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Testing the Beats Powerbeats Pro 2 actually changed my priorities when buying sports-focused earbuds –and that’s something I thought could never happen
1:40 pm | February 26, 2025
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: , , , | Comments: Off

Beats Powerbeats Pro 2: Two-minute review

I'll be frank (you can still be whatever your name is): a lot has changed in the world of Bluetooth audio since May 2019. That's when the Powerbeats Pro 2's forefathers burst onto the relatively new true wireless earbuds scene and promptly cornered its fledgling athletic sub-genre.

The thing is, the wealth of reliable earbuds any of us can pick up now for as little as $20 were inconceivable six years ago, so the Powerbeats Pro 2 arrive as an interesting (quite large, cumbersome even) proposition. If their storied heritage did not exist, we might actually question what Beats was doing releasing a set of earbuds with a large curling tail on one end that does not facilitate open-ear listening, but instead includes a more traditional driver housing and neck for creating a closed seal betwixt its ear-tip and your ear canal.

One might argue that in the past few years engineers have collected substantial data and used it to create concha-fit and droplet-shaped ergonomic driver housings, which means we no longer need arms for our earbuds – even for sports. We might even think it odd for Beats to be pitching such a design at athletes – because other bright sparks have invented open-ear true wireless earbuds in the past four years, and these let us easily hear traffic or our trainer's voice as we work out.

But the Powerbeats Pro 2 get a hall pass for most of this, owing to the love we still have for the then-groundbreaking inaugural Powerbeats Pro. I remember the huge video ad I saw every day at London's Waterloo Station, featuring Serena Williams serving both looks and tennis aces while wearing an ice-white, Wimbledon-friendly set of Powerbeats Pro. Those earbuds – which arrived before the inaugural AirPods Pro and actually, before the 'Pro' suffix became a mainstay of the audio vernacular – soon seemed as iconic as the superstars who wore them.

So we need to be asking not only how the Powerbeats Pro 2 stand up against the best noise-cancelling earbuds aimed at regular users, but also how they compare to the best open-ear headphones that, until recently, were the preserve of athletes. Okay, as a set of 'regular' wireless earbuds, the case you'll be toting around is quite big – not quite coffee coaster big, but close. However, if you're an Apple Music subscriber the head-tracked spatial audio works very well, and the noise cancellation is quite good; neither is as good as what you get with the AirPods Pro 2, but the spatial audio in particular isn't far off.

Slipping them on isn't as quick a job as it is with other earbuds, but once they're on, if security is your main issue with Apple-styled buds you'll be pleased – these Beats ain't going anywhere. Also, at 10 hours from the buds and a further 3.5 charges in the case (for a whopping 45-hour total) the battery life is impressive, although if you're using ANC or spatial audio it's eight hours and a maximum playtime total of 36 hours. For clarity, you'll only get 5.5 to seven hours from your AirPods Pro 2 before they need charging. Not bad, eh?

Beats Powerbeats Pro 2 earpiece held in a woman's hand

See the sensor? (Image credit: Future)

However, for a set of sports-focused earbuds that sit inside the ear, a good transparency mode is important, and despite Beats' assurance that this is the most natural-sounding transparency mode in any set of Beats earbuds (with the adaptive algorithm powered by the H2 chip updating over 200 times per second) I've heard many more effective transparency profiles – and simply turning ANC off isn't something I'd advise, since this listening profile adds to the already-slightly tinny issues through the top end, making the soundstage a little too forward and sweet overall.

Price-wise, they're also a little hot and heavy-handed. Despite arriving at the same price as their older siblings, times have changed. You can buy similar designs for considerably less now; you couldn't then.

But stop everything! We need to talk matters of the heart. Because make no mistake, you should feel ready to place your heart in Powerbeats Pro 2's hands here, either via the Health app or your compatible, linked fitness app. Beats told me heart-rate monitoring had been on the company's mood boards for inclusion since 2014, and the feature's debut here is the result of well over four years on the bench with engineers (and subsequently in the ears of over 1,000 real-world athletes for testing).

What I can tell you is that the heart-rate monitor is here now, beautifully implemented in certain third-party apps when linked with Apple's Health app. And because of the pulse readings, the super-secure fit and the excellent battery life, you may be prepared to forgive the few shortcomings I've talked about so far, plus a couple of sonic shortfalls I've yet to get into.

Beats Powerbeats Pro 2 review: Price & release date

  • Unveiled on February 13, 2025
  • Priced $249.99 / £249.99 / AU$399.95

How often can a product come in at the same $249.99 / £249.99 / AU$399.95 price as its 2019 counterpart and still not be considered great value? Simply put, competition has brought prices right down. These days, $100 / £100 is top-end for inclusion in our best budget wireless earbuds guide, and anything above that goes into mid-range and flagship territory.

For a brief comparison in the world of 'regular' buds, Bose's QuietComfort Ultra Earbuds come in at $299 / £299 / AU$449 and Technics' outstanding EAH-AZ100 are also in the same ballpark, at $299 / £259 / AU$499. Apple's AirPods Pro 2 currently cost around $199 / £199 / AU$349. Sports-focused options often come in a fair way under these kinds of figures (the Shokz OpenFit Air arrived in summer 2024 with a $149 / £119 price-tag for example) although the Bose Ultra Open buck the affordable trend – they can now be yours for a similar $249 / £249 / AU$349.95, having arrived at $50 more than that.

All of this is food for thought, but don't forget that none of the options I've listed above can monitor your heart rate…

Beats Powerbeats Pro 2 outside on a rainy day, held in a hand and close to a flower-bed

(Image credit: Future)

Beats Powerbeats Pro 2 review: Specifications

Beats Powerbeats Pro 2 outside on a rainy day, held in a hand and close to a flower-bed

(Image credit: Future)

Beats Powerbeats Pro 2 review: Features

  • Heart-rate monitoring is useful – unless you use an Apple Watch
  • Spatial audio with head-tracking enhances commutes
  • Disappointing IPX4 splash-proof rating

Let's start with the ticker-taker. It's not a new concept as I've already mentioned – Beats wanted to include it back in 2014 – but it's been a long time in development. The tiny sensor at the helm in Powerbeats Pro 2 (which is derived from the Apple Watch, but is actually 1/16th of the size of the sensor in the Apple Watch Series 10) contains a photodiode, an optical lens, an accelerometer and an LED sensor, but Beats admits that this component "wasn't that minuscule at first". And while the ear is actually a great place to access your pulse, developing a sensor small, light and accurate enough to wear comfortably in a headshell was a "long, arduous process".

Well, it's here now – and if you're not using anything else, it's good. You need to be wearing both earbuds to get a reading, because when you do, that green LED light sensor in each earpiece pulses over 100 times per second, then measures the light reflected back to calculate how many times your heart is beating per minute.

Accessing the feature might seem a little limited or even disappointing at first (there's no juicy 'Heart-rate' bubble in your iPhone Control Center when you click through, as I might have hoped), but this is because the Powerbeats Pro 2 are really meant to only start taking readings when you begin a workout, rather than constantly monitor your pulse throughout the day or whenever you choose to summon a reading. That said, you can dig into your iPhone's Health app, then either tap Browse at the bottom-right then Heart > Heart Rate to call up a live figure, or go to Summary at the bottom-left then Show All Health Data > Heart Rate, to see a graph of your live heart rate. But really, you're meant to be in training and with a third-party fitness app. The only currently supported one I use is Nike Run Club, but once you've linked the app and given the necessary permissions in Settings, it works a treat.

