• Dali launches budget-friendly subwoofer in colorful colors, to match its Rubik and Sonik 1 speakers
• 8-inch downwards firing subwoofer with adjustable gain and phase, 170W RMS / 220W peak Class D amplification
• Launching in October 2026 for $800 / £429 (about AU$815)

Dali has a habit of making five-star speakers, including the Dali Kupid and Dali Sonik 1, both of which got full marks from us. And now there's a colorful compact subwoofer to give these two speakers even more oomph, if you find bookshelves to be light on low-end.

The new Basik Sub turns your stereo setup into a 2.1 system and solves a problem that applies to any compact bookshelf speakers: there's a limit to how low you can go without putting in bigger drivers. By adding an eight-inch downfiring subwoofer to your setup, the Basik Sub is designed to add the low-end punch that makes music and movies even more entertaining.

Dali Basik Sub: key features and pricing

The Basik Sub features Dali's own 8-inch long throw woofer, which is teamed with an oversized ferrite magnet and a high-flux motor system that Dali says delivers precise control. It also features a long, vented voice coil designed to maintain cooling and minimize compression as you turn the levels up.

Dali went with a down-firing rather than front-firing subwoofer for two key reasons: to deliver more even bass distribution, and to give you more options when it comes to positioning your subwoofer in your room.

Power comes from a 170W RMS / 220W peak Class D amplifier, and there's a built-in dual-stage limiter. Gain, crossover and phase controls are adjustable to make the Basik compatible with a wide range of speaker setups.

Of course, it's not just limited to being used in a 2.1 system — the Dali Sonik range is also designed to be used as surround sounds as well as for stereo setups, so the Basik is a good fit for a budget home theater system too.

The enclosure is made of MDF, features four decoupled feet to reduce vibration and comes in a choice of Solid Black, Solid White, Caramel White, Golden Yellow and Chilly Blue.

The Dali Basik Sub will go on sale in October 2026 with a recommended price of $800 / £429 / €500 (about AU$815).

iFi iDSD GR 2: one-minute review

With the iFi iDSD GR 2, a seemingly arduous task was at hand. British hi-fi brand iFi had to produce a portable DAC/amp that could improve on the spectacular xDSD Gryphon, which we handed a rave five-star review. But boy, did they pull it off.

The iDSD GR 2 provides upgrades that feel meaningful, practical, and tangible. It delivers around 50% more amplification power than its predecessor, making it easier to drive more demanding headphones, all while providing enhanced dynamic range and lower distortion. What’s more, it adds K2HD tech, licensed from JVC Kenwood, which helps to restore warmth and musicality that digital recordings sometimes lose.

Oh, and it fixes our only major gripe with its predecessor, by adding a vivid OLED touchscreen display, making it feel intuitive and easy to use when switching sources, toggling XBass and XSpace processing, or accessing settings. As a result, it easily competes with the best headphone DACs that money can buy.

It's a fantastic performer, delivering articulate, layered, and balanced sound. I paired the DAC/amp with the Astell & Kern A&ultima SP4000 music player and a range of headphones/IEMs, including the Sennheiser HD 600, and the results blew me away. The GR 2 supplied intricate instrument separation, punchy bass, phenomenal mid-range clarity, and expressive treble, making for a captivating listen, no matter what genre I threw at it.

What’s more, the DAC/amp has higher battery capacity (4,900mAh) with adaptive power, meaning I could indulge in long listening sessions without interruption. Combine that with a neat companion app, numerous connectivity modes, and a lightweight feel, and the GR 2 is the ideal device for audiophiles to carry while on the move.

At launch, the iFi iDSD GR 2 is cheaper than its predecessor was at the point of release, despite making a whole host of improvements. And while it would’ve been nice to see a case bundled in at this price-point, and while there are cheaper options on the market, I still think this model offers impeccable value for money when considering the sheer volume of tech crammed into this little device. As a result, it’s all too easy for me to recommend the GR 2.

iFi iDSD GR 2 review: price & release date

• List price of $529 / £529 / AU$849
• Released in June 2026

The iFi iDSD GR 2 released in June 2026, and is the spiritual successor to the brand’s popular portable DAC/amp, the iFi xDSD Gryphon — a model that hit the market back in 2021. Despite offering a number of upgrades over its predecessor, the GR 2 is cheaper at launch, coming in at $529 / £529 / AU$849.

iFi iDSD GR 2 review: features

• Brilliant OLED touchscreen display
• 4,900mAh battery capacity with adaptive power
• K2HD tech opens up even more textured, subtle playback

The iFi iDSD GR 2 is rammed with features, and improves significantly on its already impressive predecessor.

Some of the most captivating options are back, including XBass and XSpace filters, which you can use in tandem or individually. XBass provides a tasteful bump to low-end sounds, while XSpace aims to deliver a more expansive soundstage — both work brilliantly, and I found myself using them often for more hard-hitting hip-hop and dance tracks.

You can select these via a new OLED touchscreen interface, which is phenomenally responsive and very easy to use. Here, you can access a range of settings, including Bluetooth pairing, dual charge mode, a voice prompt toggle, volume sync and more. The main menu also enables you to sift through the GR 2’s vast array of sources, such as Bluetooth (with higher-res aptX Lossless and LDAC support), USB-C, optical, coaxial, and line in. There’s also a lock button if you want to avoid accidental screen touches.

On top of this, the model features dedicated 3.5mm and 4.4mm headphone ports and a USB-C charging slot. Speaking of charging, it will take about 3.5 hours to get to 100% from flat, which isn’t particularly impressive, although I still found that I got quite a lot of playtime from the GR 2 without having to juice it up. That’s because the model features an upgraded battery capacity of 4,900mAh, which should be good for around 7 hours of use — though this will vary depending on volume and if you’re using sound filters.

You can use the GR 2 while charging it via its dedicated USB-C port, a very useful feature if you find you’re indulging in long listening sessions (as I did during testing). The DAC/amp also brings a new adaptive power feature to the table, which balances external power and battery operation. So, if you’ve got the GR 2 hooked up to an external supply, it can prioritize mains power, and in the case that additional power is required, it can be drawn from the device’s battery. The GR 2 will also automatically return to external power if demand drops.

Perhaps my favorite new feature on the GR 2, though, is its K2HD tech, which we saw before in iFi’s considerably pricier and larger iDSD Phantom desktop DAC. This is intended to restore harmonic detail, and bring a track closer to its intended sound, and is exclusively licensed to iFi by JVC Kenwood. I’ll speak more about the sonic benefits of K2HD in the ‘sound quality’ section, but for now, just know that it is indeed a brilliant addition.

Finally, it's worth noting that you can control the GR 2 with the iFi Nexis app, which is incredibly easy to use. It displays all of the options you’d typically see on the device’s touchscreen display, enabling you to easily switch between connectivity modes, adapt volume, toggle on the XBass / XSpace modes and more.

• Features score: 5/5

iFi iDSD GR 2 review: sound quality

• Balanced, articulate, and nuanced sound
• K2HD adds beautiful depth and detail, XBass / XSpace fantastic too
• 50% more headphone drive, but less distortion and greater dynamic range

The original Gryphon was a great performer, delivering impeccable detail, precision, and dynamism, so it should come as no surprise that its sequel is phenomenally talented as well.

Although I tried the GR 2 with a few pairs of IEMs, I conducted most of my testing with the Sennheiser HD 600 headphones, and iFi’s DAC/amp got the very best out of them.

When tuning into a 24-bit 192kHz FLAC of Doralice by Stan Getz, João Gilberto, and Antonio Carlos Jobim, the GR 2 provided a beautifully balanced, insightful listen. Vocals were textured and carefully defined, and the K2HD feature added a nice dosage of warmth. Acoustic guitars were brilliantly separated too, and sounded as if they were operating in a discrete pocket within a broad and nuanced soundstage. Subtle percussion worked away in the right channel and expressive, leading sax also flowed through with personality and natural tonality.

With a more energetic track, Rocking Chair by Mr Scruff, the GR 2 continued to impress. The resonance of bongos in the intro was striking, higher pitched percussion in the treble range came through with vibrancy and precision, and there was an incredibly warm and textured quality to the squelchy bass, which hit with impressive impact — especially with XBass active. Individual instruments, like keys and tambourines were again fantastically weighted and separated, and K2HD added a delicious layer of subtlety and detail that effortlessly restored the richness of the tune’s low end.

Even compared to a strong portable rival, like the FiiO BTR17, the iFi iDSD GR 2 proved to be exceptional. In Felini by Venerus and Marco Castello, the trickling of water was true-to-life and acoustic guitars were expertly separated from emotive vocals. On that subject, iFi’s model just added a bit more detail and depth to the vocals compared to its (still impressive) FiiO rival. The GR 2 exhibited a markedly delicate, raw quality with the vocals and I felt as if I was getting the sort of listening experience the artists had intended.

The capability of the GR 2 to serve up punchy bass, articulate mids, and expressive treble while maintaining such excellent balance across the frequency range has to be applauded. Combining this with its nuanced and precise soundstage — with or without XSpace — and impressive handling of dynamics, it truly feels like the full package.

What’s more, the GR 2 has around 50% more power to drive headphones with (up to 1,513mW RMS) than its predecessor, but it still offers even greater dynamic range and less distortion. So, whether you’re looking to upgrade from the OG Gryphon or get a portable DAC/amp with serious audiophile credentials, I think the GR 2 is one of the best options on the market right now.

• Sound quality score: 5/5

iFi iDSD GR 2 review: design

• Excellent OLED touchscreen display
• Lightweight and pretty portable
• Case can be purchased separately

In terms of design, the iFi iDSD GR 2 is a considerable upgrade over its predecessor, largely as a result of one major change: its touchscreen.

Not only is the OLED color display vivid and clear, but it's incredibly easy and intuitive to use. The touchscreen is responsive and enables you to easily make any changes you want or switch to a different source. You can also adjust the screen’s brightness to your liking, or lock the screen entirely if you want to prevent accidental commands.

Otherwise, the GR 2 has all of the qualities you’d want from a portable DAC/amp. It’s lightweight (at just 0.6 lbs / 268g), has a wide range of connectivity ports, and has a good standard of build. It also has a tactile volume control knob with a small set of physical buttons — all of which are well-sized and effective.

Some may find that there are more ‘portable’ options out there. The FiiO BTR17 I compared to the GR 2 has a considerably smaller footprint, and will fit in just about any pocket. But for the tech stuffed inside iFi’s new model, I’d still argue it’s portable enough, and I had no issue slotting it into my short pockets or a small bag. Oh, and in case you're wondering, no, my review sample never ran hot — not that the OG did either, you understand, but it's often a question we're asked. These products bear plenty of power squirrelled away within a small enclosure, so it's important to mention.

The only thing I would have liked is a case, which has to be purchased separately. But otherwise, the GR 2 is a certified hit in the design category.

• Design score: 4.5/5

iFi iDSD GR 2 review: setup & usability

• Incredibly easy to get set up and started
• iFi Nexis app only adds more seamless usability
• Easy to use interface

The iFi iDSD GR 2 is incredibly easy to start using. Just power the device on and it’s ready to go — no overlong login process, no confusing pairing requests, just plug and play design at its best.

Even if you’re not a seasoned user of DACs or amps, everything is labelled clearly, making it very simple to navigate. The iFi Nexis app also helps you tap into any settings you need on the fly, only heightening the device’s versatility.

• Setup & usability score: 5/5

iFi iDSD GR 2 review: value

• Not the cheapest option around, but still great value
• Less pricey than predecessor at launch
• Impeccable all around quality makes it feel worth the investment

Look, I’m not going to pretend that the GR 2 is a cheap piece of tech. It comes in at $529 / £529 / AU$849, which is a considerable investment to make into your audio setup — but I still think it more than earns its price.

First of all, it's cheaper than its predecessor at launch, but offers 50% more amplification power, a much-improved user interface, K2HD tech, and more. It does all of this while remaining highly portable and delivering stellar sound, and there can be no doubts over the quality you get in return for your outlay.

Yes, you could grab a model like the aforementioned FiiO BTR17 for around $219 / £179 / AU$349, and while that’s a nifty small pick with strong performance and features to match, it can’t deliver the depth of the GR 2, which stuns with its excellent sound filters, wide connectivity options, top-tier audio, and mighty portable power.

• Value score: 5/5

Should I buy the iFi iDSD GR 2?

Buy it if…

Don’t buy it if…

iFi iDSD GR 2 review: also consider

How I tested the iFi iDSD GR 2

• Tested across multiple days
• Used with Sennheiser HD 600, Beyerdynamic IEMs, and more
• Compared against rival model

I spent multiple days intensively testing the iFi iDSD GR 2, during which time I spent countless hours listening to music and exhausting its various features.

Most of the time, I used the Sennheiser HD 600 headphones to test the GR 2 out, although I did also use a few pairs of IEMs from the likes of Beyerdynamic. I used the Astell & Kern A&ultima SP4000 as my main source device, and played a range of file types. And when listening to music, I tuned into tracks from a wide variety of genres, and made sure to compare the GR 2 against a rival from FiiO.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as a resident Senior Reviews Writer. I’ve reviewed a range of products, from hulking party speakers like the Marshall Bromley 750 through to reference-grade IEMs, like the Sennheiser IE 600.

• Read TechRadar’s reviews guarantee
• First reviewed: August 2026

• Castle unveils four new loudspeakers in two ranges
• Castle Tintagel sell for lower prices, with refined driver combos
• Castle Walmer are a higher price, and one has an unusual driver layout

When you think about British Castle, you probably think about Windsor, Warwick or the Tower of London; little did I know that the name also referred to a brand making old-school-looking loudspeakers.

I learned the truth because British Castle is back with a new quartet of speakers, all designed and made in the UK.

These new models, named Castle Tintagel and Castle Walmer after the real-life castles (and, in the case of the former, King Arthur's stomping ground), all have an old-school look which really catches the eye. Now, I'm not talking 'ancient castles' old-school — think ’70s wood-on-wood vibes.

The models will go on sale in September. We only have UK prices for now, and there's no word whether the models will sell elsewhere.

Hearing some Wamler audio

The lower-cost new models are the British Castle Tintagel range: the Tintagel 1 costs £1,999 (roughly $2,700 / AU$4,000) for a pair and a duo of the Tintagel 2 sell for £2,999 (about $4,000 / AU$6,000). The former is a two-way standmount, the latter a 2.5-way floor-stander.

The Tintagel 1 combines a 130mm mid/bass driver and 28mm silk dome treble, while the Tintagel 2 keeps that treble, but enhances the low-end with twin 150mm drivers. Apparently the low-end drivers are a real selling point, and are fiber cones that are designed for quick response and controlled low-end.

Despite not being cheap, the Tintagel is aimed as British Castle's entry-level speaker line. It offers a warm sound profile and classic ’70s look at a lower cost compared to its other options.

Then we have the Castle Walmer line. The Walmer 1 is a 2-way standmount speaker which sells for £2,499 (roughly $3,400 / AU$5,000) for a pair, while the Walmer 2 is a 3-way floorstander that you can buy for the sum of £4,999 (around $6,800 / AU$10,000) for a pair.

In the Walmer 1, you'll find a 130mm mid/bass driver and 12x45mm high-frequency true ribbon unit. The Walmer 2 keeps the latter but uses dual 150mm bass drivers and a 115mm midrange unit, with all of these made of the same fibre as we've already seen in the Tintagel — and what's unusual is that one of the two bass drivers is actually above the tweeter and mid/bass driver, while the other one is below them.

Normally, speaker drivers are simply arranged from highest-frequency at the top to lowest at the bottom, so I'm curious as to how this performs.

Not only does this more advanced driver combination keep the Walmer feeling unique, but the ribbon unit apparently offers a unique top-end which is detailed and delicate. The entire Walmer 2 set-up is unusual, with a bespoke mid-range speaker being relatively rare.

KEF LS Luxe: Two-minute review

The LS Luxe is the new high-point — by which I mean ‘most expensive’ — of KEF’s fêted range of wireless stereo speaker systems. Having precisely nothing left to prove where products of this type are concerned in the lower $1,000 / £750 - $3,400 / £2,500 arena, the company has made a decisive move upmarket — and the LS Luxe seems to leave very little to chance where engineering, specification and aesthetic shock and awe are concerned.

You will make your own mind up about the looks, of course; for my money, the ‘eclipse black’ of my review sample is the least successful of the three available finishes, but there’s no denying the LS Luxe is an individual looker in a market where design flourishes are always at a premium. But when talk turns to engineering and specification, subjectivity ceases to be all that much of an issue.

Numerous input options (both wired and wireless), genuinely high-resolution playback (24bit/192kHz is yours if you connect the speakers together, while 24bit/96kHz is available from a wireless connection), and some proven technologies exclusive to KEF serve to make the LS Luxe look like a very serious proposition on the page.It’s only fractionally less serious when it comes to performance, too.

Make sure you’ve positioned the speakers carefully, get beyond the slightly restricted dimensions of the soundstage it conjures… and then there’s a huge amount to enjoy here. Some of the best stereo speakers on the market? Yes.

The LS Luxe is a deftly accomplished listen, able to combine forensic attention to detail with an energetic, almost forceful attitude that brings recordings of all types bounding to life. It manages to combine analysis with entertainment in a way that’s rare at any price.

KEF LS Luxe review: Price & release date

• Launched on July 30, 2026
• Priced $3,999 / £3,499 / AU$6,399

The KEF LS Luxe wireless stereo speaker system is on sale now, and in the United Kingdom it costs £3,499. In the United States it sells for $3,999, while in Australia the going rate is AU$6,399.

If you don’t want this to be the end of your spending, KEF will happily sell you a pair of its bespoke ‘S-Luxe’ speaker stands for £799 / $799 / AU$1199…

What of note at the level? The Sonus faber Duetto are the same price and also present a fantastic listen, albeit with a very different aesthetic.

KEF LS Luxe review: Features

• 12th-gen Uni-Q driver array
• Wired and wireless connectivity options
• 560 watts of Class D power plus 200 watts of Class A/B

It’s not the only thing that’s attention-grabbing about the look of the LS Luxe, of course, but there’s no denying that the 12th generation Uni-Q driver array is just as visually impactful as it was when the first generation was revealed back in 1988.

Here, it features a 25mm aluminium tweeter behind a complex waveguide, in the throat of a 165mm aluminum mid/bass cone — as always, the arrangement is designed for optimum time-alignment and superior driver integration.

A more recent KEF innovation, ‘metamaterial absorption technology’, sits behind the tweeter where it’s designed to mop up energy travelling from the back of the tweeter dome and allow for sweeter, cleaner treble response as a result.

The driver arrangement is mechanically decoupled from the cabinet, and a decoupling chassis within the assembly damps any vibrations from the motor system — in both cases, the idea is to reduce the vibration affecting the cabinet structure to an absolute minimum. Low distortion and sky-high clarity are the results KEF is aiming for.

Unusually, KEF has deployed two distinct methods of amplifying the Uni-Q array. Each mid/bass driver feels the benefit of 280 watts of Class D power, while each tweeter is driven by 100 watts of Class A/B amplification — an all-in total of 760 watts of power really ought to prove adequate. KEF reckons a frequency response of 42Hz - 28kHz results from all this very thorough engineering.

Naturally, that’s not the end of it where clever technologies are concerned. KEF’s ‘Velocity Control Technology’, first seen in the XIO soundbar, measures the speed of movement of the cone and compensates for discrepancies between actual and expected values in real time. The ‘Music Integrity Engine’, meanwhile, maintains tonal consistency at all volume levels.

In terms of getting audio information into the system where it can be had at by these various highlights of specification, your options are fairly extensive. Dual-band wi-fi is on board, naturally — there’s also an Ethernet socket on the rear of the ‘primary’ speaker for absolute network stability — and this allows the system to be compatible with Apple AirPlay 2, Google Cast, the ‘Connect’ versions of Qobuz, Spotify and TIDAL, and UPnP. Internet radio is available too, and Roon Ready status is due to be confirmed much sooner rather than later.

A USB-C slot looks promising, but it’s ‘only’ a 5V output for charging. Bluetooth 5.3 is also on board as an additional wireless option - all the wireless stuff is handled by KEF’s proven ‘W2 Wireless Platform’.

