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‘Looks far more expensive than it is’ — FiiO’s an automatic turntable has several bright ideas to light up your vinyl-loving life
4:15 pm | March 12, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Tags: | Comments: Off

FiiO TT13 review: two minute review

The FiiO TT13 is an impressive and attractive belt-driven turntable with fully automatic operation to take the fear out of playing your records. It's made from aluminium alloy, comes in a choice of black or silver, features integrated LED lighting, and comes with an Audio-Technica AT3600LA cartridge.

What else does the TT13 offer, to recommend it as one of the best turntables we've tested? It has Bluetooth with SBC/aptX/aptX LL/aptX HD but not AAC and it has its own integrated preamp — although unlike similar turntables the preamp can't be switched off. It supports both AC and DC power supplies.

This is a distinctly modern turntable with good clarity and warmth and a bright sonic signature; to my ears it was a little light at the very low end but bass was still clear and well defined.

One thing to note: FiiO's TT13 turntable is clearly aimed at vinyl beginners and is great value for money, but if you're a turntable tinkerer this isn't one for you: the tonearm is designed specifically for Audio-Technica cartridges and lacks balance adjustment to support alternatives.

FiiO TT13 review: price and release date

FiiO TT13 turntable shot from above with green illumination

The integrated lighting is seamless, with a choice of 7 colors and 3 brightness levels (Image credit: Future)
  • Released October 2024
  • Priced $249 / £239 / AU$249

The FiiO TT13 was announced in May 2024 and released in October 2024. The turntable's list price was $249.99 / £239.99 / AU$248, and in the US there was also a non-Bluetooth model for $239.99. The version sold in the UK and most US retailers is the Bluetooth model but make sure you check the specs when buying; I haven't seen any non-Bluetooth ones in the usual retailers but it's worth confirming that you're buying the Bluetooth one.

As usual with FiiO this is a very competitively priced product: it's coming in at slightly more than the Audio-Technica AT-LP3XBTBK and slightly less than the Sony PS-LX310BT, both of which are also automatic turntables with Bluetooth.

FiiO TT13 review: features

FiiO TT13 turntable rear view showing connections

Things are simple round the back: two line outs (but no phono outs) plus support for both AC and DC power. There's also a balance adjuster and a ground, as well as a record size switch. (Image credit: Future)
  • Fully automatic operation
  • Integrated preamp delivering up to 800mV at 1kHz
  • Two op-amps for warmth and low noise

The FiiO is fully automatic and electronically switchable between 33 and 1/3 and 45 RPM, and it comes with a Audio-Technica AT3600LA cartridge.

The TT13 features a built-in phono preamp that can put out up to 800mV at 1kHz, which is more than double the output of some rivals, and that enables you to connect your turntable directly to a pair of active speakers without requiring a separate phono stage. The pre-amp is built around two JRC5532 op-amps that deliver warmth and low noise.

The Bluetooth module here is more advanced than many affordable Bluetooth turntables that stick to the familiar SBC/AAC codecs. The TT13 uses Qualcomm's Bluetooth module for SBC plus aptX, aptX Low Latency and aptX HD.

While this is primarily an entry-level turntable, the TT13 can also use an external power supply for more audiophile setups. It supports both AC (100-240V) and DC (12V-1A). If both are connected, AC takes precedence.

The platter can be illuminated in a choice of 7 colors and in a nice touch the status lights and FiiO logo take the same color.

Features score: 4 / 5

FiiO TT13 review: sound quality

close-up of the controls on the FiiO TT13 turntable

Controls are simple. The power button doubles as a toggle for the illumination system, and the status lights match your chosen color. (Image credit: Future)
  • Clear, warm and entertaining sound
  • A little light at the very low end
  • Bluetooth doesn't include AAC

The TT13 is an excellent-sounding turntable that delivers the kind of sound we've come to expect from FiiO: clear, detailed and entertaining. It's perhaps a little light at the very low end, especially with older rock and indie LPs, and if you're going to be listening over Bluetooth you'll probably want to boost the bass a little bit.

As with other turntables using the same Audio-Technica cartridge it's a good all-rounder balancing clarity with entertainment. While the AT cartridge isn't the brightest in the high frequencies the TT13 is still airy at the top end, and it's particularly entertaining on acoustic and sparsely arranged instruments: while I listened to various artists and genres I had the most fun listening to Talk Talk, mandolin-era REM and Taylor Swift's folky albums. With more rocky and electronic material I found the low end slightly lacking, although nothing a brief EQ tweak couldn't fix and definitely not a deal-breaker.

The Bluetooth module here doesn't support AAC, so you won't get the best sound quality on Apple headphones or earbuds. For other headphones, earbuds and active speakers the TT13 will try to use the best codec available, but that choice isn't controllable from the turntable itself and there's no indication of what codec you're using.

Sound quality: 4 / 5

FiiO TT13 review: design

FiiO TT13 turntable illuminated logo close up in blue

The illuminated FiiO logo doubles as a Bluetooth status light and a repeat play indicator. (Image credit: Future)
  • Solid metal construction looks particularly good in silver
  • Integrated lighting is lots of fun
  • Some unusual decisions round the back

As someone who grew up in a house of silver separates, I love the look of this turntable in its silver variant (black is also available). FiiO loves a bit of aluminium, and here it's used to great effect with flush-mounted buttons on the top surface and polished metal everywhere. The use of metal means it's a solid device — it weighs a hefty 4kg — and it helps reduce vibration and unwanted noise too.

The most dramatic bit of design is the integrated lighting that illuminates the platter with a choice of 7 different lighting colours. You can adjust the brightness via the supplied remote control and turn it off altogether if you wish. The FiiO logo at the top left of the unit lights up too, doubling as a status light for your Bluetooth connection and for when repeat play is enabled.

There are six buttons on the front top of the plinth: power, speed and pairing on the left, and start/stop, repeat and up/down on the right.

Round the back you'll find a switch to select between 7 and 12-inch records; RCA line outputs; a ground connector; and both DC and AC power sockets. There's also an adjustable potentiometer to adjust the left-right channel balance if it's not quite right — an odd thing to have in a turntable seemingly aimed at vinyl beginners.

Design score: 4 / 5

FiiO TT13 review: ease of use and setup

  • Don't connect it to your phono inputs
  • "Plug and go" design; easy to get started
  • Fully automatic but don't forget the record size switch

Setting up the turntable is simple, and in a nice touch the belt is already wrapped around the platter and has a little paper pull tag that you use to drag the belt over the spindle. The only irritation I encountered was too-strong adhesive on the two "remove this before use" stickers, which required getting the Goo Gone out to remove the sticker residue.

The TT13 comes with a power cable, an RCA cable and a remote control, and the RCA cable also includes a ground wire for your amp. Unusually for a turntable with an integrated phono stage there isn't a bypass switch so you can't turn the preamp off and connect the TT13 to the phono inputs on your amplifier: you'll need to use line level inputs instead. Don't connect it to your amplifier's phono inputs, which are designed for much lower voltages.

Automatic turntables are the easiest turntables to use as they move the tonearm into position and gently lower it into place. The buttons to do that are clear, easy to identify and nicely tactile, and the remote control is simple. Bluetooth pairing is easy too: just press and hold the Pairing button, set your headphones or earbuds to pair and that's all you need to do.

Changing the lighting is simple too. You can cycle through the colours by pressing the power button, and the remote has a brightness button that steps through the three brightness stages and also turns the illumination off. In addition to the lighting under the platter there's an illuminated FiiO logo that doubles as a pairing status indicator, flashing while it seeks your headphones or active speakers.

Although there's an electronic speed toggle on the front to switch between 33 and 45 RPM, there's also a record size selector switch. That's round the back.

Usability and setup score: 5 / 5

FiiO TT13 review: value

  • Competitively priced and solidly made
  • Limited upgradability
  • Lighting makes a nice talking point

This is a really tempting buy for vinyl beginners: it looks great, the red illumination option is a perfect match for IKEA's Kallax fabric boxes and it works nicely with Bluetooth headphones and speakers. It's not the cheapest turntable featuring this Audio-Technica cartridge by any means but it's competitively priced, solidly built and very enjoyable.

Value score: 4 / 5

Should I buy the FiiO TT13?

Attributes

Notes

Rating

Features

Fully automatic, good Bluetooth options and a useful remote control.

4/5

Design

Looks more expensive than it is and feels very solid. It's very easy to use.

5/5

Sound quality

Clear, warm and entertaining but slightly light at the low end.

4/5

Value

Competitively priced and the lighting is a big plus, but limited upgradeability.

4/5

Buy it if...

You love a bit of metal
The TT13 looks and feels much more expensive thanks to the extensive use of metal.

You want to light up your life
The integrated LED lighting is entertaining without being garishly over the top.

You like to take it easy
This is a fully automatic turntable and its remote control means you don't even need to get up from the sofa.

Don't buy it if...

You have an amazing preamp
The preamp in the FiiO TT13 isn't switchable: it's FiiO's way or the highway. It's a nice-sounding pre-amp, but if you've already got something better this probably isn't the turntable for you.

You want to change things
This is a plug-in-and-go turntable without adjustable tonearm balance, anti-skate or tracking adjustment.View Deal

You've got a stack of 78s
Like many modern turntables the TT13 is for 45 and 33 and 1/3 records only.View Deal

FiiO TT13 review: Also consider

The $179 / £149 / AU$289 Audio-Technica AT-LP60XUSB is even more affordable than the TT13, but it doesn't look as premium or offer integrated lighting. It's fully automatic with Bluetooth 5.0, and when we reviewed the AT-LP60BT variant we liked it a lot: it's a great starter turntable.

Another key rival here is Sony's $199 / £199 / AU$399 PS-LX310BT, which is another fine starter turntable. The Bluetooth module is quite old, though, with Bluetooth 4.2 rather than the TT13's 5.2.

How I tested the FiiO TT13

  • Onkyo amp with wired open and closed back headphones and B&W bookshelf speakers
  • Bluetooth via iFi GO Blu Air

I tested the FiiO TT13 over three weeks across a range of genres and eras. On headphones I used an iFi GO Blu Air Bluetooth adapter and Sennheiser DT 990 Pro open-back / DT 770 closed-back headphones; on speakers I listened via my Onkyo A-9010 amplifier and Bowers & Wilkins 607 S2 speakers.

I tested Sennheiser’s new USB-C wired earbuds and was wowed by their stellar sound, luxurious looks, and legendary low price
2:00 pm | March 10, 2026
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Sennheiser CX 80U: review

Recently, one of my esteemed colleagues shared a brand new term with me: “friction-maxxing”. The term – coined by columnist Kathryn Jezer-Morton – concerns the practice of rejecting modern digital conveniences, and building tolerance for discomfort while resisting the temptations of technological ease. I assure you, all of this is relevant to my verdict on the retro-feel Sennheiser CX-80U wired earbuds — just stay with me a little longer.So, all of this friction-maxxing talk got me thinking about tech and its role in our lives. Previously, we’d head to a Blockbuster or a local library to hunt down a movie we want to see, whereas we now bear witness to an unending wall of films on Netflix. Once we would have gone to a record store or entertainment outlet, and purchased a new vinyl pressing or CD, but now we just stream tunes via Spotify. And we used to queue up outside video game stores eagerly awaiting a new release, while now, you can pre-order a title from a digital store instantaneously.We’ve taken so many inconveniences away, but has it come at the expense of the human experiences that stick with us forever? Maybe. But all is not lost. We can still bring some friction back into our lives. For instance, Sennheiser is here, and it’s plugging the wires back into your earbuds, and transporting you away from the ultra-convenient Bluetooth earbuds that dominate today’s market. Yes, I present to you, the Sennheiser CX 80U – a budget-friendly pair of USB-C in-ear headphones, aiming to compete with the best wired earbuds in their price bracket.The Sennheiser CX 80U are a USB-C adaption of 2021’s Sennheiser CX 80S – essentially the same buds, but ones that use a 3.5mm connector. Like the CX 80S, Sennheiser’s new earbuds use 9.7mm dynamic drivers, with a frequency range of 17Hz-20kHz. The result? Clear full range sound, with powerful bass, clean mids, and vibrant treble. Given that they’re on sale for less than $40 / £35, I was really impressed with the sonic capabilities of these buds and, after two weeks of testing, I’d argue that they’re among the best I’ve tried in the budget category.When I tuned into Timeless by Shinchiro Yokota, I was treated to full-sounding, impactful bass and exciting yet controlled percussion in the treble range. Piano and vocal chops came through with plenty of clarity in the mids too, and as the track built, the individual layers never got muddied or convoluted. I was especially pleased with the sense of space that treble sounds have. Highs often sound as if they’re operating in a well-defined pocket, giving them plenty of room to express themselves. For me, this created a great sense of immersion in my tunes, something that many budget rivals fail to offer. Even at peak volumes, the CX 80U’s treble never sounded harsh or tinny, and solid dynamics were maintained at all times.As a regular user of the Sennheiser IE 200, I like the way that Sennheiser approaches the low-end on its more budget-friendly products. It never feels like bass is bloated or over-emphasized for an attention grabbing, but unbalanced sound. Instead, products like the IE 200 favor an agile, clear interpretation of low-end sounds – a punchy sound, rather than an untamed one. And it’s a very similar story on the CX 80U.These wired buds offer responsive, clean bass that grabs your attention without spoiling the party for sounds in the mid and treble ranges. For instance, when I tuned into Fascinator by Max Dean, although the sub-bass was a little subdued, mid-bass sounds were rapid and full-sounding, never sounding lethargic or ‘boomy’. It would be rude not to give the mids a bit of airtime too, so let’s discuss them for a bit. Now, I’ll be upfront, I don’t think you’re getting the most nuanced or detail-oriented mids around with these earbuds. However, they certainly sound clear, and well balanced and very robust for buds in this price-range.For instance, when I listened to Ventura Highway by America, acoustic guitars in the intro came through with beautiful tonal accuracy, and sounded surprisingly expressive too. But as vocals entered the mix, I couldn’t help but realize that they didn’t sound perfectly separated from those guitars, and lacked the definition in the mix supplied by pricier rivals. This really is a nitpick, though. These budget-friendly buds sound absolutely fantastic, and I’d never expect them to compete with $100 / £100 models.

Sennheiser CX 80U earbuds with different-sized eartips

(Image credit: Future)

I’ve spoken about sound pretty extensively now, so let’s talk about something else that will affect your enjoyment of these buds – their comfort. Now, I have to say that I found the CX 80U to feel very pleasant in-ear. I happily engaged in multi-hour listening sessions, and never experienced discomfort or irritation. For reference, I used the medium-sized eartips, although small and large alternatives are included in the box, helping you to find your perfect fit.And getting that ideal seal will be pretty important if you want to enjoy the CX 80U at their best. With the right fit, I didn’t only unlock high-level comfort, but surprisingly strong passive noise isolation. When people were chattering away in my office, I genuinely couldn’t hear a word they were saying at around 70% listening volume. On top of that, typing sounds and doors closing barely broke through at all.That’s pretty amazing when you consider that the CX 80U don’t use fancy foam eartips or any particularly advanced technologies to keep noise out. Sure, they won’t stop you from hearing surrounding traffic or the rumble of a jet engine if you’re taking a flight, but they’ll still dampen surrounding clamors nicely, and that in itself is a major plus.Sennheiser’s in-ears are well designed in just about every other way too. For instance, I love their classy look, which is marked by rounded buds, attractive silver details, and slim wires. There’s an in-line controller here too, which isn’t too close to the face or too far down, and is attached to the right bud, so you know which side is which.But unfortunately, the controller seems to house just about every issue I have with the Sennheiser CX 80U – even though my critiques are few and far between. First of all, I was puzzled by the lack of volume controls. There’s a single button that can be used to pause or play tracks or take calls, but that’s all. That meant that whenever I wanted to change volume, I had to pull my phone out – not ideal when you’re on the go.My second point of criticism – which is admittedly pretty minor – concerns the controller’s built-in mic. I tried recording a voice note, and realized that there was noticeable background static in the recording throughout. My voice was decently clear, in fairness, and the mic isn’t bad overall, but it won’t provide the best call quality around.But that’s about where my complaints end. Sure, it would be nice if the CX 80U had an IPX4 rating for some protection against raindrops, for instance, but it’s pretty common for buds in this price range to leave waterproofing out. Otherwise, I have nothing but good things to say about the Sennheiser CX 80U. They sound spectacular for their sub-$40 / £35 price-tag, they’ve got a classy look, and their adoption of USB-C makes them a great fit for modern smartphones and laptops. If you want to bring some friction back into your life with a budget-friendly pair of wired buds, the CX 80U would be my top recommendation.

