This is a lovely name for a pair of wired earbuds.

Sivga has introduced its new Lyrebird wired in-ear headphones, designed to produce "a high-end listening experience at an accessible price point".

The in-ears feature a quad-driver, hybrid driver array, consisting of a 10mm polymer dynamic driver handling the bass frequencies alongside a dedicated balanced armature unit designed to produce vocals with "exceptional clarity and detail".

A micro planar driver seeks to add a "smooth treble extension", while a 9.2mm multilayer ceramic driver rounds things off, dealing with "the finest high-frequency nuances".

Each earpiece is constructed using a handcrafted wooden faceplate, treated with resin to improve durability and, says Sivga, help reduce unwanted resonances for a cleaner, more refined audio signature.

The wooden faceplates combine with precision-machined aluminium alloy housings in further pursuit of an elegant yet durable aesthetic.

Included with the Lyrebird is a 4.4.mm balanced-ended cable combining silver-plated copper and gold-plated conductors, designed to help preserve the earbuds' "smooth, detailed presentation". The new in-ears also come with a leather carry case and a selection of silicone ear tips.

The Sivga Lyrebird are available now, priced at £149 / $149 / €167.

We reviewed another bird-themed pair of Sivga headphones – the over-ear SV021 Robin – back in 2024, and while their sound didn't quite take flight, there was enough evidence to suggest that Sivga's fledgling talents could one day see the brand soar.

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These are the best wired headphones you can buy

Sony has unveiled its latest pair of wired in-ear headphones, the IER-M500.

Developed in collaboration with monitoring engineers, Sony bills its latest in-ear headphones as being the perfect partner for musicians and performers who require "reliable and accurate in-ear monitoring" for both performance and practice.

The IEMs' fully sealed structure, combined with a large acoustic chamber, offers outstanding sound isolation, even in noisy live environments.

A set of 5mm dynamic drivers are complemented by a large acoustic chamber in pursuit of "deep, controlled bass", while the headphones' optimised internal structure has been designed to give a more refined high-frequency reproduction.

Designed to blend comfort and stability, the IER-M500 feature what Sony calls "fitting supporters".

This is a loop at the top of each earpiece which nestles under the inner ear ridge to anchor the IEMs in place. To further facilitate a better fit, four sizes of noise-isolating ear tips are included, as is a 1.6m detachable cable with a 3.5mm jack.

While they don't carry an official IP certification, Sony pledges that the IER-M500 are capable of handling moisture, such as splashes of water or human sweat, without too much trouble.

The IER-M500 will be available from August in a choice of Clear, Black and Red & Blue finishes, priced at £99 / $120 / €115.

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Best wired headphones: from outstanding in-ears to five-star over-ears

No cap, wired earbuds are #themoment, so if you're looking to soundmaxx your life, get on the trend and slay.

Don't worry if you didn't understand a word of that. Wired earbuds might be coming back among Gen-Z listeners and celebrity influencers, but this is a trend that everyone should be a part of. Wired in-ear headphones are convenient, cool and, most importantly, sound far better than their wireless counterparts.

If you're keen to hear what all of the fuss is about, might we suggest the SoundMagic E11C as a great place to start. The E11C are £35 at Richer Sounds, dropping by £15 from their initial £50 test price, and at this level, not much comes close. As our current What Hi-Fi? Awards winners in their class, this is a bit of a no-brainer.

Best Prime Day SoundMagic E11C deal

The SoundMagic E11C are no-fuss budget wired headphones that punch well above their weight. If you're looking to get on board with the wired trend (and you should be, by the way), they're the perfect place to start.

Budget they may be, but the E11C are surprisingly well-made, with a solid, sleek design complemented by a choice of small, medium and large silicone tips and an in-line remote.

In case you need reminding, they have the standard 3.5mm headphone cable connection, so you’ll need a dreaded dongle for connecting to USB-C or Apple Lightning ports. That's part of the 'retro' charm, right?

In terms of sonic performance, the E11C are a delight. They're sparky and peppy headphones that go big on detail and clarity, offering an entertaining sound that really delivers when it comes to putting the pep into your music's step. At this kind of price, we can't think of much better, though the SoundMagic E80D are also worth considering if you want a USB-C-ended alternative.

As we concluded in our review: "The E11C in-ears continue the fine work of their predecessors and deliver an entertaining, upfront sound, complete with a remote control and mic".

Grab them at Richer Sounds and feel young again.

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Beyerdynamic has revealed its latest pair of wired in-ear headphones.

The new DT 30 IE are billed as affordable in-ear monitors aimed at "musicians who want to get the most out of their performance", with a durable design that has been built "to meet the demands of modern live performances".

The DT 30 IE house a pair of 11mm dynamic drivers to deliver what Beyerdynamic describes as "a balanced sound signature", while the headphones themselves have been designed to offer excellent passive noise isolation to grant performers and casual listeners alike a greater focus on their music.

Each earpiece weighs in at a modest 2.7g to reduce wearer fatigue, while three pairs of silicone ear tips and three pairs of foam tips – both in small, medium and large sizes – are included.

To protect the in-ears from the elements during rainy live performances, the DT 30 IE offer an admirable IP54 certification, which means they should survive water splashes from any direction. A 3.5mm-ended detachable cable further adds to the new in-ears' durability credentials thanks to its robust, Kevlar-reinforced design.

According to Kevin Nietsch, Product Manager for Pro Audio at Beyerdynamic: "With in-ear monitors for live use in particular, we often see compromises between sound quality, isolation and durability. With DT 30 IE, we aim to change that – by consistently bringing this valuable balance to the stage."

The Beyerdynamic DT 30 IE are available now, priced at £99 / €119.

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Best wired earbuds 2026: top in-ear models tried and tested by our experts

In case you hadn't noticed, wired headphones are having a bit of a moment.

Our Editor-In-Chief, Alastair Stevenson, first questioned whether wired headphones were the new vinyl back in February, when a slew of publications reported that young people were embracing the now-retro technology, inspired by celebrities such as Harry Styles, Zendaya and Jacob Elordi.

Any fears that this was a one-off trend were seemingly quashed in May, when it was reported that wired headphone revenue was up 20 per cent in the first six weeks of 2026, and yet more articles flooded the web with images of wire-laden celebrities such as Zoë Kravitz and Lily-Rose Depp. Heck, there's even an Instagram account dedicated to the trend, with wireditgirls now boasting 20,000 followers.

It was enough to convince Lewis Empson (one of our senior staff writers) to trade his Award-winning wireless earbuds for a pair of wired earbuds for the first time in five years, where he wasn't quite converted but did discover some audio and quality-of-life upgrades.

Despite being a similar age to Lewis, this wasn't an experiment I could do – because, well, I never really stopped using wired earbuds.

I'm sure this won't be particularly big news to some in the audiophile community. But for my generation, to rock up to social events as a twenty-something with my wired earbuds plugged in was a bit of a social faux pas that would often lead to some bewildered comments.

Don't get me wrong, I have and continue to use Bluetooth earbuds. They continue to be my listening device of choice, and are invaluable for activities such as exercise or chores. But I've always had a cheap pair of wired earbuds on me too – and with a pair of Røde NTH-100 on my desk as well, I can't see myself ever truly cutting the cord.

The case for wired headphones

As you've probably seen championed here on What Hi-Fi?, one of the biggest advantages of wired headphones is audio quality.

Especially given the number of features expected these days, wireless headphones often have the cost split between several different parts – the drivers, amps, the Bluetooth receiver, the mics, the processor etc. All of which leaves little for manufacturers to spend on the actual sound quality.

Not with wired headphones. Sure, there are fewer features, but what you will get is a product more dedicated to sound reproduction. Gone is the lossy Bluetooth connection, and with a decent pair of wired headphones, you'll get a performance that will beat any similarly priced wireless offering.

And that's what I have with my Røde NTH-100. Sure, it's on the more budget end of the products we test, but the sound is far more revealing than the wireless sets I've owned, especially when plugged into my iFi Go Link Max too.

However, given that the Gen Z wired earbud of choice is £19 EarPods, it doesn't seem likely that audio quality is the main reason behind the recent revival. It seems that intentionally choosing a cheap, everyman, wired pair is part of the appeal, a rebellion against Big Tech and its ever-rising costs.

And I'm inclined to agree. While this may seem like heresy to admit in a hi-fi magazine, I have always had a sub-£10, somewhat disposable pair of wired earbuds as a backup, often the in-ear Blukar K9201. While they're certainly not going to trouble any of our current Award winners, they do actually sound surprisingly musical for their price, with an in-ear design that fits and performs far better than the EarPods in my opinion. And they've been a lifesaver more than once.

Several years ago, I accidentally left one of my beloved Sony WF-1000XM3 earbuds on a train. I had to pay £130 for a new one, while also sending the remaining earbud and case to Sony for several weeks. Not really wanting to shell out much more for a temporary replacement, a wired pair was my cheapest option. And while they quite clearly did not have the musical chops of the premium XM3, having wallet-friendly access to any form of headphones was invaluable.

When an XM3 earbud inexplicably went missing yet again just over a year later, the temptation to give up on wireless altogether was there. For all their faults, losing my budget wired buds in all their tangled glory was proving to be a much harder affair.

In fact, there have been several times when having a wired pair on me has proved beneficial, however budget they were. Every time I've got on a flight, I've never had to use the truly awful complimentary earphones, instead being able to plug in my own and having no issues hearing the in-flight entertainment.

Every time my Bluetooth earbuds have run out of battery, refused to connect or I've forgotten how to pair them, I can quickly whip out my wired pair instead. And if there's been anywhere I've not wanted to risk taking my premium £250 earbuds, whether a night out or a remote backpacking holiday, I've got fewer qualms about taking my reliable budget pair.

They were also rather useful for the Nintendo Switch, which didn't support Bluetooth audio for over four years and even now is still rather laggy.

The case against wired headphones

I'm sure you don't need me to go in-depth on the drawbacks of wired headphones. The ever-tangling wires are restrictive as soon as you need to start moving anywhere, and they lack advanced features such as noise-cancelling and waterproofing.

It's also becoming increasingly hard to find devices with 3.5mm headphone jacks. Ever since Apple removed the audio port from the iPhone 7 in 2016, most smartphone manufacturers have followed suit, essentially forcing most consumers onto Bluetooth. My trusty Asus ZenFone 10 has a headphone jack, but otherwise I'd need to take an adapter with me and choose between charging or wired music.

So am I going back to fully wired? No. But I don't think I'll ever embrace wireless completely either. The beauty of switching between the two means I get the best of both worlds – including when one of them suddenly becomes trendy again.

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The SoundMagic E11C wired earphones are proof that quality buds don't have to break the bank. At the full price of £50, you really will struggle to find anything better.

But you won't have to pay anything like this to own the five-star, What Hi-Fi? Award winners. That's because they're currently on sale for just £35 at Richer Sounds.

It really is hard to believe SoundMagic has produced something so good for such a low price. And if that sounds good to you, what are you waiting for?

Don't let the budget price fool you – these earbuds deliver solid sound quality.

As our SoundMagic E11C review reads: "Simply, the E11C sound really good. Make sure you choose the right tips for your ears – you should get a snug fit that not only isolates outside noise really well but ensures you hear their full sonic spectrum – and then you’re treated to a well-balanced, entertaining, energetic sound."

A listen to Drake’s God’s Plan highlights that clarity is a strength of these in-ears, while bass notes are delivered with depth and warmth. Whatever track we listen to, though, the E11C deliver life and control.

Build quality is solid, with an updated driver from the previous E10 model as well as a new, silver-plated copper cable. Small, medium and large silicone tips are provided for a snug fit.

As you'd often see on wired headphones from that era, a remote and mic are included on the left cable, which is useful, whether you're listening on a smartphone or a budget portable music player.

The sensitivity rating of 112dB is quite high, so the E11C earbuds can deliver plenty of volume while using less of your device’s power.

If you've long left 3.5mm behind but still want a wired connection, then we have no qualms in recommending the SoundMagic E80D. This newer release is at a similar price and still has the sonic signature of SoundMagic headphones, only with a USB-C termination.

But if you don't mind a 3.5mm connection and are after a pair of budget wired headphones, the SoundMagic E11C are our top recommendation. They have an entertaining, upfront sound, a solid build, and are now only £35 at Richer Sounds.

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Portland-based brand Campfire Audio has announced its latest wired earbuds, the Chimera, and like the hybrid creature of Greek mythology, they certainly have quite a lot going on.

Campfire's flagship in-ear monitors bring together four distinct driver technologies – dynamic, balanced armature, electrostatic and bone conduction – resulting in what the US brand describes as "a listening experience that is both vividly detailed and physically immersive".

Those four driver technologies equate to nine total drivers, with a 10mm glass dynamic driver handling the lower frequencies and a dual-diaphragm balanced armature taking care of the midrange.

Twin high-frequency balanced armatures seek to provide "clarity and articulation", while four electrostatic super-tweeters handle the highest highs with "air and precision". The Chimera even incorporates a bone-conduction driver, allowing for lower frequencies to land with "weight and impact".

Aiming to get the best out of this handsome array of drive units are an embedded pressure valve to regulate airflow behind the dynamic driver, as well as a final-stage tuning damper integrated into each nozzle.

The exterior shell of the Chimera is machined from magnesium and finished with a PVD coating. The faceplate features a carbon fibre-brass construction, wherein layers of brass are folded into carbon fibre and CNC-machined to form a patterned surface that is subtly distinct from unit to unit.

The new wired IEMs also include an ALO Audio Valence-6 cable, featuring four copper conductors alongside twin copper and silver-plated conductors, as well as three types of ear tips – traction silicone, standard silicone and marshmallow foam – in sizes small, medium and large.

According to Ken Ball, Campfire Audio's founder: “Chimera is the most advanced in-ear monitor we’ve developed so far. It reflects a new horizon in the performance of Campfire products and expands on what is possible from compact, portable audio systems. It brings together a range of technologies and engineering techniques to create an experience that truly deepens the listener’s connection to music.”

The Campfire Audio Chimera will be available around June 2026, at a suggested price of £6999 / $7500.

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Chinese audio manufacturer Sivga has unveiled its latest pair of wired earbuds, the M260 HiFi.

Blending a retro-inspired aesthetic with modern drivers, the M260 promise to deliver “balanced, high-quality sound at an accessible price point”.

Central to that sound is a set of 14.2mm dynamic drivers, built to provide listeners with an “expansive soundstage and impressive clarity”. The drive units deploy a copper-ring composite diaphragm for better control, aiming to reduce sonic distortion and grant a “smooth, non-fatiguing sound and natural vocal presentation”.

These in-ears also use a lightweight copper-clad aluminium wire voice-coil in pursuit of a faster transient response and improved clarity, while a neodymium magnet promises “precise control across the frequency range”.

For compatibility with a greater range of devices, the M260 are available with either a 3.5mm plug, or with a USB-C plug with an integrated microphone and a DAC capable of handling hi-res files up to 32-bit/384kHz.

The wired in-ear headphones have a 1.2m cable and are supplied with four pairs of supplied ear tips, as well as a protective fabric carry case.

According to Sivga, the new wired in-ears draw design inspiration from the golden era of portable audio, with the M260 harking back to the earbuds and headphones associated with vintage cassette players and early portable CD systems, thanks to their metallic finish and exposed grille design.

We tested the Sivga SV021 Robin (149 / $149 / AU$299) in 2024, and while they earned only a three-star rating, we certainly detected hints of real potential from what remains a relatively young audio brand.

The Sivga M260 are available now, with prices as follows:

- 3.5mm ended: £40 / $40 / €45
- USB-C ended: £45 / $45 / €50

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Best wired earbuds 2026: top in-ear models tried and tested by our experts

Take one look around a crowded London Underground train carriage, and you’ll see an interesting revolution in the world of audio. Wired earbuds are back, and they’ve become a serious trend among my generation. Yes, I can hide it no longer; I am Gen Z.

Let’s not dwell on that and get back to the matter at hand. Wired earbuds were, once upon a time, the only discreet in-ear option for listening to music from your smartphone, and there was rarely a point where I didn’t have a pair hooked up to my iPhone 5 during my time at secondary school.

For my sake, I won't share what I was listening to through those earbuds.

Speaking of, remember when phones had headphone jacks? I do, and while I have to give Sony credit for being practically the only manufacturer to keep the socket on its smartphones, I have come to terms with the fact that the battle against wireless audio alternatives is more or less over.

I bought my first pair of AirPods in 2018, and I quickly upgraded them to the first-generation AirPods Pros in 2021 after realising that cutting the cord really was the future – and I haven’t really used a pair of wired earbuds since.

However, my TikTok For You Page informs me that 2026 is the new 2016, and I’m seeing a lot of trendy, well-dressed individuals online and IRL with wired earbud cords trailing from their ears and into pockets.