The primary speaker is also home to the system’s physical connectivity. Here that means an HDMI eARC socket, optical and coaxial digital inputs, and a 3.5mm analogue input, as well as a kettle-lead socket for connection to mains power, a pre-out for a subwoofer and an RJ45 socket for connection to the secondary speaker. That secondary speaker makes do with a mains power socket, a corresponding RJ45 and a subwoofer pre-out.

The LS Luxe will support resolutions of up to 24bit/384kHz and DSD128 via its network inputs, 24bit/192kHz via coaxial and HDMI, and 24bit/96kHz via its optical input. If the speakers are connected using the supplied cable, everything is up- or down-sampled to 24bit/192kHz - if you decide the cleaner look of a wireless connection between the two is your preference, then the system tops out at 24bit/96kHz.

• Features score: 5 / 5

KEF LS Luxe review: Sound quality

• Detailed, organised and robust sound
• Eloquent midrange fidelity
• Could conceivably have greater out-and-out scale

First things first: the LEF LS Luxe is not remotely forgiving where the positioning of the speakers is concerned.

The overwhelming majority of stereo speakers I’ve tested, both active and passive, have given their best when toed in towards the listening position — in fact, off the top of my head I can only think of Dali that recommends its speakers should be pointing dead ahead to perform to their full potential. The KEF, though, like only the tiniest amount of toe-in. Too little or, especially, too much and they lose some of the width of their soundstage and a more noticeable amount of sonic height.

Even when ideally positioned, the soundstage they generate is not the biggest you’ve ever heard. It escapes the confines of cabinets quite comfortably, in both horizontal and vertical directions, but is still relatively limited.

Mind you, it’s fair to say a) the soundstage is extremely well laid-out and controlled, and b) that’s just about where my complaints end regarding the way the LS Luxe performs. In every other respect it’s a remarkably accomplished listen, and is undoubtedly one of the most effective pound-for-pound wireless stereo speaker systems around.

No matter if you listen to the avant-electronica of Arca’s eponymous debut album via a CD player connected to the KEFs digital optical input, a 24bit/192kHz FLAC file of David Bowie’s Stationtostation wirelessly streamed from Qobuz Connect or a heavyweight vinyl reissue of Takk… by Sigur Rós from a pre-amplified turntable, the LS Luxe is a remarkably articulate, utterly revealing and deftly punchy system that is likely to steal your time away.

The tonal balance is exquisitely neutral. The KEF is more than happy to get out of the way of a recording and let it dictate terms in this respect. It’s similarly balanced and egoless where frequency response is concerned, too — it digs deep into the low frequencies and hits with real authority and control, while the opposite end has the substance to counteract the brilliance of the treble response, but at no point does the system over- or understate any part of the range.

The balanced and even-handed nature of its presentation goes a long way towards creating a strong impression of fidelity. So does the amount of detail it’s able to retrieve, reveal and contextualise. At every stage it is alert to the finest, most minor occurrences in a recording, in a voice or an individual instrument — and it’s able to give these details the appropriate amount of weighting no matter how fleeting they might be.

Its transient response is thrillingly positive, and the overall sound is eloquently alive and communicative as a result.

And when it comes to communication, the way the LS Luxe resolves the midrange means it’s brilliantly informative where voices are concerned. The minutiae of timbre, texture and technique are all made available, and the KEF can describe the attitude and character of a vocalist just as directly.

Rhythmic expression is confident, thanks to the careful control the system pays to the attack of low-frequency information. It’s a deftly fluent listen at the bottom end, and marries outright punch to a huge amount of tonal and textural variation. And when it comes to the dynamic of a recording, whether that’s the big shifts in intensity and volume or the more nuanced dynamics of harmonic changes, the KEF is an assured and convincing performer.

• Sound quality score: 4.5 / 5

KEF LS Luxe review: Design

• Bulk moulding compound allows for organic shape with no seams
• Another Ross Lovegrove design
• Color makes a disproportionate difference to appearance

Q: When did you last see a pair of speakers that look like this? A: Never, that’s when.

The LS Luxe is the latest results of KEF’s ongoing collaboration with designer Ross Lovegrove and, just as with previous KEF/Lovegrove designs, there’s something almost organic about the shape of these loudspeakers.

The use of BMC (‘bulk moulding compound’) as the material for the cabinets means this smoothly curvaceous shape has no edges or visible seams, and is less prone to the build-up of internal standing waves than a more conventional box. It also means the requirement for internal bracing is minimised, so there’s greater internal volume than would otherwise be the case as a result. And there’s further visual drama at the rear of the cabinet: an elaborately shaped and channelled heatsink, fashioned from aluminium, has sufficient surface area to allow the heat from the internal electronics to be efficiently dispersed.

There’s also a fairly large bass reflex port nearby — it features KEF’s ‘Flexible Port Technology’. This means the walls of the port are not completely rigid, which should in theory help keep internal resonance to a minimum.

The LS Luxe is available in three finishes. My review sample is in ‘eclipse black’, which is my least favourite of the three. To my eyes it makes the cabinets look bulkier and heavier than they actually are. Check out the alternative ‘mineral white’ or ‘dusk titanium’ and see if you know what I mean. Regardless of the finish you choose, though, you’ll be the owner of a pair of speakers that are beautifully constructed, flawlessly finished, and both look and feel like the money’s-worth.

KEF didn’t supply me with the cost-option ‘S-Luxe’ stands developed specifically for use with this system, but unless you intend to position your speakers on a shelf or desktop (in which case I will judge you quite strongly) it’s worth factoring this extra cost in.

Other speaker stands work perfectly well, of course — I position the KEF on a pair of Soundstyle Z2, and they perform admirably. But the way the cabinet swoops and tapers towards the base means that a lot of the (regulation size) top plate of my stands is visible when the speaker is in place, and the look is not especially harmonious.

• Design score: 4 / 5

KEF LS Luxe review: Usability & setup

• ‘Wireless’ means either two or three wires
• Remote control handset and app
• A little patience sometimes required when using the app

There’s really not that much to setting up the KEF LS Luxe, and once it’s set up it’s pretty straightforward to operate — but that’s not the same as saying it doesn’t require a little attention.

As already discussed, this is a wireless system that requires at least two wires; both speakers must be plugged into the mains. After that, you can choose to connect the speakers together using a supplied cable, or you can take the hit in terms of resolution and establish a wireless connection between them.

There are a couple of control methods available. KEF supplies quite a nice, metal-fronted remote control that covers off the fundamentals like playback, power, volume and input selection — and there’s also the ‘KEF Connect’ control app that’s free for iOS and Android.

Naturally it duplicates all the remote control functions, and adds in the ability to integrate music streaming services, search for and save internet radio stations, trim the system’s response to suit your specific environment, check for firmware updates and so on. It can be a little lethargic at times, but on the whole it’s a stable and useful user interface.

• Usability & setup score: 4.5 / 5

KEF LS Luxe review: Value

If you want your fancy new wireless stereo system to turn heads on the basis of its looks as well as its sound, you can’t really argue with the value the KEF LS Luxe represents.

If you’re after great build quality and nicely realised control options to go along with the sonic performance and the visual drama, the case for this system gets stronger still. The bespoke stands are no one’s idea of a bargain, admittedly, but in every other respect there’s undeniable value for money on offer here.

• Value score: 4 / 5

Should I buy the KEF LS Luxe?

Buy them if…

Don’t buy them if…

KEF LS Luxe review: Also consider

The Sonus faber Duetto is, in its own way, just as visually arresting as the LS Luxe — it’s more identifiably a pair of speakers, but the established Sonus faber virtue of outstanding cabinet-making means this system looks and even feels the part.

It’s no slouch sonically, either — it’s a composed, informative and periodically thrilling listen.

At the other end of the spectrum (at least where aesthetic considerations are concerned) you’ll find the sonically impeccable, visually challenging JBL 4329P. JBL speakers have looked like this since the middle of the last century, and there’s no denying that in terms of performance they’re a roaring success. Their appearance in your home may cause a row based on their divisive looks, though…

How I tested the KEF LS Luxe

I position the KEF LS Luxe on a pair of Soundstyle Z2 speaker stands, and plug each one into the mains.

I listen with the speakers connected wirelessly, and I also listen when they’re physically joined together.

I stream music using TIDAL Connect and also access a lot of hi-res content from a Synology BeeStation Plus NAS device.

I connect a preamplified turntable to the analog input, a CD player to the coaxial input, and an OLED TV to the HDMI eARC socket. This means I’m able to access lots of different styles of content, in lots of different digital file types, and in a variety of resolutions.

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• First reviewed: August 2026

Fancy getting into vinyl, or upgrading your existing setup? This year has delivered some especially interesting new turntables, ranging from the classy to the tacky, and from the practical to the surely-just-for-show. I've rounded up some of our favorites below.

Oxblood is clearly in vogue, because we have not one but two decks in the moody hue: Technics' Friz Hansen turntable with a matching lamp, and Pro-Ject's ultra-minimalist Debut Evo 2.

Looking for something less understated? Rammstein fans should gear up to grab one of respected turntable brand Clearaudio's limited-edition themed decks when they finally become available in October. The brand's love letter to the German metal gods isn't simply a band logo slapped onto an existing turntable either — it was created in collaboration with Rammstein as a "fully independent model" featuring a metallic lacquer finish and dimmable LED lighting.

If you think that's bold, wait until you see Technics' other notable 2026 release. This limited-edition turntable is based on the SL-1200 model, and designed to mark its 55th anniversary. The inner workings remain largely untouched compared to the base model, but the exterior is altogether flashier: the theme here is gold, and lots of it. Everything from the tonearm to the controls to the platter has had the Midas touch applied — it even has a gold slip mat.

Scroll down for a closer look at all these decks and more — and hit the More details button for links to additional info.

Top turntables

• Yamaha unveils two new compact streaming hi-fi products, due for release in November
• The WXC-70A is a compact streamer with Spotify, AirPlay, Roon, Tidal and HDMI connectivity, among others
• The WXA-70A has all that, and built-in amplification as well

Is there any kind of audio tech that Yamaha doesn't make? For a while, compact streaming gear was one, but after a decade, the brand is returning to the space.

These new gadgets are called the WXA-70A, and WXC-70A, which seems unnecessarily confusing, but here we are. You'll be able to buy Yamaha's new offerings from some time in November 2026, though an exact release date hasn't been offered yet.

Let's start with the Yamaha WXC-70, which you can see pictured above: the compact streamer. This is due to sell for £859 (about $1, 170, AU$1,700), so it's the cheaper of the two models.

It's designed to connect and empower a range of household audio devices such as turntables, speakers, and TVs, with an in-built calibration microphone which can analyze your room to best optimize its acoustic output.

The WXC-70A is controlled via the MusicCast app, which lets you manage your sources and outputs, and play music from various services. It also supports Spotify Connect, Tidal Connect, AirPlay and it's Roon Ready. It can also be tied into your smart home gadgets.

A big draw to the device is its range of connections. Input-wise, it takes RCA, optical, HDMI (including eARC), USB-A, ethernet and Bluetooth (but only SBC/AAC), and its outputs include various RCA, optical, coax, a Sub Out port, and of course Bluetooth and Wi-Fi.

Getting amped up

The WXA-70A offers a little more, and costs more too at £1,199 (about $1, 630, AU$2,400). It measures the same size as the WXC-70A, at 22 x 26.7 x 7.3cm, but its 2.6kg weight (compared to the C's 1.9kg) shows there's more going under the hood.

Many of the features here are the same. It has the same calibration microphone, the same dials, the same MusicCast and smart home connections. It has the same inputs and largely the same outputs. You're paying more for its amplification skills.

The WXA-70A can output at 70W two-channel at 8 ohms, or 105W two-channel at 4 ohms, so it can pair nicely with bookshelf speakers or floorstanders. Basically, it's a powerful just-add-speakers small streaming hi-fi brain.

If you want something with even fewer boxes, Yamaha recently unveiled its latest streaming stereo speakers, which have all the connections built right in.

• Fiio unveils EA13 analog stereo amplifier, featuring six vacuum tubes with push-pull Class A circuitry
• Develops 28W + 28W into 8 ohms, enough for bookshelves and many floorstanders
• Available now for $769 / £769 (about AU$1,464)

Sometimes the latest tech isn't always the best, especially in audio: many of the highest quality elite amplifiers use vacuum tubes because of their famed warmth and engaging presentation.

Unfortunately many of those amps come with four- or even five-figure price tags, which is why my everyday amp is strictly solid state. But Fiio, which is one of the best budget audiophile brands around right now, may have a solution for tube fans on a budget: the new Fiio EA13 tube amplifier.

The EA13 is a full-sized tube amp that took three years to develop. It features six imported tubes, Class A push-pull circuitry, custom output transformers and a price tag of just $769 / £769 (about AU$1,464), and it's available to buy now.

FiiO EA13 tube amplifier: key features and specifications

The EA13 uses two distinct kinds of tubes. Two Sylvania NOS PCF80 pre-amp tubes handle the first stage, chosen for what Fiio says is a "refined, transparent presentation and an open, natural soundstage". Those pre-amp tubes are then teamed with four JJ Electronic EL34 power tubes for amplification.

Fiio apparently took inspiration from the golden age of tube amplification in the 1950s, and the EA13 combines pentode mode with pure Class A push-pull operation, which helps reduce distortion.

The power output here is relatively modest at 28W + 28W at 8 ohms, but that's more than enough to drive a pair of decent bookshelf speakers or normal floorstanders.

The EA13 features a custom high-bandwidth, low-noise output transformer that reduces vibration while also improving electromagnetic shielding, moisture protection, stability and longevity. Fiio says the result is tighter, more weighty bass, refined treble and faithful handling of dynamic shifts.

The front panel of the EA13 is made from CNC-machined, sandblasted aviation-grade aluminum, and the amplifier's solid unibody build delivers "excellent" electromagnetic shielding, the company claims.

The tubes sit beneath a protective cover, and in a nice touch the EA13's illumination can be adjusted so that the mechanical VU meters match the glow of the tubes.

There are four RCA inputs (bring your own phono stage if you have one of the best turntables), gold-plated 4-ohm and 8-ohm speaker binding posts and a 6.35mm single-ended headphone output designed to match the sound signature of the speaker outputs.

There's no streaming here, any digital will need its own DAC, and you'll have to add it on — this is strictly about the analog, and at this price, I think it will tempt a lot of people who've got into the vinyl revival.

The concept of a hybrid speaker is rare, but not necessarily unique. However, what hybrid means when it comes to the Goldenear T44 is unparalleled. That’s because this speaker, along with its big brother, the T66, is both a powered and a passive speaker. All the best stereo speakers that I’ve come across have been one or the other, but not both.

If you’re not familiar, a passive speaker used to be the standard in homes 20 years ago (and a lot further back too). And when it comes to audiophile-level Hi-Fi, it still is. These speakers connect via speaker cables to an external amp that provides all the power and through which the audio signal is sent (whether directly or through additional hardware). You cannot use them without an amp.

Powered speakers (and their active cousins, where each driver receives its own dedicated amp unit), have become the more popular type of speaker with the advent of portable and bluetooth speakers. Powered designs integrate amplification so that all you need to do is give your speakers a power source, whether there's a battery that needs to be charged or they just need to be plugged into the wall. But you don’t need a separate amp, because it’s all inside the speaker. Just connect your phone and you’re off to the races.

So, why make a set of speakers where half of the frequency range is already powered and the other half is not? For the Goldenear T44 (and the T66), it’s the listening experience. By using a 56-bit DSP-controlled Class D amplifier for the low-end, the T44 allows for a few things.

First, the low end will always have that quick, dynamic response that one should expect from a strong solid state amp. And second, by removing responsibility for the low-end from your external amp, it puts much less stress on that equipment, which is especially important if you’re using a tube amp. By removing the low-end from the tube amp, the Goldenear T44 can extend the life of your tubes.

The flexible sound

If you’ve never spent any time in the audiophile world, it can be an intimidating and expensive one — the Goldenear T44 themselves retail for $5,000 (about £3,700 / AU$7,070) a pair. And that’s without that external amp needed for the high end — you should be aware that using different amps with speakers will affect the way they sound. If you get deep enough into this world, you’ll come across bickering about which cables sound the best.

Because of that, being able to play around with different amps to change the sound of the top end of the Goldenear T44, specifically the sound that’s coming out of the High-Velocity Folded Ribbon tweeter (basically the same as an AMT tweeter) and the 4.5-inch mid-range driver, allows for a level of flexibility that’s just not available with other speakers.

If you want a very clean, detailed sound, you can pair them with all sorts of solid state amps, whether it’s another Class D one like what Goldenear uses to power the 5 x 9-inch bass driver (there are also two passive radiators to help with the low end) or maybe a Class A or A/B one. You can even bi-wire whichever amp you choose.

Or you can get a tube amp to add some of that sweetness, even harmonic distortion, to give a softer, more laid back sound to the high-end, while still retaining that punch in the low end. Plus, there’s a subwoofer level control so you can adjust the balance between the internal and external amp.

The drivers themselves are pretty special

Regardless of what amp you use, the fact that Goldenear uses a folded ribbon for its tweeter means exceptional detail – I’ve always found tweeters like this (again, similar concept to an AMT tweeters) means that you will be able to hear incredible nuance in the high-end. When I’ve seen speaker lines upgrade to AMT tweeters, it’s always been an improvement.

The woofer for the low-end is also fairly different. It’s a rectangular, long-throw driver that is able to move more air without needing a wider cabinet. These speakers measure less than eight inches wide. That’s not a lot of space for a big woofer. And being a planar speaker, it uses a flat diaphragm as opposed to the traditional cone, which minimizes the amount of distortion in the low-end.

To give you an idea of what these drivers do, the frequency range goes from 32Hz to 25kHz.

My experience with the Goldenear T44

I admit that I’m pretty new to Goldenear, but the company has a strong pedigree. It was started by Sandy Gross in 2010, one of the original founders of Polk Audio and also of Definitive Technology, and is now part of PML Sound International (Martin Logan, Paradigm, Anthem).

So, when I got a chance to sit and listen to the Goldenear T44 at this year’s Audio Advice Live, I really didn’t know what to expect. But I was more than pleasantly surprised. Kacey Musgraves’ Slow Burn sounded both intimate and epic with the way the T44 handled both her vocals, the guitar, and ethereal pads, while Ghost Rider’s Make Us Stronger hit hard in the low end for just a couple examples.

While I didn’t get a chance to hear the Goldenear T44 through multiple amps (this little listen was powered by one from Anthem), I can see how separating the highs and lows really open up what you can do with these speakers. I think if you’re looking for something different with the ability to blend sounds, the Goldenear T44 should be at the top of your list.

I want to tell you about the Trinnov Altitude CI AV processor. And I want to tell you about it because it’s essentially an Intel computer posing as a processor with scalable channels and a software-based platform that is constantly being updated.

But I need to tell you about how Trinnov was able to make a pair of ASCENDO Black Swan speakers sound good in what was essentially an elevator lobby, at Audio Advice Live 2026.

The Black Swan Active Ext speakers are excellent two-way speakers that can get loud with a 132dB peak. They even come with their own DSP. After all, the ones showcased at the event, which were in a custom finish, retail around for around $40,000 each (so around £29,550 / AU$ 56,200) and there’s more going on than just an asymmetrical horn. It’s also worth mentioning that a $36,000 ASCENDO subwoofer was in the mix as well.

It’s not ASCENDO’s DSP doing the work in this particular situation though, it’s the Trinnov Altitude CI. Using Trinnov’s unique and patented Waveforming and Optimizer technology — there’s also a 3D mic for getting measurements — the audio, whether it was Stevie Ray Vaughn, Kamasi Washington (I did get a request in), or even some EDM, was as pristine and clear across all frequencies as if I were listening in a dedicated room.

Now, I’m describing the sound within about ten feet of the speakers where some seating had been set up to appreciate all that was on offer. It did start to get a little diffuse when over by registration, about thirty feet to the right, or at the elevators, thirty feet back, but those were not intended listening areas. The ability and fine tuning of Trinnov’s DSP is hard to beat.

Can you imagine creating a listenable space in a room with high-arched ceilings, walkways in either direction and a wall of elevators on the far end? Now, imagine what the Trinnov Altitude CI can do in a more ideal space.

The Room Correction

There are a few things going on with the Trinnov Altitude CI (and really and of the Altitude series) that get the room out of the equation and allow a set of speakers to sing. One of the main components of the company’s renowned room correction is its patented Optimizer, which, using a 3D mic, takes accurate measurements of what the room is hearing and adjusts accordingly. You can even do vertical and horizontal adjustments via the software to compensate for non-ideal speaker placement.

