Audio - Organizer

FiiO’s wired FT13 over-ear headphones offer unique design and an organized sound, they just lack a bit of bite

12:00 am | December 3, 2025

Author: admin | Category: Audio Computers Gadgets Headphones | Comments: Off

FiiO FT13: Two-minute review

If you’re after a touch of individuality in your wired, over-ear, closed-back headphones, the FiiO FT13 have you covered. These are big, relatively bulky headphones but that does mean that on the outside there’s plenty of room for a quantity of highly polished purpleheart wood, while on the inside you've got a pair of 60mm ‘W’-shaped dynamic drivers that offer a frequency response of 7Hz - 40kHz.

The standard of build and finish is excellent, and the combination of plenty of adjustability in the headband and some judicious clamping force means the FT13 are comfortable in situ. Mind you, the use of lambskin on the inside of the headband, and the choice of suede even more lambskin for the earpads, means vegetarians aren’t going to be comfortable in the slightest.

Inside the big, nicely tactile travel case there’s a choice of four cable terminations, along with a generous length of very credible Furukawa cable that connects to both earcups. These options mean you should be able to connect your FiiO to pretty much any source of sound available.

Once they’re connected, there’s plenty to enjoy. The sound is large and spacious, and thanks to good low-frequency control there’s lots of momentum and rhythmic confidence. The FT13 communicate readily through the midrange, too. If it weren’t for a slight tonal discrepancy at the top of the frequency range and a more obvious rolling off of the same area, they’d be even more obvious front-runners and part of the best wired headphones.

FiiO FT13 closed-back over-ear wired headphones in their own hard carry case. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Price and release date

Released November 5, 2025
$329 / £269 / AU$499 (approx.)

The FiiO FT13 wired over-ear closed-back headphones are on sale now, and in the United States they sell for no more than $329. The going rate in the United Kingdom is £269, while in Australia you’re looking at something like AU$499, where sold.

The FT13 look, on paper, like a lot of headphones for the money, but with everyone from Austrian Audio to Sennheiser having broadly similar alternatives available, it’s not going to be plain sailing…

FiiO FT13 closed-back over-ear wired headphones connected to a portable music player on a wooden surface. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Features

60mm ‘W’-shaped dynamic drivers
7Hz - 40kHz frequency response
1.5m Furukawa silver-plated OFC cable

As we all know, FiiO never knowingly underspecifies any of its products. And that’s the case again here – wired headphones may not offer much scope for piling on the features, but the company has given it a proper go.

So, there’s a 1.5m length of Furukawa monocrystalline silver-plated oxygen-free copper cable in the package. This is terminated with two 3.5mm plugs at one end – each earcup must be wired – while at the other FiiO offers a choice. Thanks to a neat plug arrangement, the cable can be terminated with either 3.5mm unbalanced or 4.4mm balanced sockets; the 3.5mm version can accept a supplied 6.3mm adapter, and the 4.4mm version can accept a supplied four-pin XLR adapter. Good luck finding a piece of audio equipment with a headphone socket the FT13 can't connect to.

The cable feeds a pair of 60mm dynamic drivers. These are a ‘W’-shaped design, which makes the active area of an already oversized driver even larger than is the norm. The diaphragm is just 0.1mm thick and is made of a carbon-fiber and wood pulp that’s stiffened by wool fibers until it’s as light and rigid as possible.

The drivers are activated by a light, responsive CCAW (copper-clad aluminum wire) voice coil – it’s a high-efficiency design, says FiiO, and combines with the rest of the hardware to deliver a frequency response of 7Hz - 40kHz. Low impedance (32ohms) and high sensitivity (98dB) mean the FT13 are one of the more easy-to-drive options of their type around.

The headphones feature a long, slender, ‘U’-shaped damping tube above the back of the driver assembly inside the earcup. It’s intended to lower the resonant frequency inside the cavity in an effort to liberate greater low-frequency extension and control, and in combination with a standing wave chamber plus a quantity of resonance-absorbing cotton, FiiO suggests the FT13 offer more passive noise-isolation than any comparable design.

Features score: 5 / 5

Closeup of the drivers in earcup of the FiiO FT13 closed-back over-ear wired headphones. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Sound quality

Spacious, well-defined presentation
Driving, rhythmically positive sound
Lack a touch of high-frequency presence

Flawless sound is hard to come by no matter how much you’re spending on a pair of headphones, of course, and sure enough the FiiO FT13 are not flawless in the way they sound. In the context of the asking price, though, and balanced against all the ways in which their sound is deft and enjoyable, it doesn’t seem all that reasonable to get too bogged down in their deficiencies.

In any case, those deficiencies are fairly slight. The way they go about reproducing the top of the frequency range means treble sounds don’t have a whole lot in common, tonally speaking, with all the frequency information below here – and they roll off the top end quite pointedly. If it’s real high-frequency attack and drive you value in your headphones, the FT13 are going to be altogether too polite and mild-mannered for your tastes.

Otherwise, though, the news is all quite positive. With a nice fat 24bit/192kHz FLAC file of David Bowie’s Sound and Vision playing, the FT13 create a large, well-laid-out soundstage and keep every element of the recording secure in a little individual pocket of space. They do this, though, without sacrificing any sense of togetherness or performance – they just ensure everyone gets sufficient elbow room.

Low frequency presence is considerable, but bass reproduction here is no blunt instrument. There’s plenty of detail regarding tone and texture available, and this level of variation combines nicely with decent observance of the attack and decay of low-end information. The FiiO describe rhythms confidently as a result. The modulation into the midrange is smooth, and here there’s similarly impressive detail retrieval and tonal fidelity – the double tracking of the vocal in this recording is made obvious, and the small harmonic variations in the voice are identified without being overstated. The FT13 communicate vocal intentions and attitudes really well.

Dynamic headroom is considerable, as a listen to a 24bit/44.1kHz FLAC file of Holy Ghost by Young Fathers makes apparent. The open and spacious sound of the FiiO allows the shifts in volume and attack in this recording to be made plain, and the distance between the quiet/malevolent and loud/even more malevolent passages couldn’t really be any greater. It’s worth noting the FiiO are pretty agnostic in this regard – they are more than happy to dig in and kick off if a recording demands it, but are just as comfortable dealing with the small-scale and understated.

Sound quality score: 4 / 5

Earcups of the FiiO FT13 closed-back over-ear wired headphones, connected to a portable music player, on a wooden surface. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Design

356g (without cable)
Magnesium alloy headband and frame
South American purpleheart wood

Just as in the ‘features’ section, with the FT13 FiiO has taken what might, on the face of it, seem like an unpromising product type where ‘design’ is concerned and done its utmost. Unlike almost every price-comparable alternative, here it’s possible to discern that ‘design’, rather than simply ‘construction’, has happened.

The relatively large earcups are supplied with a choice of earpads. There’s suede (for a warmer sound, so the company says) or lambskin (for a cleaner presentation) and they’re easily swapped, but it should be noted that there’s no vegetarian option. On the outside of the earcups, meanwhile, the polished and lacquered purpleheart wood offers a genuine point of difference. The deep purple colour is entirely natural, the specifics of the grain are obviously unique to each pair of headphones, and its acoustic properties are long-established.

At 356g without the hefty cable attached, the FT13 are far from the lightest closed-back over-ear headphones around. But thanks to a light-yet-robust ‘U’-shaped magnesium alloy frame, some very carefully judged clamping force, and a ball-bearing adjustment mechanism with plenty of adjustability, it’s possible to get comfortable inside the FiiO and to stay that way for extended periods.

There’s a degree of articulation in the earcups, but the FT13 don’t come anywhere close to folding – the case in which they travel is necessarily bulky. It’s a reasonably good-looking case, at least, and the Yaoli linen from which it’s made is tactile, plus there are compartments inside for storing all your very many adapters and cable terminations.

Design score: 5 / 5

FiiO FT13 closed-back over-ear wired headphones, 1.5m cable, earpad options and various terminations, all on a wooden surface. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Usability and setup

Select your source of music...
Ensure you have the appropriate cable termination fitted...
And away you go

Something would be terribly wrong, wouldn’t it, if the setup and usability of a pair of hard-wired passive headphones was in any way complicated?

The FT13 are about as involved as it ever gets, really. The quartet of options for cable termination means it might take you a beat or two longer to plug into your source of sound than it otherwise would.

After that, ensure you have your favored earcup in place, get comfortable using the headband adjustment mechanism, and you’re in business.

Usability and setup score: 5 / 5

Closeup up of the adjustable headband of the FiiO FT13 closed-back over-ear wired headphones, on a wooden surface. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Value

Standard of build and finish superb
Lots of available connectivity options
Excellent sound quality for price

In terms of specification, materials, the standard of build and finish, and the available connectivity options, there’s really no arguing with the value the FT13 offer. In fact, if you consider the generous use of staunchly non-vegetarian materials in their construction, perhaps there’s too much going on here.

But when it comes to performance, the sound quality that’s available here is likeable in lots of ways – and if the balance FiiO has struck is your kind of thing, you’ll find the FT13 offer very acceptable value for money indeed.

Value score: 4.5 / 5

Hard carry case of the FiiO FT13 closed-back over-ear headphones on a wooden surface. — (Image credit: Future / Simon Lucas)

FiiO FT13 review: Should you buy them?

Attributes	Notes	Rating
Features	Dizzying array of connections; 60mm dynamic 'W-shaped' drivers; good passive noise-isolation.	5 / 5
Sound quality	Spacious and well-defined, with a driving, rhythmically positive sound; but slight lack of high-frequency presence.	4 / 5
Design	Purpleheart wood offers unique finish; highly adjustable headband finds the midpoint between 'design' and 'construction'.	5 / 5
Usability and setup	Select the termination you want for your music source, and you're away.	5 / 5
Value	No arguing with the standard of build, finish or connectivity terminations, but lack of vegetarian options.	4.5 / 5

FiiO FT13 closed-back over-ear headphones plugged into a portable music player, on a wooden surface. — (Image credit: Future / Simon Lucas)

Buy them if...

You like a bit of individuality
How many pairs of headphones that feature lots of purple-ish wood can you think of? Exactly.

You have several sources of music
The FT13 come with several different cable terminations.

You enjoy big and organized sound
The FiiO sound every bit as large as they look, and they control their soundstage with real determination.

Don't buy them if...

You’re vegetarian
Suede or lambskin are your options for earcups, and there’s more lambskin on the inside of the headband.

You’re on the small-headed side
These are relatively large headphones with relatively large earcups, and they could swamp those with a smaller-than-average head.

You like a bit of bite and shine to your sounds
The FT13 play it overtly safe where treble response is concerned, and they sound just slightly blunt at the top end as a result.

FiiO FT13 review: Also consider

Sennheiser HD 620S
The Sennheiser HD 620S have none of the FT13’s visual drama, but they most certainly have plenty where it counts - their sound is poised and spacious. They’re not as comfortable as the FiiO, it’s true, but then they’re not as off-putting to vegetarians, either.
Read our Sennheiser HD 620S review for more

FiiO FT13 review: How I tested

Tested for well over a week
Used as listening headphones, at home
Connected to numerous music sources using various different formats, file types and sizes

I connected the FiiO FT13 to the same brand’s M15S digital audio player using the balanced 4.4mm connection, to an Apple MacBook Pro using the 3.5mm jack and a Linn Majik DSM (5th Gen) using the 6.3mm connection. This way I got access to lots of different music, of numerous different formats, file types and file sizes, and I listened to the headphones for well over a week in several different rooms of my house.

The size and the purpleness of the headphones, along with the unwieldy nature of the cable, put me off using them outdoors, though.

First reviewed: December 2025
Read more about how we test

I tested the entry-level turntable that everyone raves about, and I totally get it

9:30 pm | November 24, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Comments: Off

Sony PS-LX310BT: Two-minute review

I'd heard of the Sony PS-LX310BT by reputation, before I'd heard it with my own ears: TechRadar’s own esteemed audio editor, consider it one of the best turntables for entry-level vinyl fans. And that’s how it ended up in the living room currently being lived in by me, a person who thought a ‘B-Side’ was just a track designed for insects.

Let's get something abundantly clear: the big selling point of the Sony PS-LX310BT is chiefly its price; this is an affordable turntable that may not offer the same sonic dexterity as pricier options, but also doesn’t cost you the same as a mid-level car to purchase it. And it's got a great rep – not just at TechRadar but among those who know about these things.

For me, the price isn’t the only factor that makes this a great entry-level position. Once you’ve set the thing up – which may take one or two missteps compared to the easiest options I’ve tested, but is still fairly simple – it’s a dream to use.

Press button to play. Press button to stop. If you love vinyl audio for its hands-on approach, you might feel redundant when it comes to this Sony deck, but turntable newbies will find it a lot less scary to operate because you'll never actually need to touch the tonearm, or lower a headshell and needle onto a delicate sliver of vinyl and potentially hear it scratch.

It’s easy to like the look of the PS-LX310BT too. Sure, it’s understated in the exact same way that almost every other turntable is, but a design like that screams ‘sonic excellence’ irrespective of price.

It goes without saying that deep-pocketed audiophiles should skip over this option; it doesn’t offer the audio nuance (or the five-figure price point) that top-end vinyl aficionados will be looking for. And some novice buyers will find that it doesn’t offer the connectivity options required for them, with Bluetooth and RCA but no simple 3.5mm out. But for most newbies, it’s a dream.

Sony PS-LX310BT review: Price and release date

Released in April 2019
Typically sells for $449 / £179 / AU$399
Now available for around $199 / £179 / AU$395

The Sony PS-LX310BT was released in April 2019, so it’s not exactly one of the newest turntables on the market – although six years in analog audio isn't a long time at all. And perhaps because of this, it’s still officially ranged by Sony, as one of only two turntables on its store.

The recommended retail price of the deck is $449 / £179 / AU$399 – that’s not a typo, it’s a lot pricier in the US – although at the time of writing, it’s hard to find it for full price. Instead, I’ve found the PX-LX310BT going for roughly $199 / £179 / AU$395 in sales, which seem to happen very frequently.

It goes without saying that you should try to pick this turntable up in said sales if you can. But either way, the price marks this as a fairly entry-level turntable; it’s not the cheapest I’ve ever seen, but it’s still a more affordable option for people who don’t need audiophile-grade kit, and it still looks the business.