Sennheiser CX 80U earbuds

(Image credit: Future)

Sennheiser CX 80U review: price and release date

  • $39.95 / £34.99 (about AU$57)
  • Launched in January 2026

The Sennheiser CX 80U were announced in January 2026, alongside the Sennheiser HD 400U USB-C wired headphones. They have a list price of $39.95 / £34.99 (about AU$57), planting them firmly in the budget category. They’re available in a single black and silver colorway.

Sennheiser CX 80U review: specs

Drivers

9.7mm dynamic

Weight

0.5oz / 15g

Frequency range

17Hz-20kHz

Waterproofing

Not stated

Connectivity

USB-C

Controller on the Sennheiser CX 80U

(Image credit: Future)

Should I buy the Sennheiser CX 80U?

Attributes

Notes

Rating

Features

Surprisingly good noise isolation, mic is just OK, and controller could use volume buttons.

3.5/5

Sound quality

Clean, agile bass, clear mids, expressive treble – very solid detail for the price.

4.5/5

Design

Classy look, impressive build quality, no waterproofing.

4.5/5

Value

Very cheap and sound more premium than you’d expect – you can’t ask for much more.

5/5

Buy them if...

You want good sound at a low cost
The Sennheiser CX 80U are some of the best-sounding wired earbuds I’ve tested in their price category, offering powerful bass, clear mids, and expressive treble. For less than $40 / £35, they really are worth every penny.

You’ve got an eye (and an ear) for detail
For the price you pay, the Sennheiser CX 80U look seriously classy. Their metallic details and rounded buds make them very easy on the eye, and their comfortable fit ensures that they’re strong performers in the design category.

Don't buy them if...

You want ultimate convenience
As much as I loved using the Sennheiser CX 80U, I wouldn’t say they were the most convenient buds I’ve tested. The main reason for that was their lack of volume adjustment buttons on the controller. This would have made using them on the go a lot easier, as I had to take my phone from my pocket to crank the volume up (or dial it down) every time.

You need your buds to be waterproof
There’s no mention of a waterproof rating for these wired buds, which is pretty common for Sennheiser audio gear. If you want splash-resistant in-ears, I’d recommend trying out the Skullcandy Set USB-C.

Sennheiser CX 80U review: also consider

Sennheiser CX 80U

SoundMagic E80D

Apple EarPods USB-C

Price

$39.95 / £34.99 (about AU$57)

$44 / £39.98 / AU$66

$19 / £19 / AU$29

Drivers

9.7mm dynamic

10mm dynamic

Dynamic

Weight

0.5oz / 15g

0.6oz / 16g

1.1oz / 30g

Frequency range

17Hz-20kHz

15Hz-22kHz

20Hz-20kHz

Connectivity

USB-C

USB-C

USB-C

SoundMagic E80D
SoundMagic may not be quite the household name Sennheiser is (unless you're an audiophile on a budget), but the company produces a lot of great quality affordable audio gear, including the SoundMagic E80D USB-C earbuds. With detailed audio, impressive noise isolation and a genuinely comfortable fit, these buds have a lot going for them. Read our full SoundMagic E80D review.

Apple EarPods USB-C
Here’s a super-cheap pair of wired earbuds that you’ve probably come across before: the Apple EarPods USB-C. These buds have a more open design, leaving out the in-ear seal of the CX 80U and SoundMagic E80D. They’re sleek, well-made, and have a solid built-in mic too. They sound OK for the price, with solid low-end weight, but you won’t get the detail or nuance of Sennheiser’s buds. Read our full Apple EarPods USB-C review.

How I tested the Sennheiser CX 80U

USB-C connector on the Sennheiser CX 80U

(Image credit: Future)
  • Tested for two weeks
  • Used in the office and while out and about
  • Predominantly tested using Tidal

I spent two weeks testing the Sennheiser CX 80U, and took them with me just about everywhere I went. I tested them at home, at the office, and even on walks, to really grasp their noise isolation capabilities.Although I used them for streaming the odd bit of video, I predominantly used the CX 80U for music listening. When playing tunes, I predominantly used Tidal, and had them connected up to the Nothing Phone (4a). To begin with, I made sure to run through our TechRadar testing playlist, which features tunes from a wide array of genres. However, I also made sure to tap into some tracks from my personal library.More generally, I’ve spent two years reviewing gadgets here at TechRadar, and audio gear is a key focus of mine. I’ve reviewed a lot of wired earbuds like the Master & Dynamic ME05 and the JBL Tune 310C, but I’ve also tested IEMs, like the Sennheiser IE 200 and IE 600. On top of that, I’ve gone hands on with some of the best noise cancelling headphones, like the Sony WH-1000XM6, Dolby Atmos soundbars such as the Samsung HW-Q800F, and Bluetooth speakers like the Marshall Kilburn III.

‘Bass-heads need not apply’: I tested a polished-sounding wireless speaker with an impeccable sense of space — it’s just a shame that it flubs the sub
4:00 am |
Author: admin | Category: Audio Computers Gadgets Hi-Fi Multi-Room Wireless & Bluetooth Speakers | Comments: Off

Bluesound Pulse Flex: two-minute review

The Bluesound Pulse Flex is a reboot of the brand’s 2018 wireless speaker. Capable of hi-res playback and being part of a multi-room setup, its most obvious rival is the Sonos Era 100. But is it capable of squaring up to Sonos’s entry level option?First off, it deftly handles the separation of various elements in the mix. Listening to Nervous Tics by Maribou State, I was impressed with how judiciously it balanced each instrument, with the guitar and the arpeggiated synth given plenty of room. Vocals especially always felt like they were given their due deference, sounding fantastically clear and soaring above the rest of the mix.A big part of this is that the Pulse Flex dedicates plenty of space in the mix for the mids to express themselves, rather than boosting bass and treble as a cheap way of adding punch. Playing Cirrus by Bonobo, I was immediately struck by how energetic the Kalimba sounded and the satisfying resonance and reverb to the chimes. Honestly, its performance in this frequency range is as good as I’ve heard from any of the best wireless speakers in this price range.That’s not to say it doesn’t have any sonic shortcomings though. For example, as it doesn’t have stereo drivers, it’s only capable of mono playback unless you pair it with another Bluesound speaker, meaning you’re not going to get as satisfying a soundstage as you might otherwise. The speaker’s also surprisingly quiet – I rarely need to run most speakers at more than 50% volume, whereas I had to crank the Pulse Flex at around 65% just to get a similar level of loudness out of it.There are also some areas of the mix it handles less well than the mids. For example, when playing Us (Pola & Bryson Remix) by Alchemist, I was immediately struck by how subdued the sub felt, particularly compared to a more bass-heavy wireless speaker like the Sonos Era 100. On occasion, transients like hi-hats can also feel like they’re lacking in crispness and bite, suggesting the treble is a little muted.Of course, this is where many speakers would fall back on their EQ settings as a defence, reasoning that at least you can compensate for their audio weaknesses here, should you wish. Unfortunately for the Pulse Flex, its EQ settings are seriously limited, only allowing you to boost or reduce bass or treble. It also doesn’t have any form of built-in room calibration, meaning it won’t compensate for unfavorable placement.But while it’s a little lacking in audio features, it makes up for it in terms of connectivity options. Wireless options are impressive enough, with integrated streaming apps, AirPlay 2 and Bluetooth aptX HD. However, it’s the variety of wired inputs that really impressed me – it offers a staggering range for a speaker of this price, including a 3.5mm analog jack, optical in, USB for connecting external drives and USB-C for running a digital input from your PC or laptop.This smart physical design is echoed elsewhere throughout the Pulse Flex’s build. I’m a big fan of its styling, with its flattened front face and attractive colorways helping it to stand out from the crowd of interchangeable wireless speakers. Meanwhile, the acoustically transparent fabric of its grille and matte plastic of its body feel wonderfully tactile. I only wish that its buttons were slightly less fine, as they’re not as pleasant to press as circular buttons would be.All things considered, the Bluesound Pulse Flex is an effective speaker for its $349 / £279 price. It offers excellent resolution and handles crowded mixes pretty deftly, as well as making vocals and other mid-range elements shine. Unfortunately, it does lack where sub is concerned and offers too few sound-tweaking features though, so if you’re into a bassier sound or just like tailoring audio to suit your preferences, you might be better off with one of the best wireless speakers instead.

A closeup of the buttons on the top of the Bluesound Pulse Flex, showing the skip forward, skip forward, play / pause, volume up and down and three shortcut buttons.

(Image credit: Future)

Bluesound Pulse Flex review: price and availability

  • Launched on December 16, 2025
  • List price: $349 / £279

Having launched on December 16, 2025, the Bluesound Pulse Flex is available direct from Bluesound, as well as from third-party sellers such as Amazon. Its list price is $349 / £279, making it a shade more expensive than the Sonos Era 100, which originally had a list price of $249 / £249 before dropping down to $219 / £199.For that price, you get your choice of three colorways: Black / Charcoal, White / Pebble Grey and the stunning looking White / Tan finish. Each speaker is mono though, so if you’re dead set on having a stereo, you’ll want to budget for two units, not just one.

A closeup of the Bluesound Pulse Flex's ports, showing its power and Ethernet ports.

(Image credit: Future)

Bluesound Pulse Flex review: specs

Speaker drivers

1 x 0.75-inch tweeter 1 x 4-inch woofer

Amplification

Smart DSP amplifier

Dimensions

5.15 x 7.73 x 4.37 inches / 131 x 196 x 111mm

Connectivity

Wi-Fi 5, Bluetooth 5.3 aptX HD, 3.5mm optical / analog combo, USB-C, USB-A, Ethernet

Streaming support

BluOS app, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, Roon Ready

Other features

Multi-room groups, loudness optimization, tone controls, replay gain, mono / left / right settings, volume limits

The Bluesound Pulse Flex from behind tipped up at an angle so you can see its ports.

(Image credit: Future)

Bluesound Pulse Flex review: features

  • Great range of connectivity options
  • Basic EQ settings
  • No room calibration tools

Setting up the Bluesound Pulse Flex is pretty simple. Like many other wireless speakers, you simply need to connect to its built-in Wi-Fi using your device’s settings, then authorize it to use your chosen Wi-Fi network. Admittedly, this process failed the first time I tried it but the second time it connected with minimal drama, so I’ll give it a pass here.The Bluesound app is easy to use overall and offers decent functionality. It allows you to manage your streaming services – including Amazon Music, Deezer, Spotify and Tidal – and group or ungroup all of your Bluesound speakers into a multi-room system. Additionally, it allows you to create presets for its three preset buttons, for example triggering your fave playlist on Tidal at a single tap.Unfortunately, there are some areas that are much more limited, particularly when it comes to sound-tweaking features. The EQ settings are the most rudimentary you’re likely to get in a wireless speaker, literally only allowing you to boost or duck treble or bass by 6dB either way. There’s no six- or nine-band EQ available here, let alone the innovative parametric EQ offered by Wiim’s speakers, which really limits how much you can rebalance and refine its sound profile. There’s also no room calibration here. The "flexible placement options" I originally hoped would refer to algorithmic calibration just mean it can be placed on a table, wall or stand-mount. Meanwhile, Bluesound says that its Front Row feature "shares several traits with the equalization principle of loudness compensation". I’m assuming this milquetoast statement means that it is essentially loudness compensation, but your guess is as good as mine here.

A closeup of the Bluesound Pulse Flex's ports, showing its Ethernet, USB-A port, USB-C port and optical / analog in.

(Image credit: Future)

One area I will absolutely give the Pulse Flex its dues though is when it comes to connectivity. For a speaker at this price point, it offers an absolutely chasmic range of connectivity options. Not only do you get multiroom connectivity and hi-res audio at up to 24-bit/192kHz over Wi-Fi but it also offers Bluetooth aptX HD, meaning you can still stream in near lossless quality from devices that don’t offer AirPlay 2. But, perhaps even more impressive, it offers a whole load of physical ports. Its optical and 3.5mm inputs allow you to hook up digital and analog sources with ease, while its USB-A port lets you play content from an external drive and its USB-C connection means you can stream digital audio straight from your laptop or PC. In comparison, the slightly cheaper Sonos Era 100 only offers a single USB-C port and even then you’ll need the sold-separately Sonos Line-In Adapter to plug anything into it.All in all, the Pulse Flex has some strong features for its price. But it really is far behind the competition when it comes to sound polishing functionality – these days, I’d expect more granular options than just bass or treble boost and reduction.

  • Features score: 3.5 / 5

The Bluesound Pulse Flex at a 3/4 angle on a stone effect counter in front of a pink background.

(Image credit: Future)

Bluesound Pulse Flex review: sound quality

  • Well-rounded mids and decent treble
  • Effective instrument separation
  • Lacking in the low-end
  • Quite quiet compared to other speakers

Of course, lackingcomprehensive EQ settings is less of an issue if a speaker nails its sound in the first place. The Bluesound Pulse Flex performs reasonably well on this front, although it is lacking in one or two significant areas.On first playing the Bluesound Pulse Flex, I was impressed with how gorgeously well-rounded the mid-range frequencies were. Playing No Skin by Frameworks, I loved how clearly expressed and resonant those mallet noises were, while the vocals soared clear of the mix. There’s a real warmth and presence to these frequencies that suggest the Pulse Flex doesn’t scrimp in the lower-mid range, a real pet peeve of mine.When it comes to bass though, it’s immediately apparent that something is lacking. Spinning Us (Pola & Bryson Remix) by Alchemist, I was pleased to hear that the torn edges of its distorted bassline had a real sense of definition when they ripped right up into the lower mids. But there’s often a palpable void where the sub would be, making you keenly aware you’re hearing a reproduction of the recording, rather than a perfect facsimile. A little more emphasis on the low end here would just help ground everything a little better and place it on a firmer footing.The treble is much less problematic, at least on first impression. Few songs are as good at diagnosing a flaky high end as Go Your Own Way by Fleetwood Mac and certainly it didn’t betray any unnecessary sharpness or limiting. Again the vocals sounded fantastically well-defined, although this did come slightly at the expense of the guitars – these usually sound as taut as piano wire, so it does feel like the treble is occasionally sacrificed on the altar of that expressive mid-range.Generally, I found the Bluesound Pulse Flex was pretty tolerant of lower quality recordings, which is a real plus if you’re likely to use it in Bluetooth mode – especially if your device doesn’t have Bluetooth aptX HD. Yes, I could detect a bit of downsampling on elements like hats and cymbals and it could be a little less dynamic than I’d like but it honestly wasn’t that different to some of the Bluetooth speakers I’ve tested.

A closeup of the Bluesound logo on the front of the Bluesound Pulse Flex; its LED indicator is lit up in green.