Trinnov also has its Waveforming technology, introduced in 2023 when researching a way to prevent standing waves instead of fixing them. Speaker and subwoofer placement as well as EQ were the traditional way of trying to mitigate the effects of standing waves, but you still get cold and hot spots throughout the room. And unless you only want to listen to music by yourself — this is less important for that one seat situated in the sweet spot — you would want to get rid of those standing waves as much as possible.

By implementing Waveforming, you get much better seat-to-seat consistency. And you’ll remove the muddiness from the low-end for a clearer sound and more dynamic contrast (there’s usually a standing wave around 50Hz). It also surprisingly makes dialogue easier to hear if you’re using the Trinnov Altitude CI for a Home Theater setting as well (or listening to a podcast through your Hi-Fi speakers for some reason).

Looking under the hood

Earlier I called the Trinnov Altitude CI an Intel computer, and it’s true. It uses an actual CPU and has a heavily modified Linux base for its software. What this means is that Trinnov doesn’t have to wait for someone to make a special DSP chip for them to build around as the internal processor is more than powerful enough. And that by making the processing software-based, the company can roll out any updates to Dolby Atmos, DTS:X, Dante, or anything else with a software update that just requires a press of a button and a few minutes.

This means that if you own any Trinnov AV processor, they will stay up to date for the foreseeable future so you won’t need to go replacing hardware every time there’s something new under the sun.

On the hardware side, the only moving target these days is HDMI. With the Trinnov Altitude CI, the HDMI ports are all separated on their own piece of hardware that can be removed for an updated one that you would get from the company so that your processor can support the new standard. Beats buying a whole new AV processor.

The one thing that really sets the Trinnov Altitude CI apart from the Altitude 16 or 32 is that it has scalable channels. So when you purchase this processor, it includes eight channels in that initial price tag of about $12,000 / £8,870 / AU$16,960 and you can add channels two at a time after until you get to 32 channels, and it’s about $28,000 / £20,700 / AU$39,560 for the Altitude CI fully loaded. You’ll have to reach out to your local Hi-Fi dealer for exact pricing, but the Trinnov Altitude CI offers a more affordable entry point into the Trinnov ecosystem.

One of the nicest things about checking out the best speakers at a big trade show, (in this case, Audio Advice Live in Raleigh, North Carolina) is that sometimes you have family nearby. So, when I was doing my second round of some of the vendors that really stood out to me, I was able to bring my cousin along — and if you’re within driving distance next year, $30 will get you in the door.

On that short list was one of the three Martin Logan rooms equipped with a pair of the Martin Logan ElectroMotion ESL X. These speakers, the flagship model of the company’s entry-level electrostatic line called the ElectroMotion Series, greeted us from the far corners of the room backed just by a big, wide window and some drapes. Not much for sound dampening. Following my cousin’s request, Bon Iver’s Holocene would be the focus of this listening session.

The experience

I’m not quite sure what I was expecting, but what I heard surprised me. The level of detail was unparalleled. If you want to sit there and listen to the pristine decay of a cymbal hit, you do it on these speakers. When listening to Holocene, Bon Iver’s voice has this delicate nature that’s not all that noticeable on lesser speakers. And the guitar sparkles similarly.

Since electrostatic speakers reproduce audio in a different way, the low end had this tight but balanced presentation that made the whole song come across as clearer with better resolution than I had ever heard before.

Plus, it felt more open — I could hear the extra dynamic impact of the snare roll on the right side of the song (a more traditional kit plays on the left), pulling forward and back as it varied in volume. Put on a pair of (non-electrostatic) headphones and you’ll probably hear what I typically hear — a fairly even drum roll throughout the song.

I had already gotten a chance earlier to listen to some jazz, of course a song with female vocals, and an EDM track or two. And this second go-around just confirmed how I felt the first time around. Essentially, detail for days, an openness, and a balanced presentation with tight low-end.

Of course, I was less gobsmacked than my cousin who heard things he had never heard before, such as a particular bassline that comes in as the song builds. And this was the song he picked and that he knew well.

The design

Since the Martin Logan ElectroMotion ESL X speakers use a 40-inch tall, 8.6-inch wide electrostatic transducer, they do something interesting. Each enclosure disperses audio in a unique pattern, going out at panel height with a 30-degree curvature so that most of what you’re hearing is directly from the speaker. The audio is not reflecting off the ceiling or floor, limiting the amount of reflections coming to your ear.

The electrostatic transducer also has very little movement, as it’s basically a metal membrane with electricity moving through it, so there’s very little speaker cone distortion. It also has the same level of detail regardless of volume. We’ve all heard speakers where the high-end starts to roll off as you turn the volume low. Well, that’s not the case here.

But, it’s only semi-correct to call the Martin Logan ElectroMotion ESL X an electrostatic speaker. It’s actually a hybrid, with the electrostatic transducer covering a range of 400 to 22,000Hz. At 400 Hz, it crosses over to dual eight-inch passive drivers housed below the transducer in the speaker cabinet. There’s one in front and one in back. And the cabinet is ported. These drivers go from 400Hz down to 41Hz, a telling cutoff for why the bass sounds so controlled.

At the end of the day

When I went to Audio Advice Alive, I heard speaker after speaker that just blew me away. It wasn’t all of them, but it was quite a few. But as great as many of them were, most of them are ones that I would never consider buying. For the best of them, it’s mostly a matter of cost (and a little bit space too). I don’t expect to have $65,000 sitting around any time soon for a pair of Bowers & Wilkins 801 D5s, and that’s without including the rest of the signal chain.

The Martin Logan ElectroMotion ESL X is on a very short list of speakers that not only sounded special but I could potentially justify buying. Spending $4,499.98 / £5,500.00 / AU$8,499.00 on a pair of speakers before including an amp, streamer, and cables is still no small chunk of change. But it is within reach.

Marshall Stockwell III review

Seven years after its predecessor came to market, the Marshall Stockwell III is here — and wow, what a beauty.

From the moment I unboxed the Stockwell III, I was struck by its quality. Its striking amp-inspired aesthetic, complimented by luxurious PU leather, golden detailing, and a red velvet-infused handle made it likeable from the off. But could its sound live up to its enticing looks?

Well, I’ve spent hours upon hours listening to music and messing around with various features on Marshall’s new speaker, and I’ve got a fair few thoughts. So here’s whether it can compare with some of the best Bluetooth speakers around.

Let’s start with sound quality, an area where the Stockwell III is aiming to make quite the leap from its predecessor. Under the hood, you’ll find one three-inch woofer with 65W class D amplification alongside two 1.75-inch wide-band drivers, which both have 31W of class D amplification. This means that the Stockwell III is incredibly mighty for a speaker of its size, and offers considerably meatier audio than its predecessor could.

The Stockwell III’s impressive power really shines through in its performance — it displays a striking level of confidence with regimented, intent-filled bass, driven mids, and expressive highs that make it an incredibly enjoyable speaker to use.

In Home Meeting by Sadao Watanabe, I was impressed with the fluent and colorful leading sax, which played alongside substantial and weighty funky bass and accurate, precise drums in the treble range. As the track built towards its climax, the Stockwell III managed the swathe of instruments with ease, and backing vocals, guitars, horns, and bass all came together in a cohesive yet nuanced ensemble.

With a deeper track, like Vision of Love by Lewis Taylor, the Stockwell III proved that its power goes a long way. Pumping deep bass pounded through our music testing room with intensity, yet remained controlled and clean. Energetic drums high up in the frequency range also came through with plenty of bite, although neither end of the spectrum overshadowed the finer electronic details in the mid-range.

The Stockwell III can extend down to 54Hz, and although it wasn’t capable of the most full-sounding, consuming sub-bass, I still found that it coped decently with ultra-low frequencies. More generally, the speaker does have a bit of a bass preference, and although this may not be to everyone’s taste, a swift turn of the bass dial can easily get you the sound you’re after.

One thing I will say is that although vocals come through clearly on the Stanmore III, they perhaps lack the warmth and texture that you’ll find from some other premium speakers. To be clear, I still found that vocal-focused tracks sounded great on the Stockwell III, but audiophiles may wish for a bit more detail and depth.

As you’d expect with a recent Marshall release, there's USB-C audio onboard for lossless playback, and the speaker sounds great with a wired connection. There’s also a 3.5mm port if you’d prefer. Unfortunately though, there’s no LDAC for higher-res Bluetooth playback — something we recently saw on the Marshall Acton IV and Marshall Stanmore IV — which would’ve been nice to see.

But a couple of features really help the Stockwell III perform at an excellent level. For example, Dynamic Loudness helps the speaker maintain clarity, even at higher volumes, and I found that the Stockwell III still sounded excellent even when pushing volume up to 90% and beyond. Marshall has also implemented its True Stereophonic 360 sound, intended to make sure it sounds excellent from every angle, and this felt effective to me, resulting in the speaker having no true ‘sweet spot’ — ideal for a party situation, say.

One final thing worth pointing out about sound, is that the Stockwell III technically outputs in stereo. However, the stereo effects aren’t particularly convincing — in part due to the Stockwell III’s limited confines.

So the Stockwell III is a hit in the sound quality department. But how does it fare elsewhere?

Well, when it comes to features, there are quite a few options to uncover. For the moment, the Stockwell III is using the older Marshall Bluetooth app, unlike the newer Marshall software harnessed by the Acton IV, Stanmore IV, and Heston soundbars. This means that you only get a five-band EQ, though this still works well — and the speaker does sound great out of the box.

The app also enables you to use a soundstage mode to reduce or expand the width of sound, you can toggle on Source Mix to play media via wired and Bluetooth connections simultaneously, and you can map a specific EQ configuration to the speaker’s M button. In addition, there’s a placement compensation feature that genuinely makes a difference, as well as USB-C port configuration settings (you can make it charge other devices, play media, or both), and battery preservation options.

Speaking of battery, the Stockwell III is capable of providing 40 hours of playback — double what its predecessor could manage. That’s a phenomenal amount of playtime for a speaker of this size, and a seismic technological advancement, proving that Marshall are still one of the leading audio manufacturers when it comes to battery life.

I’ve spoken a bit about design already, but the Stockwell III is a true joy to behold. It’s also a lot lighter than Marshall’s alternate mid-weight speaker, the Marshall Middleton II, making it feel way more portable. It's also got more amplification power than the Middleton II and in my view, looks more premium — it’s the better mid-weight option overall in my view.

However, this does come at the expense of weaker waterproofing — the Middleton II is IP67 rated, whereas the Stockwell III is only IP55. That's still an improvement on its IPX4-rated predecessor and keeps it protected against splashes and dust ingress, but a lot of competitors shield their devices against full underwater submersion.

But let’s wrap up now. At $249.99 / £199.99 / AU$379, the Stockwell III isn’t the cheapest option on the market, but for its power, and its sound and build quality, it's an excellent value for money choice. At launch, the Stockwell II was priced the same as this new model in the US, but it's actually cheaper in the UK and Australia than its predecessor was at the point of release. With the improvements in acoustics, build, and waterproofing, that’s amazing to see.

Although the Stockwell III leaves out LDAC and is using the older Marshall Bluetooth app at the moment, I still think it’s a brilliant speaker. With confident yet elegant sound, amazing looks, and a fantastic feature-set, it's the best mid-weight Marshall speaker you can buy, and stands as a stellar upgrade over the Stockwell II.

Marshall Stockwell III review: price & release date

• Priced at $249.99 / £199.99 / AU$379
• Released in August 2026

The Marshall Stockwell III was released in August 2026, seven years after the Marshall Stockwell II came to market. It's priced at $249.99 / £199.99 / AU$379, meaning that in the US it costs the same as the Stockwell II did at launch, and it's actually cheaper in the UK and Australia. Considering the vast improvements it provides, that makes it a phenomenal value for money option. It’s available in Black and Brass or in Cream.

Marshall Stockwell III review: specs

Should I buy the Marshall Stockwell III?

Buy it if…

Don’t buy it if…

Marshall Stockwell III review: also consider

How I tested the Marshall Stockwell III

• Tested over a week-long period
• Mainly streamed tracks over Tidal
• Predominantly made use of Bluetooth and USB-C connectivity

I tested the Marshall Stockwell III over the course of a week, spending hours listening to music and exhausting its various features. I mainly had it connected to my Xiaomi 17 phone, where I streamed tunes over Tidal — predominantly using Bluetooth and USB-C connectivity.

When listening to music, I made sure to play tracks from a wide variety of genres — both from the TechRadar reference playlist and from my own personal library.

More generally, I’ve spent years testing audio gear here at TechRadar, where I serve as our in-house Senior Reviews Writer. I’ve tested all kinds of gadgets, from premium wireless headphones like the Sony 1000X The Collexion through to Dolby Atmos soundbars like the LG Sound Suite Immersive Suite 7 Pro. I’ve also reviewed countless Marshall speakers, including its recent Homeline releases, so I know exactly what to look for when putting the audio specialist’s tech to the test.

• Read TechRadar’s reviews guarantee
• First reviewed: August 2026

Have you ever had four religious experiences in a weekend? OK, that might be hyperbole, but if you had the weekend I just had at Audio Advice Live in Raleigh, then you can relate. Disregarding audiophiles’ apparent love of Steely Dan, I was enthralled and impressed time after time at what I was hearing.

Just about every audiophile adjacent brand (and some more budget friendly enthusiast ones) was there showing off its best stereo speakers. Bowers & Wilkins showcased its flagship 801 D5 , Focal had its all-in-one active Diva Alta Utopia, Klipsch went back to one of its original speaker designs with the Klipschorn, and JBL had its new Summit Series on display including the almost flagship K-2 (the flagship Everest model didn’t make it to the show).

All in all, it was an exciting time to get acquainted with these speakers. Of course, some of them cost the equivalent of a small house in the Midwest, but that’s the deal when a team of audio engineers put their best ear forward.

1. Bowers & Wilkins 801 D5

Though the company’s original version of the Diamond Series (what the D stands for) came out in 1979, a lot has changed since then. Specifically, 2026 brings with it the Bowers & Wilkins 801 D5, an update that doesn’t look much different to the D4 but sure sounds it.

The model keeps the same design principles in that every driver has its own casing, but comes with a number of improvements. Externally, there are three noticeable changes from the 801 D4: the more open tweeter grille design introduced on the 801 D4 Signature, the stronger and stiffer aluminum spine that’s fully incorporated into the cabinet, and an upgraded plinth that reduces vibrations via tuned mass and constrained layer damping.

More importantly, the internal matrix bracing has been completely redesigned so that the 801 D5’s cabinet is as stiff as can be. This means that the signal is less affected by internal vibrations and reflections.

All of these changes result in a speaker that sounds incredibly detailed yet warm, with a resolution worthy of a studio. They basically disappear so that you’re just focused on the music and reveal things you’ve never heard in your favorite tracks. The Bowers & Wilkins 801 D5 might possibly be the best pair of speakers I’ve heard. Just be ready to drop $65,000 (£43,000, or around AU$81,900) on a pair…

2. Focal Diva Alta Utopia

Going into this event, I was excited to hear the Focal Diva Alta Utopia, the newest iteration in Focal’s first active speaker series. I almost didn’t get to hear them. Held hostage in customs during the first half of Audio Advice Live, their fashionably late entrance only made me want to hear them more. And oh, were they worth the wait.

There’s a lot going on here. The Focal Diva Alta Utopia speakers use Adapt, a DSP technology that can adjust listening position for imperfect rooms or placement. It also adds an additional driver per cabinet over the Focal Diva Mezza Utopia (the previous generation of this speaker line), making it a four-way speaker. And Focal added an additional Class A/B amp per cabinet for a total five per 600 watts per cabinet or 1200 watts total.

The Focal Diva Alta Utopia also features the company's new PRISM tweeter that’s only available on this model and the company’s Scala Utopia Evo M. This tweeter is essentially a carbon-coated composite material that offers more detail and more aural flexibility over the beryllium drivers that the company has leaned on previously.

Looks are important too, so Focal has made the accessory panels removable, so you can change out the color of the speakers if you get tired of a colorway by ordering additional ones in a different finish.

When I got to listen to these, the first thing I wrote down was “energetic.” These speakers, which retail for a cool $210,000 (£165,000, or around AU$296,800 and FYI, I don’t think you can take a mortgage out to finance these) are in your face in the best way. Room-filling with plenty of mid-bass, they offer that flagship audiophile experience without needing any additional amps or streamers. This is as good as it gets when it comes to active speakers.

3. Klipsch Klipschorn 80th Anniversary Limited Edition

People love vinyl for that analog sound. And if there’s anything that most resembles the feel of vinyl in speaker form, it’s the Klipsch Klipschorn, specifically the 80th Anniversary Limited Edition. Based on Paul Wilbur Klipsch’s original design from 1946, it comes with a few updates to bring it into the modern era.

Since only 280 of the 80th Anniversary Limited Editions will be built, Klipsch has pulled out all the stops visually. From its tigerwood veneer to the brass inlay adorning the front of the cabinet meant to emulate the folding that’s happening inside the cabinet, it’s stunning in a very mid-century modern kind-of way.

As far as its actual design, it has an active crossover and a two-way speaker design, composed of the K-5-K high-frequency horn with a 2-inch throat and four-way compression driver that takes care of everything above 350Hz and a 15-inch woofer hidden behind those brass inlays responsible everything under.

The resulting sound is one that’s a little softer around the edges than the other speakers I’ve mentioned here (hence the vinyl comparison). This makes them less ideal for reference-level use, yet they still work wonderfully with all sorts of music.

In terms of flagship speakers, the Klipsch Klipschorn 80th Anniversary Limited Edition are downright reasonable, a word I never would have expected to use for a pair of speakers costing $24,998 (so around £18,485 or AU$35,329).

4. JBL Summit Series K-2

If you’re not familiar with JBL’s project series, let me give you a brief definition. A project series for JBL is one in which the lead engineers have been given a no-expense-spared, carte-blanche approach to making the best speaker they possibly can.

There have been five of these series since the company’s inception, and the Summit Series is the newest. Not only are they named after a series of mountains that have struck fear in many an expeditioner’s heart, but they have 12 US patents that have come about just from the creation of this series.

The penultimate of this series is the JBL Summit Series K-2 ($99,990 per pair, or £71,998, which is roughly AU$141,300), featuring a single 15-inch woofer, a 10-inch woofer, and three 1-½-inch dual-diaphragm, dual-motor compression drivers going into a 3-into-1 expansion manifold. That manifold has been designed in a way that requires it to be 3D printed instead of a more traditional construction method. The woofers themselves also use a rigid carbon fiber (HC4) material.

Also worthy of mention is the fact that they have decoupled isoacoustic isolation feet and come with the ability to tri-wire /tri-amp – a feature that only the more expensive Everest can do. The rest of the line can bi-amp.

When I had the opportunity to listen to the K-2s, it was in a large hall, bigger than any of the other spaces, yet these speakers filled out the space with seemingly plenty of headroom to spare. Despite the large room, these speakers had one of the cleanest sounds I heard over the weekend. And that 15-inch woofer kicked like a mule.

Honorable Mentions

While I was most impressed with this set of speakers, there were quite a few other towers of power that impressed me more than enough to be worth a quick mention. The three-way ported Sonus Faber Olympica V, powered by McIntosh amps, sounded almost as good as the speakers listed above, as they should since they’re about $30k a pair.

Wharfedale impressed with its Elysian R and is probably one of the best representations of a speaker using an AMT speaker. And the new old kid on the block, French brand Cabasse (the company is actually 77 years old), just starting to make inroads into the US is one to watch out for. Cabasse makes some really unique looking and functioning active speakers, but also some great-sounding floorstanders. This time next year, you might be looking at a set of Cabasse speakers with the same amount of interest and deliberation as any of the other brands mentioned here.

Fosi Audio Merak: Review

First things first: the Fosi Audio Merak is not as portable a CD player as you might think by looking at it. Obviously it’s small (28 x 150 x 150mm, HxWxD) and light (less than half a kilogram), but though easily picked up and moved around, it requires mains power to function. So there’s no taking it out and about — unless you also take a powerbank with you, of course. No, the Merak is designed for slotting into an external system or for private domestic listening via headphones.