The Sony PS-LX310BT on a table. — (Image credit: Future)

Sony PS-LX310BT review: Specs

Dimensions	43 x 36.7 x 10.8cm
Motor	Belt drive
Platter	Aluminum
Phono preamp	Yes
USB	NA
Bluetooth	4.2
Speeds	33, 45RPM
Stylus	Not specified
Extras	45RPM adapter, attached RCA cable, rubber mat

Sony PS-LX310BT review: Features

Not the easiest set-up (but also not the hardest)
Simple and easy to operate, though a tiny bit slow
Some connection options, but not 3.5mm

Newbies setting up the Sony PS-LX310BT might find it a little fiddly during the set-up process; you only have to attach the platter and mat and set the pulley belt, but I somehow managed to unknowingly twist the belt during placement which took a tiny amount of deconstruction to fix. I also religiously forget to remove the stylus cover every time I want to listen, but I can’t mark Sony down for that.

At least Sony doesn’t require you to do anything to the cartridge or counterweight or anything like that, and the entire set-up process took me under 15 minutes. And once you’ve done the initial set-up, it’s really easy to listen thanks to Sony's use of an automatic system in the PS-LX310BT. Press ‘play’ to play, or ‘stop’ to stop, and the tone arm will move all on its own.

I do find the turntable a little slow to react to these button presses, and if I wanted music on quickly I’d place the arm myself – because I'm experienced in such things. Thankfully this is a valid option too, with the platter spinning automatically if the tonearm is raised.

Connections wise, there are wired or wireless options. Wirelessly, you can connect devices such as headphones via Bluetooth, and I found it a quick and reliable connection. You can connect up to eight devices this way, but I don’t know anyone who isn’t a tech journalist who owns this many wireless gadgets. Wired, you can use the built-in RCA cable which plugs into the left and right jacks of an amplifier or stereo speaker. There’s no 3.5mm jack in the turntable for you to plug in your wired headphones. In this way, it slightly limits who can use the wired connection – you need compatible tech, or at least an adaptor.

Features score: 4/5

Sony PS-LX310BT review: Sound quality

Energetic audio
Some detail missing
Avoid Bluetooth if you can

Not wanting to upset audiophiles (and being indecisive), I tested the Sony PS-LX310BT alongside multiple devices, including wired and Bluetooth.

There’s a lot of energy in music played through the turntable; evidently the understated design contrasts the music played out. The Police’s Zenyatta Mondatta felt playful and fun, and Al Stevens’ ode to the feline annum reveals the singer’s vocal range and zest well, with glissandos and harmonies far more audible than if you just listened on Spotify.

You’re sadly not getting quite the level of clarity that you would on a… well, a non entry-level setup, with some detail lost, especially in the mids. But it’s still decent for the money, and there’s a reason that cut-price music-lovers have been turning to the PS-LX310BT for over half a decade.

Note to Bluetooth users: I did find that the speaker peaked Bluetooth-connected devices on occasion, which isn’t something I’ve found as much from other Bluetooth turntables I’ve tested.

Sound quality score: 4/5

Sony PS-LX310BT review: Design

Minimal, understated look
Buttons hidden on front edge
Dust cover could open further

The Sony PS-LX310BT has a minimalist look, going for the black on black (on silver) look, small unadorned dials and buttons and a businesslike tonearm. I like ornamentation as much as the next guy, but this product hits that ‘audio equipment’ serious aesthetic pretty square-on.

The turntable measures 43 x 36.7 x 10.8cm, and weighs 3.5kg; it wasn’t too heavy to stop me toting it around my apartment when I wanted to connect it to various speakers and devices dotted in different rooms. That height includes the dust cover, which you don’t have to use (TechRadar's audio editor never fits them, and removes them if they're pre-fitted), but I’d recommend. My ‘tiniest-violin-in-the-world’ opinion is that it would have been nice if the dust cover would open a little wider, to make getting vinyl records onto the mat a little easier.

The almost-straight, no-nonsense tonearm was light and easy to manipulate, though some audio purists might take chagrin at the lack of a counterweight.

Sony has hidden most of the PS-LX310BT’s buttons on the front edge. This is where you’ll find the buttons to play, to stop and to move the tone arm up and down. On the top there’s only the Bluetooth pairing button,, a dial to set the vinyl speed and the speed rotary knob. There is also a little hidey-hole on the right edge for the 45RPM adaptor, something I only noticed after 10 days of the adaptor being plonked awkwardly on the turntable’s body.

Design score: 4.5/5

Sony PS-LX310BT review: Value

While the Sony PS-LX310BT is priced as an entry-level device, and has a feature set to match, there are a few areas in which it stands out from the budget crowd.

The ease of use and svelte design are two such departments, but these are hardly small perks, with the aluminum platter, bespoke (though un-removable) cartridge and lightweight tonearm keeping better care of your records than some super-cheap options might.

My only small value concern is this: you either need to connect it to a Bluetooth device, or something which accepts RCA-in, so your wired headphones will need an adaptor to work. But that's hardly a deal-breaker.

Value score: 4/5

Should I buy the Sony PS-LX310BT?

Sony PS-LX310BT score card
Attributes	Notes	Rating
Features	It's easy to use and misses some of the complications of more premium alternatives.	4/5
Sound quality	The sound is energetic and zingy, though with some missing clarity.	4/5
Design	It's understated, with a smartly-thought-out design.	4.5/5
Value	Several aspects, including the price, make it a good entry-level pick.	4/5

Buy it if…

You want a first-steps turntable
If expensive turntables put you off, this cut-price alternative will be a great option instead – and it's Sony, with all of the gravitas that name carries.

You're scared of using turntables
It's simple when you get used to it, but if you'd rather an automated way to play vinyl, then this option is great.

You have compatible pieces of audio kit (or don't mind using Bluetooth)
Hey, I don't mind using Bluetooth, but some vinyl fans turn their nose up at it. If you insist on wired connections, then you'll need something that can take RCA.

Don’t buy it if…

You want to manually operate your turntable
I've seen a few people unhappy at the PS-LX310BT because its automated process cuts them out of the vinyl playing process. I understand.

You're building an audio empire
If you're an audiophile with cash to burn, then you should put something at the center of your sound system that's a little pricier.View Deal

Sony PS-LX310BT review: Also consider

	Sony PS-LX310BT	Majority Folio	Audio-Technica AT-LP70XBT
Dimensions	43 x 36.7 x 10.8cm	412 x 323 x 142mm	110 x 400 x 330mm
Motor	Belt drive	Belt drive	Belt drive
Platter	Aluminum	Die-cast metal	Aluminum
Phono preamp	Yes	Yes	Yes
USB	No	Die-cast metal	No
Bluetooth	4.2	Die-cast metal	5.2
Speeds	33 1/3, 45RPM	33 1/3, 45RPM	33 1/3, 45RPM
Cartridge	Not specified	AT3600L	AT3600L
Extras	45RPM adapter, attached RCA cable, rubber mat	Dust cover, rubber mat, 45 adapter, RCA cable.	33 1/3, 45RPM

Majority Folio
This more affordable turntable has a built-in speaker, and while it's good, it makes it a better pick for first-time turntable users who don't already have a Hi-Fi set-up in place.
Read our Majority Folio review here.

Audio-Technica AT-LP70XBT
Our favorite budget turntable, the AT-LP70XBT undercuts the Sony's MSRP in some countries, though costs more than its deal price. It's another solid beginner turntable with better Bluetooth transmission.
Read our Audio-Technica AT-LP70XBT review here.

How I tested the Sony PS-LX310BT

Tested for ten days
Inputs included a series of vinyl records
Outputs include headphones and a speaker via Bluetooth, and speakers via cable

The Sony PS-LX310BT review process covered ten days, not including the time it took to write the review itself. I have a decent-sized collection of vinyl which I used for this testing.

As mentioned, after running it in for 48 hours, I listened on multiple devices including a pair of speakers via the RCA connection, a smaller speaker via Bluetooth and a pair of headphones, also via Bluetooth.

I've been tested tech for TechRadar for nearly seven years, which has included many audio players and another turntable; I've also used turntables and other Hi-Fi kit outside of reviewing.

First reviewed November 2025

I tested the entry-level turntable that everyone raves about, and I totally get it

9:30 pm |

Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Comments: Off

Sony PS-LX310BT: Two-minute review

Sony PS-LX310BT review: Price and release date

Released in April 2019
Typically sells for $449 / £179 / AU$399
Now available for around $199 / £179 / AU$395

Sony PS-LX310BT review: Specs

Dimensions	43 x 36.7 x 10.8cm
Motor	Belt drive
Platter	Aluminum
Phono preamp	Yes
USB	NA
Bluetooth	4.2
Speeds	33, 45RPM
Stylus	Not specified
Extras	45RPM adapter, attached RCA cable, rubber mat

Sony PS-LX310BT review: Features

Not the easiest set-up (but also not the hardest)
Simple and easy to operate, though a tiny bit slow
Some connection options, but not 3.5mm

Features score: 4/5

Sony PS-LX310BT review: Sound quality

Energetic audio
Some detail missing
Avoid Bluetooth if you can

Not wanting to upset audiophiles (and being indecisive), I tested the Sony PS-LX310BT alongside multiple devices, including wired and Bluetooth.

Note to Bluetooth users: I did find that the speaker peaked Bluetooth-connected devices on occasion, which isn’t something I’ve found as much from other Bluetooth turntables I’ve tested.

Sound quality score: 4/5

Sony PS-LX310BT review: Design

Minimal, understated look
Buttons hidden on front edge
Dust cover could open further

The almost-straight, no-nonsense tonearm was light and easy to manipulate, though some audio purists might take chagrin at the lack of a counterweight.

Design score: 4.5/5

Sony PS-LX310BT review: Value

While the Sony PS-LX310BT is priced as an entry-level device, and has a feature set to match, there are a few areas in which it stands out from the budget crowd.

Value score: 4/5

Should I buy the Sony PS-LX310BT?

Sony PS-LX310BT score card
Attributes	Notes	Rating
Features	It's easy to use and misses some of the complications of more premium alternatives.	4/5
Sound quality	The sound is energetic and zingy, though with some missing clarity.	4/5
Design	It's understated, with a smartly-thought-out design.	4.5/5
Value	Several aspects, including the price, make it a good entry-level pick.	4/5

Buy it if…

You want a first-steps turntable
If expensive turntables put you off, this cut-price alternative will be a great option instead – and it's Sony, with all of the gravitas that name carries.

You're scared of using turntables
It's simple when you get used to it, but if you'd rather an automated way to play vinyl, then this option is great.

Don’t buy it if…

You want to manually operate your turntable
I've seen a few people unhappy at the PS-LX310BT because its automated process cuts them out of the vinyl playing process. I understand.

You're building an audio empire
If you're an audiophile with cash to burn, then you should put something at the center of your sound system that's a little pricier.View Deal

Sony PS-LX310BT review: Also consider

	Sony PS-LX310BT	Majority Folio	Audio-Technica AT-LP70XBT
Dimensions	43 x 36.7 x 10.8cm	412 x 323 x 142mm	110 x 400 x 330mm
Motor	Belt drive	Belt drive	Belt drive
Platter	Aluminum	Die-cast metal	Aluminum
Phono preamp	Yes	Yes	Yes
USB	No	Die-cast metal	No
Bluetooth	4.2	Die-cast metal	5.2
Speeds	33 1/3, 45RPM	33 1/3, 45RPM	33 1/3, 45RPM
Cartridge	Not specified	AT3600L	AT3600L
Extras	45RPM adapter, attached RCA cable, rubber mat	Dust cover, rubber mat, 45 adapter, RCA cable.	33 1/3, 45RPM

How I tested the Sony PS-LX310BT

Tested for ten days
Inputs included a series of vinyl records
Outputs include headphones and a speaker via Bluetooth, and speakers via cable

The Sony PS-LX310BT review process covered ten days, not including the time it took to write the review itself. I have a decent-sized collection of vinyl which I used for this testing.

I've been tested tech for TechRadar for nearly seven years, which has included many audio players and another turntable; I've also used turntables and other Hi-Fi kit outside of reviewing.

First reviewed November 2025

Fluance’s chic powered bookshelf speakers offer impressively detailed, almost neutral sound – with very few drawbacks

1:30 pm | November 15, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Tags: AAC, HDMI, TV, USB | Comments: Off

Fluance Ri71: Two-minute review

If you’ve looked into mid-range speakers from Fluance like the Fluance Ri71 powered speakers reviewed here, you’ll see people talk about how they’re good for the price. There have been plenty of caveats and plenty of hedging since, after all, the speakers are manufactured in Taiwan. Never mind that they’re designed in Canada or the fact that, regardless of where they’re from, they’re just good speakers.

Having reviewed these speakers, I can honestly say that the Fluance Ri71 sound great and not just for the price. Yes, they may not quite reach the heights of something from Dali or KEF, but they still have a fairly neutral, detailed sound that works for all genres. The price tag is an added bonus as they’re among the best stereo speakers out there for anyone not wanting to spend over $500.

I do wish there were also USB or USB-C port to connect to a computer and the placement of the volume wheel is not ideal. Though I like the look of a naked speaker (and therefore don’t count it as a negative), they don’t come with a grille for those who care. There’s really not much to complain about here.

Really, the Fluance Ri71 speakers are an easy recommendation for anyone looking for powered bookshelf speakers. And though there’s no spatial audio or surround sound, they work pretty well for TV, too.

Fluance Ri71 powered bookshelf speakers on a windowsill, with trees outside the window. — (Image credit: Future / James Holland)

Fluance Ri71 review: Price & release date

Released March, 2025
Priced $399.99 / £333.32 / AU$620 (approx.)

With a price tag of $399.99 / £333.32 / AU$620 (approx.), the Fluance Ri71 sits right in mid-range territory.

You can certainly find some powered bookshelf speakers for triple the price (and not necessarily triple the performance) – you can also spend quite a bit less. Fluance’s own Ai41 powered speakers come in at $249 (£255, AU$471), but those are smaller with less power and a less refined sound.

The Fluance Ri71 are available in the US and in the UK (via Amazon). Though Fluance maintains a presence on Amazon AUS (for Australia), the Ri71 don’t seem to be available Down Under at this time.