It's worth noting two things: if you wear an Apple Watch while using the Beats, the Watch readings are always prioritized, and secondly, the Powerbeats Pro 2 don't work with Apple Fitness Plus yet (which means no Strava support, i.e., the one I'd really like it to work with). At the time of writing, heart-rate monitoring through the Powerbeats Pro 2 is available in these iOS apps: Peloton, Slopes, Ladder, Open, Runna, YaoYao, and Nike Run Club, so plenty of activities are covered.

If you're on Android, it's different again (and arguably, better). Here, the feature will work with any fitness app that supports heart-rate monitoring; you just need to manually start each training session with a double tap and hold on either earbud.

On both iOS and Android you can turn the feature off in the settings if you don't want it taking readings.

Beats Powerbeats Pro 2 case, held in a woman's hand

Yes, I love the color so much, I did this…  (Image credit: Future)

Now, on to Personalized Spatial Audio with Dolby Atmos and dynamic head-tracking. This is Apple's 360-degree sound tech that adjusts the audio based on the shape of your ears, head, and – if you toggle it on – using your Apple device as a source so the audio has a fixed point of origin (and this moves between each ear as you move your head towards said source device). I really rate this in Powerbeats Pro 2, thanks to the solid fit and seal the design promotes, particularly when listening to more acoustic tracks. Want to hear how good it is? Try listening to Sam Fender's Arm's Length and holding your device at arm's length. Good, no?

The Powerbeats Pro 2 only support lossless audio with ultra-low latency on the Apple Vision Pro, so while high resolution is possible on these earbuds, it's an expensive route – and I do not own a Vision Pro headset (but leave a comment if you've tested it – I'd love to know whether there's a notable uptick in audio quality).

Call quality? It's good: the Powerbeats Pro 2 have a total of six microphones (three per earpiece) and callers throughout my testing said I sounded very clear and, on one occasion, "particularly empathetic". Beats says there's machine learning-based noise isolation tech at play, so callers will hear your voice at its best, aided by a voice accelerometer to detect when you're speaking and thus enhance clarity. What I can tell you is that if you take calls often on your earbuds, you'll be pleased here.

Other notable features include the option to customize what a press-and-hold of the physical 'b' button does on each earpiece (between Siri and noise control functions), automatic ear detection, Find My to locate a lost earbud in iOS (you can select which earbud you'd like to emit a beeping noise if it's around the house, or see where they are on a map) and Find My Beats on Android via the companion app. But there's no U1 chip in the charging case – and no inbuilt speaker as there is in the AirPods Pro 2 and AirPods 4's charging nests, so the case itself is silent. There's also an ear tip fit test that's actually quite picky; I had to adjust to smaller ear tips to get the green light in both ears, even when I personally felt like I had the fit right.

As any AirPods owner will know, there's no multi-point connectivity in Apple earbuds – and that hasn't changed here. You can 'share' the audio you're hearing in your Powerbeats Pro 2 to other Beats or Apple earbuds in the vicinity using Apple's proprietary Share Audio option, but make no mistake, your Powerbeats Pro 2 can only be paired to one source device at a time. You also cannot tweak the EQ on a dedicated tab with the Powerbeats Pro 2 – although on iOS you can go into your iPhone's settings > Apps > Music > EQ to tweak things a little.

Finally (and I'm putting this under 'features' rather than 'design' since any sports-specific earbuds really ought to focus on durability) there's a somewhat disappointing IPX4 rating for the earpieces, and the case is neither water- nor sweat-resistant at all. What that means is that while wearing the buds for sweaty workouts should be fine (the Powerbeats Pro 2 will survive light rain, humid environments and splashes of water), they absolutely positively cannot be submerged in the drink, which seems at odds with their, er… athleticism. And it's not that it can't be done: the Samsung Galaxy Buds 3 Pro earpieces boast an IP57 rating, meaning they'll survive a 30-minute full submersion in water up to a depth of one meter.

  • Features score: 4/5

Beats Powerbeats Pro 2, three screengrabs on iPhone to show ANC, heart-rate and spatial audio features

(Image credit: Future)

Beats Powerbeats Pro 2 review: Sound quality

  • Energetic and forward-sounding – almost to a fault
  • A little tinny in some profiles; beaten by the original Powerbeats Pro for bass weight
  • Turning off noise-canceling negatively affects the sound

This is not quite the glowing praise that long-term fans of Beats' Powerbeats Pro might have been hoping for. A 3.5-star rating for sound quality is not bad and make no mistake, the sound here is not without merit, but this is a huge and hotly-anticipated seventh-iteration Beats earbuds product and the heavily-leaked follow-up to the iconic Powerbeats Pro, nearly six years on. And I have to do my job: the sound isn't excellent – and not just because only the relatively lowly SBC and AAC codecs are supported (ie. no hi-res audio, unless you're using them with the Vision Pro).

Perhaps in part because the driver is smaller than in the original Powerbeats Pro (a 9.5mm dual-layer driver versus 12mm in the originals) the sound very different, and just a little more constricted. Deploying noise cancellation gives the Pro 2 the best chance to shine, and here, with dynamic head-tracked spatial audio also toggled on, there is separation and a healthy serving of detail in Tom Petty's textured vocal in Free Fallin', with guitar strings grazing each ear and a bridge as dynamically abrupt and agile as I remember. Nevertheless, cue up Gunna's One of Wun and the smouldering track is notably moodier, fuller and more resonant through the low end in both AirPods Pro 2 and my Technics EAH-AZ100. Listen with the Technics and I'm dropped into the mix; switch to the Beats and I'm just a little bit above it, wanting to get stuck into the bass a little more.

The lengthy acoustic guitar intro in Rod Stewart's Maggie May (known as 'Henry' and played by Martin Quittenton) has energy and pep – there's no faulting the Powerbeats Pro 2 for timing across the frequencies – but as the track continues, the forward-focused nature of the Powerbeats Pro 2 rather over-emphasises the keys and mandolin in the upper mids, even making Rod-the-Mod's voice sound a touch tinny. And sadly, things don't improve when you turn noise-canceling off, which appears to heat the soundstage up a notch, as if we're listening on cassette tape. Cue up the transparency mode and it helps quash the marginal sweetness, but during a run I simply didn't feel like enough ambient noise filtered in – and there's no way to tweak the levels of filtering in (or being nixed) here rather than 'Transparency', 'Off', or 'Noise cancellation'.

  • Sound quality score: 3.5/5

Beats Powerbeats Pro 2, three screengrabs on iPhone to show ANC, heart-rate and spatial audio features

(Image credit: Future)

Beats Powerbeats Pro 2 review: Design

  • A triumph for security (and for on-ear volume tweaks)
  • Case is smaller, but still big by today's standards
  • They take a few seconds to fit – especially if you wear glasses

I've mentioned the slightly disappointing 'only splash-proof' IPX4 rating, so that's out of the way. I've also praised the up-to-45-hour stamina, which is a huge plus. Other than that, there's a lot to celebrate in the design department.

Said design (including the case, which can now charge wirelessly) is quite big by today's standards, but the Powerbeats Pro 2 are only as big as some of the best open-fit earbuds – the kind with the arm that slinks around your ear. In fact, you'd be forgiven for thinking this is an open-fit pair of earbuds given their size, but they're not – and for me, it's one of their biggest strengths.

In 2025, it's a very unusual proposition. Each earpiece also has a physical volume rocker on the bar above the 'b'-branded driver housing and because nothing works as consistently and reliably as physical buttons (maybe you're wearing gloves 'cause you're skiing; maybe your phone's in your kit bag) it's an excellent decision. It also means you're not fiddling with multiple presses of a main multi-function button to switch volume, which, as anyone used to this knows, can often mean unintended track skips or Siri piping up.

