite outdoor speakers: portable, wireless, waterproof and more

Check out our Ultimate Ears Epicboom review 

These are the best Bluetooth speakers for a music-filled summer 

14 best summer tracks to test your music system

Jamo has launched a new series of passive speakers as part of what the Scandinavian brand is referring to as its 'rebirth', including two surround sound packages. The new Jamo Studio7 range comprises six models: two sizes of floorstanders (S7-27F, S7-25F), two types of bookshelf speakers (S7-17B, S7-15B) and a pair of centre channel speakers (S7-25C, S7-43C), all with a 7° time alignment tilt.

Each cabinet is mounted on an angled plinth that houses the speaker crossover. According to Jamo, the striking incline is designed to ensure a coherent sound stage and time-align the acoustic centres of each drive unit to help minimise timing anomalies.

The range features refreshed driver technology, too, with an updated 25mm tweeter using a faraday ring for improved sensitivity and reduced non-linear distortion, while its high-frequency waveguide has been optimised using the brand's COMSOL software. Jamo says that the tweeter and surround have been designed to produce a non-fatiguing yet detailed sound. 

At the low end, the woofers feature “Thor’s Hammer” embossed paper cones and motor assemblies incorporating aluminium inductance shorting rings to enhance power handling and lower distortion by acting as a heat sink.

Inside, the cabinet walls are thicker than on previous models (15mm MDF with 18mm front baffle) and braced. This, Jamo claims, will allow for more low-level detail and increases resolution when playing at different output levels compared with models from other manufacturers.

Each cabinet rests on a sealed plinth that houses its crossover, a location which Jamo says minimises the possibility of any interaction between the powerful bass driver magnet and the inductors in the crossover. All speakers in the S7 range have a two-way reflex design, and the crossover uses components carefully chosen by the brand, including Mylar and non-polarised electrolytic capacitors, along with iron and air core inductors, and 25W resistors.

The Jamo Studio7 range is available in two vinyl colourways – Blue Fjord and Grey Cloud – to echo 'the chromatic palette of Scandinavian landscapes'.

The Jamo S7 floorstanders are priced at £950 (around $1060/AU$1656) for the S7-27F and £800 (around $894/AU$1394) for the S7-25F. The bookshelf models start at £450 (around $502/AU$784) for the S7-15B and £550 (around $614/AU$958) for the S7-17B; the S7-25C and S7-43C centre channels are priced at £300 (around$335/AU$523) and £330 (around $368/AU$574), respectively.

All the S7 loudspeakers are rated for 4 ohms. The largest floorstander, the S7-27F, sports a 25mm vented tweeter with a fabric dome and dual 17cm woofers for a claimed frequency range of 67 Hz - 21 kHz and peak SPL of 107.8 dB. Stepping down to the S7-25F, the same tweeter is partnered by two 14cm woofers producing frequencies from 69 Hz - 21 kHz and a peak SPL of 107 dB.

Meanwhile, the S7-17B bookshelf speaker has a 17cm woofer paired with its 25mm tweeter for a response of 64 Hz - 25 kHz and a peak SPL of 104.2 dB. The smaller S7-15B swaps this for a 14cm woofer and a range of 71 Hz - 22 kHz, with a 102.6 dB peak SPL.

Finally, the S7-25C centre channel boasts dual 14cm drivers on either side of its 25mm tweeter for an 82 Hz - 21 kHz response and 107.2 dB peak SPL, while the slimmer, but more expensive S7-43C has four 8.4cm woofers flanking a central tweeter for a frequency response of 123 Hz - 21 kHz and peak SPL of 108.2 dB.

Two bundled home cinema sets are available: the S7-17HCS priced at £1300 (around $1446/AU$2264), comprising a pair of both bookshelf speakers and the lower profile S7-43C centre channel, or the S7-27F costing £1500 (around $1670/AU$1612) and containing a pair each of the smaller floorstanders and bookshelf speakers, with the larger S7-25C centre channel option.

MORE

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Our pick of the best AV receivers to power your surround sound speakers

8 reasons why a Dolby Atmos soundbar could be your home entertainment purchase of the year

Tech giant Apple has released a fix for a (pretty annoying) bug preventing a "limited number" of iPhone 13 users from playing music.

As reported by MacRumours, some customers were unable to able to access their Apple Music‌ catalog, Apple Music settings or Apple Music Sync Library after restoring from an iCloud backup. 