Fluance Ri71 review: Specs

Weight	6.4 kg (active speaker); 5 kg (passive speaker)
Dimensions	310 x 185 x 199 mm
Subwoofer	No (has sub out)
Frequency response	46 Hz - 30 kHz
Dolby Atmos / DTS:X enabled?	No
Maximum output	120 watts

Fluance Ri71 review: Features

Bluetooth 5.3 with aptX HD and AAC codecs capable of almost lossless streaming
Included HDMI is ARC-enabled for use with a TV
No spatial audio or Wi-Fi streaming

Powered bookshelf speakers such as the Fluance Ri7 bridge the gap between a traditional speaker setup and what people want out of a modern sound system. That means there are some great quality-of-life features on hand, while some things a casual listener might expect or hope for are just not here. So, neither spatial audio, surround sound nor Wi-Fi streaming are part of the package, but that’s generally the case with this type of speaker setup and not really a knock against them in my opinion.

What is on hand, however, is a decent amount of connectivity including Bluetooth 5.3 with aptX HD and AAC codecs for close-to lossless streaming. In the past, there’s been a noticeable difference in quality between Bluetooth audio and that sent through a wired signal because the latter doesn’t have to compress the sound. But that’s no longer the case. There’s a small difference but, in my opinion, it’s very hard to notice.

There’s also an HDMI port on hand, meaning these speakers can be used with a TV. The built-in offerings on most TVs generally suck, so having a good pair of speakers is always a welcome upgrade. And while they might not be as feature-filled as some of the best soundbars around the same price tag, they still offer a better stereo soundstage. And (usually) better sound. Since the HDMI connection is ARC-supported, you can control the volume with one remote.

Features score: 4.5/5

Front panel of the Fluance Ri71 powered bookshelf speaker, placed on its back on a matt, on a wooden surface. — (Image credit: Future / James Holland)

Fluance Ri71 review: Sound quality

Decent low end without subwoofer
Impressively detailed high end
Immersive, if polite-sounding

While you shouldn’t rely too much on a speaker’s frequency range as a gauge of sound quality, the range of 46 Hz - 30 kHz does tell us a few things. At 46Hz, the low end is not all that low, but is comparable to other powered bookshelf speakers, with many having a higher cutoff.

The Fluance Ri71 also has bass ports at the bottom of the speaker cabinet to accentuate what it can reproduce. That means that, while you don’t quite have that very low rumble you might hear in electronic dance music or an action scene in a movie, you still get a well-balanced if slightly restrained bass response. Listening to anything with heavy 808 usage (that deep bass you hear in hip-hop and EDM) is going to lack a little oomph.

On the high end of that aforementioned range, 30kHz is pretty impressive, with that extended high end potentially coming from the AMT tweeters. Either way, that’s much better than the 20kHz range around which many speakers sit. Now, many of us probably can’t hear up to 30kHz but what this extended range, plus the fast response of those tweeters, mean is that there’s not only an immediacy to higher-end sound but a clarity to themtoo.

It’s almost as if someone pulled a blanket off the band I’m listening to and all of sudden I can hear intricacies of the ride and the sweetness of the strings. Or, if you prefer the more boring way of saying it, the music feels less compressed and less filtered.

The midrange feels a little pulled back, which makes everything sound more polite. It can make rock music sound just a little aggressive, for instance. Unfortunately, you can only boost or cut the high or low end.

As far as soundstage goes, the Fluance Ri71 sound good wherever you place them but really benefit from spending the time to actually adjust them to your ears. You’ll know it’s right when you can hear the “center channel” in the middle as if there were a speaker there.

They also do a good job with sound imaging. I feel that I have a solid grasp of where an aural element is in the mix beyond just left, right, and center, which makes the listening experience all the more immersive.

Sound quality score: 4.5/5

Fluance Ri71 speaker on a windowsill, with the 'power on' button illuminated green. — (Image credit: Future / James Holland)

Fluance Ri71 review: Design

New AMT tweeter is the most unique design choice here
Unusual placement of controls
No digital connectivity beyond HDMI

The Fluance Ri71 have a look and general design much like any other active bookshelf speakers. There are two of them standing at about 12 inches (310mm) in height. Each speaker cabinet is fairly rectangular in shape, though they do taper near the back.

And they come in the kind of “looks good in an office” colorways one would expect. Specifically, they’re available in white, walnut, and black. One thing I do appreciate is the fact that the white and black (reviewed here) still have noticeable wood grain. Of course, these are made of MDF wood, but that’s most bookshelf speakers these days for you.

As far as the actual drivers go, each speaker cabinet comes with a 5.25-inch (133.3 mm) woven glass fiber driver and an AMT (air motion transformer) tweeter, along with a long, thin bass port beneath to emphasize the low end. Besides any upgraded internal bracing, the AMT tweeter is the new star of the show. These tweeters are different than the regular tweeters insofar as they offer a faster response and more detail, though placement is a bit more precise.

Since these are powered bookshelf speakers with 120 watts coursing through them via a Class D amp, there are some on-unit controls on the right speaker. There’s a volume wheel on the back at the top, a strange place considering these dials are usually more accessible on the front. You can press the volume wheel to change inputs (an LED indicator on the front changes color depending on the input). Then, there’s a treble and bass wheel on the back along with the power and a Bluetooth pairing button.

Port-wise, I was disappointed to not see any digital connectivity such as USB or USB-C, since I do a lot of my listening through streaming services via my laptop, but it does at least have that aforementioned ARC-supported HDMI, allowing me to change the volume using the TV remote. There’s also the typical RCA inputs as well as a sub-out port.

Because of the placement of the various wheels, the remote is quite handy. Besides power and volume, you can change input, adjust the treble and bass, mute, and turn off the LED on the speaker.

Design score: 4/5

Rear panel of the Fluance Ri71 powered bookshelf speaker, placed facing upwards and showing hte ports and controls on the back, on a matt on a wooden surface. — (Image credit: Future / James Holland)

Q Acoustics 3020c review: Setup and usability

Basically plug and play
Bluetooth will automatically look to pair
Placement is important, like any bookshelf speakers

Since the Fluance Ri71 are powered bookshelf speakers, they’re very easy to set up. The active speaker with all the ports goes on the right and the passive one goes on the left. Then you just have to connect the passive speaker to the active with the included speaker wire that’s helpfully color-coded red and white. The tips on each side are soldered solid so you don’t have to worry about little pieces of speaker wire splintering off.

While it would have been even more convenient for the tips to have banana plugs, you just have to insert the appropriate tip in the exposed hole and screw down the top. Keep the colors the same on both sides and it will take less than a minute to connect the two speakers. Then plug in the power cord and turn it on.

From there, you just need to plug in the desired source or connect via Bluetooth – pairing is simple as the speaker will automatically start the process if it’s not already done so – and you’re good to go.

Of course, remember that bookshelf speakers do require a little bit of finesse in their placement for the best sound, but that goes for all bookshelf speakers and is something I’ve covered in another article in greater detail. You want a précis? Basically, just have them an equal distance from each other, and you, with them pointed at you. You're welcome.

Black Fluance Ri71 bookshelf speakers on a windowsill, with supplied cables and remote control. — (Image credit: Future / James Holland)

Setup and usability score: 5/5

Fluance Ri71 review: Value

More than a few alternatives have USB
HDMI is a bit rarer on bookshelf speakers
Well-priced, but not a steal

Since the Fluance Ri71 are firmly in mid-range territory, you’ll probably end up comparing them to models from Q Acoustics, Audioengine, and Kanto. Take the Q Acoustics M20 HD for instance, which at $499 is a little pricier yet is considered one of the better affordable powered bookshelf speakers here at TechRadar. It has full, uncompressed sound and has the ability to flip which speaker is left or right. It also comes with a USB port, though lacks an HDMI.

A step up from that, at least financially, is the Kanto Ren, another excellent alternative. It goes for $599 / £599 / €719 and comes with all the connectivity one could want, whether it’s Bluetooth 5.3, HDMI, or USB-C. It also sounds great, with excellent clarity, though its bass can get a little flabby.

The point in comparing the Fluance Ri71 to these other speakers that these are excellent speakers and you’ll be happy with them, if you’re looking to stay under a certain price point. But the ones that are just a little pricier are justifiably so, even if it’s mostly on account of having a special feature or extra port. The Fluance Ri71 are a good price, but they’re not a steal.

Black Fluance Ri71 powered bookshelf speaker facing up and placed on its back on a windowsill. — (Image credit: Future / James Holland)

Value score: 4/5

Should you buy the Fluance Ri71?

Fluance Ri71 Score Card
Attributes	Notes	Rating
Features	With HDMI ARC and Bluetooth aptx HD, there’s not much more one could ask for, outside of Wi-Fi streaming.	4.5/5
Sound quality	Neutral sound, plenty of detail and still a surprising amount of low-end, the Fluance Ri71 sound a treat.	4.5/5
Design	Awkward controls, and no USB connectivity; the AMT tweeter is a nice design upgrade.	4/5
Setup and usability	Despite the control placement, very easy, especially with the remote.	5/5
Value	Despite the connectivity quirks, a wonderful-sounding speaker for a reasonable price. Has competition at the price.	4/5

Buy them if...

You want detailed, almost neutral audio
The Fluance Ri71 have a clarity that feels almost polite, but is always a pleasure to listen to. These are the kind of speakers that make you feel like you can hear every detail.

You need HDMI
If you also want to use your bookshelf speakers for TV, having an HDMI port is critical, especially one that supports ARC, meaning you can use your TV remote to control the volume.

You want to stay under $500
Appropriately but well priced, the Fluance Ri71 don’t quite offer what more expensive speakers do, but they sound good enough that you won’t care. And you can put that extra cash back in your pocket.

Don't buy them if...

You need USB-C connectivity
If your main way of listening to music is connecting your laptop directly to powered speakers, then you’ll be disappointed having to use an old school RCA adapter. A lot of laptops don’t have an HDMI out (and some don’t even have an AUX port).

You want easy on-unit access to the volume
The volume wheel is awkwardly placed. That’s mostly a non-issue with the remote, but if you care or happen to lose all your remotes, you won’t like the fact that the volume wheel is at the back of the speaker.

Fluance Ri71 review: Also consider

Q Acoustics M20 HD
The Q Acoustics M20 HD are excellent bookshelf speakers at a slightly higher price point. They offer USB connectivity, but not HDMI. The left and right speaker configuration can also be reversed. They also have a detailed, uncompressed sound.
Read our full Q Acoustics M20 HD review

Kanto Ren
The Kanto Ren has it all in terms of connectivity – USB-C, HDMI, Bluetooth 5.3 – and it comes in interesting colors, though it will pick up every fingerprint. It’s lovely with a full, robust sound but the bass can get a little flabby.
Read our full Kanto Ren review

How I tested the Fluance Ri71

Used regularly for a few weeks
Listened to all sorts of audio
Used the various controls and ports

I used the Fluance Ri71 for a few weeks, listening to all sorts of genres of music like hip-hop, EDM, Top 40 pop, rock, and folk to get a better feel for these speakers. They were also tested with some TV shows and computer games. I tested the various controls and ports as well.

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: November 2025

Read more about how we test at TechRadar

Fluance’s chic powered bookshelf speakers offer impressively detailed, almost neutral sound – with very few drawbacks

1:30 pm |

Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Tags: AAC, HDMI, TV, USB | Comments: Off

Fluance Ri71: Two-minute review

Fluance Ri71 review: Price & release date

Released March, 2025
Priced $399.99 / £333.32 / AU$620 (approx.)

With a price tag of $399.99 / £333.32 / AU$620 (approx.), the Fluance Ri71 sits right in mid-range territory.

The Fluance Ri71 are available in the US and in the UK (via Amazon). Though Fluance maintains a presence on Amazon AUS (for Australia), the Ri71 don’t seem to be available Down Under at this time.

Fluance Ri71 review: Specs

Weight	6.4 kg (active speaker); 5 kg (passive speaker)
Dimensions	310 x 185 x 199 mm
Subwoofer	No (has sub out)
Frequency response	46 Hz - 30 kHz
Dolby Atmos / DTS:X enabled?	No
Maximum output	120 watts

Fluance Ri71 review: Features

Bluetooth 5.3 with aptX HD and AAC codecs capable of almost lossless streaming
Included HDMI is ARC-enabled for use with a TV
No spatial audio or Wi-Fi streaming

Features score: 4.5/5

Fluance Ri71 review: Sound quality

Decent low end without subwoofer
Impressively detailed high end
Immersive, if polite-sounding

Sound quality score: 4.5/5

Fluance Ri71 review: Design

New AMT tweeter is the most unique design choice here
Unusual placement of controls
No digital connectivity beyond HDMI

Because of the placement of the various wheels, the remote is quite handy. Besides power and volume, you can change input, adjust the treble and bass, mute, and turn off the LED on the speaker.

Design score: 4/5

Q Acoustics 3020c review: Setup and usability

Basically plug and play
Bluetooth will automatically look to pair
Placement is important, like any bookshelf speakers

Setup and usability score: 5/5

Fluance Ri71 review: Value

More than a few alternatives have USB
HDMI is a bit rarer on bookshelf speakers
Well-priced, but not a steal

Value score: 4/5

Should you buy the Fluance Ri71?

Fluance Ri71 Score Card
Attributes	Notes	Rating
Features	With HDMI ARC and Bluetooth aptx HD, there’s not much more one could ask for, outside of Wi-Fi streaming.	4.5/5
Sound quality	Neutral sound, plenty of detail and still a surprising amount of low-end, the Fluance Ri71 sound a treat.	4.5/5
Design	Awkward controls, and no USB connectivity; the AMT tweeter is a nice design upgrade.	4/5
Setup and usability	Despite the control placement, very easy, especially with the remote.	5/5
Value	Despite the connectivity quirks, a wonderful-sounding speaker for a reasonable price. Has competition at the price.	4/5

Buy them if...

You need HDMI
If you also want to use your bookshelf speakers for TV, having an HDMI port is critical, especially one that supports ARC, meaning you can use your TV remote to control the volume.

Don't buy them if...

Fluance Ri71 review: Also consider

How I tested the Fluance Ri71

Used regularly for a few weeks
Listened to all sorts of audio
Used the various controls and ports

First reviewed: November 2025

Read more about how we test at TechRadar

I tested the new cheap Earfun earbuds everyone’s raving about; here’s how they compare to my favorites

3:34 pm | November 13, 2025

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Earfun Air Pro 4 Plus: Two-minute review

I’ve tested quite a few pairs of Earfun earbuds before, but before I’d even had a chance to get the new Earfun Air Pro 4 Plus into my shell-likes, I’d already seen countless rave reviews of them from other websites. Suffice to say, the press at large finally discovered Earfun (not just audio-savvy types like me) and their impressions are glowing.