And the praise keeps coming! The colorways are excellent (see the 'electric orange' and 'hyper purple' colorways as well as your more standard black and 'quick sand' gray) and despite squeezing in that heart-rate monitor, Beats has made the Powerbeats Pro 2 light, very comfortable and unmovable. I tried to dislodge them during aerial hoop and silks training, spinning upside-down at speeds I've no business attempting these days, and they never even moved. Added to the extra pair of ear tips in the box, to equal five rather than four (the ear tip fit test won't let you off lightly either), they're honestly some of the most well-fitting earbuds I've ever tested.

The only downside to all this security? Fitting them requires a little bit of work and if you're someone who tends to leave the house in a rush, you might find yourself reaching for earbuds you can throw in and go. Unlike open-ear options, you do need to make sure the Powerbeats Pro 2's headshell is properly in your ear, then snake the arm around your ear, then twist everything back towards your crown, to lock it in. I often found myself accidentally pressing playback buttons while doing this or dropping one if I didn't sit calmly to perform these tasks, especially since I wear glasses to look at my screen (and the arms of your glasses sit in the same spot as the arms of the Powerbeats Pro 2, behind the ear). The thing is, if security is your main issue, it's worth it. Ultimately, the design here is still a hit with me.

  • Design score: 4.5/5

TechRadar's Audio Editor, Becky Scarrott, wearing Beats Powerbeats Pro

(Image credit: Future)

Beats Powerbeats Pro 2 review: Value

  • Excellent battery life
  • Heart-rate monitor is a current USP
  • Sonically they can be beaten for the money

At $249 / £249, the Beats Powerbeats Pro 2 are not cheap for a sports-focused set of earbuds – and indeed against Apple's AirPods lineup, considering Apple now makes its new AirPods 4 for just $129. But the Powerbeats Pro 2 do contain a ticker-taking sensor no other AirPods can currently boast, and stamina levels that far exceed anything most earbuds can boast.

For me, the design is one of this proposition's biggest strengths; to others, the case may be a little big for the class of 2025. They aren't winning any awards sonically either – but the audio performance is a step up on most of the cheaper, sub-$100 wireless buds on the market when you deploy noise cancellation and dynamic head-tracked spatial audio. As always, it's a matter of priorities.

Honestly, I never thought I'd recommend a product that can't boast top-tier sound. But these earbuds go on for hour after hour, take your heart-rate and feel super-secure in your ears, so here we are…

  • Value score: 4/5

Beats Powerbeats Pro 2 outside on a rainy day, held in a hand and close to a flower-bed

(Image credit: Future)

Should I buy the Beats Powerbeats Pro 2 review:

Beats Powerbeats Pro 2 outside on a rainy day, held in a hand and close to a flower-bed

(Image credit: Future)

Buy them if...

You need buds for gymnastics, athletics, dancing or training
Niche? Maybe. But these earbuds offer the most secure fit I've ever tested in a true wireless design.

You want to track your heart rate (without a watch)
The heart-rate monitor is currently an Apple- and Beats earbuds first, and it works very well.

You're willing to pay for better stamina
A 45-hour maximum playtime is up there with the best battery life we've ever seen – and it leaves AirPods for dust

Don't buy them if...

Sound quality is king
The sound here is a shade under excellent across the frequencies, feeling a little light in terms of bass weight, and a little heavy-handed through the treble

You want an in-app tweakable EQ tab
No dice here, friend…

You want to keep your ear canals uncovered
Given their larger, sports-focused design and ear 'hook', you'd be forgiven for assuming this is an open-ear design in 2025. But make no mistake, these are in-ear earbuds.

Beats Powerbeats Pro 2 in packaging, held outside above a black table

(Image credit: Future)

Beats Powerbeats Pro 2 review: Also consider

Bose QuietComfort Ultra Earbuds
Prefer device-agnostic head-tracked spatial audio plus some of the best ANC in the business? These September 2023-issue earbuds from Bose are a great shout – and the in-ear security is nearly as good as the Powerbeats Pro 2. You'll have to forego multi-point connectivity, super-stamina (it's only 6 hours here) and a heart-rate monitor, but you'll get more detail from the sound quality.
Read more in our Bose QuietComfort Ultra Earbuds review

Cambridge Audio Melomania M100
The ANC-off and transparency profiles are much more enjoyable here – as is the sound quality generally. You also get a similar battery life and the option of Matt Berry on voice prompts (his "Waiting to pair!" is a delight). The overall aesthetic isn't as striking though, and they aren't as secure in your ears – also you can forget about having your pulse read… 
Read our full Cambridge Audio Melomania M100 review

Beats Powerbeats Pro 2 outside on a rainy day, held in a hand and close to a flower-bed

(Image credit: Future)

How I tested the Beats Powerbeats Pro 2

  • Tested for two weeks; listened against the AirPods 4, AirPods Pro 2, Cambridge Audio Melomania M100, Technics EAH_AZ100, JBL Live Beam 3, Bose QuietComfort Earbuds Ultra
  • Used at work, at home, during aerial training and on a beach in Florida
  • Listened to Tidal, Apple Music and Spotify on an iPhone 12 Pro, a Sony Xperia 1 V and a MacBook Pro

The Beats Powerbeats Pro 2 became my musical travel companions for two full weeks – after a thorough 48-hour run-in period. They accompanied me while running errands (fast walking; on the London Underground network), at home and throughout a surfing vacation in Florida – although they never joined me in the water (they're not waterproof, you see).

To better test the fit and security of the Powerbeats Pro 2, I wore them during a particularly upside-down aerial silks training session, a lyra (aerial hoop) class and a pole class, and they didn't budge once.

To test the audio quality across the frequencies, I consulted TechRadar's reference playlists (spanning everything from electro-pop to blues) on Apple Music, Qobuz and Tidal, but also to podcasts and albums on Spotify, and YouTube tutorials (mostly about how to bleed car brake pads, in case you were interested) on my MacBook Pro.

I’ve been testing audio products for just over six years now. As a dancer, aerialist and musical theater performer in a previous life, sound quality, the overall user experience and security have always been non-negotiable markers for me – and having heard how effective (and stress-relieving) ANC can be when the anti-phase tech is done well, I have grown to love it.

Read more about how we test

  • First reviewed: February 2025
I reviewed EAT’s C-Dur Concrete turntable, and you’d be amazed how delicate and detailed a slab of real concrete can be with your vinyl
7:00 pm | February 23, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Comments: Off

EAT C-Dur Concrete: two-minute review

‘EAT’ = ‘European Audio Team’. ‘C-Dur’ = ‘C-Major’ in German. ‘Concrete’ = ‘a blend of aggregates bound together by a hydraulic binder’. Put the three together and you’ve one of the most individual and dramatic-looking record players around, not to mention one of the more expensive.

The C-Dur Concrete has the technical foundations to back up the asking price, though. The turntable itself, its ‘C-Note’ aluminum/carbon fibre tonearm and its ‘Jo No.8’ high-output moving coil cartridge are all painstakingly engineered and work together harmoniously – and the result is a record player that, in the right system, is a pleasure to listen to in many respects.

It’s a staggeringly insightful device, for starters, even among the best turntables – no detail of a recording is too fine, too minor or too transient to elude it. It’s organized, too, able to describe a soundstage with complete confidence and make the spaces on it just as significant as the occurrences. Low-frequency control is absolute, so rhythmic expression is utterly convincing. And when it comes to big dynamic shifts, it is just as accomplished as it is with low-key harmonic variations.