The glitch appeared to affect the company's newest devices, namely the iPhone 13, 13 mini, iPhone 13 Pro and iPhone 13 Pro Max smartphones, as well as some iPad 9 and iPad mini 6 tablets.

Thankfully, Apple has wasted no time in releasing a "minor software update" that fixes the pesky bug. As per the new support page, users should update their device by going to 'Settings', selecting 'General' and tapping 'Install Now'. Once the device has restarted, Apple Music should be back to normal.

The Apple iPhone 13 went on sale last week and models are selling out fast. The wait for the Pro and Pro Max models is currently around six weeks, with delivery estimated between 26th October – 2nd November.

Apple warned of stock shortages back in July, so it's no great surprise, especially when you factor in the ongoing global chip shortage that has constricted the availability of everything from electric cars to games consoles like the PS5. 

Nobody knows quite how long the chip shortage will last, but one things's for sure: fixing it will require more than a software patch.

MORE:

Considering an upgrade? Check out our iPhone 13 vs iPhone 12 guide

Want to go big? iPhone 13 Pro Max vs iPhone 12 Pro Max guide

After a new iPad? Apple iPad 9: release date, price, specs, and more news

Apple is planning to release iPad models with OLED displays as soon as next year, followed by an OLED iPad Pro range in 2023, that's according to the South Korean news site, The Elec.

Rumours of Apple adopting OLED displays in "some" iPads have been swirling in recent months, most notably from Apple analyst Ming-Chi Kuo who, back in March, tipped the mid-range iPad Air for an OLED display by 2022.

This ties in with the latest report from The Elec, which suggests that the first iPad to receive an OLED display in 2022 will have a 10.8-inch screen size, indicating that it may be the 5th generation iPad Air. Apple is also said to be preparing 11-inch and 12.9-inch OLED iPads for release in 2023, which are expected to be iPad Pro models. 

The switch to OLED after Apple has only just released its first iPad Pro with a mini-LED display would mean two significant hardware changes in quick succession.

The report also claims that Apple will use different OLED structures for next years models compared to those released in 2023. The iPad Air is thought to be getting a rigid OLED with thin-film encapsulation technology that stacks organic and inorganic material in alternate layers to help protect it. 

Meanwhile, the new iPad Pro models are expected to use a flexible OLED that allows for internally curved display components and an overall thinner screen bezel, a technique that Apple has used with its iPhone displays since 2017. It is also suggested that Samsung will be the sole supplier of both OLED displays.

It was only a few days ago that we reported on claims that Apple is considering future iPad designs with even larger displays and chassis. At the same time, the company is also said to be working on an iPad Pro with wireless charging and a glass back for 2022, which will be available in the current 11-inch and 12.9-inch screen sizes – and could potentially be the new OLED models. 

As always, when we know more, we will update you...

MORE

Read our review of the new Apple iPad Pro 12.9 (2021) with mini LED-lit display

These are the best iPads currently available

Read our guide to the best tablets

It looks like we have a possible date for the iPhone 12 launch: Tuesday 15th September. According to Apple's website, the company is to hold a special event – streamed live from Apple Park on "Sept15, 2020, at 10am PDT".

According to the cryptic invite, the event is titled 'Time Flies', so expect to see the iPhone 12 launch alongside a new Apple Watch and iPad.

Apple normally announces new iPhones in September, but there's been much talk of a delay to the iPhone 12 – said to be Apple's first-ever 5G phone. Either way, you'll be able to watch the event here at 6pm BST.

As we previously reported, at least two noted leakers – namely iHackTu Pro and tech analyst Jon Prosser – claimed that Apple would release details of a new Apple Watch and new iPad Air today.

"Looks like I was correct about there being a Press Release today, just not about what was in it," tweeted Prosser after Apple dropped the official invitations.

Bloomberg's Mark Gurman got it right – he correctly predicted that today's press release wasn't for a shiny new product, but for a date of a virtual launch. If Gurman is right again about next week, Apple will finally take the wraps off the much-anticipated iPhone 12.

Plus, there's a strong possibility we'll catch our first glimpse of the Apple Watch Series 6 range, which is rumoured to include an entry-level plastic variant, alongside the existing metal and ceramic timepieces.