I can’t pretend to have reviewed every Earfun proposition – the budget brand puts out far more products than any one person could hope to review – but I’ve used multiple of its in-ears and over-ears, and some of them have made it into TechRadar's list of the best cheap headphones we (and I) have tested.

So what about the Earfun Air Pro 4 Plus, so good that Earfun had to name it four times (then add a 'Plus' moniker, to make things a bit more confusing)? They’re – drumroll please – absolutely fine. More of the cheap-and-cheerful same that I’ve come to expect from the brand, but with a few rough edges that mean they’re not the best earbuds I’ve ever used. No, not even at this low price.

The 'Plus' presumably signifies a more advanced model of the Earfun Air Pro 4 I tested in late 2024, although with more titles than a character from Downton Abbey it’s hard to be sure. Those were decent and cheap headphones with a few too many EQ modes for their own good and a lack of refinement in the audio department, and the Plus has added a few things – but not fixed any of those issues.

As with other buds from the brand, my favorite thing about the Air Pro 4 Plus is the stand-out feature list, which rivals alternatives that’d cost you twice as much. There’s a stellar battery life, a listening test, dual-device connectivity and multiple other options. When you put some Earfuns in, the ball’s in your court.

The things is, loads of features can also become a problem – there are six different ANC modes (counting ‘off’, I’ll admit), one of which has its own slider. How to tell which mode you should be using at any one time is anyone’s guess (unless you want it ‘off’, which is a pretty easy pick).

The buds are nice and lightweight, surviving long listening periods as well as gym workouts and runs well, and the case is pretty svelte too. These are solid picks for your commute or while you’re sitting in the office.

If you’re an audiophile, though, these won’t tick your boxes; they’re not the best buds in terms of sound, even for their price. I’ll get to some better-sounding options below, but the feature set makes a great case for why you should consider buying these anyway.

Earfun Air Pro 4 Plus review: Price and release date

The Earfun Air Pro 4 Plus on top of a keyboard. — (Image credit: Future)

Released on September 26, 2025
Costs $99.99 / £89.99 (around AU$280)
Slight price increase over non-Plus model

The Earfun Air Pro 4 Plus – I’m going to get really sick of writing that whole title out across this review, I can tell – were released on September 26, 2025, and could be bought on that day.

The official price of the earbuds is $99.99 / £89.99 (around AU$180) . Amazon lists those costs as the discounted price, and $119.99 / £109.99 (around AU$220) as the original price, but as far as I can tell they’ve never been sold for that higher price, making it look like a bit of an underhanded method to present the usual price as discounted. On Earfun’s website, the cheaper price is presented as the normal one, and so I’m taking that as my guide price for the purposes of context and comparison.

That price puts them as a hair pricier than the $89.99 / £79.99 (roughly AU$140) Air Pro 4, and roughly the same as the Air Pro 3. They’re among the priciest buds for Earfun but that’s not saying much, as the brand specializes in affordable audio.

At that cost, I’d still call the Air Pro 4 Plus ‘cheap earbuds’, although they’re toeing the border and bumping up against some real heavyweight rivals in the triple-figure-price-tag camp.

Earfun Air Pro 4 Plus review: Specs

Drivers	Balanced Armature driver + 10mm dynamic driver
Active noise cancellation	Yes
Battery life (ANC off)	12 hours (buds) 54 hours (case)
Weight	5g (buds) 54g (case)
Connectivity	Bluetooth 6
Frequency response	Not listed
Waterproofing	IP55

Earfun Air Pro 4 Plus review: Features

8-hour buds battery, 54-hour with case
Confusing ANC modes
Loads of handy features in app

I love a meaty battery life in earbuds, and Earfun clearly concurs. With 54 hours of listening time in the tank, you’re not going to need to worry about powering the buds daily (or even weekly, depending on your listening habits).

That’s the figure for the case, and the buds themselves last 12 hours if you’re listening with ANC turned off or 8 hours if it’s turned on. Both are great figures, slightly better than on the non-Plus model, that’ll assuage any battery anxiety you might have.

You get a few extra features with Earfun Audio, the tie-in smartphone app. You can toggle wear detection, customize the buds’ touch controls, choose which Bluetooth codecs are in use, change some microphone settings, find your headphones if you’ve misplaced them, and set up dual device connection.

I’m always surprised by the number of features Earfun offers in its earbuds, with many premium alternatives having half as many. Sometimes that gets a little overwhelming though, like in the case of noise cancellation. Not counting ‘off’ or a useful Ambient mode, there are four different modes: Ear Adaptive, Environment Adaptive, Wind and Manual Adaptive (which lets you use a slider to choose its intensity).

Even after having read the descriptions multiple times, and having used other Earfun products with these modes, I can’t tell the difference between Ear and Environment, or Environment and Wind, and have no idea how to choose which of these modes to use. Even if I could work out the use case for each mode, there’s no way you’re going to catch me going into the app to change modes every time the wind picks up a little bit.

The app offers an equalizer with myriad presets, a ten-band custom mode or a sound profile test to create a personalized mix. This latter isn’t quite as accurate as rival modes, but generally speaking you have to spend a lot more money on alternatives with listening tests, so it’s a welcome presence in this budget option.

Through the entire testing process, I never once had any Bluetooth drop-out issues with the buds, and it was reliably quick to pair. You can probably thank the use of Bluetooth 6 for this, which is a much more advanced version of wireless connection than most rival buds have.

Features score: 4.5/5

Earfun Air Pro 4 Plus review: Design

Understated purple hue
Lightweight case and buds
IPX5 rating

It’s in the name: the ‘Air’ part of Earfun Air Pro 4 Plus describes the case. It’s lovely and light, weighing 54g, and the ‘clamshell’ style of opening means it’s easy enough to open and remove the buds. No fiddling involved.

Now onto the buds; they’re nice and lightweight too, hitting the scales at about 6g, although they seem a little bit bigger than the non-Plus models (at least, based on my recollection, and I’m sure a justification will be clear when we get to the sound quality section).

The Earfun Air Pro 4 Plus are stem-style buds, with the earbuds attached to your ear via a tip, and a stem dangling down, just like AirPods.

Each bud has a touch control, which you can trigger by tapping the circle at the top of the stem. I found them easy to press, albeit a little too sensitive when I was readjusting the buds in my ears.

The buds have an IP55 rating, which means they’re protected against limited dust ingress and jets of water. This latter means they’re not suitable for water submersion, so don’t take them for a swim. One of the benefits of a plastic build material ensures that the buds are hardy against drops and knocks.

I took the Earfuns to the gym a few times and they never fell out, and while they felt a little loose when they accompanied me on a run, they never actually did fall out. This was with the default tips, but the box comes with a few alternatives to account for various ear sizes. They were comfy to wear too, and I didn’t face any aches or strains after extended listening periods.

Design score: 4/5

Earfun Air Pro 4 Plus review: Sound quality

BA driver + 10mm dynamic driver
Range of codecs supported
Treble and mids still miss some pizzazz

Perhaps the biggest advances the Earfun Air Pro 4 Plus brings over its siblings – and other cheap buds – is in the audio specs department.

There are two drivers: a 10mm composite dynamic driver which handles the bass and midrange, alongside a balanced armature driver which focuses on providing high-frequency response and high audio detail.

If that wasn’t enough, the Earfun supports a range of audio codecs and features that you’d expect from pricey buds: LDAC, aptX Lossless, aptX Adaptive Snapdragon Sound and Hi-Res Audio Wireless Certification to be precise.

The spec improvements certainly bring some benefits over past Earfun buds I’ve tested, with well-defined bass and a slightly more pronounced sound stage, but the augments don’t do enough to make these sonic equals to some of the other budget buds on the market.

Treble remains somewhat dampened, with vocals missing that sparkly energy and depth that you’d want from a song, and mids still hopelessly lost in the mix. As I mentioned before, the bass improvements ensure it’s tactfully-tuned, and doesn’t drown out other parts of a song as much as in the non-Plus pair, but that also makes these buds less tempting for bass-heads.

Using the equalizer, you can pull out some strings to improve the sound – I liked Vocal Enhancement which added some force to the sung word and expanded the sound stage, but it increased the risk of peaking on certain instruments and made sibilant lines sound tinny. For certain other sounds I went for Bass Boost 1, which doesn’t send the bass into overdrive as you’d expect, but adds clarity and dimension to low-frequency lines. As a bass player myself, it got surprisingly close to replicating the sound of actually playing a bass guitar.

I don’t want to be too down on the Air Pro 4 Plus – it sounds perfectly fine, and I don’t imagine many people will be disappointed by how it sounds. But as someone that’s tested plenty of rivals, I’d be remiss not to point out that it’s not the top dog.

Sound quality: 3.5/5

Earfun Air Pro 4 Plus review: Value

Feature set is great for price
Audio quality is more what you'd expect

As with its many past earbuds, Earfun has packed a great number of features and some impressive specs into a relatively low-cost set of buds.

Perhaps not all of those features are as fleshed-out as they would be on a pricier pair of buds, but their very presence in the first place is great for people who don’t want to pay more.

My only caveat would be that you could get even more bang for your buck by buying one of Earfun’s other, cheaper options.

Value: 4/5

Should I buy the Earfun Air Pro 4 Plus?

Earfun Air Pro 4 Plus score card
Attributes	Notes	Rating
Features	You're getting loads of features for the price, and a fantastic battery life, even if the ANC situation is confusing.	4.5/5
Design	They're nice and light, and reliably stick in the ear.	4/5
Sound quality	There are a few issues, but nothing that you can't overlook with the price.	3.5/5
Value	You're getting an impressive feature set for the price you're paying.	4/5

Buy it if…

You need buds for the long haul
Thanks to the case offering 54 hours of listening time, these buds will be great for people who can't regularly get to a charging point.

You like tweaking with your music
There are loads of presets, a 10-band equalizer and your own personal sound thanks to the listening test. Great for people who like their own music.View Deal

You need something lightweight
I liked how easy it was to forget about the Earfun; when the buds were in my ears, and while the case was in my pocket.View Deal

Don’t buy it if…

You need fine-tuned music
I didn't mind listening to the Air Pro 4 Plus, but they're not my favorite cheap buds ever, at least when it comes to audio quality.

You need the best noise cancellation
The ANC was fine, but due to the myriad options and my confusion on which to pick, it's hard to say how to get the best of the buds.

Earfun Air Pro 4 Plus review: Also consider

	Earfun Air Pro 4 Plus	Skullcandy Method 360	Sony WF-C710N
Drivers	Balanced Armature driver + 10mm dynamic driver	12mm	5mm
Active noise cancellation	Yes	Yes	Yes
Battery life	12 hours (buds) 54 hours total (with case)	11 hours (buds) 29 hours total (with case)	12 hours (buds) 30 hours total (with case)
Weight	5g (buds) 54g (case)	11g (buds); 77g (case)	5.2g (buds); 38g (case)
Connectivity	Bluetooth 6	Bluetooth 5.3	Bluetooth 5.3
Waterproofing	IP55	IPX4	IPX4

Sony WF-C710N
These top-rated and similarly-priced earbuds from Sony have fantastic noise cancellation and a great range of the company's features. A few of the Earfun's features are missing, like LDAC, but it's still a top-rated pick (and it looks funky too).
Read our full Sony WF-C710N review here

Skullcandy Method 360
These are perhaps my favorite sub-$100 earbuds of the year so far. They've got a lovely bassy sound, a funky look (both for the buds and the case) and a snug fit that kept them safe in the ear. The case is absolutely huge, though.
Check out our full Skullcandy Method 360 review here

How I tested the Earfun Air Pro 4 Plus

Tested for 2 weeks
Tested at home, on walks, and the gym and on runss

I used the Earfun Air Pro 4 Plus for about two weeks to write this review, which is about enough time to write that entire name.

During the test process, the buds were mostly paired to my Android smartphone. I used them in a wide variety of environments including at home, at the gym, on walks around my borough, on runs and to the shops. I played games, listened to Spotify, Tidal and Qobuz and watched YouTube videos as the main ways to test, but used them as my daily blowers too, so there are a plethora of other tasks I used them for.

As mentioned in the introduction, I saw quite a bit of coverage on the Earfun before writing my review, however I never read into reviews beyond the positive headlines in order to avoid their biasing my opinions.

Also as mentioned, I've used other Earfun earbuds in the past, as well as plenty of other cheap alternatives in my six-plus years testing tech for TechRadar.

First reviewed in November 2025

Read TechRadar's reviews guarantee

This superb turntable is so poised and revealing, but its hefty price and lack of a basic ingredient won’t please everyone

1:30 am |

Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Comments: Off

Technics SL-1300G turntable: two-minute review

Technics has a new direct-drive turntable, and because it’s part of the company’s upmarket ‘Grand Class’, it’s engineered to within an inch of its life and has a price-tag that will make you swallow hard.

Mind you, it’s not as if the company doesn’t feel like it’s offering value for money with the Technics SL-1300G. Between the twin-rotor ‘cogless’ motor, transformerless power supply, elaborate tonearm arrangement and overall sensation of bank-vault build quality (the platter alone weighs almost 4kg), the SL-1300G is a substantial proposition in every respect. Apart from the small matter of a cartridge, that is – Technics doesn’t provide one and you should probably budget another $500 or so on one of the many reputable brands who will sell you something appropriate.

Once you’ve swallowed this particular pill, there’s a great deal to enjoy about the SL-1300G. It sounds an absolute treat in the right system – its ability to analyze, contextualize and generally peer deep into the grooves of your records in a hunt for information is remarkable. And it balances this attitude with a sort of thrillingly musical, thoroughly absorbing and effortless naturalistic stance that makes every listen as entertaining and engrossing as can be.

In fact, as long as you take a moment to ensure your system isn’t going to goad the Technics into overdoing the high frequencies – it’s right on the edge where treble sounds are concerned, and won’t take much of a push to tip it over – there’s really nothing of any significance to complain about.

One of the best turntables on the market? It's definitely in the conversation.

Technics SL-1300G turntable, with the dust cover closed, on a wooden platform. — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: price and release date

$3,299 / £2,799 / AU$4,999
Launched in September 2024

The Technics SL-1300G direct-drive turntable is on sale now, and in the United States it's priced at $3,299. In the United Kingdom it’s more like £2,799, while in Australia it costs AU$4,999.