A lack of outright scale undermines the C-Dur Concrete, though – it doesn’t sound especially big, and although it’s organized and controlled, the soundstage it generates is undeniably positioned between the speakers you’re listening to. And when you’re talking about this sort of money for a record player, this has to count as a fairly significant shortcoming.

The EAT C-Dur Concrete turntable viewed from above

(Image credit: Future)

EAT C-Dur Concrete review: Price & release date

The EAT C-Dur Concrete is on sale now, and in the United Kingdom it costs £6,499. That’s the price for the turntable and its bespoke C-Tone tonearm – if you want to add the (recommended) Jo No.8 high-output moving coil cartridge (which is how this review is conducted), that price rises to £8,098. That’s because the cartridge costs £1,999 when purchased separately, or £1,599 if purchased at the same time as the turntable.

In America you’ll have to fork out around $7,499 for the turntable, plus an additional $2,495 for the cartridge – a discounted price for the pair is likely to be available, but there was nothing confirmed at the time of writing. No pricing is available for Australia as yet, but a quick look at today’s exchange rates suggests something like AU$12,999 plus AU$3,999 for the cartridge will be in order.

Not cheap, is it (he said helpfully)? And yet you’ve a stack of choice when it comes to alternatives. None of them is made of concrete, admittedly, but models from brands as credible as Linn, Pro-Ject and Rega (to name just three) are all available at comparable money.

The EAT C-Dur Concrete turntable's cartridge

(Image credit: Future)

EAT C-Dur Concrete review: Features

  • 33.3, 45 and 78rpm
  • 254mm aluminum/carbon tonearm
  • High output moving coil cartridge

Undeniably, some of the ‘pull’ of the C-Dur Concrete is, well, the concrete that’s used in its construction. But this is no mere design exercise, this is a deadly series turntable with the feature-set to back up the giddy asking price.

For instance, the chunky (5.2kg) platter is internally damped with a thermoplastic elastomer that offers both density and stability. A 900g aluminum sub-platter gives the platter even more isolation from the motor. The bearing block adds another 1.8kg to the overall weight and uses a polished stainless steel spindle to support an inverted ceramic ball that functions as the main bearing. This pairs with a Teflon plate for even greater rotational stability.

The drive system, meanwhile, isolates the motor in a steel ring positioned in the concrete chassis itself, enhancing the platter’s chances of stable and uniform rotation. It also reduces resonance transfer (already extremely low, thanks again to all that concrete). The motor has two areas for connection to a drive belt – and the turntable is supplied with two different belts, both of anti-static polished rubber.

The first is relatively broad and flat, sits on the upper part of the motor and allows for 33.3 and 45rpm. The other is a ‘string’ shape and fits over the motor’s lower portion – this is the belt you fit if you want the platter to turn at 78rpm.

The pre-fitted C-Note tonearm is, at 254mm, longer than the norm, is made from aluminum and carbon fiber for maximum rigidity, and is internally damped with silicon grease for as much resonance rejection as is realistically possible. It’s a unipivot design, which ought to guarantee its cardan bearing is never overloaded – and the bearing itself is designed to offer minimum resistance and maximum stability.

The over-engineering of the tonearm makes a lot more sense when you get a look at the cartridge it’s designed to support. The Jo No.8 high-output moving coil cartridge features a nude Shibata stylus on a boron cantilever, with high-end copper windings (which is the sort of specification the asking price demands) – but it’s the 19.2 x 25.1 x 28.3mm (HxWxD) dimensions that are most immediately striking. ‘Oversized’ only begins to describe it.

So this is incredibly well-specced and thought-out when it comes to the functional features of being an impressive turntable – but it's very much just a core turntable, so don't expect any 'modern' features such as Bluetooth connectivity or USB output here.

  • Features score: 4 / 5

The EAT C-Dur Concrete turntable's tonearm

(Image credit: Future)

EAT C-Dur Concrete review: Sound quality

  • Remarkable insight and detail retrieval
  • Organized, controlled and yet dynamic presentation
  • Sounds rather small-scale and confined

The ‘pros’ are more numerous than the ‘cons’ where the sound of the C-Dur Concrete is concerned – but the ‘cons’ are significant, so we may as well start there before moving on to the many ways in which this is a straightforwardly admirable player.

The sound of the C-Dur Concrete is on the small side. Everything that happens, happens within the confines of the outer edges of the speakers you’re listening to – and consequently it’s never easy to shake the idea of a ‘point source’ of sound.

The outer edges of the cabinets of your speaker define the outer edges of the soundstage the EAT can create – in this respect it sounds unlike any price-comparable alternative, and not in a good way. It doesn’t matter if it’s a big ensemble (such as that involved in Miles Davis’ Concierto de Aranjuez) or just a voice and a guitar (like Nick Drake’s Parasite); the presentation is organized and controlled, but undeniably confined.

Get beyond this not-insignificant shortcoming, though, and the C-Dur Concrete is an extremely adept and accomplished device. Its facility with detail retrieval is approaching staggering – there isn’t a fleeting occurrence in a recording that’s too minor or too deep in the mix to evade it. And having teased out all these fine details, the C-Dur has absolutely no problem putting them into convincing context. Even if it’s the most transient harmonic variation in the strum of an acoustic guitar, this EAT turntable lets you know all about it.

The soundstage the turntable creates is believable, and it somehow manages to give elbow-room to every element of a recording even though the stage itself is nowhere near as expansive as it could (and should) be. Its tonality is carefully neutral, which allows the inherent sound of a recording to be expressed without any overt interference. And it balances the frequency range carefully, giving no undue prominence to any area.

Low-frequency information is robust and substantial, and is controlled with such certainty that rhythmic expression (often held up as one of the most obvious strengths of the vinyl format) is entirely natural. Midrange expression, too, is accomplished – the voice during I Kicked a Boy by The Sundays is intimate, immediate and direct. And the top of the frequency range has bite and brilliance in fairly equal measure, so treble sounds shine without threatening to become edgy or glassy.

Everything hangs together in an unforced and convincing manner – there’s a genuine sensation of singularity and unity to the C-Dur Concrete’s presentation that makes me want to reach for the dreaded word ‘musical’. And the spaces and silences in recordings are not only given their due emphasis, they’re as dark and as quiet as from any turntable I’ve ever heard. This inky backdrop from which sounds occur is one of the most gratifying things about this whole EAT listening experience.

  • Sound quality score: 3.5 / 5

The EAT C-Dur Concrete turntable's platter viewed from the side

(Image credit: Future)

EAT C-Dur Concrete review: Design

  • 170 x 496 x 396mm (HxWxD)
  • 32kg in weight
  • Supported on three conical, height-adjustable, damped aluminum feet

If it’s a little visual drama you’re after, you’ve come to the right place. EAT will sell you a version of the C-Dur built of MDF and finished in black or plum for quite a lot less money than this – but once you’ve seen (and touched) this concrete version, it’s hard to resist from a design standpoint.

At 170 x 496 x 396mm (HxWxD) it’s fairly big, although not too big to be accommodated by a standard equipment rack. At 32kg with its platter in place, it’s heavier than the heaviest turntable you’ve ever encountered – and all of that weight is supported on a trio of pointed aluminium feet.

They’re ideal for isolating the deck from external vibration, and can help in getting the turntable absolutely level, but they concentrate the whole 32kg on to three tiny points, which means that an extremely robust and hard-wearing shelf is in order if the C-Dur Concrete isn’t just going to drive itself into the surface it’s standing on.