It's also highly likely we'll see a new 10.8in iPad Air, sporting an upgraded Liquid Retina display in line with the iPad Pro. Finally, keep an eye out for the long-rumoured AirTags – Apple's GPS tracking tags that can be fixed to your most treasured possessions.

Our fingers are crossed for an appearance from Apple's rumoured AirPods Studio over-ear headphones and potentially a new Apple Homepod wireless speaker. With the leaks coming thick and fast, we'll keep you updated with news of what you can expect to see throughout the week.

MORE: 

iPhone 12 to launch with new HomePod, first Apple over-ear headphones

Best smartphones 2020: the best phones for music and movies

iPhone 12 OLED display revealed in leaked image

The comprehensive (ten-strong) Studio 8 series comprises three floorstanders (S 809, S 807 and S 805), two standmounting designs (S 803 and S 801), two centre speakers (S 83 CEN and S 81 CEN), two subwoofers (S 810 SUB and S 808 SUB) and, finally, one Dolby Atmos-certified upward-firing design (the S 8 ATM).

The Studio 8 range employs soft dome tweeters with WaveGuide technology, as well as aluminium/polyfibre woofers plus reflex ports. And all models are available in your choice of white (with grey grilles), black or walnut (with darker grey grilles) matte vinyl finishes with wood-grain accents.

Some models also benefit from what appear to be carefully considered Atmos speaker integration features too.

The S 809, S 807 and S 803 models feature patent-pending metal connectors on the top of their cabinets to act as terminals for the Atmos speakers. The Atmos speakers also have metal feet to align with these connectors, resulting in a clean look that doesn’t require extra cabling.

Also in the name of seamless design, the grilles on the S 809 and S 807 floorstanders can slide up to align with the front of the S 8 ATM - so all inputs and wires are hidden.

The Jamo S 805 speakers (£349 per pair) will be on demonstration for the first time at the Bristol Show, while other Studio 8 models will be on display.

The speakers, most of which are available now, are also available as complete home cinema packages (see below). For example, a Dolby Atmos 5.1.2 system comprising the Jamo S 805 HCS with Dolby Atmos toppers and an S 808 SUB can be purchased for £1,019.

Floorstanders: S 805 (£349), S 807 (£499), S 809 (£625, available in April)

Standmounters: S 803 (£249), S 801 (£155)

Subwoofers: S 808 SUB (£220), S 810 SUB (£265)

Centre speakers: S 83 CEN (£200), S 81 CEN (£145)

S 8 ATM Dolby Atmos speakers (£200)

Home Cinema Systems (HCS) below include the listed speakers, plus a pair of S 801 standmounters and S 81 centre speaker.

S 805 HCS (£599)

S 807 HCS (£699, available in April)

S 809 HCS (825)

S 803 HCS (£499)

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We’ve been intrigued by this Audio Technica unit ever since we first laid eyes on it at the Munich High End show last year. Even among all the glamorous high-end kit, this compact box stood out.

The AT-HA5050H looked out of its time, something that had escaped from some aged audiophile’s hidden stash of treasures, rather than something on the shelves now. Look at it – all 70s retro styling, twin VU meters and eight headphone outputs.

That’s right, eight. Why would anyone ever need eight?

MORE: High End Show 2016 highlights

Features

While it may not be obvious from appearances, this is a digital-to-analogue converter/headphone amp as distinct from the current fashion of having a DAC with a headphone output.

The difference? The Audio Technica has analogue line level inputs in both single-ended and balanced flavours. The company has solely focused on headphone users here – you can’t connect this unit to an external amp, as there are no line level outputs.

It turns out that Audio Technica don’t envisage all the 6.3mm jacks sockets being used at once, either. This isn’t some sort of comparison tool designed to drive all those headphones in one go.

Users are limited to using just two (recommended impedance values of 16-600ohms), which should be enough for most.

Each of these headphones can be connected to any one of four outputs; each having a different output impedance. Think of it as a way of fine-tuning the presentation to suit your tastes – the higher the output impedance, the mellower and more bass-heavy the sound.

It appears an odd way of doing things, but it works. We found ourselves alternating between different settings on a regular basis, depending on the source material.

Aggressive, less capable sources usually made us move towards one of the outputs with higher output impedance – usually 82ohms – while high-quality signal feeds had us settling on the 33ohm option.