In a feeble attempt to be vaguely fashionable, I have decided to imitate them. I have banished my five-star Bowers & Wilkins Pi8 wireless earbuds and my Award-winning Sony WH-1000XM6 headphones to a drawer, as my pocket is now occupied by a pair of wired USB-C earbuds.

And you'll never guess which earbuds I've picked...

The popular choice

I’ve decided to go with the most popular pair of wired buds, according to what I’ve seen online and in London: the Apple EarPods.

From what I gather, the main draw of these earbuds isn’t anything to do with their sonic credentials, but instead their features.

The wire is a huge asset for those who are prone to losing earbuds (a friend of mine is currently on his third or fourth pair of AirPods, I’ve lost count), as they naturally keep the buds attached to your phone.

Furthermore, the microphone on the Apple EarPods seems to be surprisingly good for a pair of £19 earphones. I put this to the test, speaking to one of my friends over the phone while exiting a busy London Underground station and the results, err, spoke for themselves – I didn’t have to repeat myself once.

I think this is a key reason that these earbuds are so popular, as I frequently see influencers on TikTok record voiceovers for their videos using the microphone built into the Apple EarPods. And of course, for calls or voice notes, for us mere mortals.

You also don’t have to worry about the battery running out. Plenty of times when using wireless earbuds, I’ve got comfortable in my seat for a long plane ride or coach journey, only for my earbuds (and the charging case) to be completely dead.

The plug-and-play guarantee, plus no pairing faff or battery anxiety, has been my biggest pro from making this swap. With wired earbuds, I know I’ll be able to enjoy my music on my morning commute without any complications.

Another bonus has been the physical controls. Using these has been an absolute treat after dealing with unreliable touch controls on many of the wireless audio peripherals I’ve used over the years. The tactile volume and play/pause buttons "just work", and I found myself using them more than I’d expect.

However, it’s not all rosy in Apple EarPods land. My biggest issue with these buds is the fit. Apple’s hard plastic earbuds have never agreed with my ear shape, and I’m reminded of many embarrassing instances in which I’d have to chase one of my AirPods as it tumbled down the road after leaping to freedom out of my ear.

The EarPods are, thankfully, a slightly better fit, and they didn’t fall out quite as much, but they didn’t feel very secure either. I struggled to get any sort of seal, and while I’m not expecting miraculous noise isolation without silicone ear tips (more on that momentarily), I found that my music was easily drowned out by the screeching of the Northern line.

I’ve had to turn the EarPods up to maximum volume to counteract this, whereas my Pi8 earbuds can happily sit at the middle volume point while remaining perfectly audible.

These downsides comprise the most important aspect of any earphones for me: audio quality. Which is why I don’t think I can make the EarPods my day-to-day earbuds.

The fact that I have to crank the volume up to compensate for a poor seal and lack of noise cancelling, and I've found that bass and dynamics leave a lot to be desired. That being said, I found the mids and highs to be clear and balanced, which also meant that vocals sounded pretty good.

Now, is it fair to compare a pair of £349 noise-cancelling wireless earbuds created by one of the most notable British hi-fi brands to a pair of £19 wired earbuds?

No, it is not, but considering I’ve seen plenty of people online supposedly drop their AirPods in favour of the wired alternatives, it’s also quite a relevant comparison.

This means that, unfortunately (but ultimately not surprisingly), I won’t be joining the trendiest echelon of London’s most fashionable individuals.

However, not all hope is lost…

The smart choice

Surprise! I haven’t just been using the Apple EarPods. I’ve also taken the five-star Sound Magic E80D buds for a test drive as part of this experiment, and these have yielded much better results.

These buds come with a selection of silicone eartips. Personally, the dual-layered eartips suited me, as I could burrow them into my ear holes for a more secure fit and better sound isolation.

Furthermore, these buds sound great and are a cut above Apple EarPods. They sound fuller and more dynamic, and the tighter seal against my ears does wonders for the bass.

It’s not all perfect. As expected, they don’t rival my Bowers & Wilkins buds in terms of volume or musicality.

I also found cable noise to be pretty problematic with these earbuds. The sound from the cable rubbing against my coat was irritating, although this may become less prominent in the warmer months when I can comfortably leave the house without layering up.

There's also the annoying “L” shape connector. It’s amazing for laptop use, but using them with a phone is another story – as someone who shifts their phone between hands fairly frequently, I found the palm of my hand often clashed with the wire.

And this is the one instance in which style counts (I’m testing “trendy” earbuds after all), so seeing “Made In China” staring at me as I plug them in is somewhat utilitarian.

My overall choice?

I won’t beat around the bush here – I’m going back to my wireless earbuds and headphones. I’m sorry.

That being said, there are some genuine audio and quality of life upgrades that I enjoyed while trialling these wired earbuds.

Not having to charge my earbuds, and the tactility of the physical controls, were both major bonus points, but the lack of noise cancelling proved to be the biggest hurdle in how I use my earbuds day-to-day. Having to crank these wired buds to their limit is far from ideal (and I’m being constantly nagged by my phone that the volume is too high).

For the sake of my music (and my ears), I’ll be crawling back to the imperfect, but ultimately preferable, world of wireless earbuds.

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Affordable Astell & Kern sub-brand Activo has announced its latest pair of wired in-ear headphones.

The Activo Scoop employ a five-driver array, teasing levels of sonic sophistication "rarely seen at this price point". That array features a trio of dynamic drivers and two balanced armature drivers, teasing a "natural sound signature that spans from a rich, full-bodied low end to crisp and articulate highs".

A proprietary acoustic port structure, meanwhile, complements the five drivers performance in pursuit of a clear, clean audio signature.

On the outside, the in-ears' streamlined exterior is designed to represent the form of "a pebble shaped by flowing water", all while delivering a secure and comfortable fit across extended listening sessions.

The Activo Scoop aim to be a flexible pair of in-ear companions, offering USB-C, 3.5mm and balanced 4.4mm connections for easy usage across a range of portable music players, laptops and smartphones.

The new wired earbuds also feature a braided cable, featuring silver-plated and oxygen-free copper wiring. The earphones themselves are furnished with two sets of ear tips – one set in silicone and the other made from memory foam – in small, medium and large sizes.

The Activo Scoop are available now, priced at £99 (further prices pending).

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Meze Audio has introduced the Astru, its premium wired in-ear monitors created "for listeners who demand true high-end performance without crossing into flagship pricing territory".

The new wired in-ears use a single drive unit in each headphone, delivering what their maker describes as a "visceral, full-bodied sound" that can still deliver the more layered, detail sound of conventional multi-driver designs.

At the heart of the Astru in-ears is a multilayer composite dynamic driver diaphragm, built to deliver "speed, control, and musical weight". The driver's diaphragm dome features more than 80 thin layers of gold bonded to a titanium layer and mounted on a PolyEther Ether Ketone (PEEK) base.

This arrangement, says Meze, helps to deliver a faster transient response, as well as a smooth and extended treble and a warm yet punchy signature.

Each earphone's housing shell is machined from a single block of titanium and then refined through a multi-stage electroplating process for a smooth exterior finish.

The new in-ear monitors come equipped with a premium anodized aluminium cable with a gold-plated 4.4 mm balanced termination alongside a 4.4 mm to 3.5 mm adapter. You're also furnished with five sizes of ear-tips ranging from extra small to extra large, as well as a protective pouch and a soft leather envelope for carrying your Astru around.

The Meze Astru will be available on 20th March, priced at £819 / $899 / €899.

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It's official: wired earbuds are not only back, but stylish and cool once again.

The latest Gen Z trend for "retro" technology has seen wired earphones become the new vinyl, with younger generations sporting Apple's wired EarPods in particular.

If you have more of a budget, however, we've found a deal on some wired earbuds we recommend a lot more. Our favourite wired earbuds to be precise: the Shure Aonic 3, now £167 at Amazon.

This might not look like much of a deal, considering we reviewed the buds at £179. But the Aonic 3 has seemingly had a price increase since our review, with Shure now listing the standard RRP as £225 on its website.

As What Hi-Fi?'s resident deals writer, I can attest that this is the cheapest I've seen the Aonic 3 in months, with the brilliant buds usually listing for north of the £200 mark.

For those concerned about the relative age of the Shure Aonic 3, have no fear. We put the wired earbuds through their paces once again for our latest Awards season, and found the Aonic 3 still held up as one of the best wired earbuds overall, winning yet another What Hi-Fi? Award as the best wired in-ear headphones over £100.

In short, any in-ear headphone fan who prioritises sound quality and wants a wired connection should have the Shure Aonic 3 on their radar.

Even testing with Radiohead’s notoriously difficult 15 Step, the Aonic 3 refuses to trip up.

"Even if the track isn’t necessarily your cup of tea, the Aonic 3 make it a delight to listen to," the Shure Aonic 3 review reads.

"There’s no sense of confusion, no jumbling of elements. These in-ears separate strands and knit them together in one glorious musical tapestry. The sense of rhythm and timing needs to be heard to be believed."

The buds are also pros at handling dynamics and detail, with superb musical reproduction that few can rival.

The Aonic 3 look like your classic in-ear monitors design-wise, with simple yet effective in-line controls for playback and volume. There's a whopping nine different eartips to choose from to optimise isolation and comfort, and a carry case and 3.5mm to 6.3mm headphone adapter are included too.

If you're after wired earbuds that excel in sound quality, it's hard not to recommend the Shure Aonic 3. We're struggling to think of a pair of in-ear headphones at this level that come close to the Aonic 3's transparency, detail, dynamics and musicality, and they're on sale now for £167 at Amazon.

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Wired earbuds are back in fashion, haven't you heard? Japanese audio band Final could well be seeking to join in on the trend with its latest pair of well-priced in-ear headphones, the A2000.

Aiming to offer "exceptional clarity" and an "energetic low-end performance" at a price that won't leave you penniless, the new wired in-ears are built around Final’s own 6mm 'f-Core DU' dynamic driver, with each component selected and engineered to deliver a "balanced and engaging sound across all genres".

The A2000 are designed to produce a stable fit, aiming to reduce pressure on the ear while maintaining security, resulting in what the brand promises is a natural, custom-like feel across a range of ear shapes and sizes.

To achieve that ideal seal, the new in-ears are provided with five pairs of silicone eartips (SS/S/M/L/LL), and comes with a 3..5mm-ended 1.2m cable.

The buds' housing features a black and blue two-tone configuration, finished with a textured coating which has been designed to resist fingerprints and maintain a clean, natural appearance.

The Final A2000 are available now, priced at £80 / $80 / €75. Our editor recently wrote how wired headphones are gaining in popularity amongst younger generations – and the sub-£100/$100 price could prove attractive to Gen Z music fans seeking to emulate the rafts of celebs currently rocking a wired set of buds.

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Campfire Audio has launched a new ‘Classic Green’ standard edition model of its Andromeda wired earbuds as part of its 10th anniversary celebrations.

This new ‘standard’ version joins the Black and Gold Limited Editions that launched last year and is set to become Campfire’s flagship model.

Significantly, the new ‘Classic Green’ Andromeda 10 will be available at a lower price than the limited edition models, coming in at £1699 / $1799 instead of £2299 / $2499.

With such a disparity in price, you could be fooled into thinking Campfire has had to make significant sacrifices for the new model, but according to the manufacturer, it has maintained the “same internal architecture and acoustic performance”.

The only differences between the standard and limited editions are the housing and two-pin cables they are respectively supplied with.

The ‘Classic Green’ Andromeda 10 standard edition earbuds are housed in anodised aluminium, which Campfire Audio says is lighter than the stainless steel housing found on the limited edition models.

The standard version are also supplied with the brand’s ‘Time Link’ cable – a silver-plated, pure copper modular cable with 3.5mm, 4.4mm and USB-C DAC connections, while the limited edition’s custom cable features a 4.4mm headphone jack containing gold-plated conductors.

The Andromeda 10 features 10 custom-balanced armatures (four low, four mid, and two high), while a new ‘NEMC’ (non-enclosed midrange chamber) and the brand’s proprietary ‘TAEC’ (tuned acoustic expansion chamber) are on board.

According to Campfire Audio, “together, these elements deliver enhanced resolution, greater dynamic range, and a refined sense of space while maintaining the musical balance that made Andromeda a benchmark in the category”.

Stocks are running low on the Black and Gold Limited Editions, but the new Campfire Audio Andromeda 10 wired earbuds in ‘Classic Green’ will be available to buy later this month.

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Back in 2018 when the Soundmagic E11C were released, wired headphones were a fair bit more common.

And while wireless headphones may have exploded in popularity since, we're happy to report that the SoundMagic E11C still do a fine job for those looking for a wired alternative, winning yet another What Hi-Fi? Award this year. And – no charging or pairing necessary!

Thanks to a discount, the five-star SoundMagic E11C are now available for £39 at Richer Sounds. That's just about the lowest price we've seen for these wired wonders, and a saving of over 20%.

Don't let the budget price fool you – these earbuds deliver on sound quality.

As our SoundMagic E11C review reads: "Simply, the E11C sound really good. Make sure you choose the right tips for your ears – you should get a snug fit that not only isolates outside noise really well but ensures you hear their full sonic spectrum – and then you’re treated to a well-balanced, entertaining, energetic sound."

A listen to Drake’s God’s Plan highlights that clarity is a strength of these in-ears, while bass notes are delivered with depth and warmth. Whatever track we listen to, though, the E11C deliver life and control.

Build quality is solid, with an updated driver from the previous E10 model as well as a new, silver-plated copper cable. Small, medium and large silicone tips are provided for a snug fit.

As you'd often see on wired headphones from that era, a remote and mic are included on the left cable, ideal for use with a 3.5mm headphone jack, whether on a smartphone or a budget portable music player.

The sensitivity rating of 112dB is quite high, so the E11C earbuds can deliver plenty of volume, while using less of your device’s power.

If you've long left 3.5mm behind but still want a wired connection, then we have no qualms in recommending the SoundMagic E80D. This newer release is at a similar price and still has the sonic signature of SoundMagic headphones, only with a USB-C termination.

But if you don't mind a 3.5mm connection and are after a pair of budget wired headphones, the SoundMagic E11C are our top recommendation. They have an entertaining, upfront sound, and a solid build, and are now only £39 at Richer Sounds.

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Sivga has launched the Nightingale Pro wired in-ear headphones, which feature a planar magnetic design instead of conventional drivers.

The newly developed driver has been engineered with a multi-magnet structure and precision-tuned using high-efficiency neodymium magnets.

According to Sivga, this results in a “natural, open and highly detailed sound, with fast transient response, extended treble, and rich low-end control”.

The planar magnetic design is made of an ultra-thin 0.008mm composite diaphragm with a 0.006mm aluminium ribbon conductor, resulting in a claimed frequency range of 20Hz - 40kHz.

This “delivers an expansive soundstage with clear separation and impressive dynamics”, according to the Chinese manufacturer.

A successor to the original Nightingale in-ears released in 2023, these in-ear monitors (IEMs) weigh just 27g (without the cable), while the enclosures are made of aviation-grade aluminium-magnesium alloy.

Each unit is finished with hand-polished solid-wood faceplates, too, continuing Sivga’s penchant for using wood in its headphones’ design, such as in the Sivga SV021 Robin.

The detachable 1.2m silver-plated oxygen-free copper cable connects to the IEMs via 2-pin connectors, while a 4.4mm jack at the other end allows for connection to various audio sources.

Sivga claims they are designed for long listening sessions and come with a selection of silicone eartips, as well as a carry case for the wired in-ears.

Available now via Amazon and selected retailers, the Sivga Nightingale Pro wired in-ears are priced at £269 / US$269. While their Australian launch date is TBC, they will be priced at AU$450.

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It’s official. Apple is having an event. September is the month when the Apple hype hits fever-pitch and the Cupertino giant tends to drop a new batch of iPhones.

But this year I’m hoping Apple’s “Awe dropping” launch event (which has been confirmed for Tuesday, the 9th September) brings not just the iPhone 17, but a new pair of flagship wireless earbuds too.

You see, it has been three years since Apple launched the AirPods Pro 2, the first pair of Apple buds to get five stars from our team of expert reviewers.

After a steady stream of four-star reviews, Apple finally got over the line with a pair of wireless earbuds that really set a new standard in audio performance for the company’s in-ears.

So you can understand my excitement for an AirPods Pro 3 model being, potentially, just around the corner. But I also have to be realistic. After all, Apple’s last headphones launch, the AirPods Max 2 arrived with a bit of a whimper.

New colours and a USB-C socket were the extent of the changes made to the company's flagship over-ear headphones, and although wired lossless listening was added six months after launch, Apple didn't really make huge strides with them.

The three key things I’m hoping for from a new flagship Apple pair are quite simple: even better sound quality; improved noise-cancelling; and boosted battery life.