The standard of build and finish is, as seems only reasonable when you consider the asking price, basically impeccable. Any tiny flaws in the concrete (each plinth is unique, of course) only add to the character, and the tonearm feels as good (and as expensive) as it looks. Even the cartridge body – which is polished chestnut – offers a bit of pizzazz.

  • Design score: 5 / 5

The EAT C-Dur Concrete turntable's tonearm and counterweight

(Image credit: Future)

EAT C-Dur Concrete review: Usability & setup

  • Automatic speed change
  • Semi-balanced five-pin DIN to RCA cable
  • Optional (and cost-option) power supply upgrade

As with a lot of turntables, there’s a degree of fairly fiddly set-up required to get the EAT C-Dur Concrete ready for action. Unlike quite a few turntables, though, once you’ve been through the set-up process then operating the EAT is quite a painless process.

As usual, the counterweight and anti-skate setting need to be attended to. After that, though, it’s simply a question of fitting your preferred drive belt (which, let’s be honest, is going to be the broader of the two that lets you listen to 33.3 or 45rpm discs), connecting the semi-balanced five-pin DIN end of the cable to the deck and its left/right RCAs to your (pre)amplifier at the other, and plugging in the power adapter. Speed change is facilitated by two of the big buttons on the plinth – the other is used for putting the turntable into ‘standby’.

It’s worth mentioning that both the cable and the power supply can be upgraded. A fully balanced cable is (inevitably) a cost option (£175, or £499 for the silver alternative if you’re feeling super-flush), and EAT will also sell you a linear power supply (£1,349 if purchased individually, a trifling £1,079 if you buy it at the same time as the turntable).

EAT is confident the C-Dur Concrete’s AC generator, which uses the DC current from the power supply, generates an almost entirely clean AC signal for the motor – but if you want to make it as noiseless as possible then the linear power supply is what you need.

  • Usability and setup score: 5 / 5

The EAT C-Dur Concrete turntable focusing on the concrete material

(Image credit: Future)

EAT C-Dur Concrete review: Value

  • Requires add-ons to reach full potential
  • Not a class-leading performer for the price
  • But it's hard to argue with its physical impact

I almost wrote that it’s impossible to put a price on an aesthetic as striking and individual as this, but demonstrably it’s not. In the context of the sound it makes, the C-Dur Concrete is far from the last word in value for money (and becomes less so if you take the company up on its offer of an upgraded power supply), but that’s not the same as saying it doesn’t sound splendid in many ways.

And if you find yourself smitten by the looks, the areas in which it’s not a class-leading performer might be easier to overlook – but with my hardest ‘consumer advice’ head on, it’s hard to make a watertight case for this turntable representing authentic value.

  • Value score: 3 / 5

The EAT C-Dur Concrete turntable's tonearm

(Image credit: Future)

Should I buy the EAT C-Dur Concrete?

Buy it if…

You’re a fan of visual (as well as audio) excellence
Once you get up to this area of the market, there are a few turntables that offer a bit of visual drama – but none of them makes use of concrete…View Deal

You value sonic detail and insight above all else
Between them, the turntable, the C-Note tonearm and the Jo No.8 cartridge are capable of unearthing the finest of fine details and handing them over without fuss.View Deal

You have a system that justifies the outlay
Don’t imagine you’ll hear the C-Dur Concrete at its best unless its partnering amplification and speakers are equally capable (and, inevitably, equally pricey).View Deal

Don't buy it if…

You’re expecting appreciable scale of sound
For all its many talents, the C-Dur Concrete is far from the most expansive-sounding turntable around.View Deal

You don't like having to pay more to complete the set
Paying big money for a cartridge is fair enough, but at this price, the EAT really should come with its optimum connection incuded and power-cable options as standard.View Deal

Your shelves are of soft (or even soft-ish) wood
32kg balanced on three tiny pointy points will damage a soft-ish shelf almost immediately.View Deal

EAT C-Dur Concrete review: Also consider

Rega Planar 10
The more money you spend on a Rega turntable, the less it seems to buy you – but never doubt that it’s buying remarkable audio fidelity. The Planar 10 (£7,395 with RB3000 tonearm and Alpheta 3 cartridge) is entirely lacking when it comes to visual drama, but most certainly has it where sound quality is concerned. It’s an open, revealing, wide-screen listen with an absolute stack of pertinent observations to make about both your recordings and the vinyl on which they are pressed. Unless you want your record player to be interesting even when it’s not working, the Planar 10 absolutely demands your attention if this is your budget range.View Deal

How I tested EAT C-Dur Concrete

I listened to the C-Dur Concrete for well over a week, with a variety of music on vinyl in a variety of conditions. It was positioned on the top shelf of my Blok Stax 2G equipment rack (which is how I know the weight of the turntable can damage wooden shelves), and connected via its supplied semi-balanced cable to a Chord Huei phono stage, which it turn was connected to a Naim Uniti Star acting as a volume control and pre-amplifier.

The Naim was connected to a Cambridge Audio Edge W stereo power amplifier, which drove a pair of Bowers & Wilkins 705 S3 Signature loudspeakers on their bespoke FS-600 S3 stands.

The Cambridge Audio Evo One is my new favorite wireless speaker after a month of testing it – here’s why
6:00 pm | February 19, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Cambridge Audio Evo One: two-minute review

The Cambridge Audio Evo One is a high-end wireless speaker that's capable of playing audio at up to 32-bit/192kHz. But that’s really only part of the picture: it’s also a multi-room speaker, an internet radio, a soundbar, and a turntable phono stage. It’s almost quicker to list the things it can’t do. The Evo One packs a lot of skills into its substantial frame, making it a natural choice for anyone who wants to cover every base but doesn’t have the space or the cash to splash on buying a whole system of hi-fi separates.

Once the Cambridge Audio Evo One was optimized for my listening space – you can manually adjust its sound for the reflectivity of your room and its distance from the wall – it rewarded me with lush, well-rounded sound. The low end is warm and yet tight – there’s none of the unfortunate swampiness you get with cheaper, bass-heavy speakers. Meanwhile, trebles are well handled, neither succumbing to timidity nor becoming so strident that they grate. This means that rather than facing off aggressive overtures from above and below, the mids are allowed the proper space to express themselves, letting the harmonics of vocals and instruments shine.

The Evo One’s separation is right up there with the best wireless speakers on the market. Listening to Wasting My Young Years by London Grammar was a revelation – the strings are beautifully expressed, feeling vibrant despite their low volume, while the reverb on those gorgeous vocals is given plenty of room to breathe. Its soundstage isn’t quite as impressive though: it offers decent stereo spread without extending far beyond the bounds of the unit, but any single-unit speaker is never going to beat a true pair of the best stereo speakers.

Pitch-perfect streaming is just one of this speaker’s talents though: it offers a wide range of additional sources, from internet radio to TV audio via eARC. To test its mettle when it comes to movie audio, I hooked it up via HDMI and watched Ari Aster’s Midsommar – it expertly handled the swelling drone of its forbidding bass, while giving dialogue sufficient clarity and presence. Using its built-in phono stage, I also hooked up my turntable and span a selection of records – it did an excellent job with the likes of Black Sands by Bonobo and Kingdoms In Colour by Maribou State, expressing both with plenty of dynamism and clarity.

When it comes to design, the Cambridge Audio Evo One is hardly the kind of speaker you’ll want to hide away – its charcoal speaker mesh and smooth walnut surface make it an item of furniture you’ll want to show off, and I certainly felt that it earned pride of place in my living room.