Not cheap, is it? And it’s not the end of your spending, either – Technics doesn’t supply a cartridge. So what is it offering for what is quite a lot of money (with the need to spend a fair bit more)?

After all, it’s not as if you’re short of high-quality alternatives…

Technics SL-1300G turntable review: features

230mm S-shaped aluminum tonearm
Twin-rotor ‘coreless’ direct drive motor
Low-noise, high-speed switching power supply

For the feature-set of the SL-1300G, Technics has allowed itself to be influenced by a couple of the more widely acclaimed turntables of the last couple of years: its own SL-1200G and SL-1200GR2. After all, if it ain’t broke etc and so on…

The motor that turns the SL-1300G’s platter is a variation on the one fitted to the SL-1200G, a model that launched in 2018 with a $4,000-plus price-tag attached. It’s based on the ‘coreless’ direct drive principles Technics first introduced in 2016: by removing the motor’s iron core, rotational instability (‘cogging’, as it’s colloquially known) can be reduced to vanishing point. In this implementation, a twin-rotor design reduces rotational vibration and minimizes the load on the bearings too.

The SL-1300G uses the Delta Sigma (ΔΣ) motor control software and drive system from last year’s SL-1200GR2, finessed and optimized for this application. The company’s prowess where PWM (pulse width modulation) is brought to bear in an effort to minimize even minor rotational inaccuracies along with errors in the drive signal. Because if you can deliver smooth, consistent rotation, argues Technics, you deliver smooth, consistent sound.

Further measures have been taken to ensure mechanical and, by extension, sonic accuracy. The SL-1300G uses a low-noise switching circuit that makes the more common transformer power supply redundant, which in turns makes the requirement for vibration-suppressing technologies that transformers tend to require redundant, too. Any residual noise in this transformerless power supply is identified by ‘current injection’ technology that applies inverse phase current to eliminate it. This, suggests Technics, is more effective than the common or garden ‘regulator’ alternative.

On the outside, the SL-1300G uses a rigid and lightweight aluminum pipe tonearm – it’s your classic static-balance S-shape and is 230mm long before the headshell is fitted. Technics supplies a headshell, of course, but what is conspicuous by its absence is a cartridge. The company is prepared to go on, at length, about how this omission allows you to select your preferred cartridge free from its interference, but it seems to me that a sum of money like this spent on a turntable ought to buy you the cartridge the manufacturer thinks is most appropriate. And, what’s more, to find it pre-fitted to the headshell.

The tonearm is connected to the surface of the turntable via gimbal suspension with a high-precision bearing. There’s anti-skate adjustment, a multi-part counterweight, tonearm lock and tonearm lift all incorporated. Getting the signal from the tonearm and out to an amplifier occurs via a pair of gold-plated stereo RCA outputs recessed deep beneath the main body of the SL-1300G. Technics supplies a pair of absolutely bog-standard RCA cables more commonly associated with turntables costing about 10 per cent of the price of this one.

Features score: 5/5

Tonearm of the Technics SL-1300G turnable — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: Sound quality

Notable clarity, detail and low-frequency presence
Energetic and dynamic attitude
As confident at the top end as it dares to be

Some record players have a very specific character or attitude, or a comfort zone out of which they are unwilling to tread. The Technics SL-1300G, it’s safe to say, is not one of those record players. There isn’t a style of music it sounds uncomfortable with – as far as attitude is concerned, “it’s all good” seems to cover it.

During the course of this review I listen to everything from a heavyweight reissue of Ladies and Gentlemen We are Floating in Space by Spiritualized to a ‘pre-loved’ (for which read ‘second-hand’) copy of The Strip Goes On by Orchester Werner Müller and many points in between, and at every turn the Technics covers every base. It’s a vibrant, energetic and engrossing performer, but it’s capable of forensic levels of analysis and insight at the same time.

Its frequency response, from the top of the range to the bottom, is smooth and even. Its overall tonality (with the mild exception of the top of the frequency range, which I’ll come to shortly) is neutral and natural. And its ability to allow music to just flow in the most confident and convincing manner is, even by the vaunted standards of the vinyl format, impressive in the extreme.

It digs deep and hits hard at the bottom of the frequency range, but both where control and insight are concerned it’s a spectacular performer. Bass sounds are solid and varied, with ample detail regarding tone and texture made available, while the SL-1300G controls the attack or decay of individual notes or hits with such purpose that rhythms are expressed in compelling fashion. It’s similarly accomplished in the midrange; there’s no fleeting detail that evades it, no secret of a singer’s technique or emotional state to which it’s not party. It communicates in absolute torrents, and in the most unforced and vivid manner – the balance it strikes between ‘analysis’ and ‘entertainment’ is outstanding.

Despite the significant levels of drive and attack it can summon, it never sounds stressed or uncontrolled. Though it can create a large and spacious soundstage, it presents music as a tightly unified whole, a singular event – the impression of performers operating in symphony, as opposed to a collection of individuals, is palpable.

Really, it’s only at the top of the frequency range that there are any noteworthy issues, and they can be mitigated without too much difficulty. The SL-1300G is a forthright and assertive performer where treble response is concerned, demonstrating as much confidence as is practical. Unlike the rest of the frequency range, though, the top end here is provokable – inserted into a system that’s similarly uninhibited where treble sounds are concerned, it’s possible that high frequencies could become a little edgy or strident.

So, a degree of system-matching is in order. The Technics won’t thank you for pairing it with speakers and/or amplification that share its high-end enthusiasm. Once you get over that particular hurdle, though, there’s nothing much else you need to do except sit back and revel in the sound this turntable produces.

Sound quality score: 4.5/5

Technics SL-1300G turntable on top of a three-storey listening setup, with floor-standing speakers either side. — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: Design

Black or silver finish
173 x 453 x 372mm (HxWxD)
13kg

Broadly speaking, the SL-1300G looks like a record player. More specifically, it looks like a Technics turntable. Whether or not you think that’s a good thing is a matter of taste, but there’s no denying that the company’s turntables have a reasonably strong visual identity.

From top to bottom, there’s no mistaking the SL-1300G as the product of any other company. Its 173 x 453 x 372mm (HxWxD) includes a sturdy Perspex dust cover, and its two-part chassis stands on four equally sturdy, extremely pliant and frankly over-engineered silicone rubber insulators – because Technics deals in nothing as straightforward as ‘feet’, of course.

The chassis itself is a rigid and profoundly vibration-resistant construction. The base is made of bulk molding compound and is topped by a die-cast aluminum plate, and further vibration damping is achieved by reinforcing ribs deployed between the tonearm assembly and the motor.

As is usual with Technics turntables, the SL-1300G features a ‘power on/off’ button above a ‘start/stop’ button on the bottom left of the top plate. There are also a pair of speed-selection buttons for ‘33.3’ or ‘45’ – press them at the same time and your turntable will be able to turn at 78rpm.

All in, the SL-1300G weighs a chunky 13kg - and a full 3.6kg of this is accounted for by the platter. It’s a three-layer item, with an aluminum main body, a 2mm layer of brass across the top and a hefty quantity of deadening rubber covering the whole of the rear surface. It offers considerable vibration damping, impressive resonance rejection, smooth rotational stability and significant inertial mass. In essence, it’s the same as the platter fitted to the (appreciably more expensive) SL-1200G.

Every SL-1300G is balanced after it’s assembled – because if the weight distribution of the turntable is uneven, the rotation of the platter can cause noise and vibration. How do you know your SL-1300G has been balanced in the Technics factory before it’s packaged up? By the little ‘BALANCED’ sticker on the underside of the platter.

Design score: 5/5

Technics SL-1300G turntable buttons showing 'start/stop' and and '33' and '45' functionality. — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: usability and set-up

Source and fit a cartridge
Bin the supplied RCA cables in favor of something more appropriate
Do the usual stuff regarding counterweight, anti-skate and so on

Unusually for the ‘usability and setup’ section, I’m going to have to talk about the need for you to spend yet more money. Because if you don’t, the SL-1300G is nothing more than an elaborate (and good-looking) doorstop.

If you want to get a sound out of your SL-1300G, you’ll need to research, source, purchase and fit an appropriate cartridge. I’d suggest something in the region of $500 will buy you something that will do this record player some justice. Cartridge fitting and setup are among the most fiddly things you can do (in life, let alone in the context of your audio system), so try to be patient. And then when you’ve done that, you really should consider binning the freebie RCA interconnects Technics so graciously supplies in favor of something that’s actually up to the job.

Once that’s done, though, usability is a doddle. The direct drive motor gets the platter up to speed in well under a second, and the tonearm lift operates with precision. ‘Putting a record on’ has never been any less painful than it is here.

Usability and setup score: 4/5

Tonearm and platter of the Technics SL-1300G turntable. — (Image credit: Future / Simon Lucas)

Technics SL-1300G review: Value

Superb build quality and materials
Real longevity
But you have to spend even more money to get it working

It depends how you look at it, I suppose. In terms of engineering prowess, the quality of materials and the way they’re put together, in terms of longevity and simple pride of ownership, the Technics SL-1300G represents very good value indeed. And that’s before you factor in the many admirable aspects of the way it sounds.

But given that this record player doesn’t actually function until you’ve spent quite a lot more money on a cartridge, plus a fair few bucks upgrading the cables connecting it to your amplifier, it’s perhaps not the cast-iron value for money it at first appears…

Value score: 4/5

Adjustable feet of the Technics SL-1300G turntable on a wooden surface. — (Image credit: Future / Simon Lucas)

Should I buy the Technics SL-1300G?

Attributes	Notes	Rating
Features	Twin-rotor ‘coreless’ direct drive motor reduces rotational vibration and minimizes load; high-precision aluminum tonearm.	5/5
Sound quality	Notably clear and detailed; energetic and dynamic; confident at the top end.	4/5
Design	Gorgeous styling and perfectly balanced out of the factory. What's not to like?	5/5
Usability and setup	No cartridge supplied is a problem; RCA cables could also do with changing.	4/5
Value	High-quality materials and finish, but having to pay even more on top of a hefty price tag grates.	4/5

Buy it if...

You admire uncompromizing engineering
The engineering rigor that’s been brought to bear here is almost enough to make you want an SL-1300G before you hear what it can do.

You’re in any way careless
It’s not difficult to damage a stylus, of course, but you’ll have to go some if you want to damage any other part of this Technics.

You like sound quality that’s big on both insight and entertainment
The SL-1300G’s ability to pore over your records in the hunt for information at the same time as sounding uncomplicatedly musical never gets old.

Don't buy it if...

You’d like Technics to select (and fit) the most appropriate cartridge
I really don’t think it’s unreasonable to expect your $3,299 turntable to come with an optimized cartridge pre-fitted to the headshell.

Your system is treble-happy to start with
As part of an unsympathetically toppy system, the SL-1300G will only exacerbate things where treble response is concerned.

Technics SL-1300G review: also consider

Cambridge Audio Alva TT v2
For approximately half the price of the Technics SL-1300G you can buy a direct drive turntable with a switchable pre-amp and pre-fitted cartridge, and that can wireless transmit an aptX HD Bluetooth signal to any wireless receiver – yep, it’s the Cambridge Audio Alva TT v2, and these days it represents corking value for money.
Read the full Cambridge Audio Alva TT v2 review.

Rega Planar 10
Or you could go to the other extreme and drop $5,999 on a Rega Planar 10 with Alpheta 3 cartridge. It’s a fully manual belt-driven design that makes almost as big a deal of what it leaves out as it does the stuff it includes but, when it comes to sonic fidelity and veracity, nothing else at anything like the price can touch it.

How I tested the Technics SL-1300G

Tonearm of the Technics SL-1300G turntable. — (Image credit: Future / Simon Lucas)

Tested over the course of one week
Listening to various types of music

I connected the Technics SL-1300G up to my home system using the supplied RGA cables. Then, I spent well over a working week listening to as many different types of music as I could, of many different genres, and varying qualities of pressing to give the SL-1300G as much of a workout as I could. And, to be honest, I enjoyed doing it.

First reviewed: November 2025
Read more about how we test

CMF Headphone Pro could easily cost twice as much – and even if the sound is fun and fierce (rather than fully fledged fantastic) they’re still a great buy

5:28 pm | November 12, 2025

Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: Apple Music, LDAC | Comments: Off

CMF Headphone Pro: two-minute review

Anyone familiar with Nothing and/or its affordable sub-brand CMF (often written as "CMF by Nothing", but the company has seemingly dropped the last two words of its traditional moniker for this particular product) knows that a normal-looking set of headphones was never going to be on the brand's bingo card.

And true to form, the CMF Headphone Pro neither look normal nor behave normally for the level – and I mean that in a good way. They're modular, with the option of buying extra ear pads if you want an even more striking look (pistachio with orange, anyone?) and there are three thoroughly abnormal on-ear controls, too, including an 'Energy Slider', an excellent 'Multi-function roller' and an 'Action button'. All of which I'll get into later.

How's the sound? Actually, really good for the level – easily as detailed, nuanced and energetic enough to skip to the top of our best cheap headphones guide. And while they won't compete with the more flagship models in our best headphones roundup for neutrality or audiophile-grade insight (and the noise nixing won't challenge pricier sets from Bose, Cambridge or Apple in our best noise-cancelling headphones list), there's clarity, a great circumaural delivery, two types of spatial audio, LDAC and hi-res wired connectivity.

And all of this means I can't – nay, won't! – pick too much fault for the money, especially when I've compared them to Nothing's original Headphone (1) and actually preferred the audio in the newer cans…

CMF Headphone Pro in pistachio green held in a hand or hung on a barbell, being pushed up by a carved frog — (Image credit: Future)

Oh, and that's before I get granular on the fact that the CMF Headphone Pro include one of the most detailed hearing tests of any set of cans I've ever tried at the level, which the headphones use to create a remarkable personal profile for your listening. It's something I thoroughly recommend you take soon after buying them.

OK, your EQ is limited to three tabs if you want to create a preset yourself, you don't get a hard-shell case (or even a USB-C charger) in the box and the 'Energy Slider' feels a little surplus to requirements when they're a bit bassy to begin with (although some will love it – particularly grime and drum 'n' bass fans). But the battery life is nothing short of excellent for the money and for me, the sound quality more than atones for these minor drawbacks.