With the 3rd Gen pair, I’m really hoping that Apple approaches it from an “if it’s not broke, don’t fix it” angle. And I fully expect Apple to stick with its tried and trusted formula.

Which is not a bad thing. Sure, the stem design has been around a while – but it works. Comfort levels are excellent, and you can listen for hours without discomfort.

When it comes to sound quality, we have seen a few models launch that have pushed the envelope in this department, none more so than the Sony WF-1000XM5, which deliver a superbly detailed, dynamic and musical sound.

Despite their age, the AirPods Pro 2 aren’t out of their depth, and I wouldn’t expect Apple all of a sudden to change the balance and flavour of their earbuds – they are five-star performers, after all. Could Apple tweak its driver design? Quite possibly, although it could also alter the sound using the DSP (Digital Signal Processing) in the earbuds.

The six-hour battery life was solid when the AirPods Pro 2 launched, but that will hopefully be given a boost by a new model. The Sony WF-1000XM5, for example, boast eight hours with ANC enabled, and I’d like to think any new AirPods Pro should get close to or be able to match that.

Of course, if the earbuds come with a more advanced processor and a more advanced noise-cancelling algorithm that requires more power, then that longer battery life might have to be sacrificed.

Speaking of noise-cancelling, Apple will need to be at the top of its game to trouble the current class-leading Bose QuietComfort Ultra Earbuds (2nd Gen). The AirPods Pro 2 aren’t a slouch in this department by any stretch, but I expect some refinement here.

Perhaps more advanced real-time monitoring of external noise, or a focus on more specific frequencies, could be the order of the day here.

Of course, the final big question relates to price. I expect it to stay the same, at £249 / $249 / AU$399. That's in the ballpark for all the key models competing for the top spot of best noise-cancelling earbuds.

Bose and Sony have positioned themselves as slightly more premium (Bose’s recently launched QuietComfort Ultra Earbuds (2nd Gen) cost £299 / $299 / AU$450), so while it would be disappointing for the price to be hiked to this level, it wouldn’t come as a huge surprise.

However, I’m not sure Apple could justify pushing the price that high unless it added significant value or changed the design to use more premium materials.

Of course, there’s also the question of how the global financial landscape might impact pricing. Hopefully, the answer is that it won’t; but I will be tuned in on the 9th of September to find out.

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Noble Audio has announced its new flagship in-ear monitors, the Kronos, with a price point that's firmly in cavernous-pocket territory.

Launching at $4500 / £4100 / €4750 (Australian pricing and release date are currently unavailable), the Kronos represents an evolution of Noble's limited-edition Chronicle model, originally created for the company's 10th anniversary.

According to Noble, strong demand from collectors prompted the company to develop this production version, with refined specs and premium materials.

The latter centres around precision CNC-machined titanium shells, paired with some rather funky, eye-catching titanium damascus faceplates – an exotic material choice compared to more conventional aluminium or resin materials found in most high-end IEMs.

It goes some way to explaining the price tag, at least.

Under the hood, Noble has engineered a complex nine-driver hybrid configuration within each earpiece, utilising a six-way crossover network with precision-matched drivers.

The system incorporates two dynamic drivers (7mm bass, 10mm sub-bass), a dual-membrane bone conductor, four Knowles balanced armatures covering mid and high frequencies, plus two Sonion electrostatic drivers handling ultra-high frequencies.

Noble states that this setup achieves sub-35 ohm impedance, ensuring compatibility with smartphones alongside dedicated digital audio players and portable amplifiers. The design also includes an integrated stainless steel wax guard for durability.

Each unit is hand-assembled, with individual driver matching by Noble's in-house team.

The package includes a custom hybrid cable featuring palladium-plated pure silver and OCC silver conductors, terminated with 4.4mm balanced connectors with a titanium yoke design and 2-pin connectors. A premium case and accessories are also supplied.

Overall, the Kronos represents the company's most ambitious pricing strategy to date, costing many times more than our current recommended pair of high-end earbuds – the Sennheiser IE 900.

Naturally, we’ll have to reserve judgement on its price-to-performance ratio until we get a chance to take it for a spin ourselves.

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US audio manufacturer Campfire Audio has revealed its latest pair of in-ear monitors, the Grand Luna. Campfire is a big fan of an outlandish in-ear design – just look at their outlandish Alien Brain IEMs as proof – and the Grand Luna's angular, distinctive aesthetic is once again sure to grab the eye.

Will they grab the ear, though? The new IEMs combine a set of 14mm planar magnetic driver with twin balanced armatures, aiming for a listening experience that is "effortlessly smooth, richly detailed, and deeply immersive".

Externally, each earphone unit is housed in a red transparent shell. The Grand Luna feature a stainless-steel lid hand-finished at Campfire’s workshop, while the earpieces themselves feature a Campfire Audio logo and a textured stainless-steel finish.

The Grand Luna come with three interchangeable terminations included in the box: 3.5mm single-ended, 4.4mm balanced, and a USB-C DAC module powered by a Cirrus Logic Master HiFi CS43131 chip.

According to Ken Ball, Campfire Audio's Lead Acoustic Designer: “Grand Luna is the perfect balance of new and intriguing tuning, design, and materials, while having a performance that is incredibly accessible and versatile. It can be a one-size-fits-all solution for any level of listener or audiophile, while still providing something fresh and explorative".

The Campfire Grand Luna IEMs are available now, priced at £1399 / $1399.

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The world moves very quickly these days. Our younger readers will scarcely believe it, but there was a time when not everyone in the world carried an Apple or Samsung smartphone in their pocket. In those hazy bygone days, Netflix used to send you actual DVDs, Manchester United weren’t a bottom-half football club, and practically every pair of headphones was connected using the humble wire. How times have changed.

While wireless earbuds and their over-ear counterparts have come to dominate the ever-expanding headphone market, wires have refused to go away entirely. SoundMagic is one of a few companies committed to still flying the flag for Team Wired, though its latest pair of in-ear headphones – the E80D – are nothing if not up with the times. Using a direct USB-C connector in place of the more traditional 3.5mm, the E80D are built to slot straight into almost any modern smartphone (such as the iPhone 16, Sony Xperia 10 VI and Samsung Galaxy S25 Ultra), computer or audio device. For budget-conscious wired wearers who refuse to be left completely in the Dark Ages, they’re a tantalising prospect.

Price

With the E80D retailing at £39 / $44 / AU$66, you won’t find many cheaper in-ear headphones from reputable or established brands. One of their main alternatives comes from SoundMagic’s own stable in the shape of the Award-winning E11C which, at the time of writing, cost around £40 / $45 / AU$60. Those extremely talented alternatives have been around for a few years now and, more importantly, use a traditional 3.5mm connection rather than USB-C.

Build & design

The E80D are a pair of SoundMagic headphones through and through, and that’s a good thing. The brand behind the E11C hasn’t strayed too far from its winning formula with its latest set of in-ears, and while that USB-C connector is the stand-out novelty, handling our test sample’s cable, earpieces and in-line remote tells us that we’re on reassuringly familiar ground.

It’s good ground to be on. While a pair of budget buds at this level could have been as tactile and durable as the cheap tat you might get for free on a tour of a middling art gallery, there’s sufficient robustness and quality here to make us feel, if not overawed, then relatively pleased. The earpieces themselves are constructed using a smooth and solid aluminium housing, while the “precision” cable hints at some long-lasting durability as we bend and pull it to test its credentials. That cable comes with a three-button in-line remote for controlling playback volume, playing or pausing tracks and accepting incoming calls, the latter of which is facilitated by the E80D’s built-in microphone.

The E80D come equipped with three pairs of bowl-shaped silicone eartips available in small, medium and large sizes, as well as a set of medium-sized double-flange silicone buds which grant a little added security if you want a slightly more anchored fit. We spend most of our listening time with the standard silicone ear tips due to their pleasing blend of comfort and fit, and while some may judge the tip material to be a little hard at the front edge and lacking the pliability of costlier alternatives, we generally experienced little discomfort or insecurity during listening sessions over an hour in length.

Call quality

As you might expect, the SoundMagic E80D don’t exactly go big on features – there are no noise cancelling or spatial capabilities to be found – but their in-line microphone does allow for hands-free voice calling. That’s a handy boon, even if the performance of the budget headphones doesn’t exactly blow us away: voices come across as somewhat rounded off, muffled and a little lacking in personality or expression, while external sounds from nearby traffic, for instance, can often intrude on your conversation. You’ll still be able to have a comprehensible dialogue using the E80D, but maybe switch to your phone’s built-in microphone if you want a more polished performance.

Sound

Equipped with a set of dynamic 10mm neodymium drivers and capable of handling hi-res audio files up to 24-bit/96kHz, the E80D seek to deliver “premium sound quality” without a massive outlay, promising a performance that balances “strong bass, soaring highs, and clear mids”. That’s a lot of promise for something at this low price.

We use a variety of sources to perform our testing, plugging that USB-C connector into any amenable slot, from a standard iPhone 15 to a Samsung Galaxy S22+, as well as a variety of compatible laptops. Wherever the SoundMagic buds go and whatever they play, we recognise the same clarity and cohesion that is so evident with the brand’s Award-winning E11C counterparts – tracks have a sense of sparkle about them as the E11C’s clean, balanced approach allows separate musical strands to shine across a pleasingly neat soundfield.

The amount of information the SoundMagic in-ears are capable of retrieving is striking given their modest price. Vital timbres are uncovered keenly and clearly, granting the crunching guitar on Alice In Chains’ Lesson Learned enough bite to put a salivating Rottweiler in the shade, whereas the birth and decay of each haunting piano keystroke on Radiohead’s Codex are tracked with near-forensic insight. Perhaps what impresses us most is the body and substance the E80D provide – not content with mere sketches, they endeavour to fill in your tunes’ all-important shades and hues.

Do note that you’ll have to move higher up the price ladder if you want headphones with a greater knack for dynamics. While the E80D’s rendition of Radiohead’s Codex is unquestionably enjoyable and evidences much of what they do so well, it also hints at the headphones’ relative limitations. Capturing the subtle decay of each keystroke is no mean feat, but we’d prefer to see more dynamic differentiation between every touch of the keys. The SoundMagic are slightly flattened dynamically, and while we’re not expecting Everest peaks and Mariana Trench troughs for this kind of money, more premium wired alternatives will grant you a keener feeling of differentiation between each note to more readily bring out the track’s emotive character.

The E80D are certainly rhythmically capable, even if costlier alternatives will again eclipse their capabilities. A perfect pair of performers will grip onto the carefree spark of Sabrina Carpenter’s Espresso while expressing the tune’s bouncy, playful sense of sway – the E80D manage to get the core feeling of the track, but they could do with a touch more propulsive snap to push the peppy tune along at a full canter. The E80D can “move it up, down, left and right”, even if they could do with a little more of the track’s titular caffeinated beverage to put more pep in their step. Still, it’s an admirable effort from a likeable pair of budget in-ears that still communicates the spirit of Carpenter’s signature bop.

Perhaps the E80D’s greatest trump card, aside from their clean, detailed sound, is their sense of finesse, providing a musical picture that lives and breathes rather than lying flat and lifeless. Pearl Jam’s Wreckage opens with an appropriately lean, textured acoustic guitar that’s soon joined by deep, forceful drum kicks and tinkling piano motifs floating in the upper reaches, all before Eddie Vedder’s distinguished pipes take centre stage and rising supporting vocals soar above. This is an attempt at genuine sonic curation, and it gives a great song a far more tangible sense of structure.

Verdict

SoundMagic E80D’s USB-C connection offers undeniable convenience for most modern smartphone users, but it’s their strong sonic performance that gives them their true value. With capabilities belying their cost, these wired in-ears are far better than their modest outlay would suggest.

First reviewed: February 2025

SCORES

• Sound 5
• Build 4
• Comfort 3

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It's been a funny start to the year, but something we didn't have on our 2025 bingo card was a collaboration between industrial rock pioneers Nine Inch Nails and high-end headphone brand Campfire Audio. More specifically, Campfire has teamed up with Nine Inch Nails member, multi-instrumentalist and touring artist Alessandro Cortini to produce the Clara, a luxury pair of in-ear monitors which aim to "redefine audio excellence for both music lovers and professionals alike".

The new IEMs use a hybrid driver configuration, bringing together Campfire's latest dual-magnet dynamic driver with an advanced dual-diaphragm balanced armature unit. The higher frequencies, meanwhile, are taken care of courtesy of Campfire’s dual super-tweeters, paired with the company's own 'Tuned Acoustic Expansion Chamber' technology which strives for an optimised soundstage and better imaging for your music.

Campfire Audio's products do tend to catch the eye, with the sleek new Clara boasting a printed transparent acrylic finish with navy internal elements. They're also designed to be easy on your ears, with a design that Campfire claims seamlessly blends comfort and style. Hopefully they don't Hurt too much in your ears...

According to Alessandro Cortini: “Making music is equally creating and listening: the idea of sound choices informing the next compositional move, thanks to how you perceive them. Clara injects emotion into accuracy, allowing audiophiles to enjoy a precise and engaging sonic portrayal and musicians to amplify their creativity through the vibrant and physical emotional transfer that it provides. I hope Clara brings you joy.”

The wired in-ear headphones come with two cable options – 3.5mm and 4.4mm – a carry case, and foam, silicone and Final Type-E ear tip options in sizes small, medium and large. There's also an included Pilot DAC dongle with a built-in ESS Sabre Pro chip which offers hi-res/DSD/MQA compatibility via USB-C.

The Campfire Audio Clara are available now, priced at £1999 / $1999 / AU$4299.

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Astell & Kern sub-brand Activo has launched a new pair of premium in-ear monitors. The Activo Q1 are hybrid IEMs which, thanks to their durable design, light weight and focus on sonic performance, promise to "please audiophiles on the move". Following the release of the Activo P1 portable music player, the Q1 could be an ideal partner for the company's affordable PMP.

Being a hybrid design, each earpiece houses a Dita-made 9.8mm dynamic driver housing working alongside a single balanced armature counterpart. Activo describes the 9.8mm driver as the "engine behind the Q1", offering a "full-range sound with clarity, speed and a punchy bass".

Central to each dynamic driver's performance is a bespoke brass casing which Activo claims lends itself perfectly to providing rich, clear sound with plenty of warmth and depth. According to Activo, the dynamic drivers take care of the smoothness of the lows and mids, complemented by the Knowles drivers' "airy, spacious highs".

The Q1 come fitted with Cardas' Mocca 2 cable, constructed using 32 strands of Cardas conductors per wire. The new IEMs are also equipped with 4.4mm balanced and 3.5mm single-ended connecting plugs for greater versatility across audio sources. We've often griped that many in-ear headphones don't offer enough ear-tip options, so it's nice to see Activo providing five different tip sizes in a bid to furnish you with the ideal fit.

The Activo Q1 in-ear monitors are available now, priced at £299 / $349 / €399.

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Zeitgeist has already created headphones out of whisky barrels and those inspired by a Fabergé Egg; now it is turning over a new leaf by making earbuds out of trees.

The Trees collection continues the German company's mission "to bring art and soul to the mundane world of in-ear headphones." While the internals are the same, each of the four models is created from a different species: Sequoia (Giant Redwood), Zebrano, Redheart and Olive.

The wood is all responsibly sourced, and each piece "reflects a commitment to preserving nature’s beauty while crafting products that inspire a deeper connection to the natural world," according to Zeitgeist.

Because each has its own unique grain, no two pairs are alike.

The Sequoia pair are made from trees that can grow up to 115 metres tall, while the Zebrano feature zebra-like stripes. Redheart feature vibrant red and pink colours that deepen with age, and the Olive are marked by brown and yellow streaks.

All pairs are handmade in Zeitgeist's workshop near Heidelberg, Germany. Sequoia and Zebrano cost £899 (around $1100 / AU$1800), while Redheart and Olive are a little cheaper, at £799 (around $1000 / AU$1600). You can buy them now direct from Zeitgeist or from retailers including Selfridges and Harrods. We can see them being very poplar.

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While wireless headphones are all the rage these days, there's still a strong case to be made for wired options –  especially if you don’t want to worry about yet another device to charge. 

In fact, the best wired headphones offer more than just battery-free convenience, providing superb sound quality and plenty of bang for your buck, without the need for all the wireless tech adding to their cost. Which brings us to the SoundMagic E11C – a pair of wired earbuds that have garnered multiple What Hi-Fi? Awards and a coveted five-star rating. They have just hit their lowest price in the past year on Amazon!

Right now, you can grab these exceptional in-ear headphones for just £39.98. That's a solid £9.97 off their usual price of £49.95, representing a 20% discount. While that might not seem like a massive price drop in absolute terms, it's a significant saving on an already affordable pair of earphones that punch well above their weight.