Meanwhile, its front display gives you a stronger connection to the artist you’re listening to, although it’s not quite as bright as I’m used to in this era of ubiquitous 1,000-nit phone screens. However, let's be clear that you probably should think of it as an item furniture – it's big.

With its wide array of connectivity options, polished, poised audio and sophisticated looks, the Cambridge Audio Evo One is a worthwhile purchase, even taking into account its not inconsiderable price. Personally, I’m happy to give the Cambridge Audio Evo One a full-throated endorsement, and I doubt you’ll be disappointed with its performance or capabilities. If you want something that's also wonderful for sound but less expensive, the Bowers & Wilkins Zeppelin Pro is also a highly capable wireless speaker for nearly half the price.

Cambridge Audio Evo One review: price & release date

  • Released on August 9, 2024
  • List price is $1,499 / £1,299 / AU$2,495

The Cambridge Audio Evo One was released on August 9, 2024. It retails for $1,499 / £1,299 / AU$2,495 for this single unit – that's not exactly the cheapest price you’ll find a wireless speaker going for, but once you scratch the surface of the things this device can do, that asking price becomes much more reasonable. When a speaker is this capable, you really are paying for what you get.

The rear of the Cambridge Audio Evo One showing its various ports.

(Image credit: Future)

Cambridge Audio Evo One review: specs

A closeup of the Cambridge Audio Evo One's ports in detail.

(Image credit: Future)

Cambridge Audio Evo One review: features

  • Multi-talented feature set
  • Crammed with well-amplified drivers
  • Manual room optimization

Given its bulk, you won’t be surprised to hear that the Cambridge Audio Evo One is absolutely crammed full of drivers. It has 14 in total: four one-inch silk dome tweeters, four 2.25-inch aluminum cone mid-range drivers, and an utterly absurd six 2.75-inch long-throw woofers. Each of those drivers has 50W of amplification behind it, so it’s reasonable to expect that this beast is going to have gargantuan sound.

Such a well-furnished setup makes sense when you see how Cambridge Audio has positioned the Evo One. While it’s nominally a wireless speaker, it has plenty more tricks up its sleeve than just cueing up tunes from your Roon. Designed to sit at the heart of your home audio ecosystem, it really is a renaissance speaker, able to tackle the vast majority of listening tasks you throw at it.

First off, as well as offering Bluetooth 5.1 connectivity, it’s capable of streaming hi-res audio at up to 24-bit, 192kHz from streaming services, offering you significantly better quality than even CDs can muster. You can do this via built-in streaming services like Tidal and Spotify, or using its multi-room functionality to stream over Google Home, Apple AirPlay 2 and Roon. You can also stream radio over the internet, should you fancy letting someone else take over DJ responsibilities, or play direct via USB at the frankly ludicrous high quality of 32-bit/384kHz.

But its talents don’t stop there. Hook it up to your TV using an eARC cable and you can use it as a substitute soundbar – it won’t give you Dolby Atmos or height channels, but it will give your TV’s flimsy inbuilt sound a colossal boost. You can also hook up an external source through its RCA line-in, or plug one of the best turntables into its integrated phono stage and spin your records through it. It really does offer an astounding level of functionality that puts less gifted wireless speakers to shame.

Beyond sources, the Cambridge Audio Evo One offers some excellent functionality to help you polish the sound you’re getting. It offers a seven-band EQ to tailor its audio profile to your tastes – while this isn’t quite as versatile as the nine-band that some speakers offer, realistically it’s going to be plenty granular enough to tweak the sound balance.

Even more helpful are the Evo One’s room-calibration settings, which allow you to adjust its sound profile to account for how reflective your room is and how close the speaker is to a wall. I actually prefer this to the auto-calibration some speakers offer – it really allowed me to use my own judgement and knowledge of my space to get the sound just right, which I’m sure fellow audiophiles will appreciate.

All told, the Cambridge Audio Evo One is an incredibly well-specified speaker, offering a ton of functionality that even similarly high-end wireless speakers aren’t necessarily always capable of. If you’re just looking for a setup that allows you to stream hi-res audio, then maybe that will prove unnecessary window dressing, but if you’re looking for a Swiss Army Knife of a speaker that will sit at the heart of your home audio system, then it’s hard to argue with what’s on offer here.

  • Features score: 5/5

The Cambridge Audio Evo One with its remote propped up in front of it.

(Image credit: Future)

Cambridge Audio Evo One review: sound quality

  • Once calibrated, it sounds beautifully well balanced
  • Excellent separation
  • Not the widest soundstage

Hand on heart, I was a bit underwhelmed by the Cambridge Audio Evo One’s sound at first. Listening to Black Eye by Allie X, the saw-edged bass synth sounded full but a little swampy, and there was a slightly echoey vibe to the kick, while a lot of the mix sounded muddier in the middle. That’s when I realised I hadn’t adjusted its room-optimization settings…

And boy, did tweaking those settings make a difference. Lowering the setting for room reflectivity and increasing the slider for how far the speaker was from the wall tamed the boom back and upped the transients. The bassline was tight while still being deliciously warm, the detail of the percussion became much more crisp, and the vocal rose above everything without obscuring anything. Suddenly it was like hearing my favorite songs for the first time, and it rapidly transformed my opinion of what this speaker is capable of.

Once properly calibrated, it’s not just the bass that sings; the rest of the frequency range sounds great too. When I listened to I Want You by Moloko, everything was so tightly integrated in the mids; that tight funky guitar lick and the timbre of the strings rang through clearly, while Róisín Murphy’s voice glued the whole mix together, from the nice warm sub end of the funky bass to the transient bite of the snare hits. And it masterfully handles songs that can be make or break in terms of treble – it deftly handles the crisp harmonics of the strummed guitars and snare and tom hits on You Can Go Your Own Way by Fleetwood Mac, while giving them sufficient body to stop the whole mix feeling aggressively bright.

But the Evo One isn’t just great at balancing different frequencies; it has real poise when it comes to separation as well. I stuck on Claire de Lune by Kamasi Washington and the results were exquisite. Those honey-sweet horns feel so richly textured that you could almost take a bite out of them, while the pluck of the double bass feels like it’s almost it’s in the room with you. Even the piano, oft overshadowed when listening to this mix on weaker speakers, cascades out when appropriate – everything has a palpable sense of space that makes everything feel much more real and evocative.

The Evo One doesn’t just handle digital audio sources well. I hooked up my Audio-Technica AT-LP60XBT turntable to the speaker via its built-in phono stage and cued up Kingdoms In Colour by Maribou State. The overall sound was faithful and gave everything a sizable presence and, while it wasn’t quite as remarkable as its hi-res audio output, I put this down more to my budget deck than the Evo One’s innate capabilities.

One area where this wireless speaker doesn’t quite trounce the competition though is its stereo soundstage. Don’t get me wrong: firing up Daydreaming by Radiohead I could absolutely appreciate how the snatches of Thom Yorke’s vocal echoed to the left and right, while the guttural reversed strings that end the track swam convincingly from side to side. However, unlike some speakers, including the Sonos Era 300, the sound doesn’t extend much beyond the confines of the cabinet, and there’s no attempt to convince you there’s real height here. I’d argue that’s not really its whole vibe though – the Evo One aims for hi-res sound that’s very well reproduced, rather than high-tech trickery.