(Image credit: Future)

Give it a slice of hi-res audio and it really shines though. Playing Wasting My Young Years by London Grammar on Tidal’s hi-res tier, it really communicated the gorgeously honeyed timbre of the vocals and yet didn’t crush the piano or guitar too much, allowing both elements to interplay with the long reverberant tail of the vocals. It’s a spacious sound that really allows instruments plenty of room to express themselves.It is worth noting though that this speaker is mono, unlike rivals like the Sonos Era 100 – as a result, its soundstage is naturally very one dimensional. That’s a shame as the extra width could really help carve out a distinct space for each element. And yes, you could pair two into a stereo pair but that means spending twice the price, which really changes the value you’re getting out of the speaker.One other minor criticism I have of the Pulse Flex is it’s a bit of a shrinking violet. While some affordable wireless speakers can be overconfident in terms of their output levels, the Pulse Flex seemed a little on the quiet side to me. While I rarely ever play the Sonos Era 100 louder than about 50% volume, I had to boost the Bluesound’s speaker up to 65% - 70% just to get the same subjective volume. Yet if I cranked it up a few more notches to 80% volume, it quickly started to sound harsh and a bit squeezed, even if it wasn’t quite actively limiting yet.All in all, the Pulse Flex’s sound quality is good. Don’t get me wrong: my socks remained unblown when it came to either bass or volume but it’s performance in the mid-range is surprisingly capable and I liked how deftly it handled the dynamic separation of different instruments. Vocals in particular sound fantastic for a mid-price speaker, so if you’re not as bass-obsessed as I am, you’ll likely find it serves you well.

  • Sound quality score: 4 / 5

The Bluesound Pulse Flex from an overhead angle on a stone effect counter in front of a pink background.

(Image credit: Future)

Bluesound Pulse Flex review: design

  • Unique design
  • Chic colorways
  • Buttons not the most comfortable

Unboxing the Bluesound Pulse Flex, I found its look to be pretty refreshing. In the main part, I think that’s because it eschews the basic cylinder shape that’s become almost ubiquitous in wireless speakers at this price point. Instead, it has a flattened front face – from above, its cross-section gave me gumdrop vibes – making it perfect for nestling into a corner and projecting its sound into the room.And this flexibility is supported by its Lilliputian size. At 5.15 x 7.73 x 4.37 inches / 131 x 196 x 111 mm, it’s more the size of the Sonos Era 100 than a beast like the Wiim Sound. And weighing in at just 3.55lbs / 1.61kg, it’s not particularly heavy either – not only is that less than the Era 100 at 4.45 lbs / 2.02kg, it was light enough I could easily pick it up and reposition it with one hand.Elsewhere, its design is a little less adventurous, but still appealing. Both its top and bottom are fashioned out of tactile matt plastic, while its drivers are covered with a fine, acoustically transparent fabric grille – Bluesound’s data sheet alleges this is removable but honestly I couldn’t work out how and felt like I was going to break it every time I tried.

A closeup of the buttons on the top of the Bluesound Pulse Flex, showing the skip forward, skip forward, play / pause, volume up and down and three shortcut buttons.

(Image credit: Future)

I’m a big fan of the colorways on offer though. Black / Charcoal looks a little basic to me but the White / Pebble Grey version I tested here is stylish enough. And I flat out love the White / Tan finish, as it would be easy to match with a warm decor.Along the top surface, the Bluesound Pulse Flex has the standard array of buttons, covering increasing and decreasing volume, skipping forward and backward and play / pause. There are also three shortcut buttons, which work nicely – using the app, I set one to launch our testing playlist in Tidal and it worked pretty seamlessly. But while the buttons themselves are pretty responsive, giving nice clicky feedback, I’m not totally sold on the shape of them, with their slim lines feeling a little too angular under your fingertips.The good news is those buttons aren’t your only option for controlling the Pulse Flex. It’s also compatible with the Bluesound RC1 Remote Control, meaning you can operate it from the comfort of your couch. The bad news? It’s sold separately so you’ll have to spend an additional $69 / £49 if you want to get your mitts on it.

  • Design score: 4 / 5

The Bluesound Pulse Flex from behind on a stone effect counter in front of a pink background.

(Image credit: Future)

Should I buy the Bluesound Pulse Flex?

Attribute

Notes

Score

Features

Excellent connectivity like Bluetooth aptX HD, analog / optical in and USB-C. But EQ settings are very basic and there’s no room tuning.

3.5 / 5

Sound quality

Offers hi-res, dynamic sound with well-rounded mids. Bass is a little lacking though and it’s quieter than most speakers.

4 / 5

Design

Lightweight, attractive design with some gorgeous colorways on offer. Buttons work well, although feel less tactile than they could be.

4 / 5

Value

Fairly reasonable price for its quality, although it’s more expensive than the Sonos Era 100, while not offering substantially better sound.

3.5 / 5

Buy it if…

You want polished sound
Not only is the Pulse Flex capable of hi-res playback but it has a pretty polished mid-range, making many instruments and vocals in particular shine.

You want to connect a lot of sources
The Pulse Flex offers a seriously broad range of connectivity options on top of its wireless connectivity, including a 3.5mm jack, optical in, and USB-A and USB-C ports.

Don’t buy it if…

You’re a bass fanatic
The Pulse Flex is a little lacking in the low end. So if you’ve got a soft spot for sub-bass frequencies, it’s probably not going to scratch that itch.

You want advanced sound features
Not only does the Pulse Flex swerve any room calibration tech, but its EQ settings are really quite basic, only allowing you to boost or reduce bass or treble.

Bluesound Pulse Flex review: also consider

Bluesound Pulse Flex

Sonos Era 100

JBL Authentics 200

Speaker drivers

1 x 0.75-inch tweeter 1 x 4-inch woofer

2x tweeters, 1x midwoofer

2 x 25mm tweeters, 5-inch full-range woofer, 6-inch passive radiator

Amplification

Smart DSP amplifier

3x Class D amps

Dimensions

5.15 x 7.73 x 4.37 inches / 131 x 196 x 111mm

4.72 x 7.18 x 5.14 inches / 120 x 183 x 131mm

10.48 x 6.76 x 6.59 inches / 266.3 x 171.7 x 167.4mm

Connectivity

Wi-Fi 5, Bluetooth 5.3 aptX HD, 3.5mm optical / analog combo, USB-C, USB-A, Ethernet

Wi-Fi 6, Bluetooth 5.0, USB-C (3.5mm line-in and Ethernet via adapter)

Wi-Fi, Bluetooth 5.3, USB-C, Ethernet, aux-in

Streaming support

BluOS app, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, Roon Ready

Sonos app, Apple AirPlay 2

JBL One App

Other features

Multi-room groups, loudness optimization, tone controls, replay gain, mono / left / right settings, volume limits

Sonos multi-room control, Sonos home theater option, stereo pair option

Multi-room playback, auto self-tuning

Sonos Era 100
Not only is the Sonos Era 100 marginally more affordable than the Pulse Flex, it also serves up substantial bass and a lively, dynamic sound. While not quite as spacious-sounding as the Flex, it does offer more presence, not to mention stereo sound, making it a good choice if your priority is hefty sounding music with a substantial soundstage. Read our full Sonos Era 100 review.

JBL Authentics 200
There’s a reason we’ve rated the JBL Authentics 200 as our best wireless speaker overall. Not only is it pretty keenly priced but it offers rich detailed sound that’s sure to impress. It also has fun, retro styling like physical knobs – remember those? – and vintage detailing. Read our full JBL Authentics 200 review.

A woman's hand presses the skip forward button on the Bluesound Pulse Flex.

(Image credit: Future)

How I tested the Bluesound Pulse Flex

  • Tested over a week
  • Played a wide variety of genres
  • Tried out a range of connectivity options

I tested the Bluesound Pulse Flex over the course of a week. To put it through its paces, I played a diverse range of music across many genres, including pop, classic rock, melodic techno and drum and bass. This helped me assess its performance in different frequency bands and ascertain how well it conveyed sparser and busier mixes.To really get a picture of how it handled different quality recordings, I played music at a range of qualities, from Tidal's hi-res tier to basic AAC files. I also made sure to try out a range of connectivity options, whether that was integrated streaming apps, AirPlay 2 or via Bluetooth.In terms of my experience, I've been testing speakers for around six years. On top of this, I use a wide range audio gadgets on a daily basis at home. I also produce music as a hobby, giving me a keen understanding for assessing the balance of frequencies and weighing up the expression of various elements of a recording.

‘Fantastic, and a disappointment’: I love the Samsung Galaxy Buds 4 Pro, but they don’t fix the problems of the past
8:31 pm | March 9, 2026
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: , | Comments: Off

Samsung Galaxy Buds 4 Pro: Two-minute review

Can earbuds be fantastic, and a disappointment, at the same time? Apparently so: the Samsung Galaxy Buds 4 Pro are some of the best earbuds I’ve ever tested, but the company has failed to address any of the issues which put buyers (myself included) off the Buds 3 Pro.The latest AirPods Pro rivals from Samsung were released alongside the Galaxy S26 Ultra and co., including a cheaper Galaxy Buds 4 with a few choice downgrades. The Korean company doesn’t just upgrade its audio line-up annually, seemingly waiting for tech to move on enough to justify a newer model. And the good news is, there’s no doubt that these 2026 earbuds prove themselves against their predecessors.The Samsung Galaxy Buds 4 Pro sit among the best-sounding earbuds I’ve ever tested, with a driver upgrade letting them stack up against audiophile-designed premium options I’ve tried like the triple-driver Status Pro X and slightly-more-affordable Creative Aurvana Ace 3. You’re going to have to pay a lot to get better in-ear sounds, or opt for a wired pair.The upgrade is in the woofer, designed for bass, which Samsung says is 20% bigger than before. This allows for meaty but controlled bass, allowing the buds to retain the warm sound of past models but without overshadowing mids and trebles. You can also get incredibly high-quality sound thanks to Samsung’s own SSC Bluetooth standard, but only if you’re using a Galaxy phone. The fact that you need a handset from the company to unlock all the features is something we complained about in the past buds, and it’s just one of several issues from older models that hasn’t been addressed. As TechRadar's audio editor wrote recently, if Samsung revived Milk Music so we never had to leave the Galaxy ecosystem, it might be a different story, in the way that Apple Music is the irrefutable bridge between Apple's AirPods and its iPhone, but that isn't the case (so I do still have to mention it). And that's not the only issue that's been carried over. Take, for example, the proprietary ear-tip locking system which saw the Buds 3 Pro delayed. It’s still here! Removing and replacing them is much more fiddly than it needs to be, and yanking them off runs the risk of tearing your tip in two – you also can’t use the vast majority of ‘standard’ ear-tips here, so if you’ve got a selection you’ve bought or leftovers from past earbuds you’ve owned, they’re basically landfill now. Please cough up more cash for Samsung-approved ones.Compounding the problem is the fit: the Samsung Galaxy Buds 4 Pro didn’t stay in my ear especially well, and I know this is a problem that plagued 3 Pro users too. The tip material doesn’t offer enough friction to keep the buds in there when you’re on the go, and there’s a lack of any other stabilizing design features like a fin or balanced weighting, which could go some way in rectifying the problem.Many of my Galaxy Buds 4 Pro gripes are smaller pain points that you’ll easily get used to, but the fit problem is a real shame: it was a complained-about point a year and a half ago on the older model, and it’s something that doesn’t get better over time. Know this: I struggled with whether to list the Galaxy Buds 4 Pro with a 4-star or 4.5-star review rating, but I keep coming back to the excellent sound quality and ANC efficacy. If you've got a Samsung phone, you know they'll fit OK, you're good at charging your buds regularly and you're not fussed about switching the ear-tips, they're a 4.5-star product all day long. For the rest of the music-loving market? They're a solid 4… 

Samsung Galaxy Buds 4 Pro review: Price and release date

The Samsung Galaxy Buds 4 Pro in their case.

(Image credit: Future)
  • Announced in February 2026, released March
  • Sells for $249 / £219 / AU$399
  • No price hike from past models

The Samsung Galaxy Buds 4 Pro were unveiled on February 25, 2026, and put on sale on March 11. That’s the same as the phones they were announced alongside: the Galaxy S26 series.To buy the new buds, you’ll have to shell out $249 / £219 / AU$399. That’s certainly a high price for earbuds in today's market, signalling them as premium options, though it’s worth noting that the previous model also launched at this price. Let’s put that in context: the latest AirPods Pro cost $249 / £219 / AU$429 so it’s a similar price in most places, but Samsung undercuts Apple in Australia. The standard Galaxy Buds 4 go for $179 / £159 / AU$299 so they’re naturally cheaper, but you’re getting an open-style bud for that price (think Apple's AirPods 4).

Samsung Galaxy Buds 4 Pro review: Specs

Drivers

11mm woofer + 5.5mm planar tweeter

Active noise cancellation

Yes

Battery life (ANC off)

7 hours buds, 30 hours case

Weight

5.1g buds, 44.3g case

Connectivity

Bluetooth 6.1

Frequency response

Not specified

Waterproofing

IP57

Samsung Galaxy Buds 4 Pro review: Features

The Samsung Galaxy Buds 4 Pro being placed in a case.

(Image credit: Future)
  • 7/30-hour battery life, less with ANC or features
  • Fantastic ANC, and intelligent ambient mode
  • Plenty of useful features in app

Samsung doesn’t make as much of a song and dance about its ANC capabilities as, say, Bose (literally calling its headphones ‘QuietComfort’), but the good news is, these are still incredible at reducing background noise. I spent hours of testing near busy roads, while work was being done on my neighbors’ home, and on flights, and found them some of the most adept noise-removers I’ve used.Even better, they have an ambient mode that’s actually good. It does what these modes should do: dampens your surroundings, but retains speech and other important nearby noises. It could be stronger in the noise cancellation department, letting in a little more than I’d always like, but it’s still much better than the vast majority of alternatives.Battery life here is unchanged from the past models: 7 hours of ANC-off listening, with the case granting extra up to 30 hours. That’s not a particularly competitive battery life today, especially when you consider that the listening time is even less with ANC turned on: expect about 4-5 hours in the buds if you try to remove background noise, and even less if you use all the features on offer.Using your smartphone, you can get a few more features from the Buds 4 Pro. You can change noise cancellation modes, toggle what the touch controls do, enable head gestures (nod or shake your head for incoming calls or to Bixby), and setup an on-bud assistant.

The Samsung Galaxy Buds 4 Pro in their case, beside a Galaxy S26 Ultra.

(Image credit: Future)

There’s also a nine-band equalizer with a custom mode or several presets, and several ways to customize your sound including 360 audio, loudness normalisation, adaptive listening and a hearing test. This latter is simpler than the alternatives offered by many rivals, and didn’t have an audible impact on music. I’m not convinced by this one.Two other neat features are the ability to set up bespoke per-app settings that automatically apply, and the ability to tap into audio streams around you or broadcast them yourself (including to hearing aids). I can see business or accessibility benefits to both of these, and neither are perks I’m used to seeing in earbuds apps generally.There’s a small handful of extra modes I would’ve liked to see, most glaringly any kind of low-latency mode to make gaming on a phone better. I also couldn’t find a way to enable multipoint pairing.The earbuds use Bluetooth 6.1 for connectivity, which I don’t recall seeing in any earbuds before now. This is apparently meant to offer unparalleled connectivity, although I had a small handful of Bluetooth drop-outs in my testing time.

  • Features score: 4/5

Samsung Galaxy Buds 4 Pro review: Design

Both Samsung Galaxy Buds 4 Pro in a man's hand.

(Image credit: Future)
  • Redesigned buds are sleek and light
  • Case sees new look; improvement in a few ways
  • Eartips are hard to remove and don't stick in ear well

There’s no denying that Galaxy Buds Pro are AirPods Pro-alikes, but with each successive generation Samsung blazes its own trail a little more, and that’s evident in the Galaxy Buds 4 Pro with their reimagined ‘blade’ look.The buds now have a brushed-metal edge, which looks lovely and understated in the white model I tested, and pretty good in the black or pink versions too. Gone are the colorful light strips of the past-gen models, as well as the color coding so you know which bud goes in which side of the case.What hasn’t gone, sadly, is Samsung’s proprietary ear-tip tech – this was a problem in the Buds 3 Pro, and it rears its ugly head here. The issues with this are twofold.