One of the E11C's standout features is well-balanced, entertaining sound. Whether you're listening to bass-heavy tracks or more delicate acoustic pieces, these earbuds deliver a full-bodied sound with a clear, upfront delivery that brings energy and life to your music. They also manage to deliver bass notes with decent depth and warmth, while maintaining a clear midrange and crisp top end.

Sound aside, the E11Cs also impressed us with their build quality. Their aluminium casing feels sturdy and premium, while the silver-plated copper cable is a nice touch, especially at this price point. They also come with a choice of small, medium, and large silicone tips, ensuring a snug fit that isolates outside noise effectively. Who needs ANC?

Their practicality also goes beyond simply not needing to be recharged. If you happen to have a smartphone with a good ol' 3.5mm headphone jack (such as the excellent Sony Xperia 1 VI), then the in-line remote and mic diligently serve up easy control over volume and playback. Naturally, this also makes them a great choice for use with a budget portable music player and/or DAC. And, at this new low price of just £39.98, they offer a compelling package that's hard to beat.

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If you think you know in-ear headphone design, think again. Nascent brand Zeitgeist Germany has arrived to reinvent the rulebook not just on how a pair of in-ear monitors should look but on which materials and components should be used to make them, revealing two trailblazing models constructed from some decidedly distinctive materials. 

The bold new brand was founded by Thomas Halbgewachs, formerly of Beyerdynamic and a subsequent collaborator with various other high-end headphone companies. Zeitgeist Germany has been launched in collaboration with fellow German brand InEar, the established maker of in-ear stage monitors, so hopefully the new collections will have the sonic capabilities to match their out-there designs. 

Models from the two new collections – "Artisan" and "Whisky" – are available now, with a "Trees" line set to arrive next month. The Artisan Collection of IEMs are constructed using Karelian birchwood, the same luxurious, patterned material once used to construct a Fabergé Egg for Tsar Nicolas II. Even Campfire Audio doesn't have such crazy compositions, and that's a brand with headphones inspired by the moon landings and bright green, thousand-pound in-ear Andromeda monitors in its roster.

IEMs from the Whisky Collection, meanwhile, are constructed using emptied casks of Islay Malt Whisky. The wood is cut from the barrel and then oiled, with the drivers and internal components of the monitors then inserted. Zeitgeist aims to expand its range for the tasty-sounding range, sharing plans for a Flamed Island Malt iteration and a Tennessee version for fans of that signature Southern flavour.     

Zeitgeist Germany claims that it has put as much effort into how its new in-ear headphones sound as how great they look. The company studied thousands of ear impressions to find the fit that will be best for most wearers, with a design that contours to the ears for a more ergonomic experience. 

Whichever set you choose, you'll be provided with four sizes of silicone eartips, with additional tips available from the official store. Both pairs come with a premium cable in the box, constructed using an eight-core structure and braided from high-purity, silver-plated monocrystalline copper, available in 3.5mm and 4.4mm versions. 

Zeitgeist Germany's new in-ear monitors are available now, with the Artisan priced at £799 / $899 / €899 and the Whisky retailing at £699 / $799 / €799. The Whisky IEMs come in a choice of five colourways – vivid amber, blue, green, black and purple.

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Meze Audio has attracted quite the following in recent years, having designed several aesthetically and sonically pleasing wired over-ear headphones in its native Romania. Two years ago it added a pair of high-end in-ears to its ranks, and now it welcomes a more accessible earbud to the family – Alba.

Following their debut at High End Munich in May, the Alba are striking not only for their classy, pearl white finish but also their USB-C inclusivity. While they are terminated with a traditional 3.5mm jack for plugging into a portable music player or another traditional source, they also come bundled with a USB-C adaptor for fuss-free connectivity to the iPhone 15, Android phones and other USB-C sources. This adaptor naturally features a built-in DAC, which you would hope is more advanced when it comes to the all-important digital-to-analogue conversion process than 'standard' off-the-shelf USB-C adaptors.

Additionally, the Alba come with four sizes of eartips.

With 'Alba' meaning ‘first light’ in Romanian, they have been designed for those who are "inspired by elevated audio enjoyment" and thus looking to transition from wireless earbuds to wired. After all, the best wired earbuds sound significantly better than the best similarly priced wireless earbuds.

Despite the earbuds' precious, pearlescent looks, Meze says that their combination of zinc alloy and anodized aluminium parts make for a resilient build, at the heart of which is a 10.8mm dynamic driver. 

The Alba's £139 / $159 asking price puts them in the firing line of Shure's class-leading Aonic 3, and they will need to be more than a pretty face to overcome their closest rival. If Meze's over-ear efforts are anything to go by, the Alba should be a promising package indeed.

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Campfire Audio has never been a particularly subtle brand. The premium audio company, known for striking in-ear designs such as the Fathom and Andromeda IEMs tends to blend angular, out-there configurations with rather exclusive price tags. The company's new monitors – the rather spiffy Moon Rover in-ears – continue that tradition, melding out-there looks with the sort of exclusivity that should have money-laden audio collectors reaching for their bulging wallets. 

Built by hand in the States, just 888 units of the Moon Rover will be available worldwide, meaning that nabbing a pair for yourself will put you in a pretty select club. According to the makers, the Moon Rover in-ears offer "the most neutral, analytical sound signatures of the brand’s current line-up", with crystal clear detail complemented by an impactful upper register and refined, balanced mid-low frequencies. 

In pursuit of such sonic ambitions, the Moon Rover monitors utilise 12mm magnetic planar dynamic drivers, capable of moving at high speeds for a responsive, analytical and more well-defined sonic reproduction.

Each unit is hand-finished and encased in a flame-treated titanium shell to give the in-ear headphones that striking signature look. The monitors themselves feature a PVD steel spout and gold-plated screws, while the exterior shells sport a colourful, cosmic look with hints of blue, purple, and yellow depending on how they catch the light. 

The new IEMs also come with an included waxed leather case and a 3.5mm cable, as well as a choice of small, medium and large foam and silicone tips. The Campfire Audio Moon Rover are available now, priced at £1199 / $1199 / AU$1999. 

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Apple's EU-pressured move to USB-C from the company's favoured Lightning connector for the iPhone 15 was big news in tech circles, and while USB-C is generally considered to be a more effective and efficient aperture, it caused consternation among those more traditional users who weren't keen on making the switch. 

Perhaps SoundMagic's latest wired earphones will be enough to cause any lingering detractors to accept the rise of USB-C. Built to slot straight into most established Android devices and the most recent iPhone, the new E80D take influence from the brand's flagship model, the E90C, incorporating design elements from established SoundMagic IEMs with a focus on usability and compatibility.

With many phone manufacturers having ditched the traditional 3.5mm headphone port, the SoundMagic E80D allow you simply to connect directly to a given device's USB-C charging port.

The new budget earphones feature a built-in DAC chip capable of supporting 24-bit/96kHz audio files to give access to high-resolution playback. SoundMagic promises a superb wired connection which aims to reduce latency and distortion, meaning you could also use the new E80D for watching videos or even gaming if you want the edge over your virtual rivals.  

While the new in-ear monitors take influence from established models, SoundMagic claims to have redesigned its 10mm neodymium magnetic moving coil drivers for the E80D, offering playback that is "engaging, dynamic, and enjoyable" regardless of the source or device being used.

The differences go beyond those moving coil drivers. The Chinese brand has used the same cable technology as found in the SoundMagic E11C earphones, with a similar silver-plated copper design that hopefully offers the same results as those excellent Award-winners. Like the E11C, the E80D come with a built-in microphone and three-button controls for easier access to music playback, voice-assistance activation and voice calls.

Daubed in a gunmetal finish, the SoundMagic E80D are available now for a price of £40 / $46, roughly £10 less than the original price of the E11C in-ear headphones (tested at £50).

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Anyone familiar with Campfire Audio will likely associate two things with the high-end headphones brand. The first is those angular, sculptural designs with striking colour finishes that you will either be completely enamoured by or find genuinely offensive. The second is that few members of the Campfire Audio stable come cheap; last year's reimagined Solaris Stellar Horizon in-ear monitors retailed at £2669 / $2670 when they first filled the shelves of Harrods and Selfridges. 

Things aren't exactly different for the American brand's latest IEMs. The new Campfire Fathom wired in-ear headphones retail north of £1000 / $1000 and are encased in a machined aluminium body which is coated with a black anodised exterior, topped off by prismatic rainbow stainless steel fasteners to create a visual contrast between dark and light. They're not quite as brightly-finished as some of its other models (see their Orbit wireless earbuds), so they might appeal to those who prefer more understated looks.

Each earbud features six custom-made balanced armatures, with dual custom tweeters to produce a "detailed presentation" and a "glowing musical experience". For more than a grand per pair, we'd hope so. They also include a pair of drivers for the midrange and another pair for the bass frequencies. The aim is to deliver "precise sound reproduction across the entire frequency range" so that you can hear music that's as close to the original recording as possible.

The high-end IEMs come with two cable options, a 3.5mm stereo cable and a balanced 4.4mm terminated cable. Both feature eight silver-plated copper conductors arranged in a ribbon configuration for what Campfire promises are "superb ergonomics" and a smoother, less distorted sound. 

You also receive a folding leather carrying case for storage and protection on the go, as well as two sets of small, medium and large eartips: three "marshmallow" foam and three silicone options.

The Campfire Audio Fathom in-ear headphones are available now from select retailers, priced at £1049 / $1049.

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Welcome to Audiophile Club. The first rule of Audiophile Club is: you do talk about Audiophile Club. The second rule of Audiophile Club is: you do talk about Audiophile Club! If there was a Fight Club-inspired set of eight rules to join such a club, Sennheiser might vote to make the third: everyone is welcome. (After all, the film’s third rule – if someone yells “stop!”, goes limp or taps out, it’s over – probably wouldn’t be suitable, though going limp at hearing your favourite song sound the best you’ve ever heard it wouldn’t be inconceivable!) 

The German company has long manufactured higher-end ‘audiophile headphones’ for the more discerning music listener fortunate enough to be able to afford them, but head to that very section on the company’s website and you’ll see that these ‘audiophile headphones’ – almost all wired (perhaps that would be Sennheiser’s suggestion for a fourth rule…) – now include a range of in-ear and over-ear pairs at a range of prices, from as little as £130 / $150 / AU$240. 

Indeed, Sennheiser has in recent years increased the accessibility of this revered range (which, if you were wondering, sits above its standard ‘Headphones’, its true wireless earbuds and noise-cancelling wireless over-ears, for example) – and none more so than with the introduction of the IE 200 wired earbuds. The Sennheiser IE 200 come into the range at that aforementioned price, taking up the entry-level spot and arguably representing the brand’s most valiant effort yet to encourage more people to experience ‘audiophile’-grade sound quality.

Carrying that ‘IE’ naming can be seen as wearing a badge of honour at this point, considering more than one of the company’s IE earbud models has achieved acclaim – the IE800 from 2013, for example, were three-time What Hi-Fi? Award winners despite their then-£600 price tag. That is a figure which would no doubt be considered just as ludicrous an amount to spend on earbuds today as it would have back then. Much more recently, the IE900 proved their sonic quality so completely that we couldn’t help but conclude that they justified their four-figure asking price. The IE series has since become more attainable with the arrival of the IE600 and IE300, albeit to less fanatical fanfare in the latter case, which we didn’t believe cut the mustard against their closest rivals.

While fewer headphones manufacturers are bothering with mid-range wired headphones as much as they might’ve done 10 years ago, there remains an excellent sonic benchmark for the Sennheiser IE 200 to strive for. So, how do they get on?

Design

Anyone considering wired in-ears at this level is almost certainly after better sound quality than wireless alternatives at the same price point can offer them. Either that or they have forgotten to charge their previous wireless pair one time too many. Wired in-ear headphones are not more hassle-free to wear than the floods of Bluetooth earbuds available (not least as many phones now require a dongle to accommodate them), nor do they carry as much street cred. They can’t respond to app control, nor can they connect to two devices at once (without a physical splitter).

To put it crudely, they remain two drivers inside two earbud housings on a wire terminated with a jack, capable of delivering sound but little else. In the IE 200’s case, such components keep their ‘Audiophile’ end of the deal. The 1.2m braided cable feels reassuringly durable and, thanks to MMCX connectors at the earbud end, can be swapped out for another down the line. The finger-length ends nearest the earbuds are covered by a tubing designed to wrap around ears for a more secure fit, while the relatively non-descript black housings themselves are discreetly compact. Three sizes of silicone and memory foam eartips, plus a pleather pouch (less ‘audiophile’ but reasonable for the price), complete what amounts to the kind of generous, well-considered design you might expect from a company that has been in the business for as long as Sennheiser has. The only small negative here is the absence of an in-line remote, something the IE 200 share with the rest of the range.

Sound

Another discernible lineage between the IE 200 and their siblings is their sonic character, which is as recognisable to us as a Warhol painting would be to a pop-art fan. Clear, rich and weighty, they’re instantly likeable, and anyone who has experience with similarly priced wireless earbuds may very quickly realise that they don’t get you anywhere near the Sennheisers’ level of openness, clarity and insight. It’s worth noting that if you aren’t hearing that lushness and are scratching your head over our descriptions of ‘rich’ and ‘weighty’, you should try different ear tips and make use of that tubed cable as a hook to achieve a secure fit and correct seal.

The fullness that extends the frequency range, from its potent highs to its very present lows, does wonders for the plunging percussive and operatic vocals that make up Young Jesus’s Rose Eater. The song’s theatrical composition is lapped up by the Sennheisers’ authoritative sonic signature like milk from a saucer in front of a kitten. The IE 200’s level puts them on the cusp of what we’d recommend using with a budget portable DAC, though know that the earbuds’ transparency is enough for owners to benefit from having one. We unplug the earbuds from our Macbook Pro’s 3.5mm output and put them into the jack of the Chord Mojo 2 (admittedly an overkill choice for the IE 200’s capabilities; an AudioQuest DragonFly Black would be more like it), and the extra detail is palpable – there is greater precision to the melody-leading piano notes, more textural variation to the twinkling sounds, and greater impact to the song’s drum-strike substratum.

Over to something a little sprightlier, Big Thief’s folk-infused Spud Infinity, and the IE 200 communicate the joviality with a clear, agile midrange. The spring-boing sounds at the farthest sides of the soundstage are a reminder of the earbuds’ breadth, while their audibility as they move beneath the vocal and guitar melody is a testament to the Sennheisers’ finer-detail retrieval. 

This is about as get up and go as the IE 200 like to go, though. Their easy-breezy nature turns away from attacking tracks that demand drive and bite, which leaves such music feeling a little misrepresented. Play some of our highly charged go-tos – M.O.P.’s Ante Up, Eminem’s Bezerk and The Chemical Brothers’ Das Spiegel – and the deliveries feel a little restrained, like a sober introvert in a karaoke bar.

Verdict

Ultimately, as with their design, the IE 200’s performance justifies their inclusion under the brand’s ‘Audiophile’ umbrella. More sonic sting in place of some of that smoothness, and an in-line remote if we’re being picky, would make them ideal earbuds at a level where the wire still makes sense for outright sound quality. But even without that, the Sennheiser IE 200 make good on their mission to welcome more people to the Audiophile Club.

SCORES

• Sound 4
• Comfort 4
• Build 4

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Exactly two years ago, Sennheiser brought its high-end wired earbuds engineering down to a more accessible price point than ever before with the launch of its IE 300, which featured trickled-down technology from its more premium IE models. Today, Sennheiser is taking yet another step to bring premium wired sound to even more people with the launch of its IE 200 in-ear headphones.

Described by Jermo Koehnke, Sennheiser's audiophile product manager, as an "open invitation for everyone to enjoy high-end sound", the IE 200 features the company's 7mm extra-wide band transducer – just like the pricier IE 300, though it isn't clear at this stage whether there are any discrepancies between the drivers in the two models. Sennheiser's extra-wide band driver is used in the IE models all the way up to the excellent IE 900, so the IE 200 should hopefully share some of that successful pedigree.

Sennheiser certainly believes as much, claiming that harmonic distortion is "almost non-existent" in the IE 200's delivery and that they have a natural frequency response curve that is typically found in earbuds "costing significantly more".

Recognising that universal earbud fit can sometimes be a tricky business, Sennheiser has designed the IE 200 so that owners can mount the included ear tips in one of two positions, giving them control over the balance they get. Viscoelastic foam and silicone ear adapters in multiple sizes aim to block ambient distractions while maximizing low-end response, too.

A revised, braided cable has been designed to further reduce cable noise, at the end of which are 3.5mm stereo plugs and MMCX connectors. Perhaps unusually for this price point, there does not appear to be an in-line remote – something we criticised in the IE 300. Let's hope they can make up for that in the sound department this time...

The Sennheiser IE 200 are available to pre-order for £129.99 / $149 / AU$239.95 and will be on sale at the end of January 2023.