All in all, you could do so much worse for $99 / £79 – and having seen a few healthy discounts already, I find myself recommending them even more urgently…

CMF Headphone Pro review: price & release date

$99 / £79 / AU$179
Launched on September 29, 2025

The CMF Headphone Pro launched on September 29, 2025, with a list price of $99 / £79 / AU$179, but in the UK I've already seen them discounted to £49 (at the time of writing, Black Friday approaches). This is huge because for that money you won't regret this purchase, I assure you.

At their regular list price, the CMF Pro Headphone's closest competition is likely the 2024 1More Sonoflow Pro HQ51 at $89 / £99 / AU$130, which also boast a great battery life and perhaps edge it for ANC efficacy, but the build is a tad flimsier, including the buttons. Also the 1More's app is neither as seamless or enjoyable and to be honest, the design doesn't exactly wow me – not like the CMF Headphone Pro's does, anyway.

Meanwhile, Nothing's own flagship Nothing Headphone (1) launched on July 15, 2025 with asking fees of $299 / £299 / AU$549 – ie. at least triple the price of the CMF Headphone Pro, depending on where you're buying. So, you know, food for thought there…

CMF Headphone Pro review: Specs

Drivers	40mm (nickel-plated diaphragms; 16.5 mm copper voice coil; dual chamber design)
Active noise cancellation	Yes (low; mid; high; adaptive)
Battery life	50 hours ANC on; 100 hours ANC off
Weight	283g
Connectivity	LDAC, AAC, 3.5mm - 3.5mm hi-res certified
Frequency range	20Hz-20kHz
Waterproofing	None

CMF Headphone Pro either beside Nothing Headphone (1) or on a table, with the accessories in the box — (Image credit: Future)

CMF Headphone Pro review: features

Excellent Personal Sound curation
Class-leading battery life
Premium-feel companion app

Here's the thing with the CMF Headphone Pro: they surprise you at every turn. The Nothing X companion app is slick, chic and helpful. Make no mistake, the experience here is thoroughly Nothing, which is to say that it still feels premium, rather than budget-grade.

The excellent hearing test software – which takes roughly three minutes and involves struggling to listen to ever-quieter tones piped first into your left ear, then your right – creates a graph of your hearing in each ear, then one of the best Personal profiles I've had the pleasure of testing at this level.

Aside from support for the more hifalutin LDAC Bluetooth codec, the CMF Headphone Pro also offer wired 3.5mm Hi-Res certified listening, albeit only when they're powered on, rather than passively. I hooked them up to my FiiO M15S (which is a fair bit smaller than the FiiO M23 player) and Teenage Fanclub's Satan was every bit as jagged, petulant and angsty through the ragged intro as I could've wished for, even at 45 per cent volume.

There's a dual connection toggle in the app which essentially means multipoint is on the menu and why you'd ever toggle it off I don't know – it becomes essential very quickly for chopping and changing between music from my phone and team meetings on my laptop.

CMF Headphone Pro: three screen-grabs of the Nothing X app — (Image credit: CMF)

Also here in the Nothing X app, you'll find noise cancellation in low, mid, high, adaptive and off increments, as well as a transparency option. The transparency profile in particular is very good, augmenting nearby voices in a useful way and without making frequencies within my music go tinny and unpleasant.

The ANC is fine rather than fantastic at dulling extraneous noise (the claim is up to 40 dB noise reduction, although that feels optimistic to me), but it does so without upsetting my music's timbre and detail. Ultimately I'd rather have it than not, which is not something I say about all budget noise-nixing software and at this level that's more than good enough. Serious, weapons-grade active noise cancellation really does still require climbing further up the food chain, because I've yet to find anything for this money that offers Bose-grade ANC. OK? OK, good to make that clear.

While I'm on the subject of mics (because these are imperative for the aforementioned ANC), the Headphone Pro come with three of the what Nothing calls "HD microphones" and with that same metallic wind-resistant mesh around each of them, they do look almost identical to those on the Nothing Headphone (1). Aside from ANC, these mics provide Clear Voice Technology in a bid to keep your voice sharp in calls. Now, I've been told my dulcet tones were indeed audible and clear in calls, but perhaps because the cups are quite big and the padding so ample, passive isolation is also good to the point that I could barely hear my own voice when talking. There's no sidetone-adjacent tech to boost your own speech either. Would I expect that at this level? No, but it's my job to point it out as a very minor issue.

Elsewhere, there are two flavors of device- and streaming service-agnostic spatial audio: cinema mode or concert mode. Cinema mode broadens the soundstage a touch, for clear dialog and decent pew-pew bullet effects in movies; concert mode is all about plonking you in the middle of a concert. Neither offers a dynamic, head-tracked presentation with your phone as the source device, mind, but I still enjoyed concert mode for lowering me into the melee a touch more.

Features score: 4.5/5

CMF Headphone Pro review: sound quality

Punchy, expressive and zealous – a true circumaural listen
Nuance and detail with both wired and LDAC listening
Limited in-app EQ options; energy slider gives mixed results

I'll talk a lot about the energy slider to amp up the treble and bass in the 'design' section of this review, below (since this unusual button is a key part of the headphones' design) but know this: if you want the most detailed, layered, unadulterated sound, you should probably leave this kind of tinkering alone.

There's a low lag toggle in the app to minimize issues when watching content, but I keep that off to test the sound over LDAC. And here, Billie Eilish's WILDFLOWER is emotive, textured, layered and underpinned by inky-deep and resonant keys.

Uh Oh by Tate McRae is a great test of the CMF Headphone Pro's bass impact and, let me tell you, if you like to feel a beat in your molars, these headphones can oblige. It's a head-nodding, cohesive mix with snap and crisp leading edges of notes, particularly through those zealous bass registers.

Switching to Girls Like You by Maroon 5 and I hear the intentional blurring of the axe in the intro, with Adam Levine's vocal upfront, up-close and central in an expansive and exciting soundstage. It’s Amazing to Be Young by Fontaines D.C. is a similar story – and here I perceive treble elements in the intro that lesser headphones can’t reach, along with oft-overlooked happier inflections is Grian Chatten's voice.

It's an emotive mix overall, but Nothing has just about stayed on the right side of faithful here, rather than succumbing to parlor tricks to get you in the feels – unless you want to deploy those with the slider. Every Other Freckle by alt-J is a good one to to prove this. I really get the sense that Joe Newman wants every other freckle, even at 50 per cent volume, with certain lines (like ‘let me be the wallpaper that papers up your room’) jumping out more readily in what is a highly complex track.

Did I listen against the original Headphone (1)? I did. And while the presentation is a touch more neutral in the inaugural (and much more expensive) product, I did feel that the CMF opens the audio out just a touch more. It's also a more full-throttle listen to boot.

Could the CMF Headphone Pro offer even more detail – even more nuance through the rise and fall of each musical passage? Yes, of course, but if the ultimate in audiophile sound quality had been achieved for this money we could all go home. There are compromises in terms of true neutrality and an ounce or two of clarity here and there over much pricier options. But know this: for the money, these headphones sound a lot better than I expected.

Sound quality score: 4.5/5

CMF Headphone Pro review: design

Nothing isn't afraid to be different – but no cassettes on your ears here
Extension arms are silent; comfort is good
On-ear controls work well, but the Energy Slider is a tad gimmicky

If you'd asked me to sketch what I thought a set of headphones made by Nothing's budget sub-brand CMF should look like, I can confidently tell you that I would not have drawn the CMF Headphone Pro.

Where the CMF Buds Pro 2 are all angular lines, slightly odd circle and grid motifs, brushed matte plastic (available in dark gray, blue, or red and with a silver rotary dial in the corner of the case), the CMF Headphone Pro come in totally different light green, light gray or darker gray glossy finishes with a resoundingly cushioned, polyurethane synthetic leather and memory foam build across the headband and ear pads.

My review sample is giving two tubs of pistachio ice cream and, for me, the build quality is rock solid for the level. The band is comfortable over the crown of my head, extends silently and offers decent clamping force without ever hurting. The ear cups are generously padded and rotate to lie flat (although they don't concertina up into the band for easier storage) and the buttons are not at all flimsy.

So let's explain what's going on with those, shall we? On the left ear cup, in between two mics you'll find power/pairing, your 3.5mm in and an 'Energy Slider'. The function of this solid little slider can be switched between 'Bass Tuning' and 'Treble Tuning' in the Nothing X app.

I cue up Kehlani's Folded to toy with the bass slider and ramping things up does augment the low end, albeit to the point of marginal bloating – but hey, it's a way of replicating that authentic 'standing just a little too close to a big (possibly blown?) sub at a gig' feel. Switching to the treble option and the track does sound a little too sweet and even tinny when moving the slider through its range, but then I know from various hearing tests that my own ear hones in on treble frequencies in most mixes. Having been on the fence about all of this for a week or so, I've decided that it does add novelty and for some grime tracks it might be a winner.

On the right ear cup and above the USB-C port, there's a little circular button with a red dot at the center. In the X app, this is simply called 'Button' and your options here are a single press or long press. A single press can handle voice assistant access, noise control, spatial audio profiles or even switch the mics on or off (there's another on this ear cup). A long press? That can perform any function from this same menu.

But above this is where I think Nothing has really knocked it out the park, because this brings me to the 'Roller' in the controls menu. And as well as being able to roll this to quickly tweak the volume (seems like a small thing but really isn't – especially when you're on the go) you can press and hold it to scroll through noise-cancellation profiles, single press it to pause and resume playback or answer/hang up on calls, double press to skip a track or triple press to go back.

There's no IP rating for rain or dust ingress, which isn't unusual at the level (or even a rung higher up) but because you also only get a simple fabric bag for transportation, you might want to think carefully about taking these out in the rain.

One other thing: you get a 3.5mm cable in the box, but no USB-C charger cable – much less an actual wall plug for it. In 2025, you almost certainly have one of these already in the wings, waiting for the job, but if you were hoping for an extra (or one in the CMF Headphone Pro's winsome pistachio green, say), you'll be disappointed.

Design score: 4.5/5

CMF Headphone Pro review: value

An excellent all-round budget package
No charger or hard-shell case – but these are minor omissions
As a sound-per-pound proposition, there's top value here

I mean look, for this money I struggle to argue with even basic headphones, provided they sound good for the level. But the CMF Headphone Pro are not basic headphones – just see the hearing test software and extra on-ear controls for that. They're a lot better than basic and a lot better than their fee suggests.

Market saturation does of course drive pricing and here, that's very good for us.

OK, those wanting bubble-of-silence ANC will not find their ideal set of cheap headphones here (the ANC is adequate, it just isn't shutting out the entire world), but those wanting zealous, bass-blasting sound and/or a quirky design that actually is not a case of style over substance just found a great inexpensive option to step out with.

Value score: 4.5/5

Should I buy the CMF Headphone Pro?

Attributes	Notes	Rating
Features	Excellent battery life, LDAC, top-tier app, adequate ANC	4.5/5
Sound quality	Big bass energy and commendable detail, with phenomenal hearing tests for the level	4.5/5
Design	Finessed, yet unusual – even among CMF by Nothing's other audio gear. You love to see it.	4.5/5
Value	Great audio, incomparable design, OK ANC, amazing battery life and a super-low price.	4.5/5

Buy them if…

You’re after a budget buy – but with good sound
With a list price of $99 / £79 / AU$179, but dropping even as I type, CMF by Nothing has aimed these headphones squarely at the budget market and priced them to sell out quickly. And given the audio quality and hearing test software to create a profile just for your ears, you won't find me suggesting you don't buy them…

You love on-ear whistles and bells
I actually really enjoyed playing with the various sliders and rollers on the CMF Headphone Pro – and while they're not exactly a gateway audiophile-grade sonic clarity, they do mean you can tweak the volume easily without grabbing your oh-so-pinchable phone, on the commute.

You like to style your own way
These headphones are not the same as the swathes of Sony dupes out there in the budget sector. And if a striking mint-or-pistachio green hue isn't enough for you, CMF sells alternate ear cups in a striking orange color for a nominal fee ($25 or £19). Mint!

Don’t buy them if…

You want bubble-of-silence ANC
The CMF Headphone Pro's solution is acceptable for the money, but it won't nix jet-engine noise on your next long-haul flight. For that, though, you'll need to climb the ranks a little, with something like the Bose QuietComfort Ultra Headphones (2nd Gen) or the Apple AirPods Max. And by "climb the ranks", I mean that there'll be a surcharge.

You want auto-off when you remove them
No dice here, sadly, but it's perhaps the one area where they're lacking in terms of features I'd hoped to see.

You need to hear your own voice in calls
Certain pricier cans offer tech called 'sidetone' or similar, to pipe the sound of your own voice into your ears as you converse on calls. The CMF Headphone Pro don't have this, but the good news is that it's only an issue when the passive isolation is as good as it is in these headphones…

CMF Headphone Pro review: also consider

	CMF Headphone Pro	1More Sonoflow Pro HQ51	Earfun Wave Pro	Sony WH-CH720N
Price	$99 / £79 / AU$179	$89 / £99 / AU$130	$79.99 / £79.99 (about AU$13)	$149 / £99 / AU$259
Drivers	40mm (nickel-plated diaphragms; 16.5 mm copper voice coil; dual chamber design)	40mm dynamic	40mm dynamic	30mm dynamic
Active noise cancellation	Yes	Yes	Yes	Yes
Battery life	50 hours ANC on; 100 hours ANC off	65 hours ANC on; 100 hours ANC off	55 hours ANC on; 80 hours ANC off	35 hours ANC on; 50 hours ANC off
Weight	283g	246g	268g	192g
Connectivity	Bluetooth version not stated; LDAC, 3.5mm	Bluetooth 5.4, 3.5mm	Bluetooth 5.3, 3.5mm	Bluetooth 5.2, 3.5mm
Frequency range	20Hz-20kHz	20Hz-40kHz	20Hz-40kHz	7Hz-20kHz
Waterproofing	None	None	None	None

1More Sonoflow Pro HQ51
Head over to our best headphones guide and our pick of the budget cans is the product you see written in bold, above this sentence. They're a bit normal, looks-wise, but after that there's nothing average about their performance – including the stamina. The ANC probably just edges it over the CMF Headphone Pro, too, although the build quality and companion app don't feel as good. Read our full 1More Sonoflow Pro HQ51 review to learn more.