The Samsung Galaxy Buds 4 Pro on a table, with the tip removed.

(Image credit: Future)

Firstly, it makes switching ear-tips a real pain, due to the company using its own locking mechanism. It’s hard to remove them without tearing them, something I avoided only by past mistakes (ripping the Buds 3 Pro’s tips), and reattaching them is incredibly fiddly. I imagine the third-party tip market is also greatly reduced thanks to the company eschewing the standard.The second issue is the one that plagued my time with the Buds 4 Pro: they just didn’t stay in my ears very well. They’d slip now and then during testing, requiring readjusting, but the problem was worst when I went running: the things just wouldn’t stay in. This was despite testing the different in-box tip sizes, and at a guess I’d say the papery tip material just isn’t providing enough friction or purchase in the ear. I’d suggest buying replacements, but good luck finding them with the locking mechanisms – manufacturers actually sold clip-on ear fins for the Buds 3 Pro, and if equivalents are released for the new model, that’d be your best bet to stop these things getting jettisoned at every bump.Other than those issues, the buds were comfortable to wear, even for long periods of time. They weigh about 5g each, which is about average for earbuds like these. One of the buds’ features also compensates the sound if you wear them wrong (ie, at bonkers angles like vertically or horizontally).

The Samsung Galaxy Buds 4 Pro's case, without buds in it.

(Image credit: Future)

The buds have on-stem controls: slide up or down to control volume, pinch once or hold for various other options. You need to grip a little harder than on some alternative options I’ve used, so it took some getting used to, but eventually I found controlling the buds on-ear pretty effective.One other element of the buds package that’s seen a change is the charging case, which now uses a clamshell-style look with a see-through case so you can peer at your buds (and check they’re in there, if you frequently forget to return them to the case. It was much easier to return the buds to this case than the last one, with less fiddling about to insert them into a small gap. Wireless charging is back too.The case was a little blocky though, and not as ergonomic as the Buds 3 Pro’s, so felt a little more prominent in my pocket. The transparent section also shows scratches and fingerprints

  • Design score: 4/5

Samsung Galaxy Buds 4 Pro review: Sound quality

The Samsung Galaxy Buds 4 Pro in a man's hand.

(Image credit: Future)
  • Tweeter and woofer, each with own amplifier
  • Well-defined bass, bustling with energy
  • Samsung phone needed for highest-res audio

The Galaxy Buds 4 Pro offer two drivers: a tweeter and woofer, and each has its own amplifier. This all means that high- and low- pitch sounds get their own TLC, and Samsung’s big selling point on these new buds is that the woofer is bigger than anything it’s used before, allowing for better control over bass.There’s no denying that the Samsungs provide absolutely fantastic audio quality. The sound is energetic, with crackling mids and powerful treble. Pop songs like the conveniently-released Automatic Glow by The Hoosiers or Dharma Baby by Brett Dennen benefit from the unrivalled clarity and timbre the buds provide, especially songs with plenty of instruments that’d otherwise blur into one giant mush.I personally spent most of my listening time in with the Dynamic EQ preset on, because I found it to exacerbate the Buds 4 Pro’s strengths and reduce their weakness, at least compared to the default preset.

The Samsung Galaxy Buds 4 Pro buds on a table, next to their case.

(Image credit: Future)

The bass doesn’t overwhelm, as I initially feared when hearing about the upgrade, and instead it’s just better formed: it’s scooping, well-defined and better balanced with the rest of the sound. Even in bassy songs, like Proleter’s April Showers, bass walks arm-in-arm with the other instruments instead of overriding them, and in DENM’s Life’s 2 Short it succeeds in creating a real harmonising bass, as opposed to some deep rumble that sits alongside the rest of the song.There’s a lovely sense of expanse through the soundstage here too, even if you don’t turn on the Spatial Audio setting, which I personally kept off for most of the testing. And the maximum volume is way higher than you’d ever need to go, which is another plus.There’s one giant catch here: the incredible quality is only available on Samsung phones, thanks to their support for the company’s SSC codec (which has to be enabled in the buds’ settings). This allows for a sample rate of up to 24-bit/96kHz, which means it'll handle lossless playback with ease, but means that non-Samsung users might not be able to enjoy the highest quality music they otherwise would. I spent a week of the testing period using a non-Samsung Android, and while the buds still sound great, they’re certainly better on a Galaxy.

  • Sound quality: 4.5/5

Samsung Galaxy Buds 4 Pro review: Value

The Samsung Galaxy Buds 4 Pro in their case, atop a Galaxy S26 Ultra.

(Image credit: Future)
  • They ain't cheap!
  • You can save a lot of money if you want
  • Good for certain Samsung-owning audiophiles

The Achilles’ Heel of any top-tier pair of earbuds like the Samsung Galaxy Buds 4 Pro, is that there’s no way they offer you superb value for money. You can get decent earbuds for literally a fraction of the price; I have options I love which cost a quarter of what these earbuds will set you back. Sure, they don’t sound or look as good, and miss out loads of the Samsung features, but you’re saving money – and getting options which will stay in your ears!For music lovers who can’t quite afford ‘true’ audiophile options, and have a Samsung phone, perhaps there’s a world in which these are good-value options (compared to the four-figure alternatives). But at the very best, you’re getting what you pay for: this ain’t no bargain.

  • Value: 3.5/5

Should I buy the Samsung Galaxy Buds 4 Pro?

Fairphone Fairbuds XL (2025) score card

Attributes

Notes

Rating

Features

The battery life lets down an otherwise-impeccable suite of tools.

4/5

Design

The upgraded look gives them a distinct appearance, but the devil's in the detail (and ear-tip).

4/5

Sound quality

These sound wonderful, especially if used alongside a Samsung phone.

4.5/5

Value

These are top-end options, you can't expect total value for money.

3.5/5

Buy them if…

You own a Samsung phone
One of my biggest 'cons' doesn't affect you: pick these things up straight away and turn on the high-def audio transmission in the buds' app.

You need top-tier ANC
These things are great at wiping out background sounds, and they show some rival buds I've tested recently just how it's done.View Deal

You like responsive touch controls
I grew fond of how responsive the Buds 4 Pro's on-stem pinch controls work, as you get a lovely click to tell you your input was successful.View Deal

Don’t buy them if…

You need workout buds
The unreliable fit make these a poor choice for runners, and they weren't the best at the gym either.

You listen for long stints
With all the top-tier features enabled, the Buds 4 Pro will only go about half a working day on a single charge. Like a lot of music? Other buds last longer.

Samsung Galaxy Buds 4 Pro review: Also consider

Samsung Galaxy Buds 4 Pro

Apple AirPods Pro 3

Status Audio Pro X

Drivers

11mm woofer + 5.5mm planar tweeter

'Custom high-excursion' Apple driver

12mm driver + 2x Knowles balanced armature drivers

Active noise cancellation

Yes

Yes

Yes

Battery life (ANC on)

7 hours (buds) 30 hours (case)

8 hours (buds) 24 hours (case)

8 hours (buds) 24 hours (case)

Weight

5.1g (buds) 44.3g (case)

5.6g (buds) 44g (case)

5g (buds) 48g (case)

Connectivity

Bluetooth 6.1

Bluetooth 5.3

Bluetooth 5.4

Waterproofing

IPX4

IP57

IP55

AirPods Pro 3
Apple's AirPods Pro are still some of the best wireless earbuds for iPhone owners, with fantastic ANC and a few unique features.
Read our full AirPods Pro 3 review

Status Audio Pro X
If you want great-sounding earbuds and have money to burn, these Status options are another worthy pick, that'll work equally well on any phone.
Read our full Status Audio Pro X review

How I tested the Samsung Galaxy Buds 4 Pro

  • Tested for a month
  • Tested at home, on walks, on public transport, on travels, while running and at the gym

I used the Samsung Galaxy Buds 4 Pro for just under three weeks to write this review. For the most part, they were paired with a Galaxy S26 Ultra, but I also used them briefly with a Galaxy S25 Plus, and for a while before that a OnePlus 15R. For a little while I also connected them to a cheap MP3 player.I used a range of apps to test the buds. They played music from Spotify, Qobuz and internal storage, videos from YouTube, Now and Prime Video, and games from a pretty huge range of mobile titles. I also used them quite a bit just for their noise cancellation, with nothing playing.The Buds 4 Pro are just the latest in a long line of earbuds I’ve used, including the Galaxy Buds 3 Pro and options from Samsung’s sub-brands like AKG, JBL, Bowers & Wilkins and Denon. I’ve also handled loads of phones and tablets from the company, as part of my 7+ years of testing gadgets.

  • First reviewed in March 2026
I’ve been using these cheap headphones for a month, and I’d recommend them to anyone who needs an affordable pair
1:30 am | March 8, 2026
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: , | Comments: Off

Soundpeats Cove Pro: Two-minute review

If you’re here because you’re interested in buying the best cheap headphones, let’s skip to the chase: these are now going to be the go-to pair I recommend for the foreseeable future. They’re not perfect, which is why there’s still over 1,000 words to this Soundpeats Cove Pro review, but for the money they're outstanding.

Soundpeats is constantly impressing me with its great-value audio offerings, like the indelible in-ear Soundpeats H3, or the reliable open Soundpeats Clip1, and so I’m not overly surprised that I’m giving out another glowing review to something from the company. It’s less versed in over-ears than other kinds of headphone, though, so there was always the chance of something going wrong.

The Cove Pro are fantastic headphones for people who just need any old pair of cans that’ll do the job, so you’ve got a way of listening to music when at home or on the go – they nail all of quality-of-life features you’ll want.

For example, the battery life is fantastic: 95 hours, or nearly four days straight. These aren’t going to give up the ghost during a long-haul flight, that’s for sure.

They’re also some of the most comfortable on-ears I’ve used recently, as the padding in the cups and headband is soft, and they’re not too heavy or pinchy over the crown of your noggin. What I'm saying is, you can leave them on your head for long periods of time without getting aches.

Audiophiles (or people who aren't sure of the title but are picky about their sound) might not be as impressed. The ANC is quite light-touch; the Cove Pro reduce sound more than ‘cancel’ it, and the audio isn’t as good as some other budget options I’ve tested. It’s a bit too warm and veers towards muddy, with a lower-end that isn’t as well-defined as on some alternatives. I wasn’t blown away, but bass-heads might still be happy.

Soundpeats Cove Pro review: Price and release date

The Soundpeats Cove Pro hanging up, and with the inside of each cup facing outwards.

(Image credit: Future)
  • Released in January 2025
  • Sells for $69.99 / £69.99 (around AU$140)
  • Cheap, but not cheap cheap in today's market

Soundpeats announced the Cove Pro in January 2026, following the rush of headphones that followed CES at the beginning of the year.

You can buy the Cove Pro for $69.99 / £69.99 (around AU$140), so they're fairly affordable cans – best suited for people who want decent headphones that'll last a long time, but don't need the highest quality or audio or premium features.

They’re not the very cheapest headphones that are worth considering – I recently tested the OneOdio Focus A1 Pro which sell for $34.99 / £43.99 (about AU$85), and there are a few other super-budget options worth buying like the Sony WH-CH520. But they’re still certainly a budget option compared to the big names on the block.

Soundpeats Cove Pro review: Specs

Drivers

40mm

Active noise cancellation

Yes

Battery life (ANC off)

95 hours

Weight

251g

Connectivity

Bluetooth 6.0

Frequency response

20 Hz - 40,000 Hz

Waterproofing

IPX4

Soundpeats Cove Pro review: Features

The Soundpeats Cove Pro's array of buttons.

(Image credit: Future)
  • 95-hour battery life
  • The ANC is very light-touch
  • Nice perks like Bluetooth 6.0, listening test and LDAC

Possibly the most eye-catching spec of the Soundpeats Cove Pro is the battery life: up to 95 hours of ANC-off listening. Very few headphones crack the 100-hour barrier, and anything close like this deserves props.

The endurance drops quite a bit if you turn ANC on: down to 58 hours. That's quite a sacrifice to remove some sound, though in the grand scheme of things ~60 hours is still decent.

The ANC isn't very powerful here; it'll strip out the worst of background noises rather than remove them in any meaningful way. There's also an ambient mode, but I couldn't hear a difference between this and Normal (ANC off).

The Soundpeats Cove Pro's headband.

(Image credit: Future)

The Soundpeats app is the Cove Pro’s all-but-mandatory smartphone app. It's worth downloading, even though it forces you to create an account, because it offers a few features unusual in lower-cost headphones.

The app offers an equalizer (presets or 10-band custom mode), find my headphones function, spatial audio, bass booster and even a custom listening test which builds you a bespoke EQ mix. It’s clearly in a very early state – the pictures and text refers to earbuds, and one menu was in Mandarin, but it did a decent job of tweaking my audio and wasn’t too hard to use.

Unlike many budget music-blowers, the SoundPeats supports a few higher-res Bluetooth codecs, including LDAC, SBC and AAC. It connects via Bluetooth 6.0, and in my testing it didn't stop out at all – there was one brief stutter, and that was it.

  • Features score: 4/5

Soundpeats Cove Pro review: Design

The Soundpeats Cove Pro's outer shell.

(Image credit: Future)
  • Light and comfortable to wear
  • Useful on-cup controls, but no 3.5mm
  • Bog-standard looks

When I pulled the Soundpeats Cove Pro from the box, I thought they were dead ringers for my old Sony WH-1000XM3s. Sure, there isn't a huge scope for variety in the world of headphone aesthetics, especially the budget market, but the design language is there.

These cans weigh 250g, with an IPX4 rating indicating that they’re splash-roof. The right cup has an ANC button, power button and volume rocker on it, and they're flush enough that I sometimes thought I'd missed pressing them until I got used to the feel of it. The exception is the power button, which has a little indent so you can easily differentiate it by feel.

The one thing I’d like to see is a 3.5mm port. As it stands, you can’t use an AUX cord to connect these to your music player.

I found the Cove Pro surprisingly comfortable; you can't always rely on the budget headphones for a good fit, but these felt great. The soft cups settle gently on the ears, and a large pad on the band keeps them nestled on your cranium. I could listen for long periods without any kind of strain or ache.

The headphones also feel surprisingly premium in terms of build quality. The plastic material feels a little more durable than the squeaky cheap stuff some rivals are made out of, and other traits of budget cans like rattly joins and a hollow-feeling body were all absent.

You can fold the Cove Pro in on itself to make it more portable, and they swivel and extend a fair amount to suit different sized heads.

  • Design score: 4.5/5

Soundpeats Cove Pro review: Sound quality

The Soundpeats Cove Pro on a man's head.

(Image credit: Future)
  • 40mm driver
  • Messy low-end handling
  • EQ can fix some issues

Like most budget headphones – actually, most cans at any budget – the Cove Pro have 40mm drivers. Soundpeats' website goes into detail on titanium-coated diaphragms, patterned dome drivers and magnets, all giving the impression of a thoughtful approach to audio – it’s all for naught, though, as they don’t sound any better than your average budget cans

Music is warm, sometimes too much – as I write this I’m listening to Old Ties and Companions by Watchhouse, and the timbre that should be created by the various acoustic instruments feels lacking because of the sound profile. Bass can sometimes blow out other parts of a song, especially with rock music, which can often see the bass guitar override guitars.

It’ll appeal to bass-heads for sure, and people who go to gigs so often that they don’t realize you’re not always supposed to hear and feel the bass above everything else. But I found it a bit too much – and using the Bass Reduction EQ preset sometimes wasn’t even enough.

Get through the bass, and you’ll find fairly detailed audio, though the lack of support for wired listening means these aren’t budget audiophile cans by any means. There’s a pronounced soundstage though, something you can’t always say about options at this price point, giving a little bit of extra sparkle to songs like T-Shirt Weather by Circa Waves and Such Great Heights by the Postal Service, which have bassless introductions so you can enjoy the atmosphere.