It manages both of these things thanks to a selection of analog and digital outputs. On the device's front, along with some physical controls and a rather small OLED display, there’s a 3.5mm headphone socket powered by Texas Instruments TPA6120 amplification. But it’s on the rear of the machine where the bulk of the action is.

As well as a 3.5mm line-level analog output, there’s a digital optical socket — so you can connect the Fosi Audio to a system either by letting the player do all the digital-to-analog conversion work, or by bypassing its Cirrus Logic CS4313 DAC chipset altogether. There’s also a USB-C slot for powering the player, a 12v trigger output for use in an appropriate system output, a slider to turn the electronic anti-shock protection on and off, and a USB-A slot.

The USB-A connection functions in both directions. You can plug in an appropriate flash drive and play digital audio files of many types, including FLAC, MP3 and WAV. Or you can load in a CD, plug in a flash drive, let the player know what you’re up to and then rip the CD as lossless 16bit/44.1kHz WAV files.

‘Letting the player know what you’re up to’ can be done in different ways. Six buttons on the front handle ‘power on/off’, ‘play/pause’ and ‘skip (or scroll) forwards or backwards’. They also allow you to scroll through your options for playback (‘repeat’, ‘shuffle’ or ‘sequential’), output mode (digital, analog or headphones) and begin or end CD ripping.

Eventually you’ll commit the number and length of button presses required to access these functions — or you could just use the little remote control handset that’s supplied. It’s slightly less convoluted than the button controls, and has some numerical buttons for direct track access, too.

The volume control, though, is no kind of chore to operate. It’s a big slider along the side of the player, finished in Fosi Audio’s customary orange, and it’s one of the more gratifying physical controls I’ve encountered lately.

Loading a disc is a fully manual process. The lid, which has a nice clear porthole the exact size of a CD, lifts and then it’s just a question of pushing the disc onto the central spindle securely. The lid's hinges feel robust, and the overall standard of build and finish is more than adequate in the context of the asking price.

With a disc of Fusa Riot by Bobby Hughes Experience loaded and playing, the Merak doesn’t take long to establish its credentials as an energetic, positive and quite revealing listen. At the top of the frequency range, in fact, it’s about as positive as it dares to be — there’s a lot of bite and shine to treble sounds, but somehow the Fosi Audio manages to stop just short of hardness or edginess. The midrange communicates well, with the notable levels of detail retrieval making voices sound articulate and characterful. At the bottom of the frequency range there’s a reasonable amount of body and substance, but where the Merak is very assertive at the top end, it plays things fractionally safe where bass is concerned. Low frequencies could easily have a little more impact and drive, but rhythms are nevertheless expressed well thanks to good control of bass attack.

It creates a nicely defined soundstage, and is open enough to allow emphasis for spaces as well as occurrences on the stage. Focus is good, too, no matter if you’re listening through headphones or with the Fosi Audio plugged into a wider system, and there’s sufficient dynamic headroom for a fairly full account of the distance between the most and the least intense passages in a recording.

Take the digital-to-analog duties away from the Fosi Audio by plugging it into an external DAC using its digital optical output and it’s possible to calm the excitable treble response just a little, but the switch also emphasizes just how adept the Merak’s Cirrus Logic circuitry is when it comes to identifying, revealing and contextualizing even the finer details contained on a CD.

And it’s also pretty impressive when it comes to ripping CDs — getting a 16bit/44.1kHz WAV file of your music onto an external USB drive is straightforward. I endured one or two false starts in the course of my testing, but ultimately the copies are faithful and of enjoyable high quality.

Fosi Audio Merak review: Price and release date

• Released on April 10, 2026
• $139 / £129 (approx.) / about AU$199

The Fosi Audio Merak CD player is on sale now, and in the the United States it sells for $129. It goes for around £139 in the United Kingdom, while in Australia it will set you back around AU$199.

Fosi Audio Merak review: Value

If you’re after a truly portable listening experience then the Fosi Audio Merak offers no kind of value whatsoever.

If, however, you want an affordable method of bringing CD-playing smarts to your existing audio system, or fancy being able to listen to your CD collection via headphones without having to plug into a full-size system, the Merak has plenty going for it before you even consider the quality of sound it’s capable of producing.

Should you buy the Fosi Audio Merak?

Buy it if...

Don't buy it if...

Fosi Audio Merak review: How I tested

I've been testing audio home entertainment for nearly two decades. Anything that makes a noise, I want to listen to it.

I sat down with the Fosi Audio Merak at home – it needs mains power or a powerbank, remember – and connected it up to my existing system and my market-leading Sennheiser IE 900 wired headphones. It had the best of the best.

Over more than two weeks' testing, I listened to music of various different genres via CDs (obviously) and lossless digital audio files through an external flash drive.

Read more about how we test

• First reviewed: August 2026

• Mur mur is 'a speaker that plays ambient sounds from the tiny world inside'
• No, I've never seen anything quite like it — there's an eyepiece in the top
• Still in prototype now, but the company is looking to bring it to market

Just when you thought you'd seen enough 'Eucalyptus' (or as I like to call it, 'Shrek') green audio kit for one month — and please see the new Bose QuietComfort over-ear headphones for proof — a truly unusual prototype speaker crosses your desk and makes you go "It's a… what now?"

What you're looking at is mur mur. How to describe it? Let's try 'speaker meets AI-generated terrarium on a keychain'. No? Maybe 'AI-generated ambient music linked to a tiny society, squirrelled into a physical product you can carry around, spy on and listen to as it evolves and changes'.

As for what goes on inside: maybe it'll rain; maybe it'll be sunny. Maybe there will be another heatwave and marine mammals will start migrating to areas never seen before in new and increasingly worrying ecological developments — all with accompanying AI-generated ambient sounds.

Mur mur is made by "a creative company on a quest to turn emerging technologies into an approachable, everyday and sustainable reality, for humans and beyond" of the same name.

Unusually for a portable speaker, there are no listed Bluetooth credentials. That's because it won't play your Spotify playlists or connect with your phone; this is a self-governing ecosystem, thank you very much.

Hey tiny kingdom, how do? Any climate crisis in there (and if not, can I come in)?

Mur mur is available in three colorways, but they're not skin-deep. Here, the hue corresponds to the type of society you'll get when you look through the viewfinder at the top of the speaker. 'Block!' (white with orange accents) mur mur owners can expect "A tiny city and its society — morning rush hours, street musicians, delivery robots, pigeons". 'Plot!' (green) meanwhile is a "lively forest full of chirping birds, crackling leaves, and the occasional lost hiker", and 'Pond!' (blue) is a watery ecosystem "where soothing waves come alive with fish, ducks, and occasional boats".

Perhaps the green model sounds most intriguing, because who could imagine being a hiker lost in an ever-evolving AI ecosystem? The accompanying audio I listened to for around 20 minutes on mur mur's website sounds decidedly soothing (even if that scenario does not), but remember, you have no input here — the music and scenarios in this little thing happen whether you're looking and listening or not. No AI prompt-made music here.

Mur mur says this trio of tiny worlds in speakers are currently still prototypes, so you can't buy one yet, but the company is "looking for musicians, technologists, and hardware producers to help bring it to your desk, your keychain, or your studio".

As a lover of human-made music, I won't be first in line, but there's something compelling about the promised uniqueness of each unit. Who knows, maybe 10 years down the line, certain mur mur communities will be running for government with a "lost hiker" running the show…

• Kanto Audio launches Obi3 Gen 2 turntable
• Follows on from October 2025 previous model
• Has speed sensor, user-friendly manual arm, automatic size sensing

Canadian hi-fi brand Kanto Audio has just unveiled a second-gen model of a turntable it originally unveiled in October 2025; now the Obi3 Gen 2 is here, and it's another low-cost record player with a few considerations for novice vinyl owners.

Selling for $249.99 / £179.99 (about AU$360), the Obi3 Gen 2 undercuts our favorite budget turntable: the Sony PS-LX310BT, at least in the US (it matches elsewhere). And given that the rest of our best turntables recommendations cost much more, it's clearly a great pick for first-time buyers who want an affordable deck.

Looking at the Obi3 Gen 2, you can see why. It's fairly small, taking up a 43.2 x 36cm footprint, without unnecessary extra bells and whistles to hog space. Unless you're moving house and can set up your turntable first, hi-fi space can be a privilege, and so smaller units are great for people who haven't already earmarked shelf space for the device.

But I've tested a few budget turntables in my day, and there are a few other useful tools on the Kanto which should appeal to the newcomer and veteran alike...

Get into the groove

The Kanto Audio Obi3 Gen 2 has a built-in speed sensor, which monitors how fast the turntable platter is rotating and makes adjustments if the motor is running too fast or slow. It means you won't have your music accidentally changing pitch if the motor plays up. This also doubles as a speed selector, so you don't need to flick a dial or press a button if you switch between 33 1/3 or 45 RPM records.

Unlike most other budget turntables I've used, the Kanto is a manual turntable, so you don't have to rely on simply pressing a 'play' button to get your music running. However the arm has an adjustable counterweight, anti-skate design and reference marks, so you can experiment with the complexities of manual without it being too complicated.

The stylus is an Audio-Technica AT3600L, which is pretty common for this kind of record player, and it has auto-stop technology for when your record is over.

The Kanto connects wirelessly via Bluetooth 5.3, or cabled using RCA. The company, of course, recommends using its own speakers (like the 5-star Kanto Ren, for example?) the Obi3 Gen 2 will connect to a range of devices.

You can buy the Obi3 Gen 2 in black, white, green, ice blue or walnut models, the second and third of which you can see pictured. Kanto is also selling it alongside a range of accessory kits like the TT-GKIT, a gel cleaning kit for your record and stylus, and the TT-SB, a cleaning brush for the same kit.

• Elite Swiss audio specialist Goldmund launches Telos 9800 amplifier
• Looks like Eve from Wall-E
• Costs $500,000 / £370,000 (around AU$705,000)

You can get Wall-E toys for about $10, but if you want a huge-scale prototype model of Eve (which also plays your music), it'll cost you a little bit more… 

I jest, of course. Swiss home audio company Goldmund has unveiled the Telos 9800, a new amplifier which looks inspired by the Pixar movie — or, to my eyes, one of the robots from Love, Death & Robots' Three Robots episodes.

This amplifier costs $500,00 / £370,000 (about AU$700,000), so it's a lot more expensive than a toy — and let me be clear, this is no toy. It's a serious product for hi-fi enthusiasts-slash-audiophiles and a luxury item, to be sure.

What does Telos mean? According to a brief Wikipedia search (after a brief Google search, in which AI Overview gave me something totally irrelevant), it's a term Aristotle used to refer to the intended end state of a natural creature. Deep.

The power tower

In our case, the Goldmund Telos 9800 is the end state of your home hi-fi set-up, and not just because it'll blow every last penny out of your budget.

It offers a whopping 1,560W of power at 8 ohms, with a built-in transformer (9.7kVA capacity), to avoid frying your hi-fi kit.

As you'll see in the images, there are two stages of the Telos: one is a power supply and the other is the amplifier, connected but not pressed up against each other.

It connects via XLR or RCA, with S/PDIF input and output too.

As you can imagine from the pictures, this thing is pretty huge. It's 1.367 meters tall, with a base of 50 x 50cm. The unit weighs 360kg too, so if you're ordering one, you really do need to factor in shipping and delivery costs.

Ultimately, it's not built for the average home hi-fi set-up. It's built for the "money no object" buyer, and for those of us unburdened by delivery costs. That is not this writer. But one can still dream…

Xiaomi Sound Play review

It turns out that major mobile manufacturer Xiaomi also makes Bluetooth speakers, and its latest model, the Xiaomi Sound Play, is aiming to deliver “immersive, powerful sound” as well as a “stylish and versatile” design.

But that’s not all. The tech giant is doing all of this while keeping its speaker nice and cheap. It comes in at just £49.90 (about $67 / AU$95) — which is refreshingly affordable for an 18W model with features such as smart lighting, Auracast, and IP68 waterproofing.

So can the Xiaomi Sound Play compete with some of the very best Bluetooth speakers around? The answer is a little more complicated than a simple yes or no.

Let’s start by looking at the areas in which the Sound Play excels, and there are a fair few of these. I alluded to some a moment ago — its waterproofing and LED lights, for example. That IP68 rating means that the speaker is fully dustproof, but can also survive a dunking under a meter and a half of water for as long as 30 minutes, so you really can take it anywhere without fear of damage.

The lighting — a key selling point of this speaker — is pretty neat too. Lights sit on the base of the speaker and beneath a panel on the top side, which resembles an infinity mirror. And the rings of lighting really help to make your listening sessions more immersive, especially in lower-lit conditions. You can customize the color and pattern of the lights too, and one setting also syncs up to bass output. That level of customizability is spectacular to see on a speaker in this price category.

More generally, I’m quite a big fan of how the Sound Play looks. It comes in four very stylish colors — the Purple variant I tried is quite the looker, as is the Green version. It is reminiscent of the JBL Flip 7 in terms of look and feel, with a neat fabric exterior and psuedo-cylindrical build. The inclusion of the infinity mirror light and handy rubber strap also make it a real stand-out, looks wise.

Another welcome inclusion is a built-in mic, for speakerphone duties. This is something you don't often see these days and it does add value, on paper. However, I made a phone call and although my voice sounded clear on the other end, I noticed a high-pitched chime whenever the other person wasn’t speaking. It wasn’t a dealbreaker (my discussion was still easy to navigate), but it's my job to notice these things.

Other highlights include a JBL Grip-rivalling 14-hour battery life — which is excellent for a speaker of this size — as well as Bluetooth 6.0 connectivity, and true wireless stereo playback for anyone with multiple Sound Play models at their disposal.

Something that the Sound Play omits, however, is companion app support. For me, this is a bigger miss — an app could’ve opened up EQ adjustment, remote light alteration, and precise battery life tracking. The speaker’s nominal price doesn’t quite excuse this either. There are a number of budget-friendly rivals from the likes of Earfun, Edifier, and Tribit that do come with app support.

By now you must be wondering how Xiaomi’s speaker sounds. In honesty, it’s a bit of a mixed bag. It’s a steady performer in some areas, but in need of improvement in others.

In general, the Sound Play delivers fairly clear audio. In Yes I Know My Way by Pino Daniele, vocals had good presence in the mix, and even had a decent sense of separation from other instruments in the mid-range. OK, higher-pitched drums weren’t the most expressive or articulate, but they didn’t sound tinny at mid-volume, and bass was weighted relatively well too.

With more energetic tracks, such as Trip by Ruze, the cracks started to show. There was a slightly compressed quality to the track, and the pumping bass just didn’t come through with the command or depth of similarly sized rivals, including the JBL Grip, which I directly tested against the Sound Play.

During this comparison, the Grip just delivered a more fun performance, with enhanced directionality and low-end punch. But that’s not to say Xiaomi’s speaker was blown out of the water — it still held its own with commendable clarity in the mid-range and fairly agile bass.

In House tracks, bass drops didn’t always have the impact or dynamism I was listening out for, and vibrant drums could occasionally sound on the blunt side. But then again, the Xiaomi didn’t succumb to a boomy, super-muddy sound that a lot of its budget rivals do — it puts up a fairly controlled performance overall.

As a smaller speaker, the Sound Play can’t get super loud, and bass will thin out substantially at top volume levels. It also won’t deliver the most detailed or open sound ever — again, I found a few tracks sounded a little compressed and narrow, which isn’t helped by the lack of higher-res codecs like LDAC or aptX.

All in all, I think the Sound Play sounds good enough for the price you pay. Sure, it’s not the most dynamic or revealing-sounding model on the market, but you get typically clear, decently balanced sound without having to shell out all too much cash.

So, looking at the Xiaomi Sound Play as a whole, would I consider it worth buying? Well that depends. If you’re on a tight budget, and you want a speaker for less than £50, then I think the Sound Play is an option worth considering. It doesn’t sound amazing, but it gets the job done, and I’m a big fan of its durable yet eye-catching design.

However, if you’ve got a little more money to play with, then I’d suggest picking up the JBL Flip 7. That model can produce truly seismic bass, incredibly clean audio, and has a top-class companion app to boot. The JBL Grip is another neat alternative, especially if you can grab it on sale.

Xiaomi Sound Play review: price & release date

• Priced at £49.90 (about $67 / AU$95)
• Launched in May 2026
• Scheduled to release in Australia in August 2026

The Xiaomi Sound Play was launched in May 2026, at the same time as its recently released 17T series. The speaker is available for £49.90 (about $67 / AU$95) in the UK, although Xiaomi told me that there are no plans for a US release, and the speaker won’t be available in Australia until August 2026. It can be purchased in one of four colors — Black, Green, Purple, or White — via Xiaomi’s digital store.

Xiaomi Sound Play review: specs

Should I buy the Xiaomi Sound Play?

Buy it if…

Don’t buy it if…

Xiaomi Sound Play review: also consider

How I tested the Xiaomi Sound Play

• I spent multiple days testing
• Mainly streamed tunes via Tidal
• Reviewed by someone who’s tested more than 50 Bluetooth speakers

I spent multiple days testing out the Xiaomi Sound Play, during which time I listened to countless tunes, exhausted its various features, and compared it against various rivals.

When listening to music I mainly streamed tracks over Tidal, but I dipped into Spotify from time to time as well. As always, I started out by sifting through the TechRadar reference playlist, which features songs from a wide variety of genres. I also listened to a ton of tunes from my personal library as well, though.

More generally, I’ve spent years reviewing audio gear here at TechRadar, and have tested a whole lot of Bluetooth speakers — more than 50 in fact. I’ve tried out everything from pocket-sized audio companions like the Bose SoundLink Micro Gen 2 through to luxurious large-sized alternatives like the Marshall Bromley 750, as well as Xiaomi Sound Play rivals like the JBL Grip, so I know exactly what it takes for a speaker to stand out in this highly competitive market.

• Read TechRadar’s reviews guarantee
• First reviewed: August 2026

I’ve tested more than 50 Bluetooth speakers, and whenever I review a new model, there are a number of factors to consider. Do its features rival the competition? Can its design merge beauty with practicality? Is it actually worth the asking price? But one question is more important than any other: does it genuinely sound good?

This raised a deep curiosity within me. What if a Bluetooth speaker was judged on sound alone, with elements such as pricing, brand reputation, and looks holding no influence on people’s perception of quality? Well, I decided to find out for myself, and blindfolded four of my colleagues for a blind speaker test.

I played a 30-second snippet of a track, asked listeners to make notes, and when each speaker had been tested, I got my participants to rank each speaker from 1 to 5 (with 1 being the best, and 5 the worst). We repeated this process across five different tracks, each spanning a range of genres, in order to determine which sounded the best.

A few things to run through before we get into the results, though. The volume of the speakers were all equalized, but I ensured not to push them above 80% volume, in order to limit distortion and compression. Each speaker was also set to its default EQ, and tracks were streamed from a single source device over Spotify. Also, my listeners had no prior knowledge of the speakers involved in the test, so as to cancel out any prejudices or prior experiences they may potentially hold.

I decided to use five speakers in a very similar size category: the JBL Go 5, the IKEA Kallsup, the Bose SoundLink Micro Gen 2, the Edifier ES20, and the Ultimate Ears Miniroll. Some have a higher power output than others and some are considerably cheaper (or pricier) than others. And some sit in our guide to the best Bluetooth speakers, while others have fallen short. But interestingly, rankings varied quite a fair bit depending on the track and listener involved.

Curious to find out who came out on top? Here’s how our listeners ranked each speaker across each track, as well as the final scores.

Track 1: Fascinator by Max Dean

I started with a house track, Fascinator by Max Dean. I asked participants to listen to a short lead up to some sub-bass, and while I emphasized that the small models wouldn’t produce roaring power, I asked them to assess how well the speakers manage it. When the drop came in, I also asked them to judge how controlled and precise drums sounded in the treble range.

The results were pretty interesting here. Our cheapest option, the $10 / £5 IKEA Kallsup was the clear loser, with one listener, Caspar, noting ‘tinny’ highs and underwhelming bass — a sentiment generally shared across the board. It was quite close between JBL and Edifier here, with some listeners noting a slight lack in low-end impact, but improved mid-range performance and tighter treble.

However, the clear winner was Bose, which ranked 1st with all of our participants — and spoiler alert, this was the only instance of a unanimous verdict across the entire experiment. One listener, Ashley, noted how the track sounded ‘balanced with no distortion’ with others including Josh and Erin highlighting meatier bass and a pleasingly warm tone.