Earfun Wave Pro
For quite some time, the Earfun Wave Pro also held the title of best budget option in our guide to the best over-ear headphones – and it’s not difficult to see why. Think similarly stupendous battery life, above-average sound and a neat design, all at a temptingly low price. Not into the quirky aesthetic of the CMF Headphone Pro? Read our full Earfun Wave Pro review.

CMF Headphone Pro review: How I tested

Tested for four weeks
Used at home, on the Eurostar to Paris, at the (blustery) beach
Predominantly tested using Tidal and Apple Music, or wired to my FiiO DAP

I tested the CMF Headphone Pro over a period of four weeks, using my MacBook Pro, iPhone 15 Pro Max and LDAC-toting FiiO M15S as source devices.

I listened to everything from my heavy rotation Three Bean Salad podcast on a long walk on Weymouth's blustery beach, to Bruce Springsteen's Nebraska '82 Outtakes on the Eurostar train to Paris from London. I listened in both wired and wireless modes and found much to celebrate in terms of audio chops across the frequencies and energy.

I maxed out the battery and got 49.5 hours from them using ANC too – which, given their 50-hour claim at 50 per cent volume is no meat feat.

I've been testing audio products full time since 2019, first on TechRadar's sister publication What Hi-Fi? as a lowly Staff Writer, then Senior Staff Writer at TechRadar and, since early 2024, Audio Editor (hey, career progression is gradual sometimes in journalism… and that's fine when you've got music).

First reviewed: November 2025
Read more about how we test

This Bluetooth speaker’s battery life impressed me in testing, but it’s irredeemably bad in one vital respect

6:30 pm | November 10, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: AO, US | Comments: Off

AO mini portable wireless speaker: two-minute review

If you don’t live in the UK, you’ve probably never heard of AO, so allow us a brief explainer. AO is a Bolton-based online electrical retailer that sells white goods – fridges, dishwashers, ovens, TVs, hi-fi equipment and the like – for a fraction of their store price. For an annual membership of £39.99, you get discounted prices when buying from its website because it cuts out the middle man and sells direct to the customer. It also has a natty advertising campaign that features the soundalike “Hey, hoh – let’s go!” refrain from The Ramones’ Blitzkrieg Bop. Got it? Good.

What AO has never done is make the audio gear it also sells. Until now. In the summer of 2025, the AO mini portable wireless speaker (yes, this really is its does-what-it-says-on-the-tin name) was part of a suite of releases to change that and try to provide an inexpensive entry to the best portable Bluetooth speakers on the market.

So, how does it fair? Well, the £29 price – $40 / AU$59, but only available in the UK (and only direct from AO) at the time of writing – is a strong start for a portable speaker with Bluetooth 5.3 connectivity. Indeed, for AO members in the UK, it's cheaper still at £19. Better still, a 25-hour battery life dominates some of the biggest competition in the budget market such as the JBL Go 4 (seven hours), the five-star Tribit Stormbox Micro 2 (12, already four more than the first-gen model) or the Edifier ES20 (15 hours).

The AO mini portable wireless speaker is also nicely built, with sturdy buttons plus appreciated answer/end/reject call options (with decent accompanying call quality) that is increasingly absent from the competition. Plus, its IP67 waterproofing means it more than does the job in the shower or down at the beach.

Unfortunately, though, there’s the biggest of elephants in the room – the way the AO sounds. It’s not good. In fact, I’d rather listen to tunes coming out of my iPhone 15’s speakers or even my retro MacBook Air's pretty limited sound-producing alternative. For a bit of tech whose primary purpose is to elevate sound, add depth and make it louder – nope, it doesn’t do that, either – this is quite a big problem.

Is it going to be your primary Bluetooth speaker to while away hour upon hour? Definitely not, but that’s not to say it doesn’t warrant a place in your lineup of listening apparatus. The AO mini portable wireless speaker’s flexibility, solid build and near-peerless battery life make it a decent bet to accompany a long weekend away or just be left in the shower so you can sing along to Wham! to help wake you up, before you go-go. After all, that aggressive price is pretty hard to ignore…

Black AO mini portable wireless speaker on a rock, with a beach and the sea in the background — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: price and release date

£29 (not on sale in US or AUS)
Launched in summer 2025

The AO mini portable wireless speaker was launched in the summer of 2025 as part of the retailer’s debut line of self-made audio products and costs £29 (£19 for AO members) in the UK. It isn't available in the US or Australia, but that equates to $40 / AU$59. Just to confirm, you haven’t misread that price – it really is that cheap.

TechRadar's review sample is black, but it also comes in white, which was the only color available to purchase on the AO website at the time of writing. It’s an opposite Model T Ford, then.

AO mini portable wireless speaker review: specs

Drivers	1x 20mm
Dimensions	82 x 47 x 98mm
Connectivity	Bluetooth 5.3
Battery life	25 hours
Waterproofing	IP67

Top panel of the black AO mini portable wireless speaker, on a craggy rock — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: features

Excellent 25-hour battery life
Shower-tested IP67 waterproofing
Easy setup but no multi-point connectivity

For what is a pretty small bit of kit, the AO mini portable wireless speaker undeniably packs plenty in. Bluetooth 5.3 connectivity isn’t industry-leading – and a 3.5mm line-in for wired listening would’ve been nice – but it’s decent for a speaker as emphatically entry-level as this, while at no stage in testing did I encounter any drop outs.

It’s solid and reliable, the only minor gripe being its lack of multi-point connectivity option. At one point I needed to switch from music listening via Tidal on my iPhone to Match of the Day football watching on my laptop – technically, that’s still work, but only just – and discovered that I’d need to disconnect from the former to be able to connect to the latter. Sure, it’s not the greatest of impositions, but it’s nevertheless unwieldy.

At least the AO is quick and easy to set up. Within minutes of turning on the AO for the first time, my partner and I were dancing around the front room to Going Places by Teenage Fanclub – she effortlessly magnificent, me shufflingly dreadful, thanks for asking. Gerard Love’s lilting vocal complemented his erstwhile bandmates’ harmonies well enough but without a clarity or depth to be expected even at this low price point. More on which later, and the fault certainly doesn't lie with the Scottish group Kurt Cobain once called “the best band in the world”.

Black AO mini portable wireless speaker as part of a knitted autumnal post box cover — (Image credit: Future / Andy Murray)

Better still, the AO’s IP67 waterproof rating makes it borderline impervious to dust and water ingress. Short of trying to bury it at the bottom of the Atlantic, or subjecting it to extended periods in your teenager’s never-cleaned dust box of a bedroom, you’ll do very well to stop it from working. I used the AO constantly in the shower for over a week and (much like me) it got absolutely soaked, but at no stage did the superb improv podcast Three Bean Salad featuring Taskmaster alumnus Mike Wozniak cut out or the speaker lose connection from my phone in the adjoining bedroom. A trip to my local beach also presented no issue for water ingress either from Portland Harbor or the heavens as an unexpected Dorset shower passed overhead.

No less sturdy is the battery life, which is nothing short of relentless. In testing, the AO’s claimed 25 hours proved plenty accurate – I used the speaker throughout three full seven-hour working days, plus aforementioned trips to the beach and in the shower, and it still had half its juice remaining according to the battery indicator on my phone.

Compare those figures with the as the JBL Go 3’s notorious five-hour lifespan, the updated Go 4’s seven and even the recent Edifier ES20’s 15 hours and the AO dominates the competition for half the (already pretty insignificant) price in some cases. Stuff it in your rucksack on a camping trip and it’ll neither take up much space, nor will it fail you across a week’s medium use before its next charge, a vital consideration when living off-grid in a field. Just 1.5 hours’ charging from the included USB-C cable gets it back to full power, too.

My only other issue is the lack of accompanying app, so there’s no option to tweak EQs or come up with your own presets to get the sound just how you like it. But at this price point what did you expect? This little box is packed with plenty.

Features score: 4/5

Black AO mini portable wireless speaker on a rock, surrounded by a sandy beach — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: sound quality

Almost no bass
Lacks clarity
Limited top volume

Sadly, though, we can ignore the obvious no longer. The AO sounds dreadful, and you don’t need me to tell that this is a bit of a problem for a speaker. No separation, very little bass, a tinny sound and generally just not loud enough. This is regardless of the quality of source device music, too – I tried streaming hi-res FLAC content on Tidal but still to no avail.

A level of compression for a portable Bluetooth speaker this size is to be expected – it measures 82 x 47 x 98mm and though no weight is quoted, it feels lighter than the Tribit Stormbox Micro 2 I used as a comparison – but it is definitely possible to make a better sound than this within the dimensions. The AO’s 20mm driver soon hits a ceiling that others glide beyond and, though its timing is OK and it doesn’t feel too jumbled, the lack of definition and depth are immediately obvious.

Rich by Yeah Yeah Yeahs comes across as one-dimensional – something bordering a war crime – with no separation between Nick Zinner’s synth promptings, lead singer Karen O’s exultant, imploring vocal and Brian Chase’s percussive beat. Switching between the AO and the Tribit mid-song only serves to highlight the difference further – the latter delivers a clearer, punchier vocal and the frequencies are more faithful to the original.

The bass, hardly the thing you most associate with Yeah Yeah Yeahs, is broader, deeper and much more noticeable with the Tribit, so I switch to a band known for allowing its four-string to drive tracks. New Order’s All the Way features arguably Peter Hook’s most melodic and rhythmic high-fretted bassline – thanks in part to the band’s increasing use of sequenced synthesizers and Hooky still wanting to be heard – but the AO strips all that away and it sounds tinny. Even the notoriously lo-fi band Guided By Voices, and the stellar Game Of Pricks, lacks oomph.

More infuriating still, the ‘power-down’ sound the AO makes when you turn the speaker off features a demonstrably bassy effect that is completely absent when listening to music. If the AO is capable of making that noise, why do we only hear it when turning it off? Here’s what you could’ve won.

Keen to find out what the AO could do in the open air, I took the speaker on a 10-minute walk to my local beach. Sadly, it’s no different. The gradual 40-second jangle-guitar intro of Star Sign by Teenage Fanclub from 1991 classic album Bandwagonesque is barely audible, then Brendan O’Hare’s driving bass drum lacks attack. The AO is quiet, too – I fire it up to maximum volume and it hits another ceiling all too quickly. Whack the Tribit up to a Spinal Tap-approved 11 on the same song, and two nearby seagulls take their immediate. It feels instructive.

Weirdly, the spoken word is better. The Elis James and John Robins podcast on BBC Sounds, featuring the two titular comedians and producer Dave, comes through impressively and sounds true-to-life. Even the choral theme tune to regular feature Cymru Connection, in which Elis has to find a mutual acquaintance with a fellow Welsh person inside 60 seconds, sounds well-rounded.

It's just a shame about, well, everything else.

Sound quality score: 2.5/5

Side panel, with the blue light showing Bluetooth connection, of the black AO mini portable wireless speaker on a jagged rock. — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: design

Small enough to fit in a hoody pouch, but not a jeans pocket
Tactile buttons
Loop is small and not very versatile

The AO mini portable wireless speaker certainly lives up to its name. Its 82 x 47 x 98mm dimensions make it smaller than the Edifier ES20 (90.4 x 93.7 x 49.7mm) or the Tribit Stormbox Micro 2 (104 x 99 x 41mm) – it's perfect to pop in a bag to enjoy on the move. You could just about fit it in a hoody pouch, but a jeans pocket is probably a stretch too far, unlike the squarer Tribit which can squeeze into a back pocket with a bit of encouragement.

Simple to use, the AO has four buttons that sit on top of the speaker – 'on/off', 'volume up/skip track', 'volume down/skip back track' and 'play/pause'. Unlike some headphones' on-ear controls, where a double tap skips a track instead of increasing the volume by two, there’s no danger of an errant press, either. It’s a single press for each volume increment you want (no matter how quickly you push), and press and hold for three seconds to skip forward and backward – never once did I err, a minor miracle in itself.

A much-appreciated feature was the 'answer/reject call' option, something sorely lacking from similar products such as the JBL Flip 7 and Go 4. A quick press of the 'play/pause' button answers the call, a three-second hold rejects it – once on a call, the quality is good and stable.

It’s pretty well built, too. The AO’s unobtrusive rubber feet mean it isn’t going to go sliding off tables with an accidental knock, and even if you are on the clumsy side – guilty as charged, your honor – then it’s still plenty sturdy enough to cope with a few knocks on the floor.

There are, though, some flaws. If you’re planning on using the green plastic-covered coiled loop to hang the AO from something – a pole in the roof of your tent, or from a strap on a backpack, for instance – you’re going to need a carabiner of some kind to attach it because there’s almost no space in the loop itself. No rucksack release buckle is small enough to slide through.

There’s also good reason why you wouldn’t want to leave the AO suspended in midair. And, yep, it comes back to the sound. Though AO claims ‘multi-directional audio’ for its mini portable wireless speaker, in testing I didn’t encounter anything so aurally 360. Put the speaker next to your ear and it’s immediately obvious out of which side the sound emits, and it sure doesn’t come out of both sides, despite the impression given from a fabric jacket that covers 80 per cent of the product.

On a desk in front of you that isn’t much of an issue – just turn the AO to face you and you’re sorted – but if you’re taking advantage of the speaker’s brilliant battery life and it’s accompanying your outdoorsy endeavors then the situation is different. Assuming you’ve got the aforementioned carabiner, the AO’s sound pings off in whatever direction it happens to be hanging from a rucksack or your tent roof. Essentially, you’ve got three options: deal with it, try to balance the AO in an adequate position or adjust the gradient of the field in which you’ve pitched your tent.

Design score: 4/5

Top panel of the black AO mini portable wireless speaker, showing its four button and hanging loop. — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: value

Astonishing price point…
... at which you shouldn’t expect too much

You might argue it’s a bit unfair to rag on something that costs as little as £29 (£19 if you’re an AO member in the UK, the only territory it's currently on sale) but I’ve done so anyway.

That being said, if you can look past the AO mini portable wireless speaker’s shortcomings in sound representation and volume, and aren’t going to use it for anything other than to listen to some tunes or a podcast on-the-go, then the price makes it an attractive option nevertheless.

The AO sits squarely in the gray area where ‘cheap’ and ‘good value’ merge.

Value score: 4.5/5

A hand holding the black AO mini portable wireless speaker on a raised promontory, with an island in the background. — (Image credit: Future / Andy Murray)

Should I buy the AO mini portable wireless speaker?