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The popularity of wireless earbuds cannot be ignored. They are, after all, an ultra-convenient type of headphone. Clever features including wireless charging cases, noise-cancelling and touch controls are all boxes that can be ticked by earbuds that cost less than the Shure Aonic 3.

The Shures have to rely on eartips for noise isolation, an in-line mic for controls, and a trusty headphone 3.5mm jack to connect to your smartphone (assuming it has one). 

So, why would you even consider spending this kind of money on a pair of in-ears for your smartphone or portable music player? Spend a minute or two in the company of the Aonic 3 and you’ll soon understand why.

Sound

Radiohead’s 15 Step is a true test of timing. There aren’t many elements to the track, but it can easily trip up any speakers or headphones that aren’t paying attention.

Yet the Shure Aonic 3 absolutely nail it. Even if the track isn’t necessarily your cup of tea, the Aonic 3 make it a delight to listen to. There’s no sense of confusion, no jumbling of elements. These in-ears separate strands and knit them together in one glorious musical tapestry. The sense of rhythm and timing needs to be heard to be believed.

The same is true for their dynamic ability. Playing Billie Eilish’s No Time To Die from the eponymous upcoming Bond film, the Shures capture the track’s eerily quiet opening before gradually layering the vocal and instruments neatly on top.

Delicate keystrokes of a piano combine with an intimate vocal that oozes detail. You can hear every breath and undulation in Eilish’s voice. The song burns slowly and grows gradually in anticipation of the song’s dynamic crescendo. Even without the visuals that usually accompany a Bond movie track, the Shures leave you completely spellbound.

In the nicest possible way, the Aonic 3 are the kind of headphones you can put on and just forget about. There isn’t a single element that sticks out – bass notes don’t protrude and highs don’t cut too deep. The Shures are honest, transparent and true to the original recording. There’s detail and analysis, but the headphones stop well short of sucking the life and emotion out of the music.

Comfort

Inspired by Shure’s old E4 in-ears, the Aonic 3 use a single vented balanced armature driver. They’re the smallest earbuds in Shure’s current line-up and we’re big fans of the fit and level of comfort that they offer. They’re lightweight, and the fact the headphone cable can be secured over the top of your ears instead of just hanging down means the Aonics feel secure at all times.

Shure wants to give you the best chance possible of getting a good seal for your ears, and to that end it presents you with nine different pairs of eartips spanning four different styles, including silicone, foam and flange designs. Other earbud manufacturers should take note.

There’s a certain knack to getting the swivelling eartips in place, but once you’ve nailed the technique down and slotted them in, you’ll have excellent isolation.

Build

Along the cable for the right ear is an in-line remote with mic. Depending on whether you’re using an Apple or Android phone with the Shures, you can flick a switch to enable the playback and volume controls to work. It’s a simple yet effective way of making sure as many users as possible are catered for.

The headphone cable can be detached from the earbuds (using their MMCX connection) so you can transform them into a pair of wireless in-ear headphones. For this, you’ll need Shure’s True Wireless Secure Fit Adapter (£175, $179).

A sturdy circular carry case for storage comes as standard and you’re also provided with a 3.5mm to 6.3mm headphone adapter should you want to plug the Shures into a traditional stereo amplifier. Shure has kept things simple when it comes to finishes – the options are either black or white.

Verdict

If we’re being picky, we could argue that the Shures aren’t the most thrilling pair of headphones we will ever hear. Yet they still manage to impress track after track after track. We’re struggling to think of a pair of in-ear headphones at this level that even come close to the Shures for transparency, detail, dynamics and musicality.

If you’re happy with the price tag and can resist the bells and whistles promised by wireless earbuds, you'd be crazy not to give the Shure Aonic 3 a chance.

Review published: 2020. Review updated: November 2024.

SCORES 

• Sound 5
• Comfort 5
• Build 5

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Founded in 2005, a relative flash in the pan compared to many audio companies, SoundMagic has risen from obscurity to boasting multiple award winners, most notably with its budget in-ear headphone range.

And the SoundMagic E11C headphones are another pair that has gained a multitude of plaudits. They launched back in 2018, but in 2023 we’re happy to report they’re still pretty magic and our pick as the best affordable wired in-ear headphones. 

Build and comfort

Clearly not scared of spicing up a winning recipe, the SoundMagic E11C earbuds have an updated driver, which promises improvements to the sound, and a new, silver-plated copper cable. The iconic red headphone cable is no more.

Otherwise, the E11C earphones look the same, with a typical cylindrical, aluminium casing design and a choice of small, medium and large silicone tips, also now in silver. There’s a storage case, too, should you be so organised as to use one of them. In case it now needs stating, they have the standard 3.5mm headphone cable connection, so you’ll need a dreaded dongle for connecting to USB-C or Apple Lightning ports.

On the cable for the left earphone are the remote control and mic. It’s a standard three-button that should work with Apple and Android phones, giving you volume and stop/start functionality. As has become the norm, the remote is light and unobtrusive, so you shouldn’t suffer from unwanted cable noise.

Sound

SoundMagic may have updated the driver but the company’s sonic signature remains familiar. Simply, the E11C sound really good. Make sure you choose the right tips for your ears – you should get a snug fit that not only isolates outside noise really well but ensures you hear their full sonic spectrum – and then you’re treated to a well-balanced, entertaining, energetic sound.

Listen to Drake’s God’s Plan and the deep, sub bass notes hit as they should, with decent depth and warmth, while the hi-hats tick along clearly at the top end. Drake’s processed vocals sit comfortably in the midrange, again clarity is a strength from these in-ears. Aphex Twin’s T69 Collapse proves a more challenging workout but thanks to a crisp, not-quite-too-bright treble, the track’s energetic drums are delivered with life and control.

A 4/4 dance track is always a good test of timing and Algol by Troy is no-nonsense pounder, complete with off-beat stabs to keep things interesting. The SoundMagic E11C earphones again deliver an enjoyable listen and only in direct comparison to the What Hi-Fi? Award-winning Beyerdynamic Byron earphones does the timing fall down just a fraction, the Byrons sounding a little more together and thus delivering a more engaging sound.

This is about the only small hole to be picked in the E11C in-ears. Their full-bodied sound is certainly led by a clear, upfront treble, while the Byrons deliver a tauter sound with a bit more solidity to the bass, but this is largely personal preference.

It’s also worth pointing out the sensitivity rating of 112dB is pretty high, meaning the SoundMagic E11C in-ears can deliver plenty of volume. It also means they’ll use less of your device’s power at average listening volume, which is a bonus.

Verdict

Another great pair of SoundMagic budget earphones, the E11C in-ears continue the fine work of their predecessors and deliver an entertaining, upfront sound, complete with a remote control and mic. And we can’t argue with that.

Review published: 2019. Review updated: November 2024.

SCORES

• Sound 5
• Comfort 5
• Build 5

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In a headphones market that revels in innovative features such as true wirelessness, active noise-cancelling and voice control, the spec sheet for a pair of wired earbuds can seem rather prosaic – like a Henry vacuum cleaner in a field of cordless Dysons. 

But such features have little to do with sound quality, and in the context of performance-per-pound value, wired models usually have the advantage over their wireless peers.

The Sennheiser IE 300 fit in the wired category, and despite not ticking some of the boxes in terms of popular features, there’s plenty to talk about where technical design and performance is concerned.

They're not the only wired Sennheisers in the game, either, with the newer IE 200 model offering a lower price tag (around £130 / $149 / AU$240) and, arguably, better pound-for-pound performance, too.

Build and comfort

Sennheiser says every component inside these lightweight (4g without cable) in-ear IE 300 headphones has been carefully tuned to produce optimal performance, from a low resonance membrane foil to the resonator chamber, which is designed to compensate for the masking effects of trapped air in the ear canal with the buds in use.

The company has refined the 7mm ‘Extra Wide Band’ drive unit also, as well as the chamber-within-a-chamber structure that helps manage airflow in an effort to produce a defined bass and equally satisfying midrange.

Its pro audio-inspired design is most obvious in the quality of its detachable cable; the inclusion of memory foam eartips in addition to silicone (three sizes of each are provided); and the availability of optional balanced (2.5mm or 4.4mm) cables. Everything from the earbud casing’s glitter-speckled finish to the thick 1.2m cable, which has been reinforced by para-aramid fibre for its durable characteristic, is an illustration of the IE 300 build quality, too. 

While the compact, hard-shell carry case doesn’t exude quite the same luxury as the earbuds, it is pocket-friendly and hardy, and undoubtedly a practical accessory. The same could be said for an in-line remote, the absence of which is a small negative mark here.

The earbud housings are practically compact too, and while a little fiddling is required to bend the thicker top part of the cable around your ears, when they’re in, they stay in – and you’d be just as likely to remove them from your ears due to interruption from a natural disaster than because of any discomfort. When it comes to physical build and ergonomic comfort, Sennheiser’s formidable reputation has been maintained here.

Sound

What’s less certain with Sennheiser earbuds is the sound character we’re going to be met with. The audio brand has nailed class-leading insight and tonal neutrality in countless models, but has also shown an inclination towards richer, fuller and not so universally appealing sonic signatures. Unfortunately with the IE 300, it’s more a case of the latter.

The IE 300 make a great first impression, producing the depth of bass, frequency-wide solidity and general scale of sound that is hard not to be impressed by from such tiny units. We play Mogwai’s Ceiling Granny and there’s meat and grubbiness behind the oppressive guitar lines, not to mention hefty sting to the blistering electric squeals. The Sennheiser’s low-end weight, which isn’t particularly agile but not exactly ponderous either, can really anchor a song that warrants it in ways earbuds rarely do, such as LNZNDRF’s Barton Springs At Dusk.

The lows are rather overstated, though, stealing the spotlight like a lead singer in a band and relegating the treble to the role of the drummer at the back of the stage. The varied instrumental that rides above the bedrock of deep, uncompromising bass in the 20-minute track – the keys, percussion and series of kaleidoscopic synths – is somewhat muted in comparison. Richness at the low end comes at the expense of some midrange crispness, shedding excitement as a consequence.

Meanwhile, the class leaders at this level, the Award-winning Shure Aonic 3 (£179, $199), set a better example, trading the Sennheiser’s impressive richness for a more agreeable neutral tonality. They may not match the IE 300’s bass depth or the midrange solidity – these Sennheisers sound wonderfully full and smooth with voices – but they offer greater clarity, crispness, agility and, in turn, a snappier presentation.

Play the vocal-led Cassandra Jenkins’ Michelangelo, and while the Sennheisers showboat with a bold soundfield filled with lush-sounding acoustic guitars and warm, solid vocals, the intricacies of Jenkins’ delivery and the fine instrumental textures are overlooked in comparison.

The Shures are notably more rhythmically and dynamically proficient. Playing the first track of Black Country, New Roads’ debut album, Instrumental, they offer the more compelling listen; cymbals are convincingly cutting as opposed to softened, there’s greater texture to the oboe and trombone melodies, and the drum rhythm is tighter and faster, propelling the track’s rightful frenetic energy. 

They focus on every musical strand, even as new ones come in. It would be unfair to call the Sennheisers boring or vague, but they are notably less astute and more subdued than their more talented, more affordable rival.

Verdict

Without having to concern itself with contemporary features, Sennheiser has been able to prioritise the fundamentals for the IE 300 – build and sound quality. It nails the former, and there’s plenty to like in the latter: they’re bolder and more authoritative-sounding than most, with majestic bass depth and wonderfully rich vocals among the highlights.

However, they aren’t convincing all-rounders, and just fall short of the transparency and entertainment of the more affordable, class-leading competition at this level. If you're dead set on wired Sennheisers, maybe consider the solid performance of the cheaper Sennheiser IE 200 as a more budget-friendly alternative.

SCORES

• Sound 3
• Comfort 5
• Build 4

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Dedicated headphone specialist Meze Audio (see our Liric and 99 Classics reviews for the most recent examples) and has announced the launch of ADVAR, the newest addition to the company's wired earphone lineup.

Powered by a 10.2 mm single dynamic driver, ADVAR promises a "powerful, smooth, velvet-like sound that matches a variety of listening preferences." 

ADVAR's makers say that no detail was sacrificed; these headphones were made for those looking to enjoy effortless sound, day after day. They should also be easy to drive and pair well with any device, thanks to their high sensitivity and low impedance – Meze Audio ADVAR promise accuracy and fidelity from 10Hz to 30kHz (which far exceeds frequencies a human ear can detect).

“When we developed ADVAR, our goal was to create something meaningful – piece of audio that’s artful, spiritual, and timeless”, said Antonio Meze, lead designer and founder of Meze Audio.

And the name? The company explains that for the archaic civilisations of Romania, an ADVAR was similar to a talisman or amulet – believed to be all powerful; a symbol of the absolute meant to bring blessings to those who wear it.

On the outside, the solid stainless steel chassis design was inspired by various raw shapes found in nature, including the rounded surface of hematite. Meze Audio promises that ADVAR's sinuous, ergonomically contoured shape will allow the earphones to be removed with ease and ensure comfort during long listening sessions.

Meze Audio’s ADVAR will be available worldwide starting 15th April, retailing for £649 / $699 / €699 (around AU$1019). 

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Wired in-ear headphones are a dying breed, especially at the budget end of the market, but manufacturers with a rich history in this category don’t seem ready to pull the plug just yet, especially when it comes to more premium pairs.

Take Shure, for example. It boasts years of experience in the world of in-ear monitors, and a number of five-star ratings for its audiophile headphones would suggest the company knows a thing or two about making a decent pair. So, can we add the Aonic 5 to that list?

Design and comfort

At £449 ($499, AU$879), these earbuds are the top in-ear model in Shure’s Aonic range. On paper, their design credentials look suitably impressive. The Aonic 5 use three high-definition balanced armature drivers in a dual woofer and single tweeter configuration.

You can actually get a closer look at the inner working of the buds through the clear section of each earpiece. It acts as a window and makes a welcome change to the dull black plastic used to cover the majority of headphones that pass through our test rooms. The Aonic 5 are available in three different finishes – Matte Black, Gloss Red and Crystal Clear.

Each earpiece uses an MMCX connector to attach to the supplied headphone cable. This makes it easy to switch the cable out in favour of Shure’s optional true wireless secure fit adapter (£175, $179, AU$309), which can transform the Aonic 5 into a pair of wireless earbuds.

The headphone cable also includes simple in-line controls for volume and playback and a switch that allows the controls to work with either iOS or Android phones.

Anyone who has seen or used Shure earbuds in the past won’t be shocked to discover that you have to loop the headphone cable over each ear. It takes a bit of practice to make it a smooth process but they do feel very secure in place.

As you’d expect, Shure provides plenty of tips (quite literally!) to help you try and get the perfect seal. You’ve got three different sizes of Comply Professional P-Series memory foam tips, three sizes of more rounded foam tips, three sizes of silicone eartips and one set of flanged tips. We found the isolation to be excellent on the whole (Shure claims that they can block out up to 37dB of noise) and the tips we settled for in the end (the more rounded design) were more than comfortable enough for long listening sessions.

But it’s not just the eartips you can experiment with here. Packed up in the sturdy, circular carry case is a small tube that looks like it might contain top-secret government information. It’s actually labelled ‘hardware kit’ and has a slim metal cylinder chained to it.

This hardware kit actually contains two pairs of extra nozzles for the earbuds. These aren’t replacements for the ones currently fitted to the Aonic 5 should one snap or get damaged; each pair can alter the balance of the sound produced by the earbuds. It’s not a new concept and we’ve seen a few manufacturers offer this customisation over the years, but it’s the first time we’ve seen it on a pair of portable Shures.

The Aonic 5 come with the ‘balanced’ nozzles already installed, with ‘warm’ and ‘bright’ nozzles provided in the tube. Want to swap them around? This is where the thin metal cylinder comes in. It’s actually a tool that fits into grooves in the metal collar at the bottom of each nozzle. Once it’s in place, simply unscrew the collar, switch nozzle and screw the collar back into place. There’s a certain knack to getting the tube and collar back in place, but once you’ve picked your preferred nozzles, it’s not something you’ll really need to do again.

Sound

So how do the different nozzles fare, and which would we recommend using?

‘Bright’ does exactly what it says on the tin – but for us, it overcooks things. The emphasis on the top end is quite marked with highs sounding more cutting and less pleasant, in our opinion. The strings and electric guitar in Mac Miller’s Cinderella sound quite brash and the track makes for uncomfortable listening.

While it’s a stark jump from ‘balanced’ to ‘bright’, the extra impact and fullness switching to ‘warm’ are a little easier to live with. The situation doesn’t feel quite as unbalanced and you can hear an increase in weight and substance although it is quite subtle. Bass notes don’t become overbearing, but after to-ing and fro-ing between the trio of tips, we’d still suggest sticking with the balanced nozzles, for the best, er, balance of weight, agility, detail and refinement.