  • Sound quality: 3.5/5

Soundpeats Cove Pro review: Value

The Soundpeats Cove Pro in a man's hand.

(Image credit: Future)
  • At best, exceeds expectations for price
  • At worst, matches expectations for price

The Soundpeats Cove Pro aren't quite the cheapest headphones on the market – or that have wowed TechRadar’s team recently – but they're not far off. And they offer top value for money.

The build quality here is better than I've come to see expect from budget cans, even if the looks won't win any awards for originality. And the feature set is better than many same-price rivals, with tools that you'd normally find in cans twice as pricey.

In its weaker departments, the Cove Pro still deliver at the level you'd expect for this price; they sound no worse than the average budget headset, and deliver enough ANC to trump rivals which don't offer the feature.

  • Value: 4/5

Should I buy the Soundpeats Cove Pro?

Fairphone Fairbuds XL (2025) score card

Attributes

Notes

Rating

Features

The battery life is great, and there are some solid features, but the ANC isn't anything to write home about.

4/5

Design

They're basic to look at, but lightweight and comfy.

4.5/5

Sound quality

They sound muddy, but there's detail and a reasonably wide soundstage.

3.5/5

Value

Set your expectations for the budget and you won't be disappointed.

4/5

Buy them if…

You need a really solid battery
If you don't get around to charging your headphones often, the 95 hours offered here will be great for you.

You don't want uncomfortable headphones
If you often find over-ear headphones a little uncomfortable, you might find these a bit more tolerable.View Deal

You don't want to spend much money
Don't use your headphones enough to justify an expensive purchase? These will be great alternatives that'll serve you find.View Deal

Don’t buy them if…

Audio quality is your most important factor
The best parts of the Cove Pro are their features and build, and budget audiophiles will find better picks below.

You need top-tier noise cancellation
If you live somewhere noisy and need to find peace, these are fine picks, but there are better buys (see below for these).

Soundpeats Cove Pro review: Also consider

Soundpeats Cove Pro

OneOdio Focus A6

Earfun Wave Life

Drivers

40mm

40mm

40mm

Active noise cancellation

Yes

Yes

Yes

Battery life (ANC on)

95 hours

75 hours

60 hours

Weight

251g

240g

264g

Connectivity

Bluetooth 6.0

Bluetooth 6.0

Bluetooth 5.4

Waterproofing

IPX4

None

None

OneOdio Focus A6
These top-rated headphones sound great, and undercut the Cove Pro. If audio quality is your main interest, these are the alternatives to consider.
Read our full OneOdio Focus A6 review

Earfun Wave Life
These picks are also more affordable than the Soundpeats, and are also very comfortable to wear (plus we liked the ANC) though the battery life isn't comparable.
Read our full Earfun Wave Life review

How I tested the Soundpeats Cove Pro

  • Tested for a month
  • Tested at home, on walks, on public transport and the gym

I used the Soundpeats Cove Pro for just over a month to write this review, immediately following a few of their big rivals.

I used the cans paired alongside my Android phone, listening on a variety of services. This included in a range of indoor and outdoor settings including, most challengingly, on a train ride home after a high-end audio show.

For TechRadar, I've already tested a wide range of budget headphones, including over-ear alternatives and other picks from Soundpeats.

  • First reviewed in March 2026
I enjoyed testing this accomplished active stereo speaker system, until it threw in the towel too easily
2:00 pm | March 7, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Comments: Off

KEF Coda W: Two-minute review

KEF, it seems, has identified a customer for whom its existing lineup of wireless stereo speaker systems is not absolutely perfect. This customer can live without network streaming, but would like to be able to listen to a turntable. They don’t need their system to work on a desktop, but they would like it to be available in a fairly wide choice of finishes. And so here’s the Coda W.

As well as the network streaming/phono stage trade-off and the ‘regular’ size of the cabinets compared to the dinky dimensions of some predecessors, the Coda W has cutting-edge Bluetooth connectivity (the aptX Lossless codec is supported), an HDMI eARC input and properly hi-res functionality via its digital optical and USB-C inputs. Four discreet modules of Class D amplification power the 12th generation of the company’s Uni-Q driver array – 30 watts goes to each 25mm aluminium dome tweeter, 70 watts to each 130mm magnesium/aluminum mid/bass driver. And if that all sounds a bit tentative, there’s a pre-out for a subwoofer too.

In practice, it works either ‘pretty well’ or ‘very well indeed’, albeit maybe not quite well enough to sit among the best stereo speakers on the market. The phono stage is probably the least effective of the input options, which is a pity, when you consider it’s one of the real differentiators between this system and the slightly more expensive KEF LSX II LT, its most obvious stablemate. If, however, you switch to one of the digital inputs (either wired or wireless) and the Coda W has plenty going for it. There’s detail and drive, plenty of well-behaved low-frequency presence, a really even-handed attitude towards tonality and frequency response, and a level of energy and engagement that’s a match for the best that any even remotely price-comparable rival can muster.

Turn the volume down to the sort of level that conversation can easily be heard over, though, and quite a lot of this attitude is replaced by a more pedestrian, less energetic character that sucks some of the animation out of recordings. Mind you, if you want to listen at low levels in order to engage in conversation, it could be argued that this isn’t all that much of an issue.

Front panel of the KEF Coda W active speakers, showing the drivers.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Price & release date

  • $999 / £799 / AU$1449
  • Released in October 2025

The KEF Coda W wireless active stereo speaker system is on sale now, and in the United States it costs $999. The asking price in the United Kingdom is £799, while in Australia it goes for AU$1449.

There are a few very credible alternatives around, of course, not least from KEF itself in the shape of its slightly smaller, slightly pricier, slightly differently specified LSX II LT wireless stereo speaker system. So does the Coda W have what it takes to, um, undermine its sibling and cannibalize its sales?

Rear panel of the KEF Coda W active speaker system.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Features

  • 200 watts of Class D power
  • Wireless and wired connection options
  • 12th-gen Uni-Q driver array

In most respects, the Coda W is specified as extensively as seems reasonable, given the asking price. Then you consider the way its (admittedly more expensive) LSX II LT sibling is specified, and you realize you’re engaged in a game of ‘swings and roundabouts’.

Still, the gain outweighs the pain here more than a little. The Coda W is an active stereo speaker with 200 watts of Class D power available – naturally enough it’s divided half-and-half between the two speakers. Slightly unusually for an active – rather than a powered – system, is that only one speaker requires mains power. This ‘primary’ speaker connects to its ‘secondary’ partner via a supplied length of USB-C-terminated cable which transfers power as well as digital audio information.

The secondary speaker has just a USB-C input on its rear panel – it’s positioned beneath a bass reflex port that vents from higher up. The primary speaker, by way of contrast, is all action. It has a USB-C output for connection to its partner and a matching bass reflex port, of course, but in addition, the rear panel features (in no particular order): a connection for mains power and an ‘on/off’ switch, an HDMI eARC socket, a digital optical input, a USB-C slot for data transfer, a line-level stereo RCA input, a moving magnet phono input (also on stereo RCAs) with a ground post, and a pre-out for a subwoofer. There are also buttons to initiate Bluetooth pairing (the KEF uses Bluetooth 5.4 with aptX Lossless codec compatibility) and to reset the whole shebang. There’s a switch to turn the ground lift circuit on or off, too.

What’s missing? Well, there’s no Ethernet socket, and no Wi-Fi connectivity either. So network streaming is unavailable, which puts the Coda W at a disadvantage compared to the LSX II LT, although it hits back with its integrated phono stage. No network capability means no Spotify Connect, Tidal Connect etc, so if you’re using Bluetooth to enjoy some wireless tunes, it means your smartphone (or what-have-you) will be fully occupied.

The input resolution of the USB-C is 24bit/192kHz, while the digital optical is 24bit/96kHz and the HDMI eARC operates at 16bit/44.1kHz – analog signals are digitized on entry to 24bit/96kHz. All these wired sources are (re)sampled to 24bit/96kHz before being decoded to the analog domain the driver arrays can understand.

Unlike the LSX II LT, which features a compact version of the 11th generation of KEF’s instantly recognizable Uni-Q driver arrangement, the Coda W is packing the 12th version. There’s a 25mm aluminum dome tweeter behind an elaborate waveguide and positioned in the throat of a 130mm magnesium/aluminum mid/bass driver. Each tweeter is in receipt of 30 watts of power, while each mid/bass driver gets 70 watts. This arrangement, reckons KEF, is good for a frequency response of 41Hz - 20kHz.

  • Features score: 4.5 / 5

Closeup of the drivers of the KEF Coda W active speaker system.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Sound quality

  • Energetic and confident sound with detail to spare
  • Loses some animation at low volume levels
  • Phono stage is nothing special

At its best, the KEF Coda W sounds very, very good indeed. Unlike some of its most obvious rivals, though, getting away from ‘its best’ is not especially difficult to do.

With a genuinely hi-res (24bit/96kHz) FLAC file of Prince’s U Got the Look incoming via the USB-C socket, there’s plenty to enjoy about the way the system performs. It maintains a strictly neutral tonality, adding no discernible heat to any part of the frequency range and not cooling any part of it down either. The top end attacks with crisp determination, but despite what you might have read about metal tweeters, there’s no suggestion of hardness or glassiness to the treble sounds the Coda W delivers.

The transition into the midrange is smooth to the point of inaudibility, and once there the amount of detail the KEF is able to extract and contextualize allows both the voices in the recording to come across with all their attitude (horny, mostly) and character intact. Beneath here, the lowest frequencies hit hard but control their attack well, so the four-square rhythm is expressed confidently. As with the rest of the frequency range, detail levels down here are high, with plenty of subtlety and variation to go along with the straightforward punch available.

The frequency response is even-handed, with no area underplayed or overrepresented, and the soundstage the KEF creates is big and plausible. Like all the best Prince songs, U Got the Look sounds like an expensive demo, with great big spaces and silences playing their part. The Coda W has no problem laying the stage out coherently, and it gives just as much emphasis to the absences as it does the actual occurrences. Dynamic headroom is significant, and the lower-key dynamics of harmonic variation are also paid close attention. The KEF sounds keen to entertain, and it preserves all the energy the recording wants to communicate.

All of this is true, to a lesser or greater extent, when listening to the same song wirelessly via a FiiO digital audio player running the Tidal app or to a CD-borne copy of the song delivered into the system’s digital audio input. The Coda W remains a lively, informative and quite vibrant listen that seems to revel in the vivid and upfront nature of the recording.

It’s possible to move away from this best-case scenario, though, either by turning the volume down to a modest ‘background’ sort of level or by listening to a vinyl copy of the song through the integrated moving magnet phono stage.

The differences are probably less pronounced when playing the record, so I may as well start here. The phono stage fitted to the Coda W just isn’t anything special – for all of the cliches regarding the vinyl format and its facility with rhythm and tempo-management, the song sounds just fractionally lumpy and leaden-footed when heard this way. It’s from the 80s, sure, when every rhythm was mechanical and regimented, but there was always more swing to Price than the Coda W is willing to reveal via its phono stage. The knock-on effect is a minor dialling down of the energy in the recording, and a mild loss of engagement as a result.

Turning down the volume results in a slightly more fundamental shift in emphasis. I know it’s quite easy to argue that ‘background’ levels would tend to imply that not all that much attention is being paid to the music, and certainly no critical listening is likely to be happening, but there are more than enough systems around that don’t change their sonic character at lower volumes to understand that the changes that the Coda W goes through aren’t inevitable or, to a lesser extent, excusable.

Turning the wick down means a lot of the system’s previously vivid and energetic attitude towards music goes astray, replaced by a slightly matter-of-fact and unengaged alternative that’s not especially welcome. Particularly not when you know what the system is capable of if only it were playing a little louder.

  • Sound quality score: 4 / 5

Rear panel of the KEF Coda W active speakers, with wired connections and cables visible.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Design

  • 285 x 168 x 268mm (HxWxD)
  • Choice of five finishes
  • Optional SQ1 stand

The Coda W may cost less than the LSX II LT, but there’s more of them. At 285 x 168 x 268mm they’re bigger than their siblings in every direction – if you were hoping to position these on a desktop, think again. Unless you have a mahoosive desk, anyway.

A pair of speaker stands is the way to go. Any decent product will do, of course, but KEF will happily sell you a pair of its SQ1 stands that have been developed with the Coda W (and a few other KEF models) in mind.

The standard of build and finish is well up to standard. The Coda W may lack the exciting curves of their LS and LSX stablemates, but they look and feel good. And the choice of five finishes – my review sample's dark titanium, midnight blue, moss green, nickel gray and a vintage burgundy version that’s only available from very select outlets – means there really ought to be something to suit your mood and/or decor here.

  • Design score: 5

Trio of screenshots showing the KEF app connected to the Coda W active speaker system.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Usability & setup

  • Truncated version of the KEF Connect control app
  • Physical controls on the primary speaker
  • Small remote control handset

KEF supplies a little remote control handset to operate the Coda W. It deals with ‘power on/off’, ‘volume up/down/mute’, allows you to cycle through the inputs and, if you’re streaming via Bluetooth, to access ‘play/pause’ and ‘skip forwards/backwards’.

The controls, with the exception of the Bluetooth stuff, are duplicated as touch-controls on the top of the primary speaker - although you can only scroll through your inputs in one direction, which is a (very) mild irritation.

There’s also a very brief version of the KEF Connect app available too. It connects via Bluetooth, offers input selection and volume control, allows you to check for updates, and also features a balance control and rudimentary EQ adjustment in the shape of ‘treble cut/boost’ and ‘bass cut/boost’ controls. It’s also where you can let the Coda W know if it has a subwoofer attached.

  • Usability & setup score: 4.5 / 5

Top panel of the KEF Coda W active speaker system, with back-lit, recessed touch-control buttons for power on/off, volume control and Bluetooth connectivity.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Value

  • Very high standard of build and finish
  • Enjoyable sound quality...
  • But it's variable depending on the output used

It’s difficult in the extreme to suggest the KEF Coda W is anything other than very decent value for money. It has some real highlights where specification is concerned, is built and finished to a very high standard, and is capable of uncomplicatedly enjoyable sound quality too.

The fact that it lacks some features available in a very similarly priced product from the same manufacturer is, ultimately, less concerning than the fact that its sound is quite variable depending on the input you’re using.

  • Value score: 4 / 5

Top panel of the KEF Coda W active speaker system, with a remote control resting on top.

(Image credit: Future / Simon Lucas)

Should I buy KEF Coda W?

KEF Coda W scorecard

Attribute

Notes

Score

Features

Pretty well-equipped, with HDMI eARC socket, USB-C connectivity and Bluetooth 5.4 with aptX Lossless codec compatibility.

4.5 / 5

Sound quality

Energetic and confident but loses some animation at low volume levels; average phono stage.

4 / 5

Design

Choice of five finishes, and excellent build quality, make it a good fit for any room.

5 / 5

Setup & usability

Limited version of the KEF Connect app; touch controls; small remote control handset

4.5 / 5

Value

Solid value, but hampered by sound issues at low volume levels.

4 / 5

Buy them if…

You want an all-in-one system that can support more than one source
There are plenty of input possibilities here, up to and including the option of including your TV.

You’re sick to death of the ‘black/white/wood veneer’ options that hold sway where speakers are concerned
The Coda W is available is a range of quite sophisticated finishes – and ‘walnut’ is nowhere in sight.

You’re just as likely to listen to vinyl as to a music streaming service
From aptX Lossless Bluetooth to a moving magnet phono stage, this KEF system has you covered.

Don’t buy them if…

You don’t want your smartphone tied up with music playback
There’s no networking functionality here, so wireless streaming means your smartphone won’t be available for anything else.

Your listening is likely to be mostly via vinyl
The moving magnet phono input here is probably the least impressive of the lot.

You have designs on a desktop system
This system is too big for your desktop, so get that idea out of your head.