Track 2: Orphans by Cero

I changed up the vibe for Track 2, and played a snippet from the jazz-infused indie pop track Orphans by Japanese band Cero. Vocals are meant to be slightly forward, so I asked listeners to determine how well the speakers captured this, while also prompting them to judge how well-balanced percussion and guitars were in the mix.

The Kallsup unfortunately finished in last place once more, with Josh highlighting ‘rolled off’ vocals and unclear guitars in the mid-range. However, the JBL Go 5 wasn’t far in front, with Erin noting ‘lifeless guitars’.

The Edifier ES20 and UE Miniroll performed well, though, with participants highlighting better balance across the frequency range, warmer and more prominent vocals, and cleaner bass. The SoundLink Micro Gen 2 took the win once more, though, with an emphasis on clearer, more tonally accurate guitars, well-defined vocals, and more articulate percussion.

Track 3: The Girl From Ipanema by Stan Getz

I wanted to try out something softer next, so I went for the legendary Bossa Nova track, The Girl From Ipanema by Stan Getz. I requested my blindfolded colleagues to tune into the separation between guitars and vocals, the subtlety and texture of vocals and percussion, and control of the double bass. And this is where things got really interesting.

Surprisingly, Bose, which had been bossing it so far, finished in a lowly 4th place here, with listeners generally expressing disappointment with the speaker’s overemphasized bass and slightly unrefined treble response.

However, one thing remained the same, as the IKEA Kallsup came in 5th place. In fact, this was the only occasion in which every listener decided the Kallsup was the worst performer, with Erin writing: ‘No. What? What is this? It sounds like there’s a horde of bees trying to escape.’ Ouch.

Our champion this time out was the Edifier ES20, a speaker which I’ve often championed for its supreme mid-range clarity. Listeners appreciated this model’s beautifully balanced presentation, textured and controlled double bass, and detailed vocals. The UE Miniroll and JBL Go 5 finished 2nd and 3rd respectively, with our participants widely noting their relatively expansive interpretation of the track, and talking up their crisp, textured handling of vocals.

Track 4: Come On, Come Over by Jaco Pastorius

But how did the speaker manage a busier, more chaotic mix? I threw on Come On, Come Over by Jaco Pastorius, a funky, high-octane track that has it all. Participants were told to listen for the aggressiveness and clarity of horns, the quality of the track’s mid-bass punch, and how the speakers manage the swathe of instruments and vocals.

And it seemed that in this test, order was restored to how it had been up until Track 3. Bose came out on top, with Ashley praising the speaker’s balanced approach and Caspar highlighting the SoundLink Micro Gen 2’s impactful low end and enhanced vocal clarity. However, the Edifier ES20 and UE Miniroll did run Bose very close indeed. Participants enjoyed the tonality of the vocals, the decently open soundstage, and solid separation on offer.

IKEA’s Kallsup fell to last place, however, largely due to its unregimented bass and tinny mids. Meanwhile, listeners also felt that the JBL Go 5 struggled with the business of the tune, though some did highlight solid clarity in the treble range.

Track 5: Black Eye by Allie X

With Track 5, I wanted to assess the portable speakers’ handling of dynamics, so I went with an electronic song from TechRadar’s reference playlist, Black Eye by Allie X. Colleagues were asked to hone in on the attack of strings in the beginning of the snippet, and assess the control and dynamism of the bass and its impact, as well as the breathiness and detailing in the vocals.

And this was an incredibly close battle between Bose, Edifier, and Ultimate Ears. Bose just about managed to top the podium, with Erin delighted with the ‘dramatic strings’ and ‘expansive vocals,’ and Caspar highlighting dynamic bass and ‘nice balance between vocals and instruments’.

Josh’s favorite was the ES20, stating that vocals were ‘wonderfully conveyed’ and that bass was ‘punchy yet controlled’. Ashley, however, liked the UE Miniroll the most, arguing that it offered the cleanest low-end and most articulate vocals of the bunch.

But the poor Kallsup finished in 5th once more. Muted synths, a lack of texture and kick in the low-end, and recessed vocals left our listeners wanting more.

Final results: and the winner is…

So, the experiment drew to a close. Our listeners handed over their final scores, and I totaled them up to discover which speaker was king on sound alone. And the winner was… the Bose SoundLink Micro Gen 2!

Was I surprised by the result? Well, not entirely. I personally think this is a great-sounding small speaker, and its ability to produce meatier bass than much of the competition, alongside more precision in the treble range and clearer separation was all it needed to scoop up top spot.

What’s important to recognize, though, is that Bose’s small speaker is far pricier than all of the competition. It has a list price of $129 / £119.95, and while it certainly produces the goods in terms of sound, that’s an awfully high price tag given that you can nab larger, meatier, and more feature-rich models at that cost — the JBL Flip 7 is probably the first that comes to mind.

I was surprised, however, that the Edifier ES20 did so well. Josh selected the ES20 as his overall favorite, and it continually competed closely with Bose throughout, even topping the table in Track 3. In the UK, it’s less than half the price of the Bose SoundLink Micro Gen 2, but you really wouldn’t think so. Its composure and clarity in the mid-range is exceptional, and it has enough warm bass and controlled treble to keep more energetic tracks sounding as they should. If you want value for money, I think this model is absolutely worth checking out.

Another standout was the UE Miniroll, which Ashley picked out as her personal favorite. It continued to plate up clear mids and bass throughout, and I think it earns its relatively modest price.

Some may be surprised to see the JBL Go 5 a bit off the pace in 4th, but I still think it produced a solid performance across the experiment considering its limitations. It has a weaker power output than the top 3 speakers, which limits its ability to provide the drive and low-end might that others can. And although it could’ve offered slightly better separation, it's still a great small speaker given its low asking price of $54.95 / £39.99.

I felt very sorry for the IKEA Kallsup, which was regularly placed last by each of our participants. However, in the IKEA speaker's defense, not only does it have the lowest power output of the bunch (at just 3W), but it’s just $9.99 / £5. Yes, it's extremely cheap, and so the fact that it occasionally squeaked 4th place here and there is impressive in itself.

Check out the final table below, where you can see the final scores and rankings for each speaker, as well as their typical asking price. Were the results as you expected? Let me know in the comments!

Q Acoustics 3040c review: Two-minute review

The 3040c is the smaller of two floorstanding speakers in Q Acoustics' celebrated 3000c range — it’s the fifth and final 3000c model, and it’s arguably the best of the lot.

For £599 or equivalent, depending on where you reside, you'll receive two reasonably compact, elegant and nicely finished cabinets (available in four different finishes) with optimised point-to-bracing inside and a three-strong driver array on the outside.

Two 120mm mid/bass drivers sandwich a 22mm soft-dome tweeter that’s decoupled from the rest of the cabinet — and with some input from a rear-firing bass reflex port, a claimed frequency response of 43Hz - 30khz is the result.

Sensitivity of 88dB means you don’t need all that burly of an amplifier to drive these Q Acoustics speakers effectively.

And when they’re being driven effectively, there’s plenty to like in ultimate terms and even more when you keep the price of these speakers uppermost in your mind. They’re a balanced, poised and expressive listen, good at soundstaging, better at maintaining a convincing tonal balance, and best of all when it comes to detail retrieval.

Some of the best stereo speakers on the market? Yes. OK, they could do with a touch more dynamic headroom and a slightly more assured method of expressing rhythms, but really I’m tempted to ask what more you might realistically hope for when listening to a pair of compact, well-made floorstanders for this money…

Q Acoustics 3040c review: Price & release date

• $1,099 / £599 (around AU$1,140, based on UK pricing)
• Released July 30, 2026

The Q Acoustics 3040c passive floorstanding loudspeakers are on sale now, and in the United Kingdom a pair will cost you £599. This translates to €899 in the Eurozone and £1099 in the United States (yes, a little pricier in the States) while prices for other territories, including Australia, are yet to be confirmed.

Competition? You'd really be looking at bookshelf speakers for anything as affordable as this from a trusted name — and let me be clear, Q Acoustics is one such name. So, it's a lot of speaker (and speaker tech) for the price.

Q Acoustics 3040c review: Features

• 22mm soft dome tweeter
• 2 x 120mm Continuous Curved Cone mid/bass driver
• 43Hz - 30kHz frequency response
• 88dB sensitivity

No one’s expecting a whole lot of features when it comes to reasonably affordable passive loudspeakers, which is just as well given the Q Acoustics 3040c have just the essentials.

As is the company’s standard operating proactive, though, these few features are completely fit for purpose.

On the inside, Q Acoustics has used its targeted ‘point-to-point’ bracing technology — having identified those areas of the cabinet that are prone to low frequency vibrations, ‘P2P’ reinforcement seems to minimise those vibrations and produce a cleaner, better focused soundstage as a result. It’s also deployed ‘Helmholtz Pressure Equalisers’, a series of tubes that minimise internal pressure; this reduces the build-up of standing waves inside the cabinet and keeps sonic colouration to a minimum as a result.

At the rear of the cabinet there are a couple of very low-profile speaker binding posts, positioned just below a fairly large bass reflex port. Q Acoustics provides foam bungs for the ports — so feel free to experiment with the position of the speakers and the effect of the bungs too.

Up front there are three drivers that are familiar from some of the more expensive model ranges in the Q Acoustics line-up. Here, a decoupled 22mm soft-dome tweeter is positioned between two 120mm mid/bass drivers — these are of the ‘continuous curved cone’ design that made its debut much further up the Q Acoustics loudspeaker range.

‘‘C³’ is designed to combine the low-frequency response of a straight conic cone with the control and clarity more commonly associated with a flared cone design. It’s a straightforwardly impressive design with, at this point in time, nothing to prove.

• Features score: 5 / 5

Q Acoustics 3040c review: Sound quality

• Full-scale sound with drive and poise in equal measure
• Great facility with detail retrieval
• Could use greater dynamic impetus

Every audio product reviewed at TechRadar (and there are myriad options) has be put into proper context, of course — and so while I’m going to open this section with a couple of mild-ish criticisms, it’s important to remember that these are relatively affordable floorstanding loudspeakers that are likely to form part of a relatively affordable stereo system. Agreed? Good.

So when playing a copy of Phoebe Bridger’s Lost Boys the 3040c don’t have quite the dynamic potency to track the changes in volume or attack quite as fully as they might. They can do more than allude to changes in intensity, of course, but they don’t put quite as much distance between ‘minimum’ and ‘maximum’ as is absolutely ideal.

And while I’m finding fault, there’s no denying the Q Acoustics don’t quite have the instinctive flow that’s required to fully express a rhythm or manage a tempo. Control of low-frequency activity is never in any doubt, and there’s no suggestion the speakers can drag at the rhythm of a recording — but there’s no denying the 3040c could sound more fluent, especially when asked to play overtly rhythm-based material.

But with this griping out of the way, I can concentrate on all the ways the 3040c is straightforwardly impressive.

It’s a very nicely balanced listen where tonality and frequency response are concerned, for starters. Previous Q Acoustics loudspeakers have tended to err on the warm-ish side of neutral when it comes to tonality, but the 3040c is not at all inclined to stick its oar in — any heat (or lack thereof) in the sound you’re experiencing is there before it reaches the speakers, either in the recording or in the source equipment that’s delivering it.

The speakers are poised and even from the bottom of the frequency range to the top; there’s no overstating of any part and no underplaying, just a smooth and balanced representation. The integration of the drivers is first class, and the point at which handover from the bigger drivers to the tweeter takes place is imperceptible.

As well as the low-frequency punch and substance I mentioned, the Q Acoustics deal with the attack and decay of bass information fairly confidently — and they’re just as adept when it comes to midrange resolution. The 3040c are a detailed listen in every respect, and this manifests itself particularly where voices are concerned. There’s plenty of information about timbre and texture made apparent. At the top end there’s similar alacrity, and more than a hint of bite and shine — but with the substance to ensure treble sounds are never hard or edgy.

Despite the lack of ultimate dynamic headroom, the Q Acoustics do good work with the more minor, but no less significant, dynamics of tonal and harmonic variation. They can identify and reveal even very fleeting and/or subtle occurrences in a recording, and coherently lay them out as part of the overall presentation. If there are details embedded in a recording, the 3040c do their utmost to get them to you.

• Sound quality score: 4.5 / 5

Q Acoustics 3040c review: Design

• 942 x 285 x 281mm (HxWxD)
• Magnetically attached grilles
• Choice of four finishes

You have to hand it to Q Acoustics: the 3040c look, and even to an extent feel, like much more expensive loudspeakers than they actually are.

The standard of build and finish is excellent, and even the vinyl wrap that covers the MDF cabinets of my ‘Claro’ walnut review sample is a cut or two above the norm — and I am confident that is also the case if you prefer the ‘pin’ oak, satin white or satin black alternatives.

The 942 x 285 x 281mm (HxWxD) dimensions mean the proportions of the cabinet are harmonious. That ‘width’ measurement includes the small aluminium stabilisers that fit to the back of each cabinet and make it less susceptible to rocking or, heaven help us, toppling. The look of the cabinet is further enhanced by the crisply rendered curves along each horizontal edge.

Q Acoustics supplies magnetic grilles, but for my money you’re better off leaving them in the packaging and enjoying the sight of the driver array instead. The satin nickel brightwork that surrounds them is a confident touch, and another little flourish that suggests the 3040c might cost a fair bit more than they actually do.

• Design score: 5 / 5

Q Acoustics 3040c review: Usability & setup

• Attach the stabilisers and spikes
• Connect to an amplifier using appropriate speaker cable
• Toe in just a little towards your listening position

Well, they’re passive loudspeakers and so setting them up and using them is hardly rocket science.

You’ll need to attach the little outrigger stabilisers to the bottom of each cabinet, and then attach the floor spikes. These can be adjusted from the top, so getting the cabinets level is no hardship.

Then, connect the speakers to the amplifier that’s driving them with speaker cable — ideally two identical lengths. And then try to make sure the speakers are toed in, just a fraction, towards the spot from where you do your listening.

• Usability & setup score: 5 / 5

Q Acoustics 3040c review: Value

• You'll struggle to find decent floorstanding speakers for this money
• Q Acoustics is a trusted name — and the 3040c are worthy of that heritage

This money won’t even get you on the ladder at some loudspeaker companies, but Q Acoustics first made a name for itself by redefining what ‘entry level’ ought to mean where booth sonic performance and build quality are concerned.

It almost goes without saying that the 3040c does nothing to spoil this reputation — and as a result, it represents prodigious value for money for anyone who wants a fairly big sound from a fairly compact and unarguably affordable floorstander.

• Value score: 5 / 5

Should I buy Q Acoustics 3040c?

Buy them if…

Don’t buy them if…

Q Acoustics 3040c review: Also consider

Part of the appeal of the 3040c, in addition to the way they look and sound, is the money Q Acoustics wants in exchange for a pair. It’s genuinely hard to find a pair of floorstanding loudspeakers from a brand anything like as credible as this one for anything like the money — even brands such as DALI, Fyne Audio or Monitor Audio (to name just three) start their floorstanding ranges with models costing several hundred of your chosen currency more than this.

If you're happy to consider bookshelf models however, look to the Dali Sonik 1 or even Cambridge Audio L/R S. But again, they're not floorstanding speakers.

How I tested the Q Acoustics 3040c

I connected the 3040c to a WiiM Amp Pro using a couple of lengths of QED loudspeaker cable, and then connected a preamplified Technics turntable to the WiiM’s single analog input.

I used a Rega CD player, connected to the amplifier’s digital optical input, and also streamed via Bluetooth and Tidal Connect using an Apple iPhone 15 Pro. Which meant I was able to listen to music in lots of different formats, and at lots of different resolutions, more-or-less non-stop for a week or so.

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• First reviewed: July 2026

The Bowers & Wilkins Nautilus is a speaker that requires no introduction. It’s a truly iconic model, and there really is nothing else on the market that looks quite like it.

With its mollusk-like build, tapered damping tubes and exceptional sound, it's no wonder that Bowers & Wilkins proudly announces it as “the last wish” of co-founder John Bowers. And even though the Nautilus launched all the way back in 1993, it's still being produced to this day.

During my time at the High End Vienna show earlier this year, I got a chance to check out the B&W Nautilus for myself, and got to learn more about its weird and wonderful design. I even had the chance to speak with Bowers & Wilkins’ Product Marketing Director, Andy Kerr, about why people keep coming back to the speaker, even 33 years down the line — and you may be surprised by just how popular it still is…

Bowers & Wilkins Nautilus: an introduction

For the uninitiated, the Bowers & Wilkins Nautilus is a floor-standing loudspeaker that boasts a striking spiral design and tapered tubes, resulting in one of the most unique looking models that money can buy. But despite its off-the-wall appearance, its design is very much rooted in utility.

Kerr explained to me that, in essence, the speaker attempts to create the impression of drive units “hanging in free air,” operating without the typical restrictions of a traditional cabinet or enclosure.

While B&W still decided to harness the “pressurization benefits of some form of an enclosure,” he said, there was an active effort to remove the audibility of the box — something that was achieved by using the tapered tubes that the Nautilus is still known for.

“Each tube increases in length relative to the size of the drive unit,” said Kerr. “So you've got a relatively small one for the upper tweeter, slightly longer still for the lower mid, and then this [tube for the bass section] is three meters long but kind of swirled up”.

As the driver operates, pressure dissipates into the Nautilus' tubes — which are also padded with “an absorbent wadding material” — eliminating rearward reflections and drastically reducing distortion while capturing that sense of the driver operating in free space. “It's one of the best loudspeakers you'd hear at disappearing.”

And while he accepts that the Nautilus may not be suited for a studio environment in the same way that the Bowers & Wilkins 801 D5 are, Kerr states, “As an experiment for reducing the audibility of a loudspeaker, it’s perfect”.

The legacy lives on

The ingenious design and sound of the Nautilus has remained, and Kerr notes that many people still purchase the speaker to this day. In fact, so many people are interested in having a Nautilus of their own that there are years' worth of backorders.

I was told that B&W is still producing approximately 50 pairs a year for sale — pretty impressive given that each individual pair takes around 31 days to make, all meticulously done by hand.

Audio enthusiasts can grab a pair of Nautilus speakers in the standard colorways — Black, Midnight Blue, and Silver — for a sum typically in the $110,000 or £100,000 ballpark. But there’s a slightly more expensive alternative, one that’s proved very popular with buyers: a custom option.

That’s right, for around £120,000 (US pricing was not shared), you can order the Bowers & Wilkins Nautilus with special paint, and get the speaker in just about any color imaginable. I was shown a handful of customer photos, and there were some exceptional finishes to behold, including McLaren Orange, Ferrari Red, and Minty Green variants, only adding to the unique nature of the Nautilus.

As things stand, there are three years — yes, three years — of backorders. Even though the Nautilus is a speaker like no other, the sheer volume of interest is seriously impressive all of these years later.

You all know what a guitar amplifier is. Big, intimidating stacks of speakers and dials, designed for some nice loud guitar playing. But do they work as well for other people's guitars; i.e., can a big powerful block of music-playing kit double as a home speaker for recorded music?

It may seem like a stupid question, but the more I thought about it, the more I realized that speakers and amps are the same thing... kinda. And for people who don't have the money to buy a guitar amp and a home speaker, could buying the former kill two birds with one stone? I had to find out.

Now, I’m not talking about a guitar amp-esque speaker made by a brand traditionally known for its amps (and before these new Bluetooth speaker things became so jolly well lucrative), such as the Marshall Stanmore IV or the Orange Box. No, I’m talking about a real power-speaker designed for guitars, with jacks and dials galore and no Bluetooth in sight.

Specifically, I’m talking about my Line 6 Spider IV amp, which I have owned for at least half of my life, thus far.

Now, I know Line 6 has a mixed reputation, making it an odd choice to incorporate into a home sound system. Its speakers aren't even for serious guitarists — they're for edgy 14-year-olds without much cash who just want goofy levels of distortion. In my defense, when I bought it, I was an edge 14-year-old without much cash, who just wanted goofy levels of distortion. And it still works fine for what I need.

For the tech-heads among you, my Spider IV offers 75W of power. For the purposes of this article, you should know it has a 3.5mm and a 6.35mm input, and I played music from my turntable as well as some Edifier speakers (the same set-up as in my recent article about setting up a new turntable, so an Edifier M90 and Sony PS-LX310BT). The amp was getting incorporated into an existing hi-fi system, not replacing it.