Now, you can use the Shures with a phone (provided it has a headphone jack, of course). However, to really make the most of their unquestionable talents you should really feed them quality audio files from a quality source. Using a laptop and streaming in lossless CD quality? We’d seriously suggest using the Shures with a dedicated external DAC/headphone amp.

A device like the AudioQuest DragonFly Red would be a good starting place. Provided you’ve got the appropriate cable, it’s a DAC that can also be used with iOS or Android devices too.

Because in conjunction with the right source and material, the Shure Aonic 5 sound sensational. There’s a wonderful sense of clarity and they shower the listener with detail. They’re particularly talented with midrange information – vocals sound superb, rich in detail and natural expression. The in-ears do a great job expressing energy in the lead vocals of Don Broco’s How Are You Done With Existing?. As the track progresses, punchy, powerful drum thwacks mix majestically with soaring, razor sharp guitar riffs.

Switch to a spot of drum'n'bass, in the form of Logistics’ Stay True, and the Shures really display a sharp sense of timing. They surf and ride out the track’s elongated bass notes and switch effortlessly from the deep, probing notes to more shallow waves.

There’s enough bass to satisfy but the Aonic 5 also manage to deliver subtlety and detail in spades. The texture and tone of every note are communicated effortlessly to the listener. This level of transparency is a huge asset, but it does also mean the Shures are quick to highlight flaws in recordings. Anything a little rough around the edges will sound exactly that.

Verdict

If you’re not planning on going wireless any time soon and your set-up justifies premium earbuds, you’re not going to be disappointed by the Aonic 5.

The ability to change their sonic balance is a nice option to have, but not vital as we find that their 'standard' sound oozes class and quality and completely invests you in the music you’re listening to. And that’s all you can really ask for, right?

SCORES

• Sound 5
• Comfort 5
• Build 5

MORE:

Read our review of the Shure Aonic 3

Read our round up of the best in-ear headphones: budget to premium

The in-ear headphone market has to be one of the toughest audio markets to crack, but Klipsch has had a regular sprinkling of success stories over the years. Aside from the T5M wired under review here, the firm's most recent triumph was in 2018, when the impressive R6i IIs walked away with not just a What Hi-Fi? Award, but a Product of the Year in the wired in-ear headphones category.

Klipsch has thrown its hat into the ring once more with its latest model, the T5M Wireds. Can we add this pair of in-ears to the list of successes too?

Comfort

Comfort is subjective, of course, but we find the Klipsch earpieces aren’t too bulky, nor are they too fiddly to get in place. Each one houses a 5mm dynamic driver and features a 5.6mm nozzle, on to which you can pop Klipsch’s patented oval earbuds.

We’ve always been big fans of these particular tips and find them to be among the most comfortable on the market. The silicone used is soft and offers not just comfort but also a great seal, which helps with noise isolation. You get four different sizes of earbuds included in the box, so you shouldn’t have any problems finding one that suits.

Build

We don’t normally highlight headphone cables for praise, but the one that Klipsch uses for the T5M looks and feels the part. The material used gives them a rugged quality and it features a few attractive specks of copper, which is a Klipsch trademark.

Like many in-ear headphones, the Klipschs can generate a decent amount of cable noise, so we’d suggest using the small clothing clip that comes in the box. The T5M Wired headphones are available in either black or white, and as with many earbuds at this level, you get a pouch to carry them around in.

Beneath the left earpiece are an in-line mic and one-button control – there’s no room for a volume control on this model, but the upside is they will work with a wide range of smartphones. Although Klipsch hasn’t positioned the T5M as a sports headphone, it’s worth noting that these buds are IPX4 certified, meaning they’re both sweat- and water-resistant.

Sound

Play Billie Eilish’s Bad Guy and these Klipschs waste no time powering through the intro with a steady stream of solid, powerful and punchy bass notes. The T5M deliver each one with precise, sharply defined edges and you immediately hear the buds have a fine sense of agility. The vocal bleeds into the track with a good sense of space around it, as does the track’s constant background ‘clicking’.

These in-ear headphones succeed in painting a nicely layered picture and once the track’s bassline transforms from a steady beat to one that dips and dives, the T5M follow it faithfully. Bass weight is perfectly judged and you never feel shortchanged. Highs are crisp and controlled with no trace of hardness or brightness.

These earbuds do dynamic subtlety too, with the guitar strings on The Streets’ Dry Your Eyes dragging you through the mournful track. The Klipschs’ natural tone and delivery help you get a real sense of the emotion here. 

They show a sense of maturity that can be quite rare in earbuds at this price point. Skinner’s vocal sounds fluid and textured with the buds providing great insight. They also display an excellent sense of timing as the different strands of the song flow and intertwine.

Verdict

If you’re still using the in-ear headphones that came bundled with your smartphone, then you’re missing out. The Klipsch T5M Wired in-ears are up there with the very best at this kind of money and will make a big difference, whether you’re using them with a music streaming service such as Spotify or video streaming equivalents such as Netflix. They’re highly recommended.

SCORES

• Sound 5
• Comfort 5
• Build 5

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Sennheiser’s new IE 900 in-ear headphones are a purist design, engineered with the singular purpose of offering the best sound quality possible at this level. Their technical highlights include a single 7mm drive unit per earbud, an intricately machined aluminium casing, and the use of some clever resonance chambers inside that casing to improve the driver’s frequency response.

New premium wired in-ears are far less common than they used to be, and understandably so. In-ears have always been about portability and ease of use, so the rise of wireless connectivity makes perfect sense for such a product. Add complementary technologies such as noise-cancelling and app control into the equation and the ideal features template for such headphones looks set.

Yet, this template doesn’t put sound quality front and centre. And if that’s paramount to you, then fully wired remains the way to go and, with that, all the flexibility and convenience features go out the window.

Build and Comfort

High-end in-ears invariably suffer from low perceived value. It’s hard for a manufacturer to make something like the IE 900 look and feel as expensive as they are. But Sennheiser has given it a good go.

The IE 900 are packaged in a neat box and come with six pairs of ear tips that are split evenly between silicone rubber and memory foam. There are three 1.2m-long cables; one has a standard 3.5mm plug and two are balanced with 2.5mm and 4.4mm ends respectively. Disappointingly, there’s no sign of an in-line remote on any of them.

It’s on the inside where Sennheiser’s work is most apparent. The engineers have chosen to go with a single driver rather than the more fashionable multiple unit approach that many rivals take. The advantages of this simpler approach are improved cohesion and better phase performance. A single unit has no need for a crossover of any sort, so avoids the innate distortion of such a circuit.

Having just one drive unit to cover the entire frequency band (5Hz-48kHz) promises a seamless sound, but it’s also hard to design one that has a suitably even response.

Sennheiser's solution is two-fold. Firstly, the 7mm diaphragm is made of a blend of polymers in a bid for rigidity and low resonance. But not all the resonances can be controlled this way, so three Helmholtz resonator chambers have been machined into the aluminium case structure. These operate in the 6.5-10kHz range and absorb the driver’s excess energy at these frequencies, leaving a much more even balance. Even the tiny port that feeds the driver’s sound into the ears is specially shaped to control the frequency response.

Pairs of drive units are matched during the production process, so the sound from the left and right channels is as consistent as possible. The result should be a more solid and focused stereo soundfield.

These earphones are comfortable in use thanks to careful shaping, a good range of eartips, and the security provided by the cable folding around the ears. At just 4g each, these buds are hardly burdensome. Our only complaint is that the signal cable is prone to transmitting any noise caused by movement – an issue if you want to wear these headphones on the move.

Sound

It’s worth getting past this irritation because the IE 900 sound so good. They’re impressively clear and open sounding, able to dig deep into the production of a recording. All the work with the trio of Helmholtz resonators pays off, with clean and crisp highs that still have plenty in the way of refinement.

Tchaikovsky’s Marché Slave Op.31 is a dramatic classical piece with forceful dynamic swings and a wonderful sense of momentum. These Sennheisers capture the music’s energy superbly. They sound confident and insightful, revealing layers of low-level information and organising it into a structured and cohesive whole.

Tonally, they’re well balanced. The similarly priced Technics EAH-TZ700 manage more in the way of low-end authority and punch, but the IE 900 counter with a more expressive midrange and a greater sense of verve. It’s an entertaining presentation that’s rounded enough that the music has our attention rather than anything the earbuds are doing.

These are highly revealing performers, too, so if there are issues in your source or amplification, you’ll know about it. While it’s possible to plug these Sennheisers straight into anything with a 3.5mm headphone output, they deserve much more than to be used with a phone or laptop.

We strongly suggest using a high-quality outboard DAC, at least the standard of the Chord Mojo. Also use good quality music files of CD-quality or higher, regardless of whether they are downloaded or streamed. Portable music players can also work well, but don’t expect great results if you’re not using something premium. If you really want to hear just how good the Sennheisers can sound, we’d recommend spending at least as much on the player as the headphones.

While the IE 900 are critical of source and amplification quality, they’re happy to play all genres of music. Provided it’s recorded well, these buds will shine regardless. We listen to Michael Kiwanuka’s eponymous album and the Sennheisers sound right at home, delivering the album’s retro vibe with skill.

Rhythms charge along with enthusiasm while Kiwanuka’s distinctive vocals come through with texture and passion. The album’s production isn’t the cleanest, but the Sennheisers still resolve plenty of information and present it in an orderly and enjoyable way.

Over our listening sessions, we switch between the likes of H.E.R, Leonard Cohen and Beethoven, and the IE 900 have no trouble accommodating any musical demands. They always provide plenty of insight and allow us to analyse the recording if we want to, but equally are also happy to just have fun.

Verdict

There’s no denying that the IE 900 are a pricey proposition, but if you have a good enough source and amplification, their build, engineering and sound quality more than justify that hefty outlay.

SCORES

• Sound 5
• Comfort 5
• Build 4

MORE:

Read our guide to the best earbuds

Read our Shure KSE1200 review

Read our Technics EAH-TZ700 review

Just days after announcing the sale of its consumer audio business, Sennheiser has taken the wraps off its latest – and supposedly greatest – in-ear headphones. At £1099 ($1300, AU$2099), the new IE 900 flagship wired earbuds sit above the IE 800 S in the firm's in-ear line-up, firmly in the 'Audiophile' section of its website.

The IE 900 boast Sennheiser's all-new X3R transducer, said to be a "refined version" of the 7mm Extra Wide Band transducers in the five-star Sennheiser IE 800. An improved "triple chamber absorber system" supposedly lets you hear "even the subtlest nuances of sound", too.

Each earbud is manufactured from a single block of milled aluminium by a specialist team in Wedemark, Germany, with the company's engineers even pairing up the left and right side earphones by hand to ensure optimal quality and performance.

Back in 2013, when we tested the IE 800, we said they ranked "among the very best in-ear headphones we’ve ever heard" thanks to their distortion-free midrange and "superb tonal variation". That said, in more recent years we found the IE 800 S lacking in the punch and dynamics their even higher price tag warranted. Fingers crossed that the IE 900 earbuds are closer to the accomplishment of the IE 800 of old, then.

In the box, you get a standard cable with a 3.5mm gold-plated connector, plus 4.4mm and 2.5mm balanced cables. There are also individually adjustable ear hooks and a choice of silicone and memory foam ear adaptors in three sizes.

The Sennheiser IE 900 will be available from June for £1099 ($1300, AU$2099), and we'll let you know whether they justify that eye-watering price just as soon as they reach our ears.

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These are the best Sennheiser headphones currently available

While these are the best Sennheiser headphones deals

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Premium in-ears such as Beyerdynamic’s Xelento Remotes invariably suffer from poor perceived value. No matter how sophisticated the innards, from the outside there’s usually little to differentiate them from cheaper alternatives.

That’s a shame, as it makes earphones such as these easy to overlook. But we think that if sound quality is a priority for you, and your portable sources are talented enough, these Beyerdynamics make a lot of sense.

The Xelentos make use of the company’s Tesla drive unit technology, which we’ve heard great results from in the award-winning T1 Generation 2 over-ears. There’s a single driver per side to cover a claimed frequency range of 8Hz-48kHz. These in-ears are pretty sensitive, too, at a claimed 110dB (1mW, 500Hz), meaning that almost any compatible portable device should drive them to high levels without issue.

Build

While Beyerdynamic also makes a wireless version, the Xelento Remotes are wired. There are two 1.3m cables provided in the box – one with a three-button universal remote and the other without. Both are terminated with a 3.5mm plug and MMCX connectors at the earbud end, so swapping the leads is easy.

Whoever specified the leads knew what they were doing – they are resistant to tangling and don’t transmit much noise when on the move. It’s surprising how many manufacturers pay little regard to practicalities such as these.

It’s worth noting that while the remote will work with most Android and Apple phones, not all phones will be compatible – you may find some that don’t respond to the remote commands.

Comfort

We’re pleased to report that Beyerdynamic truly understands the importance of fit when it comes to in-ears. The company supplies no fewer than ten different varieties of eartips, comprising seven pairs of silicon alongside three pairs made of Comply foam. The Xelentos weigh just 7g (without the cable), and that helps comfort too.

It doesn’t take long to realise that these headphones are only justified if you can get a top-quality signal into them. While they will work with phones – those that have physical headphone outputs, that is – for us, these earbuds only excel when we use a source the standard of the Astell & Kern A&norma SR25 portable music player, or even better Chord’s Poly streamer and Mojo DAC combination.

Sound

Once you do that, the Xelento Remotes turn in an excellent performance. They aren’t the most enthusiastic sounding in-ears you’ll ever hear – Beyerdynamic products rarely go for short-term thrills – but give them a little time and their honesty and insight comes to the fore.

We listen to the recently released eponymous Alicia Keys album and are impressed by the detail on offer. These earbuds have no problem rendering instrumental textures or capturing the leading edge of notes with precision.

Keys’ vocals come through with passion on the track Underdog, with the Xelentos capturing the energy of her performance well. The backing instrumentation is nicely resolved, with each instrumental strand easy to follow. This remains a cohesive sound – one that tracks the ebb and flow of the music well.

We switch to Beethoven’s Fifth Symphony, and by the standards of its peers the Xelento Remotes deliver a powerful and entertaining performance. They communicate wide-ranging dynamics with conviction while resolving a great deal of information. Their controlled presentation is as easy to listen to as it is informative.

There’s an impressive sense of composure throughout, with these in-ears refusing to sound stressed even when the music becomes demanding.

We’re pleased to report that Beyerdynamic hasn’t followed current fashion by boosting bass frequencies. The Xelentos’ lows are firm, punchy and, most importantly of all, in proportion with the rest of the frequency range.

The overall frequency balance is as neutral as we’ve heard in earbuds at this price. It’s all expertly balanced, with no part of the frequency range sticking out. It helps that the highs combine bite and insight with a good dose of refinement, so that even aggressive recordings fail to provoke harshness.

Verdict

If you’re looking for capable premium in-ears, the Xelento Remotes should certainly be high on your shortlist. Make sure you shop around, though; you may well find useful savings over the price we’ve quoted, and that would make them an even better buy.

SCORES

• Sound 5
• Comfort 4
• Build 5

MORE:

Read our guide to the best in-ear headphones

Looking for a wireless pair? Check out our best wireless headphones guide

Read our Shure Aonic 3 review

Headphones come in all shapes and sizes, but for a no-frills pair that are easy to carry and don't put a dent in your bank balance, it's hard to beat a simple pair of earbuds. But with many pairs on the market competing to be the best earbuds, how do you find the pair that's right for you?

One brand that has come to dominate our budget earphones recommendations is SoundMagic. The brand specialises in wallet-friendly headphones, with in-ear pairs something of a speciality. Here we've pitted two of its best earbuds, the SoundMagic E11C and the SoundMagic E80C against each other to see which come out on top, and help you get the best pair of buds for your needs.

• Read our round-up of the best wireless earbuds
• Our pick of the best headphones of all styles

SoundMagic E11C vs E80C: price

Both pairs had impressively low price tags to begin with, and both are available for less than their launch price, which is good news for bargain hunters everywhere.

The E80Cs launched at £80 but can now be picked up for £60. The E11Cs are even cheaper. They launched at £50 but can now be had for as little as £40.

**Winner** SoundMagic E11C

SoundMagic E11C vs E80C: build and comfort

SoundMagic might have got rid of the red cable from its headphones, but otherwise the E11Cs look identical to their forebears, with a typical cylindrical, aluminium casing design and a choice of small, medium and large silicone tips, which are also now silver. There’s a storage case, too, which is handy for avoiding cable spaghetti when stashing them in a bag.

On the cable for the left earphone you'll find the remote control and mic. It’s a standard three-button, giving you volume and stop/start functionality. As has become the norm, the remote is light and unobtrusive, so you shouldn’t suffer from unwanted cable noise.

The SoundMagic E80C buds come with more sizing options – almost a dozen are in the box, in fact. This makes it easy to get a good, comfortable seal that gives you the best bass performance while also staying secure in your ears.