Going to the 0.1ohm option bought greater detail and attack, but lost too much in the way of natural warmth and bass weight for our tastes. As always, such things depend much on the headphones connected and personal taste. It’s just fun to play around.

MORE: DACs: everything you need to know

Build

The AT-HA5050H’s build quality is excellent. It feels immensely solid and is superbly finished.

We’re not great fans of the laminated rosewood strip on the lower edge of the front panel, but there’s no denying the crisp, luxury feel of all the controls. We love the smooth, damped movement of the volume dial, in particular.

This has got to be the heaviest unit of this type we’ve come across. It weighs in at 11kg, which is about what a typical grand’s worth of amp comes in at. It’s large for a desktop unit too, with both a width and depth of 33cm.

Take the lid off and you’ll find the insides packed with quality components. It uses a hybrid audio circuit with a pair of E88CC valves in the preamp section driving Toshiba bipolar power transistors in the output stage. We’re impressed by the generously specified power supply that looks easily beefy enough to work a full-size power amp.

MORE: Award-winning DACs from 2015

The DAC section is enclosed in a fully shielded case to minimise interference and reduce noise levels. Cleverly, Audio Technica also uses this case to protect the audio circuitry from any interference from the custom R-core mains transformer.

Look around the back and you’ll find USB type B and coax digital inputs. There’s no optical option here, which is a shame. The USB input can be switched between asynchronous and adaptive modes, which helps with compatibility.

We opted for the asynchronous option for most of the test on performance grounds.

The 5050 can cope with pretty much any signal you care to throw at it. It’ll cope with 32-bit/384kHz PCM files (if you can find any worth listening to), right through to double speed DSD (ditto).

One thing to note is that it will only handle DSD with the USB input switched to asynchronous mode. In adaptive mode the maximum sampling rate is held at 192kHz with no option of DSD replay.

MORE: Best DACs 2016

Sound

Once up and running this is a wonderfully entertaining performer, though it takes a while to appreciate its brilliant refinement and total lack of hard edges.

The AT-HA5050H isn’t the kind of product that grabs your attention from the off – the presentation is far too understated for that.

The detail is all there but it isn’t thrown at the listener in a bid to impress. No, this unit prefers to persuade the listener with a wonderfully-layered sound that lacks little in terms of insight or finesse.

MORE: Naim DAC-V1 review

We listen to Beethoven’s Moonlight Sonata and are entranced. The 5050 sounds wonderfully organic, with dynamics moving fluidly from quiet to loud in clean sweeps.

The lead edges of notes are defined with precision and are as crisp as you like, but never sound hard-edged or forced. The 5050 doesn’t have to highlight its high level of resolution in that way.

We’re impressed by the tonality too. It’s just a touch on the sweet side, and possessing of body and natural warmth, but still balanced enough to convince.

Such a presentation works wonderfully with less than perfect recordings, rounded off the rough edges just enough to keep things listenable.

But don’t get the wrong idea. This unit isn’t some big softy that makes everything sound nice, as a spin of Kanye West’s Yeezus shows. Here, there’s plenty of punch and attack.

Rhythmically it isn’t quite as crisp as Chord’s Hugo TT, but the Audio Technica can still convey the momentum of the music well.

More than that, it captures the anger and aggression of the album superbly, rendering West’s vocals with all the grit they deserve. Bass frequencies are lovely – rich and articulate – while highs have sparkle, bite and refinement in equal measures.

This box is equally adept through its line level inputs. Normally such inputs tend to be an afterthought on predominately digital products, but not here.

The line stage is a good one, and given a talented source fully capable of delivering a performance every bit as engaging as that of the built-in DAC.

MORE: Chord Hugo TT review

Verdict

If you’re a headphone obsessive we can’t think of a better high-end alternative.

Chord’s Hugo TT offers a more dramatic sound with greater impact, but the Audio Technica’s organic, full-bodied approach is just as convincing, and arguably a better long-term choice thanks to its unfussy nature.

We also love the retro feel of this product and the aura of quality it oozes from every control. And let’s not forget the enduring appeal of a VU meter. Tempted? We are indeed.

See all our Audio Technica reviews

See all our DAC reviews

Astell & Kern is a brand of portable high-res audio players from Korean company iriver (previously iRiver).

The AK100 MkII is the entry-level model, and its party tricks include expandable storage and support for DSD files.