The other important point of context before we get started is that I had to make a conscious effort to turn off my brain before undergoing these experiments. In many parts of my rational brain, I could tell that a guitar amp wouldn't function smoothly as a speaker; they're not designed to hit a wide range of frequencies, just the ones guitars play at, and they're not intended to be connected to a chain of other players. If I switched off the scientific part of my cranium, I could just mess around with wires, have some fun, and see what happened.

Turning my amp into a subwoofer

With my first experiment, I decided to start small: I’d see if my amp could function as a subwoofer for my Edifier M90s. I wanted to use its wattage just to give me some extra 'oomph', even though it’s not a bass amp.

First, I used a 3.5mm to 3.5mm cable to connect the M90s, from their Sub Out port, to the amp’s smaller input… and nothing happened. I couldn’t hear a peep from the Line 6, though oddly, the amp’s volume control adjusted the output from the speakers.

Next, I took the risky move of using a 3.5mm to 6.35mm to connect the Sub Out port to the amp’s primary input — risky because I was using an unbalanced stereo cable across devices really not meant for this use, and I wasn’t sure what was going to happen.

I turned the Line 6’s dials all the way down, plugged the cable in, and popped on some Morgan Wallen before slowly turning the volume up.

The resulting speaker sound is best described as ‘rhythmic, distorted pulses’: I was getting something, but it sounded more like asthmatic coughs than music. The amp was clearly connected, and outputting something, but it was just rhythmic fuzz. I suppose that's the Line 6 effect.

I spent quite a while fiddling with the dials, but it was impossible to reduce the drive, while also retaining enough volume for the amp to be audible when I wasn’t putting my ear to it. So it wasn't good for most music, but turn the volume up while listening to a rock track, and the pulses sounded like the strums of a really keen rhythm guitarist trying to play along. This was pretty nostalgic for me, because when I bought the Line 6, that's basically exactly what I was doing.

I tried the same experiment with my turntable, which was connected to the Edifiers via Bluetooth, and found the same result, albeit watered-down.

How about as a giant aux speaker?

Perhaps I was trying to run before I could walk? For my next experiment, I decided to make things a bit more simple. I connected the iPad I was using as a music player, to a USB-C to 3.5mm converter, and then plugged in the aforementioned 3.5mm to 6.35mm cable which led to the guitar amp’s primary input.

I could hear music! I mean, if you could call it that. The Line 6 not being a bass amp became patently clear here, because I was basically just getting treble. It was surreal; I've tested speakers and earbuds with barely any bass, but never any with literally no low frequencies to speak of.

Plus, a weird phase effect was causing noticeable oscillations in the music, providing a powerful attack but fast fade. It was most audible in Post Malone’s voice (I’d moved on to Post Malone at this point) – it sounded like he’d learnt Mongolian Throat Singing.

The resulting sound was odd, and didn't match even the affordable Tribit Stormbox Micro 3 I use in the shower, but at least the guitar amp gave me some control over it: I could use the dials to add a bit of warmth, and some fuzz to mask the lack of bass.

Then I had a brainwave: I returned to the 3.5mm to 3.5mm cable from the first section, and music sounded much better. There was finally some bass (not much), and Malone was back to his regular singing voice. It was the closest to a speaker I'd managed to bring the amp.

It wasn’t perfect, though: Line 6 amps can sound quite tinny, and I felt like I was listening to music on some cheap earbuds you get free with a flight… just 75W ones that'd annoy the downstairs neighbor.

Let's add some drive

Obviously, the thing missing from my set-up was more things, so I whacked out a Pigtronix Fat Drive to add to the mix. You can probably tell what this does; it’s obviously a vital addition to an amp which is slated for offering nothing but drive.

Here’s how the set-up looked now: a USB-C to 3.5mm converter plugged into my iPad, leading to a 3.5mm to 6.35mm cable, which was plugged into the Fat Drive pedal, which was connected to another 6.35mm to 6.35mm cable, which led into my amp. That music was getting quite a few air miles before being played.

You can probably imagine what more drive did to already-too-distorted music; it sounded like it was playing from behind a waterfall. Add to that the phase effect that playing music from the 6.35mm port provided, and it was even more of a write-off than before.

I wasn't expecting sudden audio clarity, though. As with the rest of this piece, it was just a fun experiment to try.

Unfortunately, there was a casualty to this experiment: my Fat Drive pedal conked out the day after the test, and I’ve not been able to revive it. I don’t blame my tests, as much as the several years of misuse and poor management prior to them, but I’d still like to pour one out for the Pigtronix.

Lessons learnt

Obviously, I didn’t go into this experiment thinking that a guitar amplifier would make for a genuine home speaker alternative. That’s like thinking a pottery kiln is a good microwave replacement; it technically does the same thing, but things are going to get a little crunchy.

But I was hoping it'd turn into a fun, albeit messy, party speaker in a pinch, in case I had people over and suddenly wanted room-filling sound. Sure, I could buy such a device, but given how expensive tech is (and how much space that'd take if I already own an amp), who needs that?

I always knew, too, that some useful features would be missing. My amp doesn't allow for a wireless connection, for example, and it's far from being portable.

The solution is already out there: recent Bluetooth speakers released under the Fender name (though made by by a different company called Riffsound) had an XLR port that doubles as a 6.35mm jack, so you can plug a guitar and use it as an amp, even though it's technically a speaker.

Given how many guitar companies now make consumer tech (Marshall, Fender, Orange; Yamaha does too but it's an everything-music company really), it'd be great to see this kind of feature again. Or, at the very least, some way of blurring the borders between amp and speaker. Not all of us have the space or money for both.

If someone tells you a song is important to them, you should listen to it carefully. Because afterwards, you'll know them better. If they share a song with you, treat it with the kind of care and respect you'd give to a treasured photo or keepsake. It's a window into their very private world. And it is all we really have, in the end.

I knew the songs that were truly important to my mom: Eric Clapton (well, Derek and the Dominos) and Layla; Cream's Strange Brew; Crosby, Stills, Nash & Young's Sanibel (which I can never ever listen to without crying, ever again); Hendrix's Are You Experienced?; Jethro Tull's Aqualung and so many more that were on heavy rotation in the car, whenever she'd drive me to ballet class as a child.

And I knew the musicians she respected: Janis Joplin, Prince ("He's a better musician than anyone gives him credit for, Becky"), The Hollies, Led Zeppelin, Queen, Bowie, Rod Stewart, The Police, Genesis, Springsteen, The Eagles, Fela Kuti (my parents actually met in Nigeria, but that's another story)… it's a long list.

What I didn't know was that my mom had since learned to love Sam Fender, Lewis Capaldi, The Weeknd, Bruno Mars and Ed Sheeran. I only know this because she'd bought their CDs from thrift stores. I even now know a couple of the volunteers from said thrift stores. They worked out who I was from my name, when I went to donate a few things (it's so hard to let anything go when someone dies) and they asked after her.

It turns out that they used to put certain CDs aside, ready for when she came in. And apparently she always bought whatever they recommended — my mom was a kind, giving and inquisitive person.

I also didn't know my mom had an extra cupboard stuffed solely with CDs. The entire back catalogs of The Beatles, Jackson Browne and Jethro Tull weren't a surprise, but Wu-Tang Clan's 1993 epic Enter the Wu-Tang (36 Chambers) was likely a thrift store revelation — I can even see she paid £2 for it — and I love that for her.

I should explain: my mom and I were very close. We also lost my beautiful younger sister in 2021 after an illness (not helped by that whole pandemic thing) which made us cling to each other even more. But I lived and worked in London; she lived a three-hour drive away. Distance is annoying.

You may have guessed that my mom has passed. And you may also have guessed that it was sudden, so I never got the chance to say goodbye. I never got to do it the way you always imagine you'll be able to at the end; to hug her, hold her hand, thank her for being my awesome mom and hear whatever she might want to tell me.

If you're reading this and thinking, 'Me too', I urge you to sit with your person's music for a while. And this is especially pertinent if it's music they kept in their car.

Tangled up in blue

Behold! The car my mom part-exchanged her bigger, sportier Mazda for in 2013. I coated her off for getting an "old lady car" with its "toaster engine" and begged her to reconsider, but the deal was done.

And now that this vehicle has sadly come to me, I made a curious revelation: the CD player I've always known to be in this car wasn't there when she bought it. She must have had it fitted later. How do I know? I found the original central dash column in the spare wardrobe. And she clearly loved this (then) new souped up player, because every available compartment, door and nook in this car is stuffed full of CD books — those ones where you do away with the case for space and fit the holographic discs into the little plastic sleeves.

I love that she did this as a gift to herself and didn't tell anyone. When I first stuck the key in the ignition, Hootie & the Blowfish's Cracked Rear View was playing. We went to see them in the early noughties, at the House of Blues in Florida. I cried for a full hour at the wheel, still in the parking lot. I needed it. Actually, it felt good.

Also in the car was Santana (we saw Carlos et al at the Hammersmith Apollo in 2016), Bon Jovi ('95, Wembley), Bruce Springsteen (Ricoh Arena, Coventry, also 2016) and several CDs I'd burned for her between 2002 and 2005. I always tried to write in a circular fashion with my black Sharpie when I created these discs, to echo the grooves of a record. There's a whole extra feature to be written about the lost art of burning a CD for someone you love, I think.

Oye Como Va

It wasn't just acts we'd seen live taking up the limited space in her car, of course. My mom kept a lot of Bob Dylan around; Blood on the Tracks was clearly the last thing she'd been spinning before switching the disc out for a bit of Hootie — and Traveling Wilburys' Vol. 1 was just below that, in the little cubby hole above the CD player.

In the time since I lost my mom, I've driven this car a lot. I have often driven it at night, when I couldn't sleep. On the road, I belted out the songs I burned for her back when that was a thing you did for people you loved. It was my grief therapy. I shared playlists with her friends and we talked about gigs they'd been to with her. They say it helped them too.

If I couldn't make a decision about what she'd want me to do about things, I put one of her tracks on in the car and found the answer. And it was invariably, "Don't worry about it. Live your life and be free, Becky. I love you".

I hope she knows I love her too. I miss her. And I definitely approve of her taste in music.

Music has always been a non-negotiable in my life. I see now that it was a non-negotiable in my mom's life too. She just showed it quietly and in different ways, because she was a mom to two daughters and that took it out of her.

I truly believe humans need music. We need real music with real lyrics, that actual people had to write down or they couldn't rest. We need the chord progressions that had to get out of their heads and onto a tape. And we need the meaning these tracks take on years down the line — their association with the lives and loves of people close to us.

Old, scratched, starting to struggle; those compact discs are like my mom's little Madza — becoming harder to run. To be honest, I know the feeling. Parts of the car are held together with gaffer tape (aren't we all?). At its last service, the intake of breath over the teeth and slow shake of the mechanic's head seemed a little graver than before.

But I will never sell that car, or the collection of CDs within it. Not that I'd get much for either, anyway.

I have named the car Hidders, short for Hidalgo, after our gypsy heritage. To me it will always be priceless. And somehow, owning the music my mom casually kept in her ever-evolving life gig on wheels has brought me closer to her.

Now that I've listened to every CD that was squirrelled away in Hidders when I got it, I've started taking my sister's old collection of discs in there too, whenever I need to chat with her. Oh yes, we carefully kept her stacks of Erykah Badu, Lauren Hill, Prince, Maxwell, Sinéad O'Connor, D'Angelo, Red Hot Chili Peppers, Beck, Madonna, Black Eyed Peas and more too.

And don't tell me you never talk to people who may or may not physically be there in the car? You should try it, it's great.

Love you, mom and Jo. See you both down the road.

You may not have heard of the Armour Home Group, but you have almost certainly heard of its three hi-fi brands: Q Acoustics, QED, and Goldring. Q Acoustics is one of the masters of great-value value speakers, QED is one of the best-known cable makers, and Goldring is a 120-year-old turntable specialist.

And you may not have heard of its new Managing Director, Charlie Henderson, but you will absolutely have heard of the audio brands he's helped to lead, including Cambridge Audio, Naim, and Jabra.

I've met Henderson before in his roles at Cambridge and Naim, and I was fascinated by how the email I received announcing his appointment promised to focus on expanding the brands "beyond the hi-fi" sector.

I wondered if that meant moving into more 'mainstream' parts of the audio world, and I wasn't sure how that would really work with a brand like QED, so I wanted to find out more — but it turned out that Henderson had something completely different in mind.

He wanted to talk about how the brands can support the return of public listening rooms, how they can engage with the new wave of people getting into hi-fi — and how the hi-fi world can get its "mojo" back.

TechRadar: You said in your introduction at the company that "My goal is to elevate these brands beyond the hi-fi sector and into the broader music community", referring to Q Acoustics, QED, and Goldring. So what do you have in mind?

Charlie Henderson: I have felt for a long time that the hi-fi industry has lost some of its mojo. If we go back to the '50s, '60s, '70s — kind of the essence of British hi-fi in particular — lots of those company founders were either part of rock bands, or they were gigging, or they were visiting live venues, and that's why they got into this industry. So a real love of music was always there.

I think we've seen maybe over the last 10 years or so that it's gone a bit stale. And I think in all the roles I've had in this industry, I've been really keen to make sure that we reboot it. So we talk about our mission as a business, which is to move beyond the hi-fi bubble and become part of music culture — almost as though that's revolutionary, but it's not; it's just going back to what hi-fi was. It was always part of music culture.

But if we think about going around Vienna High End or the Bristol Hi-Fi Show or any of these kinds of events, it's usually less about the music and it's mostly about the equipment and the technology. I think that's a shame. It's not why I'm in this industry; it's not why all the people I tend to find that I'm working with are in this industry.

So that is our mission, and the way we do it is by just being authentic about why we're really here.

TR: It's funny, of all the big tech shows, IFA is the one that has started doing what you're saying, and trying to be a cultural hub as well as a tech show. But really audio is such a kind of tangential part of IFA compared to these music shows that you're talking about.

CH: I remember chatting to a [very respected] hi-fi journalist at the Munich show a couple of years ago, and he just hung out with us. This was in my Cambridge [Audio] days, he just kind of just hung out because he was like, 'Man, at least someone's playing some proper music.'

You walk around the halls and it's Kate Bush and Pink Floyd and Led Zeppelin and all of the usual stuff. Great artists, they're still important musical acts and incredible — but decades have moved on and there's different artists today, you know? People like Fred Again and Ren are my two favorites at the moment, because I think they're British artists who are defining the real musical culture right now. And I haven't heard any Fred Again or Ren at an audio show.

I probably would hear it at IFA, and I think it's because IFA represents companies who understand that they are part of consumer culture. I think the hi-fi industry maybe sometimes thinks that consumer culture is a dirty word. I couldn't disagree more. Knowing who your customer is and what appeals to them and being part of their world, that's our responsibility as manufacturers ultimately.

TR: So what do you see music culture as being in 2026? We're in the middle of one of the most interesting times of audio I can think of, where the new audience who grew up on streaming are coming in and going, ‘I want to move beyond this.’ And that is partly behind the vinyl revival with young people really wanting to actively get into that side — but it's also leading us in the direction of every device having streaming built in or being ‘active’. There are these two arguably separate paths, so where can you ‘meet’ music culture as a company?

CH: There's a little bit of convenience going on here. Active is clearly a future direction for our industry, fueled by convenience and simplicity. I've spent a long time in my career involved in separates hi-fi, and that has a place, but I think even companies who have been focused on that over the last few decades realize that active is the direction of travel. I think that's down to people just wanting a simpler life.

But then there's the ironic flip side of that. We talk about the vinyl revival and analog renaissance and all these things, [including] CDs. I'm using one of my old Motorola phones for my phone because I don't always want to be connected on a smartphone.

But one of my favorite cartoons is [the one that asks] ‘What got you into vinyl? Was it the inconvenience or the expense?’ You know that one? I think the ritual [of playing and choosing vinyl] is really important.

Just for a second, I'm going to kind of dive off into part of how we'll execute our mission. You know, moving into being more a part of music culture isn't just about understanding the music side of it, it's actually how people experience music. I think as an industry, the hi-fi industry has long lamented the question: how do we get people to come in and listen to what music should sound like?

I don't believe [getting people to come to us] is the right answer. Go to where people are listening to music and show them how it could sound. There is a bar culture called the kissa bar culture that came out of Tokyo over the last 20 or so years. It manifests itself in these listening rooms, and you see them at Studio 180 in London, for example. Spotify has just announced its own version of one of these listening rooms as well. That's where music culture is for me.

There was a great article I was reading the other day where it's basically saying listening rooms like that are the new nightclubs. I thought that was super interesting because it's a place where people just assemble, share a passion of music. They might be sipping nice teas or drinking great whiskey or maybe just chatting, you know? It's a place to socialize.

We're seeing this resurgence of gaming, and I mean board gaming. I think that's beautiful, because it's people coming together and escaping the distractions of modern-day technology. It's definitely a younger audience who are doing that because they are sick to the high teeth of everything being online, everything being intangible and losing that connection with friends.

You're seeing it also manifesting in things like running clubs appearing and becoming a huge thing for people in their teens and 20s and early 30s, just craving for human connection.

And I think that is part of music culture. It's human connection. It's why gig tickets are going through the roof again — Glastonbury's selling out faster than ever.

And people really spend more on music, on a hi-fi system or an audio system. They're quite happy with their [premium] Apple Bluetooth products, they're already spending that money. They're dropping £1,000 on Glastonbury tickets and spending all this money on Taylor Swift to get the eight different versions of an album that she releases. They're obsessed by music, but they don't know who to talk to because no one's talking to them.

TR: This might tie back to what your plan is to get out there and interact with people, but the immediate problem that occurs to me with having more of these spaces — and about these spaces becoming more popular even though there's appetite for them — is the general collapse in the ‘third-place’ concept. Places you can go that are not work and that are not home and that are also sustainable businesses. A lot of these places are struggling. Board game cafes have done all right, but you've got maybe one or two per city. They're not like how pubs and bars have been absolutely everywhere in the past. So do you see yourselves opening some of these venues, or supporting them directly in other ways?

CH: I think the pub reference is interesting because we've seen a decline in pubs. We know how many pubs are shutting every week, and nightclubs. I think it's just a different way of people getting together. I'm not surprised that there's only one or two [board game cafes] in a town, because there's probably only ever been one or two nightclubs in a town. Clearly not the same number of people going through [board game cafes as nightclubs], but it's just a place where people can get together.

But just because they're not doing it publicly, doesn't mean they're not doing it at home, you know? We know that vinyl and turntable sales continue to increase year over year over year because people are creating their own environments at home.

In terms of how we execute it, it's by working through our relationships that we have as a team — and that I bring to the business as well in terms of relationships in the music industry and venues within the music industry — and saying ‘how do we support you creating your own listening bar environments’ or being able to [develop] kissa bar culture.

And doing that globally, importantly, as well. We might be based in the UK and proudly British hi-fi brands, but we're a global business, so how do we get a venue in Tokyo, the home of all of this culture? We've had some really good conversations in Vienna just last week about being able to do this in places in Australia, and opportunities in places like New York and across Europe. Spain, Italy and France are way ahead of the UK when it comes to this listening bar culture already.

And then obviously in the UK, our approach will be to support those venues either by equipping them with the right kind of technology to be able to deliver it, or helping people to open them. There's a difference between pop-up events, which are fun for the industry, and actually supporting these venues to be successful in what they're trying to do.

There's an ethical story here. Sometimes people say, ‘So what is it you do as a business? You're making stuff?’ I'm like: no, it's bigger than that. We make products for sure, but they transform people's lives.

It sounds very floaty and you know, almost ephemeral, but it's true: music changes how people feel, so we have a responsibility to make that available to people wherever they want to be. That's kind of our cultural thing, and we'll do that by making sure that the great kit that we make is in the places they want to go to — the two come together.

The outcome is that people realize that [our brands are] actually part of music culture, and therefore we are the people who are signposting who they could listen to great music through, and that's the business upside of it.

TR: So when you talk to these places about what support they need from you, what are they saying?

CH: Support financially. Equipment. There are some which have been really successful with very advanced audio systems, but most locations can't manage that.