Attributes	Notes	Rating
Features	Unbelievable 25-hour battery life; IP67 waterproofing; Bluetooth 5.3 but no 3.5mm line-in.	4/5
Sound quality	Severely lacking bass; limited top volume; compressed and tinny sound.	2.5/5
Design	Well built, compact with tactile buttons; small hanging loop and no multi-directional sound.	4/5
Value	Astonishing price point but in a gray area as to whether 'cheap' equates to 'value'.	4.5/5

Buy it if...

You like camping
The battery life is beyond excellent. Even with moderate-to-extensive use, the AO will survive a week on just one charge, especially useful if you regularly spend vacations in a field with next-to-no plug sockets.

You get lots of calls
I’m not popular enough, but if your phone is ringing off the hook then you can answer, talk and hang up with seamless efficiency using the integrated buttons on top of the AO. And that’s rarer than you think in many recent Bluetooth speakers.

You like singing in the shower
The AO’s IP67 waterproofing makes it the perfect morning accompaniment. You can even drop it in the bath and it’ll survive.

Don't buy it if...

You appreciate sound quality
The small 20mm driver can only deliver so much. There’s almost no bass (apart from the 'on/off' wake-up noise), limited separation and a general lack of attack.

You want to turn it up to 11
The top volume just isn’t loud enough, especially when you consider the AO will be most often listened to outdoors.

You want to hang it
The loop hole is too small to be used without a carabiner, and even if you do, there’s no omni-directional functionality.

AO mini portable wireless speaker review: also consider

	AO mini portable wireless speaker	JBL Go 4	Edifier ES20
Price	£29.99 (£19 for AO members, not available in other territories)	$49.95 / £39.99 / AU$59.95	$89.99 / £49.99 / AU$99.99
Drivers	20mm	45mm driver, integrated class D digital amplifier	43mm full-range driver
Dimensions	82 x 47 x 98mm	94 x 78 x 42mm	90.4 x 93.7 x 49.7mm
Weight	Not supplied	190g	326g
Connectivity	Bluetooth 5.3	Bluetooth 5.3 / USB-C (charging)	Bluetooth 5.4
Battery life	25 hours	7 hours	15 hours
Waterproofing	IP67	IP67	IP67

JBL Go 4
If it’s an ultra-cheap Bluetooth speaker for under $50 / £50 you’re after, the JBL is the one to go for. Punchy, clear audio in a tiny form, even if the aforementioned battery life could do with improvement.
Read our full JBL Go 4 review.

Edifier ES20
The Edifier offers punchy sound, ambient lighting and sturdy waterproofing in a perfectly styled box, all for the $50 bracket. EQ options are lacking, but it represents excellent value for money.
Read our full Edifier ES20.

How I tested the AO mini portable wireless speaker

Black AO mini portable wireless speaker perched on the side of a wet rock on a beach. — (Image credit: Future / Andy Murray)

Over two weeks as my primary Bluetooth speaker
On my office table, in the shower, at the beach
With a variety of music styles, sources and podcasts

I had just over two weeks with the AO mini portable wireless speaker, listening to various different music styles and resolutions via streaming service Tidal. I also listened to podcasts downloaded from Apple Podcasts and BBC Sounds onto my iPhone 15, plus music from my Apple MacBook Air.

I tested the AO indoors while writing and editing words about everything from audio to football, in the shower and at the beach. In short, in most everyday conditions possible (if you’re lucky enough to live by the sea, that is).

First reviewed: November 2025
Read more about how we test

Topping’s new DAC, headphone amp and preamp just toppled a few key players to sit with the top of the class

1:30 pm | November 8, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi | Tags: DAC, LDAC | Comments: Off

Topping DX5 II: Two-minute review

The DX5 II is the product that Chinese specialist Topping hopes is going to force its name into the ‘affordable desktop audio’ conversation – and so it’s specified it accordingly and then priced it in the most aggressive manner imaginable.

A selection of digital inputs and a wider selection of balanced and unbalanced outputs mean the DX5 II can function as a DAC and headphone amp, like many of the best portable DACs we recommend can, but it can also become a preamp for use with a traditional stereo system or a pair of powered speakers – which your average portable DAC definitely can't do. So, this is new ground for many a headphone amp-owner.

ESS Sabre digital-to-analogue conversion with a native resolution of 32bit/768kHz and DSD512 means the DX5 II is as high-resolution a device as these things ever get. A variety of finishes, each one tidily realised and each one complementing an impeccable standard of build and finish, means the DX5 II won’t lower the visual tone of your system or your desktop. A selection of desktop Topping technologies designed to maximise sonic performance act as the cherry on top.

And no matter if you use it as a DAC, a preamp or a headphone amp, the DX5 II has an awful lot to recommend it where sound quality is concerned. It creates a big, open soundstage and organises it carefully. It’s detailed and dynamic in equal measure, and it controls low-frequency information to the point that rhythms are delivered with real positivity. It’s eloquent through the midrange, and its top-to-bottom frequency response is smooth too. In fact, there’s only a suggestion of overly bright treble response that represents a tiny fly in a great big vat of sonic ointment.

Topping DX5 II review: Price and release date

The Topping DX5 II on a light-wood table, showing the VU meter, ports and just-seen remote — (Image credit: Future)

Launched on June 10, 2025
Priced $299 / £299 / AU$499

The Topping DX5 II is on sale now, and in the UK it goes for £299. Those numbers apply in the United States too, where it sells for $299 (subject to tariff fluctuations) while in Australia it will set you back AU$499.

A quick comparison then: it's a fair amount of product for the money. FiiO's pocketable BTR17 portable Bluetooth DAC/headphone amplifier sells for just a little less, at around $219 / £179 / AU$329 – but it's a portable little beast rather than a 'desktop' option.

The USB DAC iFi GO Bar Kensei is more, at $499 / £449 / AU$769, while the five-star iFi hip-dac 3 is less, at $199 / £199 / AU$349. All of which is a roundabout way of saying, there's certainly a market for the Topping DX5 II at this price, if it can take care of business.

Topping DX5 II review: Features

ESS Sabre 32bit/768kHz and DSD512 DACs
Bluetooth 5.1 with aptX Adaptive and LDAC compatibility
Balanced and unbalanced outputs

If Topping has attempted to build the DX5 II down to a price, it’s in no way obvious from the way the device is specified. There are similar products costing a fair bit more than Topping is asking that don’t tick as many spec boxes.

Consider the array of inputs and outputs, for instance. The DX5 II can accept digital audio information via coaxial or optical (which both top out at 24bit/192kHz), USB-B (a giddy 32bit/768kHz and DSD512), or Bluetooth 5.1 with SBC, AAC, several aptX standards (up to and including Adaptive) and LDAC. It’s worth mentioning that Windows PC users will need to install a driver to make use of that USB-B socket. Once the digital audio information been converted to the analog equivalent (which I’ll get to in a moment) it can come out again via single-ended stereo RCAs or balanced stereo XLRs (for connection to powered speakers or the amplifier of a traditional stereo system), or via a trio of headphone outputs – balanced XLR, balanced 4.4mm and single-ended 6.3mm.

Conversion to analog from digital is handled by a couple of ESS Sabre ES9038Q2M two-channel DAC chips – one attends to the left channel, the other to the right. They include ESS Sabre’s latest ‘Hyperstream IV’ architecture that’s intended to suppress noise and deliver optimal dynamic range – and their native 32bit/768kHz and DSD512 resolution is about as hi-res as hi-res ever gets out in the real world. To further suppress noise and distortion, Topping has developed a bespoke current-to-voltage conversion module that should also make the DX5 II compatible with a very wide selection of headphones and powered speakers.

And on top of this, Topping has included its own ‘X-Hybrid’ headphone amplification technology. It’s a fully balanced four-channel design with three stages (discrete input, op-amp -based gain stage, discrete output). This optimised circuit topology is designed to offer extended dynamic range, optimum efficiency and low distortion – and it should mean the DX5 II has no problem driving even the most uncooperative and power-hungry headphones.

Now, the free ‘Topping Tune’ software: it was only available for Windows PC at the time of testing, but it’s now also available for Mac OS users and provides access to Topping’s new ‘PEQ’ (parametric equaliser) algorithm that allows control of bandwidth, frequency and gain across ten definable bands. It means multiple audio profiles can be created, saved and uploaded to the DX5 II, target curves can be defined and imported – and different profiles can be applied to specific inputs, so the ultimate sound of headphones or speakers can be individually tuned by the Topping.

Features score: 5 / 5

Topping DX5 II review: Sound quality

Great sense of space and detail
Dynamic and punchy when required
A hint of top-end brightness

In virtually every respect, the Topping DX5 II does straightforwardly impressive work. So much so, in fact, that I might as well deal with the one aspect where it doesn’t outright excel – which should leave plenty of space for me to explain just what’s so likeable about it.

The top of the frequency range is just a little flimsy and bright when compared to everything else that’s going on underneath it. There’s an overly bright quality to the treble reproduction here, a sort of latent edginess that means the DX5 II is just slightly pickier about partnering equipment than it otherwise would be.

And with that out of the way, let’s get to all the good stuff.

The DX5 II is an open, detailed and considered listen, with the sort of soundstaging ability that makes even a complex recording like The Birth and Death of the Day by Explosions in the Sky easy to follow on a granular level. This recording also allows the DX5 II to demonstrate its considerable dynamic headroom – the distance between the moments of greatest intensity and attack, compared to the quietest and most contemplative moments, is significant.

The Topping is also alert to the dynamics of harmonic variation, too – and, in fact, shows a great facility for detail retrieval in every circumstance. It can identify, reveal and quite carefully contextualise even transient or minor details in a mix. And this goes a long way towards creating the sensation that you’re in full receipt of everything a recording has to offer.

The tonality of the low frequencies and the midrange is tidy and naturalistic, and the frequency response from the very bottom to the very top is smooth and even. Low frequencies are deep and textured, and carry a huge amount of information along with very pleasing tonal variation – and they’re controlled at the point of attack, too, so rhythmic expression is assured. The DX5 II punches into bass sounds, rather than slurring, and it observes the decay of those same sounds very carefully too.

The midrange is equally well-realised. The voice during a 24bit/96kHz FLAC file of Ghostpoet’s Off Peak Dreams is characterful and attitudinal, and there’s a tremendous amount of fine detail regarding technique and tone revealed at the same time as information about intention and emotion. The Topping communicates through the midrange in the most articulate manner, and as a result voices always sound direct and positive.

All of the above is true no matter what you’re asking the DX5 II to do. As long as you take a moment’s care with your choice of headphones, as long as the system you’re introducing it into doesn’t share the same latent treble tendencies, it’s a deft and remarkably accomplished performer.

Sound quality: 4.5 / 5

Topping DX5 II review: Design

44 x 190 x 155mm (HxWxD)
Black, silver or white finishes
Properly built and finished

It’s become apparent lately that ‘desktop’ is a relative term – but Topping really means it when it describes the DX5 II as a desktop device. At a neat 44 x 190 x 155mm (HxWxD) it isn’t going to get in the way, even if your desktop is as untidy as mine.

The standard of build and finish is exemplary, and the DX5 II even feels good in a matte-finish, square-edged kind of way. The little indent around the rear of the fascia adds a tiny hint of visual interest, and the Topping looks very presentable in any of the black, silver or white finishes that are available.

Design score: 5 / 5

Topping DX5 II review: Usability and setup

2-in full-colour display
Remote control handset
Legible and sensible on-screen menus

There are some physical controls on the fascia of the DX5 II – they’re grouped to the right of the crisp, full-colour screen that occupies the centre. Three rectangular buttons take care of input selection, accessing set-up menus, and cycling through the various display options for that screen, while a larger turn/press dial takes care of volume and menu navigation.

Options for the screen consist of a ‘spectrum analyser’ (which is sure to remind readers of a certain age of a graphic equaliser from back in the day), a readout of volume level, file format and file resolution, or a virtual VU meter (which is one for readers of an even more certain age). There’s a choice of colour and adjustable brightness, but in every circumstance the display is legible and crisply rendered, so navigating menus is always straightforward.

The Topping is also supplied with a little remote control handset that is, predictably, a lot less visually interesting and a lot less tactile than the control interface on the device itself. And unlike the DX5 II itself, there’s no choice of finish available – it comes in traditional black.

Usability and setup score: 4.5 / 5

Topping DX5 II review: Value

Judge it on the physical size of the product and the DX5 II can seem quite expensive. Consider it in terms of its specification and it suddenly seems much more realistically priced. And then think about its functionality, its flexibility and the highlights of its performance and the Topping starts to look like a bit of a bargain.

Value score: 4.5 / 5

Should I buy the Topping DX5 II?

Attributes	Notes	Rating
Features	Comprehensively specified – it'll even work as a preamp	5/5
Design	Small, svelte and useful enough to slip onto even the untidiest of desks	5/5
Sound quality	Dynamic, punchy and detailed, if just a tad bright on occasion	4.5/5
Value	It would be wrong to argue with the sound-per-pound value here	4.5/5

Buy it if...

You want to up your desktop audio game
The difference the DX5 II can make to the sound of your laptop really needs to be heard

You have a traditional audio system that could do with some digital smarts
High-quality Bluetooth streaming can be yours, no matter how old-school your stereo system

You have some nice headphones that need the best bringing from them
The Topping is ready and able to drive the most demand and/or most high-achieving headphones around

Don't buy it if...

You have headphones that are lively at the top of the frequency range
The resulting sound could easily be interpreted as ‘too much of a good thing’

Topping DX5 II review: Also consider

It’s pretty plain that the iFi Zen DAC 3 is the product the DX5 II needs to topple – or, at the very least, compete hard with if it’s going to be a viable option.

The iFi is a nice-looking, properly built and handily specified device, and it’s capable of extremely clean, confident and full-bodied sound. Which, of course, are all things that equally apply to the Topping machine…

How I tested the Topping DX5 II

I tried a bit of everything, basically – I used the DX5 II on my desktop, connected it to my laptop via USB, and plugged in a pair of high-end IEMs via the balanced 4.4mm headphone output.

I connected it to my reference stereo system using its single-ended RCAs and its balanced XLR outputs – this way I was able to use it as a DAC for my CD player and, with it wirelessly connected to my smartphone, as a Bluetooth receiver. And I tried out these various roles and functions for a working week or more.

First reviewed: November 2025
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