The cable is thin but sturdy, and doesn’t twist up even when stuffed into a pocket, or in the supplied hard carry case. The angled 3.5mm jack is a nice touch too, and the metal details give them a sleek look that feels appropriate for the price.

Like the E11Cs, the E80Cs are also now fully compatible with all smartphones (the C stands for ‘Compatibility’). Previous incarnations of the range (such as the E10S/E50S) had a bulky switch that you toggled depending on whether you were using the in-line controls with an Android or Apple smartphone. But now the three-button remote does all the switching automatically, making them much less fussy to use.

**Winner** Draw

SoundMagic E11C vs E80C: sound quality

Clear, solid and open – those are our first impressions of the E80Cs. Instruments and vocals sound loud and clear, and there's a decent amount of detail to go on. The level of organisation is impressive, and there's a high level of solidity running through. But we'd appreciate a more timely and articulate approach – they fall a bit flat compared to similarly-priced rivals, with a brightness that even extensive running in can't quite vanquish.

The E11Cs have a familiar sound – SoundMagic's sonic signature remains firmly intact on this cheaper pair of headphones. The sound is well-balanced, entertaining and energetic, with a decent level of depth and warmth. 

Clarity is a particular strong point, though the timing does tend to fall down a little. Still, it's a very impressive performance indeed, with a full-bodied sound led by a clear, upfront treble. It's especially impressive given the budget price.

It’s also worth pointing out the sensitivity rating of 112dB is pretty high, meaning the SoundMagic E11C in-ears can deliver plenty of volume. It also means they’ll use less of your device’s power at average listening volume, which is a bonus. 

**Winner** SoundMagic E11C

SoundMagic E11C vs E80C: verdict

The E11Cs have it. They're more affordable, give you more sound-per-pound and provide a nice, comfy fit. Not that the E80Cs are a bad choice, not by a long way. It's just they're getting quite long in the tooth now, and more impressive models have since sprung up at the same price or even cheaper.

If you're looking for the best earbuds at a budget price, the E11Cs are our choice from these two.

MORE:

Read the full review: SoundMagic E11C

Read the full review: SoundMagic E80C

Best headphones under £100

Final (sometimes called S’NEXT Final) is a Japanese audio firm founded in 2007, noted for its wide range of headphones. The company’s website is bursting at the seams with them – we counted 48 different headphone models across 11 different series, boasting multiple drivers, customisable sound tuning, intricate 3D-printed titanium driver housings and all manner of intriguing designs.

The E500 wired in-ears cost just £20 in the UK (they're not currently available in the US or Australia) and are the cheapest pair of headphones in Final’s extensive arsenal of listening gear.

Build

These headphones weigh just 15g in total. The 1.2m cable is a robust but basic black affair, with a small slider where the two earpiece cables join together, which can be moved closer to your chin to achieve greater comfort or to avoid one wire getting snagged on your shirt buttons.

There’s no in-line mic or volume control and the 3.5mm headphone jack means you’ll need a dongle for use with an iOS device. With analysts predicting that Apple’s iPhone 12 won’t come bundled with wired EarPods, you might be in the market for a pair sooner than you think.

The jack is mounted at a right angle to the cable, so the wire sits almost flush against your device when plugged in, which is a nice touch. It minimises cable kinks and noise if your phone is often left in a bag or pocket.

The earphones’ black thermoplastic tubular driver housings are about a finger’s-width in length, before you get to the buds. Four extra tips are supplied to make a total of five, which is impressive at this level. 

The word ‘final’ is etched across the length of the unit, as is the model number, an L or R to denote left and right buds, and the firm’s triple-hexagon honeycomb logo on the circular end surface of the driver housing.

It’s a cool, professional aesthetic that seems keen not to scream its presence. The pre-fitted pair of buds fit perfectly; the E500s are light, comfortable and secure in our ears, with pleasing levels of natural noise isolation to boot.

Surprisingly, Final’s 6.4mm small aperture dynamic driver is nestled inside those housings – the same driver that’s used in all of the firm’s E-series in-ears, including the £219 E5000s. And at a tenth of that asking price, they have our full attention as we settle in to start listening.

Sound

While the cost of the Finals is relatively trivial, we soon learn that their sound is anything but. We cue up Buzzcocks’ Ever Fallen In Love and the intro’s up-tempo riffs and drums and relayed with energy and clarity. There’s plenty of electric guitar detail coming through our right ear, while Pete Shelley’s vocal is textured and central in a pleasingly broad soundstage as the Final E500s reveal a trouble-free treble that never comes off harsh.

The keys in Debussy’s Clair de Lune, streamed from Tidal, are nicely three-dimensional, with enough separation between each musical note and passage to mark a step up from the wired headphones that come bundled with many smartphones. We switch to Apple’s wired EarPods and the presentation is notably more treble-centric. Because the Finals are able to pay greater homage into the midrange frequencies, they dig up an extra ounce of spatial awareness and detail throughout the piece.

Throughout Gang of Four’s Damaged Goods, the electric bassline underneath the bitter, almost spat midrange vocals could use a tad more control though. Across the bass registers we become aware of shortfalls in weight, grip and agility.

Of course, you could argue that it’s acceptable at this price-point, but as we continue listening, despite tapping our feet and enjoying the E500’s timing chops, the shortfall in terms of influence through the low-end continues to present itself. As we listen to grimier tracks from Stormzy and funk-heavy Prince songs, the bass lacks power and authority, which is a shame.

Verdict

The Final E500 in-ears are almost certainly a step up in terms of timing, spaciousness, clarity and comfort from the headphones that come bundled free with your smartphone.

If you’ve read any of our sub-£50 in-ear reviews, you’ll know that inexpensive doesn’t always mean good value. To earn those five stars, a product should not get in the way of our listening experience, however trivial the cost.

But for a budget upgrade to your smartphone freebie headphones, the Final E500s are a good buy. But they’re only a ‘good’ buy because, even at this price, the minor but noticeable lack of grip and dynamics through the bass is enough to render them a little off great.

SCORES

• Sound 4
• Comfort 5
• Build 5

MORE:

Best budget headphones

Read our SoundMagic E11C review

Read our Cambridge Audio Melomania 1 review

In a market inundated with tiny, wire-free earpieces and wireless charging cases that look like deluxe boxes of dental floss, does the budget wired headphone still have a place? 

Those once-essential cables between the buds and your music source now seem surplus to requirements and with 3.5mm headphone jacks vanishing from your kit, one wonders whether wired designs have effectively been engineered into obscurity?

But wires sound better than Bluetooth, and while wireless in-ears are getting ever cheaper, we're yet to hear a really great pair that costs less than £50. All of which means that if you want really good sound on a really small budget, wired is the way to go.

It's this market that Flare Audio is looking to tap into with its Jet range. While the British firm’s flagship set of in-ears sells for £400, the Jet range consists of three budget options all coming in at under £50 ($65). Of this three-strong Jet-branded range, we’re testing the Jet 3s, the dearest in the range. How will they fair against the excellent, identically priced SoundMagic E11C in-ears?

Comfort

The Jet 3s’ packaging is refreshingly minimal – they come in a small pouch similar to an instant coffee refill, which is perfect for the job and environmentally friendly.

There’s a 10mm driver in each earpiece, gold-plated connectors and 1.2m of stress-tested cable, which is nicely rubberised and doesn’t kink or tangle easily. The precision-turned titanium earpiece casings are light and stylish. 

A nice touch is a blue loop at the base of the left earpiece and red at the base of the other. It means you won’t search at length for the correct earpiece for each ear and, along with the subtle etched logo on the driver casing, lends an understated, studio-worthy, professional look to the buds.

There’s a leather drawstring bag included, should you require one, and a total of three different-sized tips. The Jet 3s have the ‘standard’ 3.5mm headphone cable connection, so you’ll need an adaptor dongle for connecting to USB-C or Apple Lightning ports.

Build

On the right earphone cable, there’s an in-line mic and remote, which is a simpler design than the three-button systems of more premium headphones. It comprises just one button, but offers several functions and performs them well. Single-button headphone controllers also have broader smartphone compatibility than their three-buttoned siblings.

When listening to music, you can play/pause tracks with a single press, or skip to the next track with a double press. A long press summons Siri on our iPhone, and should also call up the voice assistant of an Android device.

During phone calls, we found the mic clear and that pressing and holding the remote button mutes our voice effectively; a small feature but immensely useful. Of course, the drawback of the single-button system is that you have to dig out your device in order to change volume.

Overall, the Jet 3s offer a light, comfortable and unobtrusive design, plenty of natural noise isolation and very little cable noise.

Sound

We cue up Radiohead’s All Hail To The Thief album on Tidal, and the Flares dig up a reasonable amount of detail in the opening track, 2+2=5.

There’s the initial reverb in our right ear layered with the low-level, murmured conversation, giving way to a central, well-integrated bass beat and Thom Yorke’s textured and emotive vocals. The timing is somewhat muddled across the frequencies, though, and the headphones are a little too bright through the treble.

The album continues to Sit Down. Stand Up and we’re met with plenty of the engineered pops and clicks that the band intended, but the delivery is a tad harsh and overly pronounced. The piano is there, but the midrange isn’t quite potent enough, and although Yorke’s vocal still takes centre stage, the 3s aren’t delivering a fully cohesive soundscape. At this level, it’s an acceptable performance, but it’s far from blowing us away.

This album is a litmus test for timing in most headphones, and through Backdrifts the shortfall is revealed. It’s a punchy listen with most abrupt stops dealt with, but the Jet 3s struggle to hold all musical strands together across the frequencies here.

They are beaten by the class-leading SoundMagic E11Cs, both in terms of this particular timing issue and overall. That holds true whether using our laptop, iPhone or iPad Mini.

We listen to The Marshall Mathers LP on Tidal, and while we can enjoy the Jet 3s for a while due to a relatively well-balanced bass, their forward nature and punchy but unsubtle character makes for a tiring listen over time.

Verdict

If your budget only stretches to £50, the Jet 3’s classy, premium-feeling cable and titanium shells will appeal. But, despite our admiration for the build quality, the sound quality isn't up to scratch, even at this low price.

Our search continues for another great pair of budget wired in-ears to rival the SoundMagics.

SCORES

• Sound 3
• Comfort 4
• Build 4

MORE:

Best in-ear headphones 2020

Read our SoundMagic E11C review

It may be unfashionable these days to walk around listening to wired earbuds, but they're generally a better performance-per-pound proposition than their hipster wireless cousins.

So, for those who want the best sound quality for their budget, a pair of wired headphones is usually the answer. Chinese earbud and music player brand Shanling believes it has just the thing in its entry-level ME100 monitors. 

‘Entry-level’ here means a three-figure price, with the company’s ME200, ME500 and ME700 models ranging from 1.5 to five times that. It’s a tricky place for them to fall – slap bang in between two What Hi-Fi? Award winners, the Klipsch T5M Wired and Shure SE425.

Do the ME100s do enough to be heard amidst such class-leading pairs?

Sound

If you value open, clear and boldly upfront presentations, they may well do. We start with St Vincent's Los Angeles and the Shanlings’ forward balance, which slightly errs on the tonal side of bright, reveals itself. The leading notes of the synth drums are crisp and taut, and Annie Clark’s vocal rides over the top in a clear, direct manner.

Shanling says it chose ‘special’ voice coils to enhance the mid and high frequency performance of the ME100s’ custom, single 10mm dynamic driver, and that effort is apparent. The chiming chinks throughout Mac Miller’s Good News are spry, even if the track’s bassy undertow lacks real depth.

Their balance won’t be for everyone; if you prefer richer sounding or bass-heavy presentations, you’ll be better served elsewhere. Their tonality doesn't give brighter recordings such as Suede's Snowblind anywhere to hide, for instance. What is likeable, however, is the ME100s’ open and spacious soundstage, which ensures there is decent separation between the overlapping synths and vocal delivery.

What also strikes us is how sensitive the Shanlings are to drive: through a phone and entry-level and mid-range Astell & Kern music players, they require considerably less power than other earbuds we connect for the same volume level.

But while the Shanlings impressively communicate the crispness and clarity of leading notes, they don’t quite manage to follow that initial analysis with the body and subtlety needed to suitably flesh out an instrument or vocal. They can draw a silhouette of a note perfectly, they just don’t really shade it in.

In comparison, the more affordable Klipsches reveal greater subtle insight and demonstrate a higher level of attentiveness to dynamics and timing. They better communicate the slight change of cadence in Miller’s rap delivery as well as the textures of the accompanying electronic sounds.

Comfort

In terms of build quality and comfort, you couldn’t expect much more from earbuds at this price.

The lightweight aluminium alloy earpieces are each embellished with a coloured strip to denote left (blue) and right (red).

The three different sizes of eartips provided means you should get an ergonomic fit, with the buds nestling reassuringly, but not too intrusively, into your ear canal.

There is a piece of bendy rubber tubing covering the top end of the cable, which also helps keep the earbuds in place on your ear.

Build

The MMCX connectors that fix the earbuds to the cable allow you to easily replace a damaged cable, too. But as you slide your fingers down the well-constructed 1.3m braided wire, you will notice the lack of an in-line remote.

While high-end IEMs can arguably get away with such an omission in light of their likely at-home use, it is less forgivable for a pair that you’d reasonably expect to wear on the go.

Perhaps it's for cost saving purposes, but we’d happily swap the ME100s’ faux leather box case for the ability to take calls and control playback through mic/remote functionality.

Verdict

Despite wireless earbuds dominating the market, there are plenty of wired monitors leading the way when it comes to value for money. 

The Shanlings ME100 aren’t leaders in that field due to their lack of outright transparency and absence of in-line controls, and there are more rounded performers on either side of the price spectrum.

But if you value an open and upfront sonic approach with premium build above all else, the ME100s could be worth a look.

SCORES

• Sound 3
• Comfort 4
• Build 4

MORE:

Best in-ear headphones 2020

Read our Shure SE425 review

Read our Klipsch T5M Wired review

The Technics brand was relaunched by parent company Panasonic in 2014 and, after a shaky start, has really hit its stride in recent years – picking up a string of great reviews for its new generation turntables and CD/Streamer combo.

That the company is capable of making fine hi-fi separates shouldn’t come as a surprise, but headphones? The brand has a history of making such things, but we can’t recall testing any that truly impressed. Will the EAH-TZ700 in-ears buck that trend?

Build

Priced at a rather hefty £1100 ($1400), these are clearly premium offerings. It’s hard for any in-ears to look truly premium, but Technics has done a good job here. 

The EAH-TZ700s feel classy and well-engineered – a continuation of a pleasing theme we’ve noticed with the brand’s recent products.

They’re available in a graphite black finish (more grey, really) and the housing is made of die-cast magnesium with some of the internal structure using titanium, a metal known for its balance of lightness and rigidity. 

Without the leads attached, these buds weigh just 7g each, so excess weight really isn’t an issue. 

Unlike much of the competition, the EAH-TZ700’s engineers have gone for a single drive unit, rather than split the frequency range between multiple drivers. They use a 10mm aluminium diaphragm with an air chamber behind it. 

The chamber controls the rearward sound radiation and is optimised to help the driver deliver the widest bandwidth.

There are two 1.2m long cables in the box; a balanced option with a 2.5mm jack and a more conventional unbalanced lead with a 3.5mm connection. The industry standard MMCX connector is used at the bud end in both cases.

Comfort

There’s a choice of no less than eight different rubber tips of various sizes and shapes, so there should be something to suit everyone. We certainly don’t have an issue getting a good fit, which is vital with in-ears. You’ll know if you’ve got a good seal when the bass sounds properly deep and powerful with appropriate music.

One of the hurdles for pricey in-ears is that there is a shortage of truly talented portable audio sources. If you buy at this level, it makes no sense just to connect the Technics to the headphone output of your phone (if it has one). You simply won’t hear what they’re truly capable of. 

For phone use, a quality outboard DAC is almost mandatory. The Audioquest DragonFly Cobalt is a fair starting point, but the EAH-TZ700’s performance gets noticeably better when we step up to the likes of Chord’s Hugo 2 (£1800) with our iPhone X. 

Or you can go for a top-end dedicated music player, such as Astell & Kern’s A&ultima SP1000M (£1799). If you want to get the best out of in-ears at this level, it will cost you.

Sound

Once given a few days to settle, it’s obvious that there’s much to like with these Technics. They’re smooth and refined performers that deliver plenty of insight. We listen to Miles Davis’s All Blues and can’t help but enjoy the confident and authoritative way these in-ears render the music.

Instruments come through with a pleasing amount of natural warmth and body. There’s enough insight to render textures convincingly and plenty of space around each instrument to prevent things sounding cluttered. 