We are proudly in the accessible end of the spectrum as a company, particularly around the Q Acoustics range. It's high-quality equipment, but it doesn't cost the Earth, so we can help some of these smaller venues perhaps be part of this movement; we can loan equipment to them, or work with them on [cost]. I think that's probably the practical thing that we'd be able to do.

TR: You’re talking about getting closer to music culture and being a music-listening brand, not a technical brand, if you think of it in those terms. Do you think that's something that separates you from the Chinese hi-fi brands that are exploding in popularity? A lot of them feel quite led by technical people who are able to create pretty incredible products for low prices, but the pitch feels based on technical specs.

CH: I think these brands aren’t that different to traditional hi-fi companies. You know, I've worked in a number of brands where it’s an engineering-led culture — and there's a bit of a transformation that we'll do at Armour Home; there's a degree of engineering-led culture [there].

What has been fun is seeing everything from the engineering teams, but also that our designers saying, ‘Hang on, we could be bolder and braver and less safe and actually be really exciting.’

So I'm already seeing renders for products that will come out in the next 12 to 18 months where I'm like, ‘Yeah, OK, now we're talking’. These are products that really speak to having a sense of style and presence, and really selective decisions around the colors, materials and finishes that we use, and being much closer to interior design. Pantone colors of the year and these similar cultural cues that matter [to people] — just being cool and relevant, that alone is more than maybe the Chinese brands are able to do because they're not attuned to it in quite the same way.

There is a distinction, though. It isn't just British tastes that matter; it's understanding the global tastes as well. So working with our global distributors as well to really get a sense of what is current right now in China or in Australia or in the US, and bringing that as a bit of a mix. Otherwise we fall into the trap I think British hi-fi brands have done in the past where they think everything starts and stops at the English Channel.

TR: Right now, Goldring is really a turntable accessories company that happens to make one turntable [the Goldring GR3]. So, is your plan to expand its reach by offering more turntable models, or are you thinking more about expanding the kind of accessories it makes into phono stages or something else that's not in the range at the moment?

CH: One of my observations when joining the Armour Home Group is that we focus a lot around the Q Acoustics business. And then we have two other businesses within it, which are Goldring and QED. I think that focus is a miss, [and] that's a shame, because we have 120 years this year of history with Goldring. It is one of two of the oldest audio brands in existence, and it has been there at all the defining moments over a century.

Then we have QED, which is 53 years old this year, and it was the brand that started the whole cable revolution from bell wire to proper audio hi-fi grade cables. Something called the Genesis report, which was written by the guys at QED, is still the bible that everyone else has followed ever since.

Q Acoustics has been the new kid on the block a little bit. It's 20 years old this year, so I kind of joke with people in the business that it's not a teenager anymore, we're a grown-up… but we have 120 years of Goldring.

So in the context of your question, Goldring is a beautiful thing for us to have in the family because it allows us to talk about 120 years of history, and iconic decks like the G99 or GL75 with Lenco that were built over the decades. But it's also bang up to date, because vinyl culture is hot.

So we have to do a couple of things. One is to celebrate the past and then also bring things bang up to date in the future. I've had some extraordinary conversations with some of the people I've met in this business, but one of them in particular is a guy called David Giffin.

He's been in the business for 40 years, his father was in the business for 41 years before that, and he was sharing with me this extraordinary scrapbook of all of the sort of cuttings over decades of this business.

That is extraordinary in itself, but he's now the person that people come to from all of the forums going, ‘This is the guy who can rebuild whatever cartridges from around the world’. He's showing me pictures of some Japanese cartridges, like super-esoteric cartridges made out of marble, that he's been tasked with repairing.

So this extraordinary level of skill sits in our Goldring team, and we don't talk about that nearly enough; it's extraordinary. How do we make that manifest itself in the consumer world? We let people know that we have some of the best cartridges, certainly for consistency of performance, that money can buy. We've got everything from entry level right up to Ethos at the top level

You can come to us for turntables too. We have GR3 as a turntable at the moment, and without giving any secrets away, of course we're looking at what more we can do more around that.

But I need to make sure that [a new] turntable is something truly iconic that celebrates 120 years of Goldring, that reminds everybody that this was the brand that started it all, and can sit proudly in a kissa bar environment, celebrated on this plinth, almost like they're shrines. Something that's truly special.

And then at the same time, [should] tie our brands together, so I can use QED technology in the development of that turntable, and I can also make sure we've got Q Acoustic speakers that do service to a turntable with 120 years' worth of history. That’s where some of these new flagship projects that we're working on are really exciting, because the material choices alone are bold.

I talk a lot internally about the thread between the brands. They're not disparate brands. We're incredibly fortunate to have three brands that bring everything together from the source through the connectivity through to the output, and we need to do more of that.

TR: So we should probably expect a cohesive, very premium, very celebratory set of stuff to come from this thinking?

CH: This is where I get kicked under the table by my PR handlers. You should expect a much more bold and confident view as to what we bring to market because I believe we've earned that over many, many, many, many decades.

TR: Are you considering doing something like special edition versions of Q Acoustics speakers that are Goldring-branded or designed? Q Acoustics' design language tends to have friendly, rounded corners, and rounded edges. I look at the GR3 and I see this stark, hard-edged cuboid block. Do you want a set of Q Acoustics speakers that are equally hard-edged and glossy-finished, [and] maybe have the Goldring logo on?

CH: I think it could be that way, or it could be the other way around. You could see a Goldring turntable that leans more into the home-friendly design, or I could see everything elevating to a new design approach as well, sure.

What I can be clearer about is that I think it's important that there are technology linkages where possible across the three brands, and design cues where appropriate across all three as well, without betraying the core design fundamentals of each brand. It's a balancing act.

TR: The biggest missing pieces of your portfolio are the amp and streamer. Is that something you think about expanding into, or do you think the future is more in the combined active speaker route in the Q Acoustics range?

CH: There are two parts to that. We have our core business, and we have our distribution business in the UK, and it’s important to mention that our distribution business is really interesting.

We've got Xgimi at one end in terms of cutting-edge projector technology; we’re just rolling that out with retailers across the UK, and we literally can't keep up with demand.

Almost at the other extreme we've got Grado. Cool as hell, legit New York vibes, super interesting, iconic design. And then in the middle we've got Burson Audio, a head-fi and amp brand.

But there is the missing link [in our brands], which is amplification and streaming. Active speakers definitely support that, clearly, but we have a very successful passive speaker range, and I need to work out how to tackle that. Is that through partnerships? Is that through collaboration with existing manufacturers in the industry, those who are on the same mission as us of understanding that music culture is really important for the industry? Or do we treat it as a distribution opportunity for us in the UK? And I don't have the answer yet, but I know it's important.

TR: QED is surely the hardest brand here to expand beyond the core hi-fi community, unless you take a bit of a left turn. So what is your thinking there? Would you keep QED as a nice ‘glue’ option to connect everything together, or is there some future for QED that goes beyond what it does now?

CH: I would start by saying it’s about re-remembering that QED is the brand that started it all, and helping that awareness grow. There are other brands out there who've established a strong position in the premium and luxury cable sector, but they're all essentially going back to the Genesis report.

We are working on redefining the ranges, I'll put it that way, so you'll see some news coming out of QED fairly soon anyway.

I think connectivity is a question in itself. Cables were the original connection, but now wireless is a connection, and so I'm certainly pondering in my idle moments about whether QED should be in that wireless area. Because it's the modern day glue, and it's interesting you ask the question because it's definitely in my mind.

TR: You alluded to this earlier, but it's the old business study question of asking ‘What do we actually sell? Is it cables or is it connections? And if it's connections, then should we think about something medium than cables in the future?’ Is that the kind of question you're exploring for QED?

CH: Absolutely. And I’m only four weeks in, which is why I'm not giving you clear answers, but I can see that there is a clear consumer understanding among those who know us today that we are the connection. But there are consumers today who don't even know us, they're not being signposted well enough because of the music culture topic we've gone into as to how they listen to music — so they might recognize QED as being the connection, but they're only used to wireless connectivity. And so what do we do with that?

TR: I'm sure you are not going to have anything specific to say on this subject when it comes to products, but it's very relevant to this topic: have you seen the Pro-ject Wireless Box E? They've made this little box that connects directly to the speaker posts on the back of your passive speakers, it plugs into power, and it makes them wireless using the WiiM platform.

CH: I think that's actually quite exciting for our category. A theory I have is that a lot of people are starting to inherit hi-fi, so family members might be getting to an age or passing on, sadly, and people are discovering turntables in the loft. ‘What do I do with this?’

That's interesting for me as well, which is getting people on a journey. One of the companies I worked at was world-famous for understanding the importance of being there at the beginning of someone's journey and being with them for life. It’s a separates company, and it's the upgrade journey that people went on that's really important to me. It's one of the things that I'm talking to the marketing teams about, within the group. It's about making it easier to understand where you start and where you could go.

QED is a perfect example actually, where it's a bit of a maze and really hard to navigate, so making sure that, just from a packaging and a communications point of view, people know where they are on that journey. Are they at the beginning? Are they at our ‘good’, our ‘better’ or our ‘best’ — so they can work out where they could step up through their audio life.

I don't think we have done that enough in our ranges. It's the same with our 3000 series to our 5000 series range, and then up to our Concept portfolio, in Q Acoustics. It's making it really clear about what this [product] does at this level, what you can expect at this [higher] level and what you can expect at this [highest] level. This idea that it's always a little itch that's not quite scratched; it could always get better.

TR: One of the entry points that I think we're seeing a lot of at the moment is desktop speakers. You guys have compact speakers, bookshelf speakers that are pretty small — but in particular, there's this kind of breakout sector right now that’s one step down in size from there. Quite often wireless or active, but designed for people who are getting into the audiophile stage via their desktop. Based on what you were just saying, are you guys exploring more of these opportunities where there is some breakout sector where you can say ‘OK, this is where we can get people on board in our journey’?

CH: I'm gonna half answer that. We have three different bookshelves in our 3000 series and the same in the 5000 series, and those are to meet the needs of three different kinds of bookshelf customer. Some of them are international, like the 3030c, because they’re the bigger of the lot and the US buyers like a larger volume for the cabinet.

The 3010 and 5010 are our small footprint version. They are used in home offices a lot, but I think there are new audiences coming through. There's gaming, and there are younger consumers who might be in flat shares or whatever that need something smaller. So yes, we are watching that part of the industry very closely.

TR: We’ve talked a lot about music, and that's kind of clearly where your focus is as far as building a new identity and the opportunities. But Q Acoustics has such a successful history in the home theater space; it was one of the earliest pioneers of soundbars and soundbases, but left that area really right as it was exploding — though exploding with entries from the likes of LG and Samsung. At the moment, there's no a product in that area; is that something you could see the brand getting back into, or do you want to focus on that music side?

CH: So there is a crossover. Being part of music culture doesn't mean it's exclusive to other elements of it, and I think home entertainment and AV is still very much part of that culture of entertainment. And it is important to us strategically; we still have products in the range that allow us to satisfy a lot of those needs. We have a range of subwoofers from entry through to high performance.

In terms of the soundbar category, it’s quite a scary category. It's very hard to compete with free, and the TV manufacturers will offer a soundbar as free, or give a retailer the latitude to offer it for free to close a TV sale.

I've been actively involved in some products in that space in the past, and I've seen how successful they can be if they are designed really well.

I'm dancing around an answer to say: no plans at the moment. It is a category that I look at with curiosity, but I'm not sure if it's the absolute priority yet. Surround sound, yes — but soundbar, I'm not sure yet.

TR: In surround sound, what we’re seeing there is, again, a lot of people who are ready to step up, in the same way as we talked about people in hi-fi wanting to move up in the journey. One of the key trends happening in home theater right now is the move to wireless surround systems. Do you think that is a route you can see Q Acoustics going down? It's a complicated technical thing to deal with, but I feel like it's something that any company in the space right now needs to reckon with.

CH: So we've definitely got the capabilities to develop solutions in that space. An area we haven't talked about is install, and I think there is a bigger opportunity actually about making install an option for homeowners. We have a branch of products that we call ‘easy install’ — the name says it all, you know, super easy for the average DIYer through to electricians to install. I see that there's probably a future for much more there, in terms of in-ceiling speakers and maybe some satellite speakers to create this environment.

There's a whole tangent we could go down about whether Atmos has gained momentum. I think for me, it's still a ‘watch and see’.

But I think the idea of in-ceiling or in-wall speakers and satellite speakers, and maybe some floorstanders or bookshelves as an option, and them all working together, that's interesting — and I think wireless within that environment is really interesting. And by ‘interesting’ that means ‘yes, I'm considering that’.

The ‘easy install’ stuff is super interesting though for us, because we've all been in this industry a long time. We've seen that installation systems are seen as complex and scary and difficult and expensive. You need a server-mounted system and you need specialisms and you need lots of complexity and disruption to your home… it isn't like that anymore. I've been really blown away.

My wife doesn't know this yet, but I'm going to switch stuff out in our house, because I've suddenly realized how easy it is. Q Acoustics has a thing called the E300a, which is essentially a built-in amplifier and streaming modules in a down-lighter-like size. Wire it up to a couple of in-ceiling speakers, you've got a system ready to go. It couldn't be easier. Voice controlled, so you can say ‘Alexa play BBC 6 Music’ or whatever.

I don't think people realize they can do this yet generally, and that they can do it themselves on a weekend, or they can get their local electrician to come and pop it in, because it's easy. And we're trying to support the electrician channel to do more of that. Maybe that's more interesting than the soundbars on their own.

Let's get nerdyish for a second. HDMI ARC I think is really, really important. Thank God for it, because I think particularly if you're earlier on in your [hi-fi] journey, you have to make some compromises, but you can enjoy hi-fi quality sound through an HDMI ARC interface and it'll still be part of a pseudo AV system.

Sure, it's compromised because you're not going to get the bells and whistles coming from all around — Titanic isn't going to sound quite the same — but it's going to sound beautiful when you listen to music. In that kind of relationship between ‘is it music’ or ‘is it audiovisual’, I think it’s entertainment as a whole, and finding the best of both worlds. HDMI ARC has been a savior.

TR: There's also the element where, if people go to [the] Reddit home theater community for their advice on whether to buy a soundbar, or which is the right soundbar, what they will get is a lot of people saying that they should actually get a stereo setup. There are people who say this will always be better than any soundbar, and you guys do have that option in your active speakers.

CH: That's what I mean; you can get the best of both worlds. That stereo presence though is always going to be better; that’s the point, isn't it, because you're not compromised by [having] the bar in the middle.

TR: So finally, what is the holistic brand proposition you want to offer from Armour Home? If you're addressing what you want all of your brands to do at once, and you’ve got this idea of how you can integrate with the community, what do you want people to think about Q Acoustics and QED and Goldring in combination?

CH: I want people to see that there is a relationship between all three brands that takes us from the origins of the audio experience right up to the modern day. That there is some confidence in those brands, that we understand the legacy that they bring, and that Q Acoustics kind of brings that freshness to it as well.

That we can bring those technologies together more, so there's more integration there and the design and feel about them having a relationship closer together as well. So rather than Armor Home as a parent company being a collection of brands, Armor Home is the home of source through to the output.

And that we've got a vibe as well, that we're not passive, forgive the pun, in this industry — that we recognize that it's about the hairs on your arms. It isn't just about the engineering.

It's just about having a shared passion and experience and being visible to everybody in the places that they enjoy being. This idea of ‘we'll come to you, you don't need to come to us because we are the same as you’.

Sony PS-LX3BT: Two-minute review

The Sony PS-LX3BT is one of the first new turntables to leave Sony’s R&D department in years. It comes some time after the launch of the Sony PS-LX310BT, one of what TechRadar rightfully deems to be the best turntables for beginners — and has big shoes to fill, accordingly.

And fill them it sort-of does, at least in the most literal of senses. It shares a lot of physical attributes, aims for the same sleek aesthetic, and seeks to corner the same, well, corner of the market with user-friendly interfaces and a no-nonsense approach to playing records. It’s a shame it doesn’t quite stick the landing.

Price is the major sticking point for me — its launch price far overshot similarly specced, and better-featured, turntables in the same market. This was the backdrop against which certain bugbears became serious missteps — from a stylus that Sony insists you need to replace through them, to a cheap-feeling body that feels like it’s come from a device a third of the price.

These things overshadow the PS-LX3BT’s capable performance with audio, via its decent on-board preamp and its star-of-the-show press-and-play Bluetooth connectivity. It could be good — it is good, by some metrics — but not for where it’s asking to sit.

Sony PS-LX3BT review: Price & release date

• Unveiled February 2, 2026
• Priced $399.99 / £299 / AU$469

The Sony PS-LX3BT is a fully automatic, Bluetooth-enabled plug-and-play turntable, with an eye cocked squarely at the upper limits of the entry level. At its launch price of $399 / £299 / AU$469, it’s not what I would call cheap; in fact, it’s undercut by a fair few near-equivalent competitors — most compelling of which is the Audio-Technica AT-LP70XBT.

Then, there's this turntable's own sibling (they actually launched together), the Sony PS-LX5BT which is pricier but adds a more delicate stylus pressure of 2.0g ± 0.5g, a thicker and more premium rubber mat, a tweaked circuit design engineered to suppress unwanted vibration, a dedicated gold-plated audio jack out port (something not present here) with a cable in the box, plus a slightly more high-end, all-black finish.

Most other competitors in the market, though, do not have ‘Sony’ tastefully emblazoned on the chassis. Sony is a tried-and-tested household brand for AV tech, be it TVs, games consoles, CD players or integrated hi-fi systems.

Hence, the brand is likely better-trusted by new or returning vinyl enthusiasts to deliver something intuitive, fuss-free and of a minimum quality. Is this trust well-founded? The 2019 Sony PS-LX310BT was a huge success, but it was also a lot cheaper (depending on where you lived), having launched at $199 / £200 / AU$399. So, you can see the issue…

Sony PS-LX3BT review: Specs

Sony PS-LX3BT review: Features

• Fully automatic operation
• AptX Adaptive Bluetooth output
• Built-in phono preamp and gain control

The Sony PS-LX3BT is an automatic turntable; this means it can be operated entirely by the array of buttons and switches adorning its anthracite-hued surface. Simply select the size and speed of your record, then use the buttons at the front to control the placement or removal of the tonearm. The platter’s rotation is triggered by moving the tonearm past a certain point, so even if you want to use the PS-LX3BT manually (by virtue of the silver finger-rest protruding from where the headshell would be) you literally only have to lift a finger to play a record.

Automatic turntable mechanisms are not so new, and this mechanical design doesn’t sound especially new either, with some familiar clunks and whirrs I know from my old Rotel system. What is, at least slightly newer, though, is Bluetooth connectivity, which the PS-LX3BT quite proudly has. More specifically, there’s aptX Adaptive Bluetooth transmission, for low-latency, high-resolution streaming from the turntable to your Bluetooth receiver of choice and accessed via a suavely flush button in the front-left corner of the chassis face.

On top of this Bluetooth connectivity, the LX3BT has connections the old-fashioned way, via a hard-wired stereo RCA cable out from the back. It’s an odd choice to use a permanently attached cable instead of a port – and at that, given the audience for this thing, I’m surprised there isn’t a 3.5mm Aux out either.

Still, that RCA cable feeds a built-in and switchable phono preamp, which means you can plug your turntable in most any amplifier without needing an extra gain stage. On top of that, there’s a gain switch that lets you boost or attenuate your turntable’s output by 4dB. Surprising in a different way; thoughtful, even.

The LX3BT has, like many other entry-level turntables of its ilk, a completely built-in cartridge arrangement with a replaceable stylus element. The stylus part here looks strikingly like one of Audio-Technica’s AT-3600 series, but is “designed specifically for this turntable”, according to Sony’s website FAQ. With a bit of sleuthing, the stylus does appear to be Audio-Technica’s AT3600LAX, a conical stylus with a carbon-fiber cantilever – though Sony’s specs point to a slightly heftier 3.5g tracking force. (Incidentally, my own tracking-force measurements of the tonearm put its exertion at a, for me, troublingly high 3.7g.)

Crucially, this thin layer of proprietariness creates an uneasy route to self-replacement, or indeed upgrade. Sony would prefer you go through its dealers or customer service department for a like-for-like stylus replacement, indicating that “other styluses are not supported”. Built-in cartridges and replaceable styli can be clever entry-level phenomena, and can be executed transparently well, but here, in this manner, it trends a little too close to being anti-consumer for my liking. Minus thoughtfulness points.