To test how the Evo One handled TV audio, I wired it up to my TV via ARC and settled in to watch Ari Aster’s hallucinogenic horror Midsommar. The Evo One delivered an appreciable improvement over the TV’s built-in speakers, giving the movie’s ominous soundtrack much more warmth and gravitas; Voice Clarity mode in particular helped the speech in the movie ring clear, while letting the droning bass continue to create suspense. While not a home theater soundbar replacement – you’re not going to get Dolby Atmos height channels or significant width here – it certainly represents an upgrade over TV sound alone.

Ultimately, the sound on offer here is impressive, particularly given how many tools it has in its box. If you’re wanting a premium, single-unit speaker that will cover all the bases, this is likely your best bet at this price range.

  • Sound quality: 4.5 / 5

A closeup of the walnut top panelling of the Cambridge Audio Evo One, with its remote control laying on top.

(Image credit: Future)

Cambridge Audio Evo One review: design

  • Elegant, high-end design
  • It’s a big fella
  • Display is a little dim

In light of its price and the brand behind it, I’m sure I’m not going to shock anyone by saying that the Cambridge Audio Evo One offers smart, premium design. Everything about it is designed to form a focal point in your home, from its FSC-certified walnut panelling to its charcoal-colored fabric speaker grille. It definitely looks suitably high-end – although an alternate color would have been a great option to include, as beige cloth and a lighter wood such as birch or beech would look amazing alongside airier interiors.

Naturally, with all the drivers, amplification and other sundries inside its frame, this isn’t a small unit – in fact, at 26.6 x 5.1 x 11.4 inches / 675 x 129 x 290mm and 32lbs / 14.5kg, it’s a bit of a beast. But there’s something dependable about its big frame – it makes it feel like a genuine item of furniture that you’re pleased to show off. The only caveat here is if you want to place it in front of your TV to really take advantage of its eARC connectivity: it's no small fry height-wise, and will likely block the bottom of your screen, so you’ll want an entertainment unit that can accommodate both.

The main focal point of its front is the 6.8-inch, 1280 x 480 LCD display. Offering a range of options from track information and artwork to a stereo pair of VU meters, the display offers an attractive way of connecting more closely to the tunes you’re listening to. It’s not a very bright display, though, but expecting the kind of 1,000-nit HDR displays that have become commonplace in phones and tablets was always going to be a stretch. It’s plenty bright enough to carry out its intended function, even if you’re not going to be reveling in sumptuous, vibrant colors.

The Evo One’s remote control is well designed, nicely balancing functionality with simplicity. Standard controls are all idiot-proof – you can play, pause, skip forwards and backwards, raise and lower the volume, and power the unit on and off – but there are also some convenient presets that allow you to fire up your favorite sources, stations or playlists at the press of a button. You can also adjust the display’s brightness and switch between its various screens. You’ll need to reach for your phone to do anything particularly complex, but it's nice to be able to use it like a hi-fi separate when you want some screen-free time.

All in all, the Evo One oozes premium style, without too many unnecessary bells and whistles piled on top. Sure, the display could be brighter, and you’re out of luck if you're not into the dark wood and charcoal upholstery Cambridge Audio has opted for. But make no mistake: this is a luxury speaker that feels like an item of furniture in its own right.

  • Design score: 4.5 / 5

The Cambridge Audio Evo One at a side angle on a worktop in front of a pink background.

(Image credit: Future)

Cambridge Audio Evo One review: value

On the one hand, the Cambridge Audio Evo One is unarguably expensive for a single-unit speaker – $1,499 / £1,299 / AU$2,495 is not pocket change for anyone. On the other hand, this isn’t just a single-unit speaker. When you view the Evo One in terms of all of the gadgets it potentially replaces – wireless speaker, streamer, soundbar, phono stage – the value equation shifts significantly in its favor. For the price, it’s incredibly versatile, and is an excellent all-in-one option for someone who finds a whole range of hi-fi separates too extravagant an investment in terms of money and/or space.

And there are few rivals that can beat it for value. For example, while the Naim Mu-so 2nd Gen offers a premium, single-unit speaker for $1,299 / £899 / AU$1,299, it doesn’t have a screen, and nor does it offer eARC connectivity or a phono stage. Conversely, the gorgeous Ruark R410 does offer everything you can get here – wireless streaming, multi-room, Bluetooth, DAB+ radio, eARC input, built-in phono-stage – but it’s also just as pricey, coming in at $1,799 / £1,299 / AU$2,599.

  • Value score: 4/5

A closeup of the Cambridge Audio Evo One's ports in detail.

(Image credit: Future)

Should I buy the Cambridge Audio Evo One?

Buy it if…

You want a feature-packed single-unit speaker
The Evo One is an impressive all-in-one package, taking the place of four or five home audio separates. So if you want a set-it-and-forget-it sound solution that minimizes the cable chow mein choking up your living room, this is a very good option.

You want lush, confident sound
When properly optimized and fed some hi-res material, the Evo One offers exquisite balance and impressive separation of different elements. It’s a polished and impressive performer that will happily sit as the jewel in the crown of your multi-room speaker setup.

Don’t buy it if…

You actually want a soundbar
Stop the presses: the Evo One isn’t one. It’ll add some much-needed poise and gravitas to soundtracks, but if you’re expecting height channels and a wide soundstage, you really do need to invest in an actual soundbar.

You’re looking to save some cash
No two ways about it: the Evo One is an expensive speaker. At $1,499 / £1,299 / AU$2,495, it’s more comparable to the Ruark R410 or the Bang & Olufsen Beosound A5 – you’re paying a premium price for a premium speaker.

Cambridge Audio Evo One review: also consider

Naim Mu-so (2019)
If you love the form factor and are yearning for superlative-sounding, hi-res streaming without extra features such as a phono stage or eARC, but for a lower price in exchange, the Naim Mu-so 2nd Gen is an excellent choice. At $1,299 / £899 / AU$1,299, it's a powerful and impressive speakers, as our full Naim Mu-so (2019) review explains.

Bowers & Wilkins Zeppelin Pro
Following in the footsteps of the classic airship-shaped iPod dock from the 2000s, the Zeppelin Pro is a powerful wireless speaker capable of rich, hi-res sound. Admittedly it’s less talented than the Evo One – again, there’s no connectivity options like phono in or eARC and it has considerably fewer drivers. But it is much more affordable, coming in at just $799 / £699 / AU$1,349, and still sounds exquisite for the price, as we dig into in our full Bowers & Wilkins Zeppelin Pro review.

How I tested the Cambridge Audio Evo One

  • I tested it for a month
  • I used it for a wide range of audio, from hi-res streams to TV audio via eARC
  • I have decades of experience using and reviewing audio gadgets

I tested the Cambridge Audio Evo One over the course of a month. First of all, I used the TechRadar testing playlist, as well as many of my own standard testing tracks, to see how its sound stacked up. I listened to a wide range of different sources, from hi-res streaming on Tidal to Spotify’s lowest-quality tier to see how it coped with different audio quality.

I also tested all of its additional features. I listened to several vinyl albums, both via line-in and through its built-in phono stage, using my Audio-Technica AT-LP60XBT. I also connected it to my TV via eARC and tested its AV sound by watching multiple TV shows and movies. Finally, I tweaked its various sound optimization settings, and played with the EQ settings to test out how they impacted the sound balance.

I’ve spent many years covering audio gadgets, from headphones to speakers, and use a wide variety of sound setups at home, from Bluetooth speakers to my system of hi-fi separates. On top of this, I’ve spent decades making and producing music, which has given me a great deal of insight into how to assess the balance of frequencies and breadth of soundstage.