We like the way these buds convey the easy flow of the piece, even though they aren’t the last word in rhythmic precision or drive. To us, it sounds like Technics hasn’t gone for outright transparency. The EAH-TZ700s’ tonal balance is skewed to avoid a forward or harsh sound, even if the recording already leans that way.

This safety-first approach makes sense when you listen to less than perfect recordings (or music streams), where the Technics are notably more forgiving than rivals, such as the Sennheiser IE800Ss, the Shure SE846s or the electrostatic Shure KSE1200s.

The downside of such a balance is that when the recording is good those same rivals offer even more insight and, when you listen to the likes of Nick Cave’s Murder Ballads or Jay Z’s Blueprint, more in the way of attack and drive.

Not that these buds are lacking in these respects. It’s more that similar money can buy you even better resolution and greater verve. This is something to bear in mind, particularly if you live on a musical diet of hip-hop or rock.

Verdict

The EAH-TZ700s are civilised performers. They’re made with care and work well across a wide range of recordings. If you’re after a smooth and sophisticated listen then these are definitely recommended. Just make sure the rest of the electronics are up to scratch.

SCORES

• Sound 4
• Comfort 5
• Build 5

MORE:

Best in-ear headphones 2020

Read our Sennheiser IE800 S review

Read our Shure SE846 review

The SoundMagic E11C earphones deliver unbeatable sound quality at an amazing price, which makes them easy to recommend.

These in-ears are the latest in a long line of excellent earphones from SoundMagic. Upgraded with a new driver and cable, SoundMagic has once again managed to improve the level of performance without having to increase the price.

And you still get a choice of small, medium and large silicone tips, and a handy storage case. 

On the cable for the left earphone are the remote control and mic. It’s a standard three-button control, giving you volume and stop/start functionality. 

SoundMagic may have updated the driver but the company’s sonic signature remains the same. And that’s a good thing.

Simply, the E11Cs sound really very good. Make sure you choose the right tips for your ears – you should get a snug fit that isolates outside noise and maximises the audio quality – and then you’re treated to a well-balanced, entertaining sound.

Deep bass notes hit as they should, with depth and warmth, while the hi-hats tick along clearly at the top end. 

Vocals sit comfortably in the midrange, sounding clear and focused, while upbeat tracks are sound energetic but organised.

If you want a pair of in-ear headphones for an affordable price, you simply can’t go wrong with the SoundMagic E11C earbuds. That’s why they’re our 2019 What Hi-Fi? Award-winner as the best in-ear headphones under £50. 

• Read the full review HERE.
• Check out all our 2018 award winners HERE.

The Final E4000s are a rare thing: simple cabled earphones. They don’t come with a vast array of drivers, wireless technology or even a control app. Like most Final earphones, the E4000s are aimed squarely at sound quality enthusiasts – and, costing just £119, they deliver the goods too.

These earphones are immediately likeable, with good dynamics, carefully balanced tone and an almost complete lack of bloat or sibilance. Higher frequency detail doesn’t quite match the rest of these highlights, and that’s the only element keeping the Finals from troubling the class-leaders.

Comfort

The Final E4000s have tiny pistol-like aluminium barrels, ready to dig deep into the ear canal. This is a more invasive fit than most, which is worth considering if you’re worried about getting too personal with your IEM.

A firm fit is important though, and without it, the Final E4000s have a tendency to slowly work their way out of your ear. As ever, an imperfect seal ruins the bass response. But get it right and these earphones are stable enough to survive a running session just fine, although the cable causes some microphonic noise. 

You can reduce this noise, and further increase their stability, by using the included ear hooks, which guide the cabling over your ears. You can either wear the E4000s normally or in this more ‘pro’ over-ear style. Despite the size of the E4000s, Final has still managed to incorporate removable cabling into their design.

Build

It uses a standard MMCX connector, rather than the more fragile two-pronged connector an earphone of this size might have used a few years ago. 

The Final E4000s’ cabling is also slightly thicker than average, and uses ‘oxygen-free copper’. This extra thickness is no surprise though, Final is primarily an audiophile brand and conventional wisdom suggests thicker is better.

A silicone carry case is supplied, as are five sets of silicone tips, and a carabiner.

Sound

The Final E4000s use relatively small 6.4mm dynamic drivers. Such tiny drivers are now a good alternative to the dual balanced armature style used by some of the top mid-range earphones of a few years ago.

Despite the drivers’ small size, the Final E4000s still offer the bass authority usually associated with the dynamic design. These earphones are punchy and have good timing.

They are instantly charming too – their sonic quality is obvious within a few seconds, which is not something you can say about most wireless alternatives anywhere near this price. The Final E4000s deliver deep bass beats with power and precision and, despite being aimed at self-professed sound quality fans, they don’t sound at all clinical.

But the E4000s’ significant abilities in terms of dynamics and timing only serve to make their limitations more frustrating. While the mids have respectable weight and solidity, they are not supremely detailed. There’s a sense the mids should be more insightful and textured, especially considering the impressive framework Final constructs in the E4000s.

The treble isn’t ultra-refined either. Listen for a while and both the mids and treble start to sound a little basic in the context of the Final E4000s’ overall sound. There isn’t quite the transparency and insight you’d expect from a class-leading earphone.

Verdict

Wired in-ears such as the Final E4000s may not currently be fashionable, but we are glad they still exist. A complete lack of extra tech means no worrying about charging batteries, or dealing with flaky Bluetooth signal in crowded areas.

Their sound is instantly likeable too. With strong dynamics and timing, and careful tonal balance, audio performance is clearly Final’s primary concern. Slightly limited resolution in the upper-mids and treble stops the Final E4000s from gaining the full five-stars, but they remain a good choice for those not keen on paying a premium for phone-friendly wireless tech.

SCORES

• Sound 4
• Comfort 4
• Build 4

MORE:

Best in-ear headphones 2019

The residents of Oregon’s largest city have a common goal – you’ll see the motto written on walls or car bumpers: Keep Portland Weird. Known for its parks, micro-breweries, chainsaw-wielding soccer mascots and unashamed kookiness, Portland is where our emerald green Andromeda in-ears are made.

The box proudly displays ‘nicely done’ in embossed caps as we open it. These in-ears cost over one thousand pounds though. Yes, Campfire Audio is in the Keep Portland Weird camp, all right.

Build

Originally released in 2016 as the fifth model produced by the dedicated in-ear makers, the Andromeda in-ears have received a new streamlined body and ‘smoky’ litz cable in a recent refresh. An exhaustive selection of 11 different pairs of tips in three different materials accompany the jewel-like in-ears.

With that four-figure price tag, the Andromedas place only a surprising joint-fourth in terms of the most expensive in-ears the company currently produces. Campfire Audio’s most expensive custom-fit Equinox and gold-plated Solaris models will set you back a further £400. 

Underneath the Andromeda’s zirconium-blasted aluminium shells with green anodised finish, you’ll find no fewer than five balanced armature drivers: dual low frequency, a single midrange driver and two for high frequencies. The latter pair include what Campfire Audio calls its Tuned Acoustic Expansion Chamber (TAEC) technology: 3D printed chambers claimed to provide acoustic tuning without compression.

The theory is that by ditching a traditional tube and filter design, TAEC tech claims to allow an expansive treble and superior clarity. Whatever the physics behind the build, the shells feel well engineered and lovingly crafted in our hands.

Comfort

Once on, they’re comfortable and secure in our ears, without needing to change the pre-fitted ‘marshmallow’ tips. The various tip options are thick and generous – there’s been no scrimping on the extras here. You even get a little Campfire Audio lapel pin and a cleaning brush inside their leather travel case.

The cable is docile and in no way cumbersome, curling neatly around our ears and staying put as if it just wants to be there.

Sound

While we tried out the Andromedas with a variety of sources, from an iPhone upwards, most testing was conducted via an Apple MacBook with a Chord Hugo 2 taking on DAC and amp duties. A pair of headphones at this end of the market, even one of the in-ear variety, demands this level of source componentry.

We stream British Sea Power’s International Space Station on Qobuz at CD quality and the cyberspace-sounding guitar reverb that pre-empts the initial drum fill plays gleefully around our right ear before giving way to a driving and easily-handled bass; open yet ruled with an iron rod.

The ambient keys soar up through a sparkling, sensitive treble and Yan Scott Wilkinson’s airy, pensive vocal is detailed and well presented. These in-ears are ultra-sensitive, too. The listed 112.8 dB SPL/mW sensitivity means that, if and when you do take the Andromedas out and about, they’ll be far less of a drain on your portable device’s battery than most in-ears. 

But while each musical strand sounds majestic in isolation, they aren’t being particularly well interwoven. British Sea Power is a band known for its layered, ambient and detailed soundscapes, but the performance here is not meticulously cohesive. 

It’s a tiring listen on occasion and the overall effect is often one of confusion, with sonic elements out of place, unmusical, or not quite marrying up to the output of its four driver partners.

We stream Dungeon Family’s album Even In Darkness to see how the Andromedas deliver this kind of bass-heavy rap. These in-ears are prize heavyweights when it comes to excitement through the bass. In Follow The Light, CeeLo’s voice is underpinned by a regimented bass, and it sounds similarly energetic; rich in textured sass. 

Andre 3000’s southern, conversational drawl and teasingly late vocal is well handled, but as Big Boi’s angrier, more urgent set of rhymes commences, it often feels as if we’re hearing multiple rather than single voices.

The sound lacks focus, which is an odd feeling. It’s like they’re tantalisingly almost right, but wrong enough for us to hear it. This lack of unification – the shortfall of focused delivery that makes his lyrics funny – seems to come from driver units that aren’t seamlessly integrated in the way that they work. The drivers just don’t sound like they’re quite blending properly.

We stream Alexander Scriabin’s Etude In C-Sharp Minor, Op 2, No 1 played by Garrick Ohlsson on Spotify Premium, and while the treble sparkles and fizzes, there’s a slight harshness to the upper midrange as Ohlsson caresses the piano that creates an unintended aggression. 

Any modicum of edginess in the midrange of a recording is taken and shouted out by the Andromedas, so there’s an emphasis that detracts from what was intended by the pianist.

Verdict

In terms of comparison, Shure’s talented SE846s (originally tested at £950 and now available for around £800) are more complete performers, delivering musical cohesion and sonic refinement that the Campfires can’t match.

SCORES

• Sound 3
• Features 4
• Build 5

MORE:

Best headphones 2019

Read our Shure SE846 review

You have to hand it to Klipsch and its promotion of these Reference X20i in-ear headphones: in places, there’s more front than a seaside town.

The US company is certainly not being coy when it presents these comparatively premium-priced earphones, referring to their high-horsepower woofers and super tweeters. “The X20i sets a new standard in headphone acoustics by breaking all barriers,” it says.

However, Klipsch’s confidence should be high, buoyed by the performance of its second-generation R6i in-ears, What Hi-Fi? Award winners and class leaders in a hard-fought area of the market.

Build

The Reference X20is don’t quite reach such dizzying heights, but in many ways they justify their £425 price tag quite comfortably. Certainly you can be confident a good chunk of your money has gone into their design and careful manufacture.

Delivering the music is a two-way driver design, combining the company’s KG-926T Balanced Armature Woofer and KG-125B Balanced Armature Super Tweeter. Klipsch is particularly proud of the latter, designed to expose every element of the lossless recordings you’ll want to be listening to on headphones such as these.

Comfort

It also claims to have designed one of the smallest and most durable pairs of two-way headphones currently on the market, thanks to the use of surgical-grade stainless steel for the main chassis and slim ear tips.

“After extensive research, our surveys lead to the conclusion that ear canals are even narrower than we had expected,” Klipsch says, by way of an explanation for the design of the eartips. 

Our caveat to that would be that not everybody on the team found it easy to get the right seal with the range of tips supplied. The worst-case scenario for any prospective buyer with this issue is likely to be only the purchase of some different earbuds, but it's worth bearing in mind.

Get that fit right, though, and in many sonic aspects it becomes immediately apparent you’re listening to a relatively high-end pair of in-ear headphones.

Sound

The most striking of those is in the space and detail on offer. The Reference X20is are admirably transparent, spotlighting the timbre of each instrument and the intricate textures. These are not merely headphones for the casual listener: Klipsch has delivered enough insight that it can often feel as if you’re peering into the instrument, as much as having it played to you.

The potential for analysis is helped by a pleasant balance, impressively even but not without natural warmth, the neutrality of which allows us to observe the frequency range as a whole, rather than our attention being unduly drawn to any section. 

That said, there is a decent amount of bass weight for a pair of in-ears (especially from units as small as this) and the midrange feels full without softening much around the edges.

It is also worth praising Klipsch’s ability to combine two drivers in each earpiece. Often multiple drivers can seem counterproductive when they fail to gel together – organisation being the first place to suffer – but these feel rather well integrated.

Only we’re left just a little cold by the performance. Timing isn’t the best we’ve heard, but is far from being dizzying, and the X20is are capable when it comes to dynamics; it's just that they lack a touch of punch and excitement.

Maturity is a must when it comes to spending this amount of money on a pair of headphones, but so is the need to let your hair down once in a while. At times it feels as though the X20is are concerned more with analysing the music than really enjoying it.

It can be a struggle to find that balance, especially at this price – effectively the lower limit of high-end – where the focus has to be on delivering a far cleaner and more detailed presentation than you would find in other sections of the market, but it is certainly not impossible.

Verdict

Without doubt we would recommend the X20is to those for whom insight is everything – and you wouldn’t be losing out wholly on energy or expression, either. However, those looking for a more wholesome, entertaining performance might be left just a little disappointed.

SCORES

• Sound 4
• Comfort 4
• Build 5 

MORE:

Best headphones 2019

Read all our Klipsch reviews

You won’t see many musicians playing Wembley Arena with £40 in-ear monitors (IEMs) in their ears, but by labelling its latest pair of earphones, the M6 Pro 2nd Generations, as ‘professional monitor earphones’, Mee Audio is aiming them squarely at musical types. With a budget price tag of just £40, the company will also hope that these in-ears have a wider appeal too.

Build and comfort

The Mee Audio M6 Pro 2nd Generations certainly look like a decent pair of ‘pro’ earphones. Their cabling drapes over your ears to increase stability and decrease microphonics.

You can remove the cable from the earpieces, a feature common among IEMs costing a lot more than this, but not so common in pairs costing £40. The smoky translucent cable sheath is a little classier than plain, opaque black too.

From a distance, the Mee Audio M6 Pro 2nd Generation look the part. But up close, the flaws in the design become more obvious and they don’t look quite as impressive. 

Earphones of this style often use balanced armatures, with carefully routed tunnels for the sound. However, the Mee Audio M6 Pro 2nd Generations’ standard dynamic drivers look like those of an A-level design project – transparent designs work best when you have something to show off, but there’s not much to see here.

The only other design complaint is that the M6 Pros don’t have an in-line remote, but this is fairly common among pro earphones. You may need to get used to the shape-holding part of the cable by the earpiece, which is a little less malleable than that of some pricier rivals.

Once fitted properly, these M6 Pros will do the job for running and gym work, as well as checking sound levels on stage. They are IPX5 rated, so can handle sweat in whatever situation you use them.

Sound

The Mee Audio M6 Pro 2nd Generations sound significantly better than the original M6 Pros, launched in 2015. But the core characteristics remain the same. Mee Audio has beefed up the sound so that the thin sensibility of the original is gone, but unfortunately the sharp treble remains.

The 2nd Generations have a pronounced treble, but lack the high-quality drivers needed to pull off this signature without obvious harshness and sibilance.

Sharp treble can give some songs a lift, by promoting higher-frequency detail, like adding a squeeze of lemon or lime to a drink. Balance is important, though, and the Mee Audio M6 Pro 2nd Generation’s treble is a little too pronounced. Sibilant songs are fatiguing as sharp sounds crowd the ear.

Elements outside of the higher frequencies are rather good for the price. Bass is deep and punchy and well-balanced for an affordable earphone. 

That energetic treble mixes with a solid mid-range, which is particularly apparent in vocals. The fact that those mids aren't a tangled mess remains important, and goes some way to justifying that ‘pro’ tag.

There's good separation between the solid, relatively tasteful bass and mids, and dynamics are decent for the money too. These earphones are an improvement over the original model, but it’s not quite enough to bump them up to a higher score.

Distractingly sharp and granular treble is still the Mee Audios' defining quality. Rival pairs such as the Beyerdynamic Soul Byrds and SoundMagic E11Cs offer a much more cohesive sound that doesn’t flare up with certain tracks.

Verdict

The Mee Audio M6 Pro 2nd Generations are ‘professional’ IEMs at an entry-level price. While they represent an improvement over the original M6 Pros, with a fuller sound, they have not lost their distractingly prominent treble. As a result, we find it difficult to fully recommend them.

SCORES

• Sound 3
• Comfort 4
• Build 4

MORE:

Best in-ear headphones 2019

Read our Mee Audio M6 Pro review