• Features score: 3 / 5

Sony PS-LX3BT review: Sound quality

• Warm, clear sound from stylus
• Faultless Bluetooth transmission
• Clean, clear built-in preamp

For all the grumblings I’ve leveled at the Sony PS-LX3BT thus far, I will contend that it actually does sound good. That definitely-not-an-AT-3600L-in-a-moustache cartridge presents a perfectly reasonable quality of sound — great, even, for its place in the market.

True to the marketing copy, the LX3BT sounds warm, the general color of its cartridge being a little on the soft side with some noticeable roll-off towards the upper reaches. Future Islands’ As Long As You Are sounds no less rich for this character, all big, warbly synths and croon-adjacent missives throughout. It's an enjoyable listen.

Testing the 7-inch functionality of the automatic mechanism, I chucked on early-80s groover Emergency (Dial 999) by Loose Ends (a DJ-set staple, and an undeniable bop besides — fight me). It ended up being a great conduit by which to recognize the strengths of the PS-LX3BT’s built-in phono preamp. Often in budget turntables, these can be brittle or a little saturating; this one is clear and full, rendering those snappy standout snares and breakout vocal refrains in gratifying detail.

The whole outfit seems to benefit guitars and vocals over anything, though everything sounds, to some extent, present and fulsome; Ryuichi Sakamoto’s Risky, featuring Iggy Pop, is a sparse arrangement benefited by Iggy’s game attempt at a Let’s Dance-era Bowie impression — his voice is a raspy little joy all the time, but rendered to some good effect here.

Unobtrusively good sound quality notwithstanding, the aptX Adaptive Bluetooth connectivity is arguably the star of the show. It’s fast to connect to, and, with regards to fidelity, sounds indistinguishable from its analog alternative. I had a whale of a time in the kitchen listening to Mitski’s Nothing’s About To Happen To Me, in all its full and heartbreaking glory, fuss-free.

• Sound quality score: 4 / 5

Sony PS-LX3BT review: Design

• Cheap-feeling construction
• Easy to set up
• One-touch Bluetooth

Pulling the PS-LX3BT out of the box, I found the chassis to be quite light. Surprisingly light, even. Putting it together, it became clear that almost every element was some form of plastic — besides occasional aspects, and the die-cast aluminum platter. It’s not a reassuring weight, though the turntable is undeniably stable on its feet.

I’m more disappointed by the perceivable cheapness of the construction on display here. A series of design decisions were made that preferred cost to user experience, leading to a pretty nasty-feeling finish on the chassis shell, a flimsy tonearm rest clasp that doesn’t actually clasp, and a spring-assisted tonearm that inspires little confidence.

At least the LX3BT is an easy thing to set up — as easy as seating the platter belt, plugging in a power adapter and delivering the hardwired stereo RCA cable to your amp or speaker of choice. It couldn’t be more plug-and-play, nor more foolproof to use via its clearly labeled buttons and knobs.

Again, the best bit of the Sony PS-LX3BT seems to be its Bluetooth. Where many other devices struggle unduly with one-touch connectivity, connecting this turntable to my portable speaker was the easiest time of my life; a single button press, a modicum of patient waiting with speaker held (camply) in-hand, and it was paired.

This aptX Adaptive connectivity can be utilized simultaneously to the PS-LX3BT’s analog outputs, too. This means dual-zone listening; I got to enjoy hi-res Mitski in the kitchen while my wife bopped along in the living room, too. And, again, it sounded great! A positive side-effect design decision, that pitches the Sony LX3BT well for casual home listening.

• Design score: 4 / 5

Sony PS-LX3BT review: Value

• Great-sounding entry-level turntable…
• …that’s fundamentally overpriced
• And doesn’t allow self-replacement of stylus

To be completely frank, I find it difficult to square the price of this against its own quality, let alone the standards set by other turntable brands. It’s the top end of the entry level, and yet it has the same unfriendly design principles as the cheap-and-cheerful, ten-a-penny budget turntables it’s meant to outclass.

The caveat is that it does, ultimately, deliver on its core purposes. It’s an automatic turntable, and it does indeed automate much of the turntable-playing process — for the most part successfully, too. It’s a Bluetooth-enabled turntable, and its Bluetooth just works, which is something you can’t say for some other devices. And through it all, it sounds pretty darn decent.

But these are all things that turntables a third cheaper can offer. You deserve so much more for $400 / £300 than a brand logo; if you let it, that same amount of investment could buy you a solid turntable that delivers better quality sound, and gives you the keys to the kingdom vis-a-vis calibration and repairs too.

Here, it is worth my acknowledging that, in the intervening weeks since the LX3BT’s launch, there seems to have been a post-launch price-adjustment of sorts; many outlets are offering it at $348 / £250, or even slightly less. This makes the turntable a much more palatable prospect investment-wise, but I do think my criticisms stand — and that other turntables have met the moment a little better.

• Value score: 2.5 / 5

Should I buy the Sony PS-LX3BT?

Buy it if…

Don’t buy it if…

Sony PS-LX3BT review: Also consider

How I tested the Sony PS-LX3BT

• Tested for 4 weeks
• Used as a part of a living-room hi-fi system
• Tested with a Cambridge hi-fi amplifier and Dali Sonik 1 bookshelf speakers

The Sony PS-LX3BT spent a month or so atop my living-room hi-fi stack, as my primary means of listening to records. As such, its output was treated by a Cambridge Audio A2 integrated amplifier, which itself fed a pair of Dali Sonik 1 bookshelf speakers.

Bluetooth connectivity was tested with my trusty kitchen speaker, a Soundcore Motion 300. For testing, I listened to a wide variety of favored records across genres, to get a comprehensive feel for the LX3BT’s performance.

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• First reviewed: July 2026

• Topping has unveiled its new and compact desktop DX1 II DAC
• It's relatively affordable at £119 (about $160, AU$240)
• Multiple inputs and outputs, some clearly designed for gamers

If you've been considering buying one of the best headphone DACs, it's probably because you want to connect them to an audiophile-friendly hi-fi system — or even to your phone or dedicated music player on the commute. But Topping's latest option aims squarely at a very different audience: gamers.

The Topping DX1 II is a new piece of kit which is slowly being released in different regions; it's just been released in the UK from Electromod. It costs £119 (about $160, AU$240), so it undercuts many other options save for models built specifically for smartphones or digital audio players.

The DX1 II seems to have a specific user in mind though. The DAC is designed for all budget-conscious, audiophile-curious buyers, but it does feel aimed at gamers more than most. And that is thanks to a few key considerations that seemingly make it a good pick for enhancing your games' sound.

For example, while the DAC has two headphone outputs (3.5mm and 4.4mm), they're two-way, so you can use headsets with microphones. It can also switch between USB Audio Classes, allowing you to use it alongside the Nintendo Switch and PS5 which are some of the few gadgets only using UAC 1.0.

A DAC is for life, not just for gaming

Despite some gaming features being the headline tools, the Topping DX1 II seems to be a solid all-rounder too — and given how much we loved the larger and more expensive Topping DX5 II, it's well worth taking a closer look.

The DAC can input from USB-C as well as optical, and output to optical, stereo RCA, 3.5mm or 4.4mm. There's support for 32-bit/384kHz PCM and DSD 256, so high-quality audio won't be a problem. There are also EQ tools as well as filter and gain settings.

A built-in amp can deliver up to 1,000mW audio, and since it's quite compact at 10x10x3.2cm, it'll fit into various existing set-ups — and that glossy white casework will make it look right at home next to a PS5.

As a prolific gamer, I'm not sure that I can see a DAC being crucial to a hardware set-up — although I absolutely recommend any one of the best wired gaming headsets. That said, the Topping is still very useful as an affordable entry-level DAC for my music that can get double use for gaming.

Fluance RT87 Turntable review: two minute review

Nothing highlights the highs and lows of vinyl like a proper turn table such as the Fluance RT87. Maybe you’ve been using the same Audio Technica LP-60 or even Crossley or Victrola that proliferates the storefront of every record store you’ve ever been to. No shame, I’ve had each at some point.

But there’s something about a fully manual turntable from assembling and calibrating (and testing one’s patience) to cleaning a record every time you put a new one on. Convenient is not necessarily a word that I would use for this process. But it is a bit meditative. More importantly, the audio quality you get a step above with that analog warmth that the best turntables are known for, while not adding unnecessary distortion that may make your vinyl also sound a bit unintentionally lo-fi.

Of course, spending the $799.99 / £666.33 / AU$1,231.70 is not enough for that immersive listening experience. You should probably get a pair of the best stereo speakers you can afford. And if those speakers don’t have a built-in phono preamp, you’ll have to get one of those too. This turntable does not come with one.

Fluance RT87 Turntable review: price and release date

• How much does it cost? $799.99 (around £666 / AU$1,230)
• When is it available? Available now (launched in June 2026)
• Where can you get it? Available now in the US; UK and Australia coming soon

Newest among Fluance’s offerings with a mid-June 2026 release, the Fluance RT87 is available in the US and will (at the time of writing) be available in the UK,and Australia very soon. And whether you get it in Natural Walnut, Piano Black, or Piano White, the price goes for an only-cheap-to-audiophile price of $799.99 (around £666 / AU$1,230). And that price stays the same regardless of cartridge, of which you can choose from the Ortofon 2M Blue or Audio Technica AT-VM95ML.

Just be aware that the Fluance RT87 does not have a built-in phono preamp, so you’ll need to invest in one. Fluance does sell the PA10 Phono Preamp for $99.99 / £82.99 / AU$154 and can be bundled (though without a discount) on its site.

Fluance RT87 Turntable review: features

• Very light on features and extra perks — the connoisseurs' choice
• No phono preamp or 45 RPM adapter
• Does come with a bubble level

If the Fluance RT87 is more for the audio purist and I think that’s who the brand is targeting, then it makes sense that this turntable is pretty light on convenience-focused features. There is no built-in phono preamp — something you can find on much cheaper decks like the Audio-Technica AT-LP70XBT. And, of course, you won’t find Bluetooth connectivity or any other unique types of connectivity.

I don’t say this as a bad thing, either. After all, the Fluance RT87 is meant for someone ready to enter more serious vinyl listening and all those extra accoutrements take away from what’s important and that’s its performance and everything involved in making sure that it performs properly.

While I’ll cover most of those choices for performance in the next couple sections, it’s worth noting that the Fluance RT87 comes with the option of either the Ortofon 2M Blue or Audio Technica AT-VM95ML cartridge, either of which cost over $150 as just as part ($166.99 and $179.00, respectively). The configuration reviewed here is the Ortofon 2M Blue.

While there are plenty of opinions out there on both cartridges and how they affect the sound and I won’t parse out that whole conversation — people’s opinions of cartridges are as varied as they are on any other piece of audio equipment — other than to say that either cartridge marks an entry point into serious audio quality from more budget cartridges… just like the Fluance RT87 itself.

It’s also worth mentioning that this turntable can play 78, 45, and 33 RPM, via a selector on the lower left corner of the turntable so no need to adjust the belt like some turntables. Unfortunately, it doesn’t come with a 45 RPM adapter. Additionally, it has an Auto-Stop toggle on the back.

Features score: 3 / 5

Fluance RT87 Turntable review: sound quality

• Has a sweet, slightly warm sound
• Soundstage is immersive
• No discernable inner groove distortion

I learned a lot about my records using the Fluance RT87 as my conduit. I learned that I didn’t like the way Fleetwood Mac’s Rumours is mixed. I learned that there’s way too much happening in Kamasi Washington’s Truth. Just to name a few.

You hear something that was there this whole time, but you noticed it on this last listen. And that’s not something that typically happens with entry-level gear. In short, I really enjoyed listening to the Fluance RT87. And while the turn table is a step or two up from entry-level gear (maybe beginner audiophile gear or first serious turntable level), the rest of the chain was more on the budget side — Fluance’s affordable PA10 phono amp and the company’s Ai41 speakers. Solid gear, but not transcendent.

One of the good things about using the Ai41 speakers is its Bluetooth connectivity. I could compare a record to a digital stream of the same music via HiFi through Deezer, which I did in a few cases. Rumours, for instance, got a play through vinyl as well as Kacey Musgrave’s Golden Hour. And the vinyl sounded just a little bit better. Maybe it’s the even-order harmonics. Maybe it’s using physical media over digital zeros and ones. To me, everything through the Fluance RT87 had this little bit of bloom to it. It just sounded a little bit sweeter.

Since I had done my best to properly set up my bookshelf speakers when I did my serious listening, I found the soundstage to be expansive and enveloping during listening sessions. I mentioned Kamasi Washington’s Truth, from his album Harmony of Difference before. When playing that song (really the whole record), not only could I hear his band to the outer reaches of where the speakers were projecting, but I could hear precise placement of various horn parts placed across the sound stage. In the same vein, Radiohead’s Pyramid Song sounded phenomenal on this setup.

As far as frequency response goes, I was pretty pleased. With the obvious caveat that the speakers are going to be the biggest bottleneck in a sound system (a bit of an oversimplification), I found the mid-range to be rich and full. Kacey Musgrave’s voice and guitar on Slow Burn, the opening track from Golden Hour, has weight to it. And the high-end has plenty of detail, while retaining some of the warmth of analog as it’s a tiny bit rolled off in a pleasing kind of way.

Now, the bass response is a bit tighter as opposed to big or woolly. It was still very present. Sure, it has a defined space on an older record like Rumours or Talking Heads’ Remain In The Light, but it’s easily placeable and doesn’t overpower the mix in something like FKA Twigs’ EP1.

Lastly, every record I played had a good amount of headroom so that the music came through clearly and without any real distortion (outside of those even order harmonics). And there wasn’t any discernable inner groove distortion either as the stylus would wind its way to the end of each side.

Sound quality: 5 / 5

Fluance RT87 Turntable review: design

• Heavy-duty plinth and platter
• Belt-driven
• Removable cartridge

If you’re just getting into turntables, you might be wondering what puts the Fluance RT87 in a more expensive price bracket compared to a lot of the popular, feature-filled turntables out there, one of which you might be upgrading from.

Obviously the sound quality is a huge part of that, which we’ve already covered, but that sound quality is affected by the build of the Fluance RT87. Of course, it’s worth mentioning that it’s a classy-looking deck with a high-gloss finish, available in Natural Walnut (reviewed here), Piano White, and Piano Black. It is made from MDF, but that’s actually a positive, as it doesn’t create any resonance.

Getting back to that build, the plinth, aka the body or chassis of the turntable, is heavy — the whole thing weighs 21 lb (9.5 kg) — giving the turntable a durable feel. Also, the acrylic platter is hefty in and of itself at 4.1 lb (1.85 kg). Incidental bumping or closing of the dust cover, which is surprisingly easy to scratch, doesn’t skip or affect the sound. And unless your record is warped, it will rotate without any up or down motion.

This is a belt-driven turntable with an adjustable and rigid carbon fiber tonearm (you even get a little hex wrench to adjust it), complete with removable counterweight and tiny anti-skate weight, and replaceable cartridge. I’ve mentioned earlier the two types of cartridges to select from and the fact that the reviewed model here came with the Ortofon 2M Blue. It’s worth noting that this is a moving magnet cartridge with a nude elliptical stylus.

The feet, of which there are three, are adjustable to help level the Fluance RT87. They are basically large, mostly silicon silicon screws.

Control-wise, there’s just the speed selector on the front, left corner of the plinth and the auto-stop toggle on the back. The ports are about as Spartan — just stereo RCA inputs and a ground outlet.

As far as extras go, the turntable comes with a RCA cable, ground cable, hex wrench for adjusting the tone arm, and bubble level, so you can adjust the turntable’s angle accordingly before you end up butchering any records. Brushes and any extras will require an individual purchase.

Design score: 4.5 / 5

Fluance RT87 Turntable review: ease of use and setup

• Putting it together takes ten minutes
• Not plug-and-play
• Fine tuning takes even longer

This should not be your first turntable. There’s ritual to setting up the Fluance RT87, as there is for a lot of turntables once you graduate beyond the three-to-four hundred dollar range. Because of that, it was equal parts frustrating and engaging. So, yes, there is some assembly required.

When first unboxing, I had to remove everything from its plastic wrapping and then spend probably five minutes just getting everything all together. I had to put the platter on the plinth, put the belt around the platter and then on the motor, put the Ortofon cartridge on one end of the tonearm followed by the counterweight on the other end, then on goes the anti-skate weight, and, lastly, I had to add the hinges to the dust cover and then attach it to the plinth.

But wait, we’re not ready to start playing any records. I had to turn the platter a few times with the belt on so that it’s evenly distributed. Since the platter doesn’t have a ridge or indentation for the belt, it has a habit of slipping off (and still does if I’m a bit clumsy removing a record after play) — something you don’t have to deal with on cheaper decks.

I also had to adjust the feet so that the turntable is completely level, making sure records lie flat during play. This takes a bit of time because you have to reach under and turn each foot clockwise to extend (counter-clockwise to shorten) until the bubble level shows its bubble directly in the center. This took me about ten minutes of adjusting initially, though to be fair, I was using a table that wasn’t very level. After moving the Fluance RT87 from the table I first had it set up on to a different, somewhat treated room where I had to put it on the floor, it required much less adjusting.

Adjusting the tonearm’s counterweight took quite a while as I had to be precise in getting it to balance flat instead of flying up and away from the turntable or digging into my records. While it’s par for the course, this probably also took me about ten minutes of adjusting, though that’s partially because I set it up according to the manual and found the tonearm to still not have enough weight from the counterweight.

Similarly, the anti-skate weight here is a bit finicky as well. It’s just a tiny ball on a thread thin enough to thread a needle with a loop on the other end to attach to the tonearm. The tonearm attachment is basically a lever with four notches on it to account for different anti-skate weight needs (for instance, the anti-skate should loop over a different rung when using the Ortofon cartridge versus the Audio-Technica one). Not only did it take some experimentation to find the right setting, but the loop kept slipping off its rung.

If you’re upgrading to your first big-boy or big-girl turntable and considering this one, just be ready to put in some time getting it right before actually using it. Also be aware that some of the required attention to detail during setup is not unique to this turntable, though anti-skate weights aren’t always a tiny ball on a tiny string.

Usability and setup score: 3.5 / 5

Fluance RT87 Turntable review: value

• Less features and automation than cheaper turntables
• Better sound quality than those cheaper turntables
• Some entry-to-premium decks may sound as good, but aren’t as sturdy

It’s interesting that the cheaper decks are the more convenient. It’s almost as if the more money you spend, the less features. Exhibit A, for instance, might be the FiiO TT13. This turntable costs a little over a quarter of the price of the Fluance RT87 ($249 / £239 / AU$249 if you need specifics), while adding in Bluetooth connectivity, a built-in phono amp, a fully automatic tonearm, and, frankly, due to its plug-n-play design requires none of the setup or fine tuning of the record player reviewed here. But I would hazard that the Fluance RT87 sounds quite a bit better since it has a bit more heft to its sound.

If you’ve been looking at upping your vinyl game, you might have already looked at the popular Rega Planar PL1, which at $595 / £299 / AU$645, is probably a more direct comparison. But, while the Rega also has a pretty spacious sound, it’s a bit more workmanlike in construction. It’s more utilitarian in looks and is much more light weight in construction. The Fluance RT87’s acrylic platter alone weighs about half of the Rega Planar PL1, making the Fluance more likely to absorb shocks and bumps without fuss.

Value score: 4 / 5

Should I buy the Fluance RT87 Turntable?

Buy it if...

Don't buy it if...

Fluance RT87 Turntable review:: Also consider

How I tested the Fluance RT87 Turntable

• Used regularly for a few weeks
• Played through Fluance P10 Phono Preamp and Fluance Ai41
• Played at various speeds and different size records

I used the Fluance RT87 for a few weeks, listening to as wide a variety of music from Rock to Jazz to Americana that I could. In so doing, I used the different speeds as well as seeing how it did with different size records. I also used the record player in a couple different rooms and with a couple different speakers, the Fluance Ai41 mentioned above and the Klipsch The Nines II.

I’ve tested a lot of tech gear over the years from laptops to keyboards and speakers, and so have been able to use my expertise towards giving an honest and fair opinion, not to mention a critical eye, to any product I test.

• First reviewed: July 2026
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