Design

Next to the Sony NWZ-ZX1’s brass cylinder and protruding back, the A&K actually looks a bit dull. Only the physical controls stand out: playback buttons on the left edge and a volume knob on the right.

This dial rotates with satisfying clicks, but is a bit wobbly. It’s also likely to catch on the fabric in your pocket and change volume. There’s a volume lock option within the menus, but if you use it you’ll have to turn the screen on every time you want to adjust the volume.

There’s a 2.5in capacitive touchscreen with a resolution of 320 x 240 pixels. It’s big enough to navigate the system, but a bigger screen wouldn’t hurt – it feels cramped against the Sony’s 4in offering.

There is 32GB of storage on board, but you can add more. A small door on the bottom edge slides open to reveal two microSD slots.

Official literature says the device is compatible with cards up to 32GB, but 64GB ones work if you format them using FAT32. That means you can have a maximum storage of 160GB at any time.

We’re disappointed the starting storage space isn’t a little more generous, because unless you have a tiny high-res audio collection you will need more than 32GB. The Sony is maxed out at 128GB, but that’s all built-in and available out of the box.

File support is very good: the AK100 MkII can handle WAV, FLAC, WMA, MP3, OGG, AAC, ALAC and AIFF. Unlike the Sony, the A&K is ‘DSD-capable’, which means it can also handle DSD64 files, altough it doesn’t actually play them natively – it converts them to PCM.

Interface

Touch an on-screen button and it can be unresponsive at first, only to react when you repeat the action – propelling you forward through a couple of menus. Faster microSD cards struggle less, but it’s worth noting these issues occurred even with a Class 10 (very fast) card.

Even when not playing DSD files, operation never feels particularly snappy. Scrolling is never smooth, and there tends to be a slight delay between a single tap and the corresponding reaction.

Going from menu to album selection to track selection and back, it’s not unusual to glimpse a countdown. It’s not problematic, but it is noticeable and easily outpaced by the Sony’s Android 4.1 Jelly Bean operating system.

Thankfully the interface is straightforward and doesn’t have too many pages to wade through.

The home screen has a settings button and six boxes: Songs, Genres, Albums, Artists, Folders and Master Quality Sound, where you’ll find all your high-res tracks laid out alphabetically.

It’s all very basic, but at least you’ll never get lost.

Sound quality

The journey from start-up to music playback isn’t flawless, but start listening and you’ll soon stop caring. The AK100 MkII is a very talented performer. It has an alluringly warm, smooth sound signature. There’s a good degree of tonal balance too, and the listening experience feels completely natural.

Rhythmically it loses out to the Sony, but it makes up for that with a stunning midrange. Here you get far-reaching, fluid dynamics that really complement vocal-based tracks. Load up Lorde’s Pure Heroine and her voice is direct, organic and full of life.

Combine that with bags of detail and the A&K is right up there with the Sony as one of the best-sounding portable high-res music players we’ve heard.

Verdict

We’re very impressed with the Astell & Kern AK100 MkII, but there are issues.

It’s really expensive, and that’s not an easy price tag to swallow considering the need to spend yet more on memory cards (unless you’re happy with a paltry 32GB).

We’re pleased to see DSD support, but that’s offset by the sluggish interface.

It’s a shame, because we really like that audio performance. Overall it’s a good effort from A&K, but one that leaves room for improvement.

MORE: High-resolution audio: everything you need to know

See all our MP3 player reviews

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Getting surround sound on a budget usually means ‘home cinema in a box’,
but Danish specialist Jamo is here to offer succour to those who’d rather have the flexibility of a separates system.

The £230 A101 HCS5 speaker package is priced for those dipping a toe in the water and sized to please those for whom space is tight.

Tabletop stands/wall brackets included
It comprises five A101 satellites (three tabletop stands are included, and each speaker has a mounting plate for walls), each featuring a single 8cm driver, and an A101 sub (which can also be wall-mounted).

The sub’s 20cm driver and passive radiator work on a fixed boundary provided by the floor or wall. The need for angled cables means you’re stuck with those supplied.

The A101 HCS5 works gamely. The DTS-HD Master Audio soundtrack to the Big Lebowski Blu-ray is dialogue-heavy, but also features some quite expansive and punchy set-pieces, and the Jamo integrates well and offers good focus and detail.