KEF Coda W review: Also consider

KEF LSX II LT
I don’t wish to labor the point, but I do find it odd that KEF has released the Coda W in what seems like fairly direct competition with its own LSX II LT. No, the LSX II LT doesn’t have a phono stage or top-of-the-shop Bluetooth connectivity, but it’s got network smarts, a smaller form factor and is, in its own way, just as decorative as the Coda W. Oh, and it’s no slouch when it comes to sound quality.
Here's our full KEF LSX II LT review.

Acoustic Energy AE1 Active
You could also break free of the KEF hegemony and consider the Acoustic Energy AE1 Active system. Yes, it’s pricier than either of the KEF pairs, not as interesting to look at, and only supports physical connections, but despite all this it’s prodigious value for money thanks to its absolutely fulminating sound quality.

How I tested the KEF Coda W

KEF Coda W active speakers, either side of an audio system and turntable, on top of a pair of speaker stands.

(Image credit: Future / Simon Lucas)

I positioned the speakers on a pair of Custom Design speaker stands, connected them together using the supplied USB-C cable and plugged the primary speaker into the mains.

Then I connected a Technics SL1300G fitted with a Goldring 1042 cartridge to the phono input (and also to the line-level input, having positioned a Cambridge Alva Duo phono stage between the two), and plugged a Rega Apollo CD player into the digital optical input.

I used an Apple iPhone 14 Pro and a FiiO M15S digital audio player as Bluetooth sources, and connected an Apple MacBook Pro (running Colibri software) to the USB-C input. After this, I put the speakers either side of my Philips 48OLED806 TV and connected them via HDMI. Lots of sources, meaning lots of content – and for quite a length of time.

Nothing Headphone (a) review: excellent cans that fix all the problems of the original while being way cheaper
2:15 pm | March 5, 2026
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Comments: Off

Nothing Headphone (a) review

The Nothing Headphone (a) are just about the dream tech version 2.0 launch. As the follow-up to the Nothing Headphone (1), launched in 2025, they fix the sound problems I had with those headphones, they keep the excellent stuff I liked, and they somehow cut the price in half in the process (in one country, at least).

What more could you ask from something that's looking to go from audio also-ran to ranking among the best headphones available today? At their official price of $199 / £149 / AU$329, I think the Nothing Headphone (a) are arguably the best cans in their category — just with a few reasons why you might want to choose something else over them.

Let's start with the most important area: the sound. As soon as I fired these up, I felt a sense of relief. Nothing's first headphones baffled me in my Nothing Headphone (1) review with their oddly narrow soundstage that felt like the breadth of a song's traffic was being crammed down a single-lane road.

The Nothing Headphone (a) immediately feel like a big expansive highway in comparison – it's an open, wide and free-flowing soundstage that allows songs to spread out and to feel more energetic, emotive and satisfying. And when I say "in comparison", I mean I broke out the original $299 / £299 / AU$549 model for a listen, and while they have their strengths (a nicely refined frequency balance), the new model is so much more enjoyable to listen to.

The Nothing Headphone (a) ear cushions and mesh inside them

There are 40mm drivers under the mesh (Image credit: Future)

And this improvement has come without any major downsides, though there's one quirk worth discussing. My unit came with the 'More Bass' setting activated out of the box, and this was certainly much more generous with the bass than the Headphone (1) was, to the point of wandering into the 'bass-heavy' category.

This was no problem at all with electronic or pop music — the strength of the lower frequencies gives a glorious foundation to deep drum machines or sinking synths. It's also well integrated into the overall balance, despite being so muscular, with the Headphone (a) having no problems delivering lower mids that can stand up to, or transition from, the bassier parts.

But it was too much for some tracks with real instruments. In Regulars by Allie X, the double bass that opens the song sounded like the instrument was collapsing under its own vibrations. I pulled up the EQ in the Nothing app, saw it was set to 'More Bass', switched to 'Balanced' instead, and immediately the double bass went back to sounding like a double bass, instead of a quadruple bass.

This took a bit of a punch out of electronic songs when I switched back to those, but the bass still had good depth, its integration with the rest of the sound was still excellent. But Nothing's superb app gives a nice option here that I decided to take it up on: I set one of the controls to be an instant EQ switch, so I could get the extra bass if I wanted it.

The Nothing Headphone (a) earcups in close-up

The oval section is more rounded on these headphones than the original (Image credit: Future)

The Headphone (a) provide loads of space for the mid-range to express itself, with a nice chunkiness to guitars, the ability to handle a lot of complex instruments going on at once, and a nice clarity to vocals through it all.

Moving to the treble, it's again just very well worked into the sound, able to stand up for itself without ever feeling harsh or like it's overblowing in order to be heard even when songs get really energetic.

But there is a slight softness of detail to the Headphone (a)'s sound. They're not poor in this area by any means, but switching to the similarly-priced Sennheiser Accentum Plus reveals a slightly more convincing edge to the guitar strings and tambourine in Fleetwood Mac's Go Your Own Way, and more texture to the beat of sticks on drumskins in Sonny Rollins' St. Thomas. There's also better instrument separation in the mix.

The Sennheiser Accentum Plus also have a more neutral sound overall, but this comes alongside a shortfall in bass depth and less dynamic attack in playback. I probably prefer the Nothing Headphone (a) overall for sound given my personal predilection for electronic music, but if you're more of an acoustic fan, you may be better off leaning towards the Sennheiser.

This doesn't change when switching to Hi-Res Audio and listening over USB-C, or with LDAC higher-quality wireless, both of which are supported here (along with a 3.5mm headphone jack). The USB-C mode maybe had a little extra lightness of touch with instrument separation and detail, but any difference was minor.

The Nothing Headphone (a) held in a man's hand

The overall design vibe is a little more 'regular' than the original Nothing headphones (Image credit: Future)

The Sennheiser cans are also much lighter than the Headphone (a) at 227g, versus 310g for the Nothings. That's an improvement on the 329g that the Headphone (1) weigh, but is still higher than most of the competition, and means they still need a stronger clamping force to stay on your head than lighter competition.

Again, this isn't inherently a bad or good thing, but you will 'feel' them more than other headphones, and the synthetic pads aren't designed to be particularly breathable, so left the sides of my head feeling warm over time.

It's probably worth talking about the overall design for a moment here, which is very similar to the original, but has been 'softened' in a way that makes them feel less like they make you look like a cyborg (a good thing), but the ear cups look less like cassette tapes (a shame). Aluminum is now plastic, and gentler curves to the raised section in the middle of ear cups makes all the difference.

Nothing Headphone (a) next to Nothing Headphone (1)

Original flavor on the left, new flavor on the right (Image credit: Future)

Sadly, I don't love the new yellow and pink colorful options. I think there's not enough color for it to really work – the yellow in particular looks like a fried egg, because the rounded yellow mound is surrounded by white. I think there needed to be more color throughout. I love the changes in the white and black models, though – undeniably Nothing, but more mainstream than the divisive Nothing Headphone (1).

Nothing has kept a quirk of headphone design that I don't like here, in that the size is adjusted at the top of the head, rather than by the ears, which I find makes it harder to make micro-adjustments, but isn't a big deal overall.

The Nothing Headphone (a) headband

The headband adjustment is way higher up than on most cans (Image credit: Future)

What is a big deal is that Nothing has kept the fantastic set of controls from the Headphone (1). In particular, the roller for volume control is my favorite control system on any pair of headphones, period. It feels so high quality, it moves reliably under the thumb, and audible clicks tell you that it's moving up through volume tiers. Anything else feels crude in comparison.

That is paired with a 'rocker' control underneath, which is also super-intuitive. Nudge it one way to skip forward, and the other way to skip back. At the top of the right ear cup is a round multi-function custom button that was set to trigger your Voice Assistant by default; I changed it to EQ control, as I mentioned, but it can also work as a camera remote trigger (a new feature for this model) or a mic mute button, or a few other options.

The Nothing Headphone (a) roller and rocker controls on the side
The roller control at the top, with the rocker underneathFuture
The Nothing Headphone (a) customizable button
The fully customizable button on the outside of the earcupFuture
The Nothing Headphone (a) showing the connections and controls on the bottom
The on switch, USB-C and headphone jack port on the bottomFuture
The Nothing Headphone (a) showing the Bluetooth pairing button on the inside of the earcup
The Bluetooth pairing button hides on the inside of the earcupFuture

And you'll absolutely want to play around with this, because Nothing's app is so good. Not only are the headphones customizable in so many ways — different noise cancellation options, different spatial audio types, multiple EQ controls — it's also just really simple to find the key features you want to turn on and off, such as the low-lag mode for gaming, or dual-device connectivity (which really should be on by default, but most devices have it off, so I won't knock Nothing hard for that).

We recently knocked the Sony WF-1000XM6 earbuds for making it hard to find its essential features, so it's nice to see Nothing show how it should be done.

I mentioned spatial audio options before, and while you don't get head tracking or Dolby Atmos here, there are two options with processing handled by Nothing: Concert and Cinema. Concert does a good job of moving sound out from the ear cups, and making it feel like more of a speaker setup across and in front of you.

Cinema adds more left and right sound to that, while also pushing the EQ a little more towards the treble — going for more of a 'surround sound' experience and boosting voices, I suspect — and I found it useful for picking dialogue out of movie soundtracks, so I'd happily use it when watching while traveling.

Speaking of traveling, the noise cancellation here is strong, though not mind-blowing, and that's just fine for this level. Walking along a busy road while listening to music, I wasn't bothered by outside sounds at all. I could hear podcasts clearly while on public transport. The Transparency profile also works as advertised, and never makes things robotic or tinny.

But I want to briefly call out here that Nothing provides the best sounds to indicate what noise mode you're in. Switching to Transparency is announced by an exhaled breath as if sound is escaping; noise canceling is announced by the sound of something being sucked down and then slammed shut. There's no ambiguity here, and no annoying voice.

Nothing promises a phenomenal 75 hours of battery life with active noise cancellation turned on, and 135 hours with it turned off. I couldn't possibly test both claims fully in my time with them so far, even if I used them every waking hour. But I can say that they seem to live up to it, with the battery indicator dropping by 20% after around 13 hours of use.

This makes them essentially best in class, and phenomenal value. In general, I'd say these are about as good as headphones value gets in this space between the budget and premium options. There are only really two knocks against their value worth mentioning.

The first is that it's a shame they don't have an auto-pause feature (also called wearer detection) for when you take them off. It's pretty standard even in affordable stuff these days and while I'm not mad about it since they offer so much elsewhere, it's still surprising.

The second is that in lieu of a hard case (presumably dropped for cost reasons; again, it's understandable) they come with what I can only describe as a swimbag. Yes, it's like a smooth plastic fabric. Yes, it closes with a drawstring. Yes, it made me kind of nostalgic. No, it doesn't feel like a premium addition.

The Nothing Headphone (a) plastic bag

(Image credit: Future)

The thing with the Nothing Headphone (a) is that all the knocks I have against it are either minor like the above, or are more subjective, like the weight and clamping force.

There are enough little downsides or quirks that I can't quite give them full marks, but make no mistake that I think these are excellent headphones, that they'll be ideal for a lot of people, and that they're superb value.

Nothing Headphone (a) review: Price & release date

  • Released on March 13th, 2026
  • $199 / £149 / AU$329

The Nothing Headphone (a) arrive with an impressive price of $199 / £149 / AU$329, meaning that they come in at half the price of the earlier Nothing Headphone (1) and their £299 launch price in the UK, while they're a third cheaper than the $299 Headphone (1) price in the US. In Australia, the drop from AU$549 for the Headphone (1) is between those two percentages.

I should note that they Headphone (1) have been available for as little as $254 / £199 / AU$350 in sales events, though — but I have no doubt the Headphone (a) will see juicy discounts too.

Instead of putting them in direct competition with high-end releases from the likes of Bose and Sony, the Headphone (a)'s mid-to-low price tag puts them up against the likes of Sennheiser's Accentum Plus or Soundcore Space One Pro.

Nothing Headphone (a) review: Specs

Drivers

40mm

Active noise cancellation

Yes

Battery life (ANC off)

135 hours

Weight

310g

Connectivity

Bluetooth 5.4, LDAC, USB-C audio, 3.5mm jack

Frequency response

20Hz - 40kHz

Waterproofing

IP52

The Nothing Headphone (a) close-up of the ear cup

(Image credit: Future)

Should I buy Nothing Headphone (a)?

Attribute

Notes

Score

Features

They're generally best-in-class for features, but miss just a few minor options.

4.5 / 5

Sound quality

Expansive and exciting with excellent balance, but a little soft on detail.

4.5 / 5

Design

The best controls of any headphones, and a premium build – but a little heavy.

4 / 5

Value

An excellent mix of features and performance for a very fair price.

4.5 / 5

Buy them if…

You want excellent all-rounders for Android or iPhone
No matter which platform you're on, the Headphone (a) deliver an excellent range of features, great sound, and their mighty battery life.View Deal

You like a big and energetic sound
The Nothing Headphone (a) deliver fun and dynamic audio that's finely balanced, and is much more expansive than the Nothing Headphone (1).View Deal

You don't like to think about charging
75 hours with ANC on, and 135 hours without it, are as good as it gets in headphones right now.View Deal

Don’t buy them if…

You want a neutral, hi-fi sound
They're well-balanced, but still like to juice up songs a little — the Sennheiser Accentum Plus can deliver a more neutral sound with a little more instrument separation.View Deal

You don't like to 'feel' your headphones
Nothing has made these lighter than its first pair, but they're still heavier than most other options, and clamp the head more firmly as a result.View Deal

You need a protective case
If you don't treat your headphones very well in your work or gym bag, the flimsy plastic drawstring sack the Nothing Headphone (a) come with won't do much to help them.View Deal

Nothing Headphones (a) review: Also consider

Sennheiser Accentum Plus
If you'd like a more 'hi-fi' sound than the Nothing provide, in a lighter body, then these are ideal. They're a bit more detailed and neutral, and battery life is great at 50 hours. You'll miss out on a lot of features in comparison, though – but we do like them, as our Sennheiser Accentum Plus review explains.View Deal

Sony WH-1000MX4
Still available to buy over five years since they launched, and now available for a price in the same range as the Nothing Headphone (a). Good sound, great noise cancellation, a super-comfortable fit, and a hard case, for those who want one. They have a solid range of features, but not as many as the Nothing – and the battery life is 30 hours with ANC on. Still, they're great cans – you can read our original Sony WH-1000XM4 review there.View Deal

How I tested the Nothing Headphone (a)?

The Nothing Headphone (a) worn on a man's head

These look a little more natural on the head than the Headphone (1), thanks to some tactical curvier design (Image credit: Future)
  • Used for a week in my day-to-day life
  • Tested largely over standard Bluetooth and USB-C hi-res wired audio
  • Tested with a pre-release update to the Nothing X app

To test the Nothing Headphone (a), I started carrying them everywhere with me and made them part of my normal life. I used them on both walking and public transport commutes, around the house, and at the office.

I compared them directly to the Nothing Headphone (1), Sennheiser Accentum Plus and Sony WH-1000XM4 headphones, switching back and forth, as the headphones I think are the biggest alternative options. I had access to an early version of the Nothing X app with support for their features, so some details may change there before launch.

I lead TechRadar's AV team, and I've been reviewing audio gear for well over a decade, from the budget end of things all the way to up to high-end audiophile tech. I reviewed the earlier Nothing Headphone (1), as well as this newer model.

I spent two weeks with Cambridge’s all-new active bookshelf speakers and they’re an immediate pound-for-pound market-leader contender
12:34 pm | March 4, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Cambridge L/R S: Two-minute review

The Cambridge L/R S is the first out of the gate of the British audio brand's new ‘L/R’ wireless range to attack the best stereo speaker systems market. It's also the most affordable: this L/R S sells for Ruark MR1 Mk3-adjacent money, which seems less than accidental.