Integration between satellites and sub isn’t too lumpy, and the soundstage is spacious enough to fill a small-to-medium sized listening room.

A great (and stylish) place to start
It’s not all good news, naturally. The top of the frequency range is coarse and rather lacking in extension, while at the opposite end the sub struggles to offer meaningful tonality and instead just bangs along a little.

But consider the performance in the context of the price and the A101 HCS5 is
an ideal way to get a feel for ‘proper’ cinema sound without leaping in at the deep end.

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There'll be a new European headquarters in Paris, Glen Fuller (right) in the US becomes lead product designer and Mirage will become a subsidiary brand under Jamo.

Product designers and engineers at Klipsch's global HQ in Indianapolis will work with the Danish firms that "have long been involved in Jamo's product design".

"This significant investment exemplifies our commitment in developing Jamo into a true global brand that will stay committed to its Danish design inspiration, while incorporating new technology and product variety needed for international success," says Paul Jacobs, CEO of Klipsch Group.

"By streamlining our product development team and unifying our European efforts, we can now guarantee more frequent product launches that exhibit breakthrough design and innovation."

As for the appointment of Fuller, he has 20 years' experience of product design and will continue to work at Klipsch's Indianapolis HQ managing the company's existing team of designers and engineers.

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It tends to be a cyclical affair at the head of the AV-tech leaderboard.

One manufacturer will go the extra mile in terms of performance, be first with the latest feature or simply slip out a product with a market-beating price, in order to take the crown.

Sony won three TV Awards from us in 2010, so it has a lot to live up to.

A royal flush of internet content
As is the case with some other manufacturers in this price and size range, the only thing missing is support for 3D.

As is almost de rigeur now, it sports an LED backlight – an edge-lit one in this case. It’s a full HD set and comes ready to connect you to Sony’s world of internet TV.

The company’s Bravia Internet Video is one of the better services around, not only sporting the almost ubiquitous BBC iPlayer, YouTube and so on, but also coming with Skype and the company’s Qriocity service.

As you’re probably aware, Sony has suffered security breaches that affected its PlayStation Network and the Qriocity service, with both suspended at the time of writing.

Qriocity streaming impresses
Once it gets ironed out, though, you’re in for a treat: Qriocity offers music via subscription and SD and HD video content for one-off fees, all streaming directly to your TV.

It’s a formidable addition to Sony’s AV arsenal, not least as the selection and quality of content – when it’s available – is brilliant. Accessing features such as Qriocity is done via a fresh take on the Xross Media Bar.

No longer does the interface take over the whole screen – instead, there’s plenty of the live picture on show, while menus run along the bottom and right-hand side of the display.

The remote is the same, but looks good, and while a fair size is neatly put together.

Pictures can look lacklustre
The most striking aspect of the picture is, conversely, how lacklustre it is. And no amount of tweaking can pep-up the EX524’s drab, understated palette.

At times it works nicely, with Harry Potter and the Deathly Hallows: Part 1 looking natural and subtle in brighter scenes. But if the setting is darker, the Sony can get really gloomy: turn the brightness up and the otherwise solid black levels appear drained of colour.

The Monsters Blu-ray shows a rich, refined picture, but bright colours lack punch. Motion is ultra-smooth as we’ve come to expect from Sony sets, and detail levels are excellent – but it simply can’t do bright, bold colours.

A strong Freeview HD tuner makes the most of the set’s insight, throwing in sharp edges and reasonable quality sound for good measure but again it lacks vitality compared to its key rivals.

This Sony has definite strengths: style, excellent internet TV features,
ease of use and a detailed picture – but the subdued character lets it down.

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People will definitely see you coming in these AKG headphones.

The luminous green cable sticks out a mile (although black and white are also available).

They’re light, even by in-ear standards and trying the three sizes of supplied tips ensures a snug fit. They’re also fitted with an in-line mic and volume control.

Being part of AKG’s Quincy Jones Signature Line, you’d think that sound quality would be up to a decent standard, but you’d be wrong.

They produce quite an attacking, powerful sound. Bass notes hit the listener with force, but higher frequencies sound seriously coloured and coarse.

There’s a real lack of refinement, which makes for an iffy listen.

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Amplifiers, CD players, speakers and the world famous Roksan turntables will all be given the familiar Sinful Saturday treatment, with "never to be repeated prices that are bound to appeal to music-loving hi-fi enthiusiasts", says Unilet.

The sale starts at 9am this Saturday, and deals on offer include almost £900 off the Roksan Radius 5 turntable, available for £599 with tonearm and Ortofon 2M Red cartridge.

Vernon Hamblin, Unilet director, says: "We've been in talks with our friends at Roksan and are delighted they have agreed to participate in the next of our Sinful Saturday sales."

Anyone who pre-registered on the company's Blue Murder Sale website will be sent details of the latest offers.

Otherwise just pop on down to the store at at 35 High Street, New Malden, Surrey KT3 4BY to bag yourself a bargain. The Saturday sales continue until June 4th.

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The HiSound PDAA-1 aspires, to put it plainly, to be an audiophile's portable music player.

Eschewing extra features, colour screens, slick interfaces and slimline designs, the player aims to major on sound – and sound alone.

Nothing fancy
It's a no-nonsense block with minimal buttons that feels sturdy and looks smart enough but isn't particularly pocket-friendly.

The two-tone screen is small and basic, but navigating your 8GB HDD – loaded via simple drag and drop – is easy, even if its design is notably without finesse.

You can load FLAC, MP3, WAV and WMA files too. There's a huge battery life, claimed at over 100 hours, an SD card input and an FM radio.

A bit of hiss
The supplied earphones are decent and sonically there's good detail and insight, though a hint of hiss at times.

Foals' Total Life Forever is a tricky track to deal with and, although it gives it a good go, the HiSound does toughen up a little at the top end.

There is, though, plenty of excitement and only a little space and scale is missing. Bass lines lack a little oomph but they're agile and light on their feet.

It's a capable player but doesn't quite make it to the top of the audio tree: better sound, along with features, style and ease of use, is available elsewhere, leaving this product a little lost.

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After 18 months of fence-sitting, Sony has joined the Freesat following.

Other than the Freesat tuner, this is identical to its stablemate, the KDL-40W5500: Full HD LCD with 100Hz Motionflow, four HDMIs, and a DLNA-compatible ethernet socket.

The usual Sony qualities shine through as soon as you play a Blu-ray. First, there's contrast: few sets go as black as this, but even in the darkest scenes it will find and reproduce any light with pure, punchy clarity.

Motionflow works well
The vibrant yet natural colours are another success, and Sony's Motionflow technology produces rock-solid, smooth and natural movement.

Switch to DVD and you can add clean and stable deinterlacing and upscaling to the positives. Sound is clear and direct, if a bit more sibilant than the very best.

There's very little between Freeview and Freesat in standard definition. Both have lots of detail and vibrant, punchy colours, but a touch more noise than the best.

Switch to Life on BBC HD, though, and Freesat suddenly makes sense. The Sony produces sharp, insightful, solid images.

Even backlight is bang on
This is usually the point in a Sony TV review where dodgy backlighting ruins everything, but our sample was impressive in this regard, too. In fact, its only problem is Philips' 42PFL9664, which is so detailed it manages to make the Sony look a touch soft.

That Philips is £500 more expensive, though. Next to its price rivals this Sony is a leader in the detail department. This is the best Freesat model we've seen.

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Inside, you'll find hundreds of reviews of the latest and best kit, including more than 20 sensational one-make separates systems for superior hi-fi and home cinema performance.

We've also covered compact hi-fi and home-cinema-in-a-box systems, DAB and desktop hi-fi kit, iPod docks, music servers, media players, televisions, games consoles and Blu-ray disc players.

Naturally, you'll also find reviews of all the essential extras you'll need to make your system sing, and in a special feature this issue, we've also included tips on how to squeeze the most performance from your kit without spending a penny.

The future of digital downloading
And if all that's not enough, we've also lifted the lid on the music industry's future in the age of digital downloading.

In our in-depth MP3 Revolution feature, we explore the changing face of music consumption, and ask what it means for hi-fi to come.

Along the way, we talk to everyone from the founders of Spotify and Last.fm to senior names at B&W, Chord Electronics, Cyrus, Linn, Meridian and Naim. Want to know what hi-fi will be like in the years to come? You need to read this...

The What Hi-Fi? Sound and Vision Ultimate Guide to Systems is on sale April 2nd priced £4.99 – you can find it in Asda, Borders, Sainsburys and WH Smith.

To find out more about this month's issue, see our Ultimate Guides page.