The money buys a crisply accomplished standard of build and finish, as well as some proper specification highlights — not least of which is that this is an active, rather than a powered, speaker system with a dedicated block of amplification for each of its drivers and an active DSP crossover. A choice of five quite fetching colors doesn’t do any harm, and neither does the option of a real walnut veneer alternative — even if the latter comes at additional cost. Support for aptX HD Bluetooth connectivity, along with line-level analog, USB-C and digital optical inputs, means the L/R S can support a reasonably diverse and expansive set of sources. The provision of a pre-out for a subwoofer is a nice touch, too, although (as we shall directly see) not super-necessary.

No matter the source of the music it’s playing, the L/R S is a big, bold and quite assertive listen; but that’s not the same as saying it’s unsubtle. There’s plenty of detail retrieved to go along with the attack, good insight to complement the dynamism, and a fairly natural and neutral way with frequency response and tonality. Or, at least, there is until you reach the bottom of the frequency range — here the L/R S is rather too confident, and gives a little too much weighting to bass information. This isn’t at the expense of rhythmic expression or forward drive, though.

All of which means the Cambridge L/R S is immediately one of the very best pound-for-pound desktop stereo systems around, and one that demands very careful consideration indeed.

Front panel of the Cambridge L/R S active speaker system, in front of a plant, on white surface.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Price & release date

  • $549 / £399 / AU$949
  • Released April 1, 2026 (in US/Europe)
  • Originally announced in January 2026

The Cambridge L/R S wireless active stereo speaker system is on sale from April 1, 2026 in Europe and the USA — in APAC (Asia-Pacific) countries it’s already available.

In the United States it will cost $549. Or, at least, it will in any of the five colors in which it will be available — if you fancy the real walnut veneer you're looking at $599. In the United Kingdom it's going to go for £399/£449, while in Australia it is already selling for AU$949/AU$1049.

So the price, as well as the basic configuration, is very close indeed to Ruark’s class-leading MR1 Mk3. Coincidence? Hmm…

Rear panel of the Cambridge L/R S active speaker system, showing speaker link, USB-C input and sub out configurations.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Features

  • 100 watts of Class D amplification
  • 21mm tweeter, 76mm mid/bass driver
  • Wired and wireless input options

First things first: this is a genuinely active, rather than a powered, stereo speaker system. Any rival product at this sort of money uses one powered speaker to deal with inputs, outputs, amplification, decoding and all the rest of it, and then sends amplified analog information to a passive partner.

With the L/R S, though, Cambridge has gone another, more complex and inevitably more expensive way: although only the primary speaker receives mains power, there are two channels of amplification for each speaker, and a full DSP crossover which serves a PWM (pulse-width modulation) signal to each of the amplifiers. A bespoke four-conductor cable connects the primary speaker to the secondary, along which all power and digital audio signals travel. I don’t think I can be criticized if I use the word ‘over-engineered’ here, so I will – but I am also quite happy to use the word ‘admirable’.

The rear of the secondary speaker features a screw-down socket for connecting that inter-speaker cable, and a bass-reflex slot along the top. The primary speaker has these features too, but it also includes USB-C, line-level stereo RCA and digital optical inputs, plus a pre-out for a subwoofer, and Bluetooth wireless reception (with aptX HD codec compatibility). The optical and USB-C inputs support resolutions of up to 24bit/96kHz PCM – every incoming signal is resampled to 24bit/48kHz in the DSP before its delivery in PWM form to the amplifiers.

Power, incidentally, is of the Class D variety, and there’s 100 watts of it. Each driver gets 25 watts to play with — there’s a 21mm hard-dome tweeter behind a waveguide and phase cap above a 76mm mid/bass driver in each speaker. Cambridge suggests this layout results in a frequency response of 55Hz - 24kHz. The rear of the primary speaker also includes a button that operates as both a power on/off switch and as an input selector. It also features three toggle switches: one to let the speaker know if it’s the left or the right channel, one to tell it if the system is being used on a desktop or not, and one to let it know if it’s in free space or near a wall. And there’s a figure-of-eight socket for mains power, too.

  • Features score: 5 / 5

Front panel of the Cambridge L/R S active speakers, showing a closeup of the tweeter.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Sound quality

  • Expansive, detailed and upfront sound
  • Direct and positive sonic attitude
  • Slightly overplays its low-end hand

Yes, the L/R S is on the larger side for a desktop system but the sound it delivers is appreciably larger than that. Connected via USB-C and with a 24bit/44.1kHz FLAC file of Cate Le Bon’s Are You With Me Now? incoming, the scale and spaciousness of the presentation is initially quite startling.

The overall sense of scale is complemented nicely by the Cambridge’s ability to generate an organized, convincing soundstage and to focus well. There’s a fair amount of separation to the overall presentation, but at the same time a decent sense of singularity that prevents even complex recordings from sounding disjointed or untogether. Add in sufficient dynamic headroom for when the going gets especially loud or intense, and the Cambridge system sounds both bigger and more confident than its physical dimensions might suggest.

The tonal balance is fairly neutral despite a suggestion of heat at the bottom end, and frequency response once you get above the lowest of the low frequencies is smooth and even – the crossover between the two drive units is all-but imperceptible. The top of the frequency range balances attack against substance nicely, while the midrange communicates in a manner easily described as ‘lavish’. The system’s ability to reveal detail of any significance and give it appropriate weighting means voices are delivered with plenty of character and attitude.

There’s a little issue at the bottom of the frequency range. Basically, the Cambridge is slightly too pleased with the amount of low-frequency presence it’s able to liberate from recordings and just fractionally overplays its hand. There’s a little too much emphasis on the bottom end in the context of the overall frequency response available here, a minor bloom at the very bottom of the extension that can make bass sound just a touch too prominent and therefore slightly too remote from everything that’s going on above it.

Despite this, the L/R S controls its low-end activity carefully enough to ensure rhythms are expressed convincingly and momentum levels never dip below where they should be. And besides, I know perfectly well that if it comes to a straight choice, there are plenty of listeners who would choose ‘a little too much bass’ over ‘not quite enough bass’ every time.

All of the above applies if you choose to listen at volume levels somewhere between ‘background’ and ‘really quite loud’. Go beyond that and the L/R S loses a little of its admirable composure and its previously nicely open stage starts to sound a little flat and two-dimensional. It’s hardly a fatal flaw, though, and besides… it’s easily fixed. Just turn it down a touch.

  • Sound quality score: 5 / 5

Front and back panels of the Cambridge L/R S active speaker system, on a white surface.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Design

  • 226 x 134 x 180mm (HxWxD)
  • Choice of six finishes, including a (cost-option) real wood veneer
  • No grilles supplied

It is, admittedly, a little larger than the Ruark MR1 Mk3 that would appear its primary target, but the Cambridge L/R S is nonetheless compact enough at 226 x 134 x 180mm (HxWxD) to sit happily on even a modestly sized desk (as long as it’s reasonably tidy). At the same time, it’s just about big enough to not look too lost on a pair of regular speaker stands.

No matter where you want to position it, though, there are lightly rubberized little feet integrated into the bottom of the recessed plinth on which the main body of the speaker sits (which is why, from some angles, it seems to float), and there will be the option of a pair of angled ‘tilt’ stands to help aim the tweeters more overtly at your ears if the system is on your desk. These stands, of course, are a cost option.

There’s not even the option of any grilles, though. Having said that, there’s a hint of visual interest thanks to the identically sized black circles on the front baffle inside which the drivers are positioned which wouldn’t be available if grilles were fitted. Nor is there much to be gained in aesthetic terms by hiding away the orange tweeter or its waveguide, either.

The standard of construction is beyond reproach. The cabinet edges and corners are crisp rather than pointy, the recently updated brand logo at the rear of the top surface looks confident, and the sort-of kind-of matte finish feels as good as it looks in any of the five colors that are available. Take your pick from the white of my review sample, black, a bright orange, a fairly dark green or an unarguably dark blue — or if you don’t object to some extra expenditure, you can choose a real walnut veneer that tackles the L/R S even further into Ruark MR1 Mk3 territory.

  • Design score: 4.5 / 5

Top panel of a Cambridge L/R S active speaker, next to a plant pot.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Usability & setup

  • Bluetooth LE remote control
  • Selection of EQ presets
  • ‘DynamEQ’ technology included

First of all, of course, the primary speaker must be plugged into the mains. Then use the supplied 2m length of cable to join the two speakers together (Cambridge is readying a 5m alternative, for which it will naturally want some more money). After that, it’s just a question of establishing the physical or wireless connections you need to make.

There is no control app here, of course — this is not a networked system, after all. Nor are there any physical controls on either of the speakers (except that trio of toggle switches that help orientate the system before it’s running, the on/off power button or to cycle through the inputs), which could be considered an oversight. The only way to control the L/R S is by using the remote control handset that’s supplied in the packaging.

The handset itself is small, made of quite hard plastic and is not backlit but it covers off every function, and because it’s a Bluetooth rather than an RF device it’s far less reliant on having line of sight to the ‘primary’ speaker. It also gives access to a trio of EQ presets: they’re designated ‘normal’, ‘movie’ and ‘voice’.

Cambridge has included its ‘DynamEQ’ technology here, which is a gesture towards automated usability. It’s described as ‘intelligent optimization’, and makes bass and treble adjustments in response to any changes in volume you might indulge in.

  • Usability & setup score: 4.5 / 5

Remote control for the Cambridge L/R S active speaker system, on a white surface.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Value

  • Excellent sound for the price
  • Lots of colorways, even if you have to pay extra for the walnut finish
  • Expansive specification

Judge it in terms of engineering excellence, obvious competence where construction and finish are concerned, and the useful and reasonably expansive nature of its specification, and it’s hard to suggest the Cambridge L/R S doesn’t represent decent value for money.

And when you factor in the sound it’s capable of producing, well, it then starts to put it squarely in the 'market leaders' bracket for active speaker systems.

  • Value score: 5 / 5

Should I buy Cambridge L/R S?

Cambridge L/R S scorecard

Attribute

Notes

Score

Features

Active system, with USB-C, line-level stereo RCA and digital optical inputs; Bluetooth wireless (with aptX HD codec compatibility).

5 / 5

Sound quality

Expansive, detailed and upfront, but slightly overplays its low-end hand.

5 / 5

Design

Very solid build; six finishes, but walnut is a cost option; no grilles supplied.

4.5 / 5

Setup & usability

Bluetooth LE remote control; trio of EQ presets; no control app.

4.5 / 5

Value

Engineering excellence, plus superb sound, make it a pound-for-pound contender at the price.

5 / 5

Buy them if…

You want a desktop system that can nevertheless fill a room with sound
The L/R S sounds significantly larger than it looks.

You want a full-on system that can sit on a desktop if needs be
See above, but in reverse: despite the scale of its presentation, the physical dimensions of the L/R S make it fine for desktop use.

You’re (almost) all ‘bout that bass
The L/R S is no one-trick pony, but it does like a bit of low-frequency action.

Don’t buy them if…

There are inquisitive people in your home
A lack of grilles can sometimes be an invitation to prying fingers.

You like to turn it up to ‘11’
The Cambridge will play loud, but it’s not at its best this way.

You prefer your speakers in a wood finish
Real walnut is available, but it will cost you.

Cambridge Audio L/R S review: Also consider

Ruark MR1 Mk3
The most obvious alternative to the Cambridge L/R S, it features a phono stage for use with a turntable, it’s available in a real wood veneer at no extra cost, it’s even more compact and desktop-friendly and, most importantly of all, it’s got loads to recommend it where sound quality is concerned. As a powered speaker system of the more common type it’s not quite the Cambridge's technological tour de force, though, and the fixed-grille design could conceivably look a little frumpy next to the crisp minimalism of the L/R S. Here's our full Ruark MR1 Mk3 review.View Deal

How I tested the Cambridge L/R S

I tested the L/R S on a desktop, where it was wired via USB-C to an Apple MacBook Pro running Colibri software.

It was also connected wirelessly to an Apple iPhone 14 Pro (via the AAC codec) and a FiiO M15S (using aptX). It was also tested when positioned on a pair of Custom Design speaker stands and with a (pre-amplified) Technics SL-1300G turntable and Rega Apollo CD player connected to the analog RCAs and the digital optical socket respectively.

I’ve been using these super-cheap headphones for a month — I’m surprised to report they sound great
5:30 pm | February 27, 2026
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: , , , | Comments: Off

OneOdio Focus A1 Pro: Two-minute review

It’s a competitive world out there for the best cheap headphones — OneOdio should know, it’s contributed a fair few options. And with its most recent pair of budget blowers, it’s offered yet another fantastic-value headset with just a few rough edges.

The OneOdio Focus A1 Pro are the cheapest pair of headphones we’ve tested yet from the budget brand, and that’s really saying something. They cost just $35 or equivalent, undercutting the 4.5-star-rated OneOdio Focus A6. If you’re looking for a pair of headphones that’ll last you well, and really don’t want to spend much money, they’re a hit.

Last you they will, because they offer a battery life that reaches up to 70 hours, which is fantastic for the money. They’re also lightweight and easy to tote about, and these perks will likely be big draws to buyers on a budget.

My favorite element of the Focus A1 Pro is the audio quality: these headphones sound better than anything else I’ve tested under $50. That’s obviously a low bar, but the OneOdio easily clears it, with music sounding natural and bright with a decent sound stage.

When buying budget headphones, there’s always a big risk that you’re buying tat that’ll end up in landfill (or a box to take to your local recycling center) by the end of the month. I’m happy to report that the OneOdio certainly aren’t that… but they have a few issues too.

Lots of the weakest elements of the A1 Pro are things I’ve seen in other OneOdio headphones, such as the Focus A5 (which I only awarded three stars, in my review).

These new cans don’t have a tie-in smartphone app, and nor do they offer many of the features that an app would help open the door to. Most vitally, there’s no equalizer, which many consider an imperative feature for products such as this. The ANC performance is also weak, with the passive padding of the cups doing the lion’s share of the work in stopping surrounding sounds from distracting you. Now, we can easily argue that it would be churlish to expect these things for such a lowly fee, but it's my job to tell you what you'll be getting here if you click 'buy'.

I also found these cans a little uncomfortable to wear over longer periods of time, partly due to their rather tight clamping force, and partly because they sit somewhere between on-ears and over-ears. Your poor flappers are going to get a little crushed.

OneOdio Focus A1 Pro review: Price and release date

The OneOdio Focus A1 Pro a lamp, with a bookshelf in the background.

(Image credit: Future)
  • Released on January 20, 2026
  • Sells for $34.99 / £43.99 (roughly AU$85
  • On sale in UK and US, not Australia

You can pick up the Focus A1 Pro for $34.99 / £43.99 (roughly AU$85, but unlike many other cans from the company, they don’t yet seem to be on sale in Australia).

You think that makes them some of the cheapest headphones worth considering? Wait until you hear the actual price; within two weeks of the release date of January 23, I’d already found them discounted. Only by a couple of dollars or pounds, but it's still something, and OneOdio promises continued price cuts through the year.

The headphones were announced on January 20, 2026, and released shortly afterwards.

OneOdio Focus A1 Pro review: Specs

Drivers

40mm

Active noise cancellation

Yes

Battery life (ANC off)

70 hours

Weight

200g

Connectivity

Bluetooth 6.0

Frequency response

20Hz - 20kHz

Waterproofing

N/A

OneOdio Focus A1 Pro review: Features

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)
  • 70-hour battery life
  • ANC is resoundingly light-touch
  • No app

In what might come as a shock to headphone buyers in the year 2026, the Focus A1 Pro don’t have a smartphone app. Of all the features this rules out, an equalizer is the biggest: if you don’t like OneOdio’s mix, you'll have to lump it.

You do still get multipoint pairing, as well as a low-latency mode for gaming which is enabled by double-pressing the ANC button. But this department more than any other shows why the headphones are so cheap.

Talking of ANC, it’s not very good, but coupled with the natural passive noise cancellation of the ear cups, it’ll remove the top layer of annoying noise. When I was on public transport, I could still hear every screech of noisy rails or honk of nearby vehicles, but it was a little less onerous than normal.

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)

I personally took to keeping the ANC off, though, and it was for battery reasons. With ANC off, you get 70 hours of listening time, which is solid stamina. For context, if you listened for about three hours and 20 minutes every day, you’d only have to charge every three weeks.

That figure drops substantially with ANC on; OneOdio’s figures alternate between quotes of 40 or 50 hours, and the truth is likely somewhere in between. I’d rather have the longer listening time than the scant improvements this particular ANC solution brings.

I was surprised to read that the OneOdio has Bluetooth 6.0; it’s rare among headphones I’ve tested recently in having this enhanced standard. Not once in testing did I have any connection issues.

  • Features score: 3.5/5

OneOdio Focus A1 Pro review: Design

The OneOdio Focus A1 Pro on a man's head.

(Image credit: Future)
  • Sustainable build
  • Comfortable to wear
  • Incredibly handy joystick controls

The Focus A1 Pro are, by and large, your standard headphones: big, black band with an ear cup at each end, that give you music. No-one was expecting OneOdio to reinvent the wheel for $35.

They weigh 200g, and while they have a few little design flourishes that differentiate them from your average budget cans (some curves and patterns in the appearance, for example), they do feel cheap. The build is plastic-heavy and some of the moving parts can wobble or creak a little bit.

You don’t get a carry case with the Focus, and I was a little scared to transport them in my bag, as they feel a tad fragile. They also have no IP rating. That said, during my testing month, they sustained no damage whatsoever.

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)

I’ve so far refrained from classing these as over-ears or on-ears, as they sit haphazardly in the middle of both. Forget Goldilocks’ messaging, though, because it’s not ‘just right’ either. They sit a little weirdly on the head, for me.

The pads, while soft, crush your ears a little over time; this was noticeable when listening for longer sessions, as my ears would get a bit achey. The rather tight grip of the cans doesn’t help here either. I also never quite figured out exactly how to wear them, due to this over/on dilemma.

On the right cup, there are some touch controls (volume up and down, power, ANC; the basics) as well as the USB-C port. These don’t stick out too much, so finding them by touch can be tricky. It took a little while for pressing these to become easy and natural. There’s no 3.5mm jack for wired audio; these are wireless or nada.

  • Design score: 3.5/5

OneOdio Focus A1 Pro review: Sound quality

  • 40mm driver
  • Crisp, natural audio
  • Max volume could be higher

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)

I’ve been positive about the Focus A1 Pro and that’s not going to stop now, but let’s get one thing straight: these are budget cans, and when I say they’re ‘good’, I mean ‘for the price'.

OneOdio has kitted out the headphones with 40mm dynamic drivers using PET diaphragms; so far, so budget.

Unlike many other budget headphones, the brand hasn’t fallen into the ‘more bass is more gooder’ trap — there’s a fairly natural-sounding V shape with distinct trebles in vocals, and bass that’s as rounded as you can hope for at this price point. I was surprised when songs like Starlight by Slash and Miles Kennedy offered layered instrumentation and palpable timbre, as it’s not something I’d expect for the cost.

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)

Naturally, the mids can fall through the cracks, so you can’t expect the whole band to show up. And when you get songs with lots going on, instruments blur together; Clarity by Vance Joy doesn’t quite live up to its title.

I’ve been constantly mentioning the price in this scene, and it’s to cover my back. Audiophiles won’t like these cans, as the mixing is messier than it would be on pricier options. But if you compare these to other offerings at the price, they’re nothing short of wonderful.

I would’ve liked to see the Focus A1 Pro manage a higher max volume, though. At full blast, the audio could mostly compete with a busy-ish road I was walking down, but Nigel Tufnel would malign the lack of any 11 to turn your music up to for that harder hit. Even when at home, anything below 50% volume was hard to hear.

  • Sound quality: 4/5

OneOdio Focus A1 Pro review: Value

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)
  • Great sound for price
  • Some rivals may beat in certain departments

The OneOdio Focus A1 Pro are fantastic for the price. They sound far better than you’d expect from budget cans, and I’ve tested rivals for twice the price which don’t hold a candle.

That’s not even touching on the solid battery life, the hardy connection or the useful-for-gamers latency mode.

If you look hard enough, you can probably find rival cans with better ANC, a comfier fit or an equalizer, and I’d like the OneOdio even more if it offered these. But for the price, it’s hard to knock the Focus for its absences.

  • Value: 4.5/5

Should I buy the OneOdio Focus A1 Pro?

OneOdio Focus A1 Pro score card

Attributes

Notes

Rating

Features

There’s no app and ANC isn’t great, though the battery life and connection are solid.

3.5/5

Design

For cheap earbuds, they look better than most, but have a few rough edges (literally).

3.5/5

Sound quality

These cans sound great for the price, with clearer audio and neater sound spacing than you’d expect.

4/5

Value

If you’re on a budget, these can’t be beaten

4/5

Buy them if…

You're on a tight budget
These headphones have been designed for people who don't want to pay for premium, or even mid-range, options.

Battery life is an important factor
The 70-hour battery life is going to be handy for all kinds of use cases.View Deal

You need lightweight headphones
Don't like a big helmet on your head? These are lighter than some alternatives I've tested.View Deal

Don’t buy them if…

You need something durable
The OneOdio feels a little fragile, and I don't imagine they'll stand up to some rough-and-tumble use.

You need heavy-duty noise cancellation
The ANC on these guys isn't fantastic, though it's better than nothing.

OneOdio Focus A1 Pro review: Also consider

OneOdio Focus A1 Pro

Soundpeats Cove Pro

OneOdio Focus A6

Drivers

40mm

40mm

40mm

Active noise cancellation

Yes

Yes

Yes

Battery life (ANC on)

70 hours

95 hours

75 hours

Weight

200g

251g

240g

Connectivity

Bluetooth 6.0

Bluetooth 6.0

Bluetooth 6.0

Waterproofing

NA

IPX4

NA

OneOdio Focus A6
These high-rated budget cans cost a touch more than the A1 Pro, but app access is the headline improvement.
Read our full OneOdio Focus A6 review

Soundpeats Cove Pro
These slightly pricier alternatives have a solid build and impressive feature set, though they don't sound as good. (Our review on the Cove Pro is currently in the pipeline; when we publish it, you'll be the first to know!)

How I tested the OneOdio Focus A1 Pro

  • Tested for 1 month
  • Tested at home, on walks, on public transport and the gym

The OneOdio Focus A1 Pro on a wooden table.

(Image credit: Future)

I used the OneOdio Focus A1 Pro for the best part of a month before writing this review, so they got a lot of use.

For most of the test period, the headphones were paired with my Android smartphone, though I also used them alongside an Android tablets at several points.

Testing was done streaming music, watching TV shows and playing games. I tested the headphones in various interior settings, while out and about, and during gym sessions.

I've been tested audio gadgets for TechRadar for years, including several previous OneOdio headphones and earbuds.

  • First reviewed in February 2026
‘I’m loving the audio and design upgrades, but one huge problem remains’ — after using Samsung Galaxy Buds 4 Pro for one week, there’s still an issue
9:00 pm | February 25, 2026
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: | Comments: Off

While the launch of the Samsung Galaxy S26 series has the phones world abuzz, it’s the unveiling of the company’s new audio products which is turning earbuds fans’ heads. The flagship new 'Buds' vying to feature in our best earbuds guide are the Samsung Galaxy Buds 4 Pro, which have just been released alongside their non-Pro counterparts. They are, depending on your persuasion, the follow-up to the Galaxy Buds 3 Pro, or the latest rival to the AirPods Pro 3.

As early leaks all-but confirmed, these buds have seen a design change, using a new version of what Samsung calls its ‘blade’ design to create a sleek and understated-looking model. I don’t know how much Marvel’s sword-wielding vampire-fighter had to do with the change, but it’s just the most readily-apparent of the several changes and upgrades coming to this new iteration.

At an early event I got to test the Galaxy Buds 4 Pro, as well as their non-Pro sibling, and since then I’ve been listening to them non-stop for the past week. That’s not enough time to write a full review (though rest assured one is coming), but below you’ll find my early impressions on this new pair of premium earbuds.

@techradar

♬ original sound - TechRadar

Samsung Galaxy Buds 4 Pro review: Price and availability

The Samsung Galaxy Buds 4 and Buds 4 Pro cases, stacked on top of one another.

(Image credit: Future)
  • Announced on February 25, 2026
  • Selling for $249 / £219 / AU$399
  • Matches AirPods Pro 3 in price — which is likely deliberate

The Samsung Galaxy Buds 4 Pro were unveiled on February 25, 2026, and they’re due to go on sale at the beginning of March.

To buy the new buds, you’ll have to shell out $249 / £219 / AU$399. That’s certainly a high price for earbuds, marking them as premium options, though it’s worth noting that this is the same launch price as the previous model.

Let’s put that in context: the latest AirPods Pro 3 cost $249 / £219 / AU$429 so it’s a similar price in most places, but Samsung undercuts Apple in Australia. The standard Galaxy Buds 4 go for $197 / £159 / AU$299, so they’re naturally cheaper, but you’re getting an open-style bud for that price.

Samsung Galaxy Buds 4 Pro review: Design

Two The Samsung Galaxy Buds 4 Pro in a man's hand.

(Image credit: Future)
  • New 'blade' look, old 'blade' traits gone
  • Feel solid in the ear
  • Annoying eartip problem returns

Changes to the Galaxy Buds 4 Pro are evident from the outset: they come in a clamshell-style charging case which is transparent in its lid, so you can admire the buds at will – it’s much easier to slot the buds into than the 3 Pro’s case was. It feels a little smaller but thicker, from my recollection of the last buds, though I can’t confirm that – either way, it was easy to slot into my trouser pockets.

The buds themselves have seen a redesign, and now have a brushed-metal edge which is lovely and understated. I’m personally a big fan of earbuds that aren’t bedecked in the company’s logo, and could proudly walk around without feeling like a Samsung billboard.

The brushed-metal edge of the Samsung Galaxy Buds 4 Pro.

(Image credit: Future)

Some more changes: Blade Light? Gone. Color-coded buds so you know at a glance which side of the case to put them in? Gone. Proprietary eartip-locking system which stops you using third-party tips, and makes them incredibly hard to remove? Sadly not gone, despite this finickity system causing so many problems in the Buds 3 Pro that they were delayed. I needed to switch the tips when I first received the buds, and was fearful of doing so given how easily I could have accidentally broken them. I can't understand why Samsung has left this big problem in place.

I switched out the tip because the buds’ fit didn’t feel solid, and changing to the biggest option didn’t remedy that. However, the only times they've actually fallen out is when I took them on a run; I'd say they're fine for everyday use, then, but aren't runners' buds.

Other than that, they’ve felt pretty reliable, even when I walked around with the buds at weird and irregular angles to test out one of their features (don’t tell my editor, who threatened to write a column calling out all the people who wear earbuds wrong). I was surprised by how much much I liked the on-stem touch controls too: swipe for volume, pinch for play/pause. Nice and convenient, and with a responsive ‘click’ for the latter too, reminding me of the Nothing Ear (a) which have a gold star in this department.

@techradar

♬ Straf (Theme) - Weval

Samsung Galaxy Buds 4 Pro review: Features

The Samsung Galaxy Buds 4 Pro, next to their charging case.

(Image credit: Future)
  • Solid ANC
  • App is chock-full of features
  • New live translation and head gestures

I remember being blown away by the Galaxy Buds 3 Pro’s ANC, and from early tests, it’s just as strong here. I’ve mostly been listening on the standard ANC mode, at full power, but there’s an Adaptive mode that I’m getting ready to try next. If there’s a flaw, it’s that Ambient mode seems weaker than on other buds I’ve tested, in that it lets through too much.

Like any good premium earbuds, there are plenty of app features in the Galaxy Buds 4 Pro. I spent a good long while playing around with tools like an earbud fit test, a 5-band equalizer with various presets, an Ultra High-Quality mode, 360 audio and setting up neck stretch reminders.

Two Samsung Galaxy Buds 4 Pro earbuds, in a man's hand.

(Image credit: Future)

The app also offers an adaptive sound mode, which offers a hearing test to create a bespoke sound profile – it’s simpler than the alternative offered by many rivals, and didn’t have an audible impact on my music. I must say, I’m not convinced by this one.

New features to the Galaxy Buds 4 Pro include head gestures to answer or reject calls, however I didn’t get to test this, due to no-one calling me in the test week (it’s 2026 – I don’t get many calls full stop). AirPods Pro-style Live Translation is also here, and thanks to an upcoming trip, it’s something I hope to test soon for the full review.

There's also the feature I referred to earlier in the article: adaptive casting, so the buds will recognize how you're wearing them and adapt playback accordingly. In short, if you're wearing the buds wrong, they'll play music slightly differently to atone for it. Perfect for all those people you see on the train who have the stems vertical (or horizontal).

Samsung Galaxy Buds 4 Pro review: Sound performance

The Samsung Galaxy Buds 4 Pro, on a plant pot.

(Image credit: Future)
  • Driver improvements offer better-defined bass
  • Support for high-quality music
  • Sounds great, with refined V-shaped audio

There's an audible change afoot in the Galaxy Buds 4 Pro; they have a slightly bigger driver, and according to Samsung this brings bass boosts. In my testing, this doesn’t mean more bass, but better bass.

Lower-frequency instruments don't dominate the other tracks as much as in rivals, but sit better alongside them, with better definition and timbre. It feels more natural, and less like a filter slapped over music.

Beyond that, these sound similar to the previous-gen model: really, really good, with a gentle V-shaped sound. Sharp treble, wide sound stage, high quality of tracks supported. Expect a more detailed and nuanced analysis when the novelty has worn off, but to praise them simply: I used them for hours on my return trip from covering the Bristol Hi-Fi show, and didn’t find them as much of a sad comedown as I expect any other earbuds would be (to clarify, I'd spent the days listening to speakers and hi-fi systems that cost hundreds of thousands, in any currency you like).

I should note, I did much of my listening on a Samsung phone, which allows for the company’s Ultra High Quality Sound feature – it compresses then decodes music up to 24-bit/96kHz. This made music sound distinctly better than it might on another device, as illustrated by the fact I also tested alongside a different Android phone which also sounded great, but not quite as high-quality.

@techradar

♬ original sound - TechRadar

Samsung Galaxy Buds 4 Pro review: Value

The Samsung Galaxy Buds 4 in their case, on a potted plant.

(Image credit: Future)

The big question for expensive earbuds like these, is how well they justify that high price tag. I can't deny that the Samsung Galaxy Buds 4 Pro sound great, but the earbuds world is a competitive one, and you can get a great pick without paying much.

I think it's the feature department that'll sway me either way: it's what set many buds apart, and if the Galaxy Buds 4 Pro tools prove useful over the coming weeks, it'll help make the price make sense.

How I tested

The Samsung Galaxy Buds 4 Pro in their carry case, with the lid closed.

(Image credit: Future)

So far, I've been listening to the Samsung Galaxy Buds 4 Pro for the best part of a week, mainly using it for music streaming. I tested it for a time on my Realme phone, listening to Spotify as I would any other pair of headphones. I also spent a few days with it paired to a Samsung Galaxy S25 Plus, listening to high-res music and testing its various features. I will repeat this split for the remainder of the testing process, to see how well the buds work for Samsung and non-Samsung users.

I've tested plenty of other earbuds in the past, including options from Samsung and its companies including the Galaxy Buds 3 Pro, original Galaxy Buds and some picks from AKG, Bowers & Wilkin and JBL (yes, all owned by Samsung).

Read more about how we test

  • First reviewed: February 2026
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