  • First reviewed: February 2025
  • Read more about how we test
I reviewed Sonus Faber’s luminous Lumina II stereo speakers, and they’re a winner for Italian-crafted sound and looks
6:00 pm | February 18, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Comments: Off

Sonus Faber Lumina II: Two minute review

Since the early 1980s, Sonus Faber has been creating high-performance, high-end loudspeakers and charging a (generally perfectly justifiable) arm and a leg for them. But in a move not many people saw coming, the company decided to democratize its ‘Made in Italy’ cachet by launching a pair of speakers that sell for an almost-mainstream $1,499 / £999 /AU$2,200 per pair. They’re called the Sonus Faber Lumina II.

In many ways, the Lumina II are Sonus Faber business as usual. The standard of build and finish is impeccable, the materials are premium (although the company’s customary use of real leather will no doubt alienate as many people as it excites), the look is sophisticated and understated. And, sure enough, there’s a little ‘Made in Italy’ sticker on the cabinet's rear, just to let you know you're dealing with something a little special even among the heady brands that make the best stereo speakers.

In many ways, the Sonus Faber Lumina II sound like their money’s-worth, as well as looking and feeling like it. They’re a balanced, insightful and nicely detailed listen, are able to organize a soundstage well, and with unarguable talent where frequency response and tonal fidelity are concerned. No, they’re far from the punchiest speakers around – they run out of meaningful puff quite early in the bass frequencies – and they’re not enthusiastic about bigger volume levels, either.

But for some people, the fact that this is Sonus Faber we’re talking about will be enough to overlook these (admittedly fairly mild) shortcomings. The harder-headed consumer, though, knows that the Sonus Faber Lumina II are far from the only choice at this sort of money – the likes of the KEF LS50 Meta loom large.

Sonus Faber Lumina II on a stone surface

(Image credit: Future)

Sonus Faber Lumina II review: Price and release date

  • Released June 15, 2021
  • $1,499 / £999 / AU$2,199

The Sonus Faber Lumina II are on sale now, and in the United Kingdom a pair will cost you £999. In the United States, you’re looking at $1,499, while in Australia they’ll set you back AU$2,199.

Passive standmounting speakers at this sort of money are not exactly a rarity, of course. So, apart from the ‘handmade in Italy’ cachet, what does Sonus Faber have up its beautifully tailored sleeve?

Sonus Faber Lumina II on a stone surface

(Image credit: Future)

Sonus Faber Lumina II review: Features

  • 29mm ‘damped apex dome’ tweeter
  • 150mm pulp/fibre mid/bass driver
  • Front-facing bass reflex port

As a pair of small and (relatively) affordable passive loudspeakers, the Sonus Faber Lumina II aren’t exactly awash with features, but those they have are of high quality and are utterly fit for purpose.

So, reading from the top of the front of each speaker, there’s a 29mm tweeter of Sonus Faber’s own ‘damped apex dome’ design, which features a silk diaphragm and is mounted using a visco-elastic baffle to effectively isolate the vibration it produces from the cabinet. Below here there’s a 150mm mid/bass driver – a cone made from a combination of natural fibres and cellulose pulp. It sits in what Sonus Faber describes as an ‘ultra-free compression basket’, and the promise is of high linearity and dynamic performance.

The speakers stand on a little plastic plinth – there’s a little gap between the main cabinet and the plinth where a bass reflex port faces forwards. This makes the Lumina II nicely forgiving of positioning in your room, notwithstanding a few rather unusual positioning issues thrown up further down in the ‘design’ section.

The overall arrangement is good for a frequency response of 55Hz - 24kHz, according to Sonus Faber. Crossover is at an unremarkable 1.8kHz, sensitivity is an equally ordinary 85dB, and nominal impedance is four ohms. The manufacturer suggests that any worthwhile amplifier with 50 watts or more available should be able to drive the Lumina II without issues.

  • Features score: 4 / 5

Sonus Faber Lumina II on a stone surface

(Image credit: Future)

Sonus Faber Lumina II review: Sound quality

  • Detailed and spacious presentation
  • Organized and unflappable…
  • …unless you decide to listen at bigger volumes

If you’re familiar with any of Sonus Faber’s products from the turn of the century onwards, the overall emphasis of the Lumina II sound isn’t going to come as much of a surprise. No matter the sort of stuff you like to listen to, and no matter the source of it, these speakers are a balanced, naturalistic and periodically absorbing listen.

The tonal balance of the Lumina II is carefully neutral, so a nicely organic recording like Nico’s The Fairest of the Seasons enjoys a true-to-life depiction of the small string section, acoustic guitar, and expressive and unmistakable vocal. There’s plenty of detail revealed and contextualized at every part of the frequency range, and the Sonus Faber travel from top to bottom in a smooth and undemonstrative manner. No part of the frequency range gets overstated and, apart from the very lowest frequencies, no part is underplayed. The crossover between tweeter and mid/bass driver is all-but imperceptible.

The speakers do good work with harmonic variations, and are quite explicit where soundstaging is concerned, too. There’s a respectable degree of dynamic headroom available, and a willingness to track even the smaller changes in attack or intensity carefully.

Switch to a copy of Aw, Shoot! by CMAT and the Lumina II’s ability to open up a fairly compressed and dense recording is straightforwardly impressive. It can create appreciable space on the soundstage, and where less accomplished speakers present this recording as a sort of aural wedding cake, with element piled on top of element, the Sonus Faber bring some order to bear. Detail levels are good all over again, and the ability to tease out the finer, more transient occurrences in a recording and let them enjoy a little breathing space is not to be sniffed at.

There’s appreciable bite and shine at the top of the frequency range, but nothing too threatening or hard-edged – there’s real refinement to the treble response here. The midrange is eloquent and revealing, and – up to a point – low frequencies are just as substantial and well-resolved as everything going on above them.

The Lumina II don’t so much run out of extension at the bottom of the frequency range – not by the standards of reasonably compact standmounters, anyway – as run out of conviction. There’s a lack of power and drive towards the bottom of their frequency response which can make for a slightly lightweight rendition of whatever it is you’re listening to. Low frequencies are nicely controlled, so rhythmic expression is convincing, but outright ‘punch’ is in rather short supply.

It’s equally safe to say that volume is a factor in the Sonus Faber comfort zone. At moderate volumes the Lumina II are a composed, insightful and well-organized listen, with talents that extend well beyond ‘unflappability’. But if you up the ante, volume-wise, a fair bit of that composure deserts them, along with some of their powers of organization. The can begin to sound just fractionally two-dimensional and ever-so-slightly stressed. Dial the volume down just a little and normal service is quickly resumed.

  • Sound quality score: 4 / 5

Sonus Faber Lumina II on a stone surface

(Image credit: Future)

Sonus Faber Lumina II review: Design

  • Choice of three finishes
  • Leather-covered sides and top surface
  • 304 x 180 x 263mm (HxWxD)

Obviously you’ll make up your own mind as to the decorative potential (or otherwise) of the Sonus Faber Lumina II. What can’t be argued with is the quality of construction or finish – these are impeccably made loudspeakers. The company’s ongoing determination to cover a good portion of its speakers in leather (both sides and the top of this model) won’t sit well for those who’d prefer a vegan option, but as far as ‘craftsmanship’ is concerned, the Lumina II have plenty in evidence.

Each speaker is a tidy 304 x 180 x 263mm (HxWxD), and if you choose either of the ‘walnut with maple inlays’ or ‘wenge with maple inlays’ the front baffle is of multilayered wood with real wood veneer. The piano black alternative is glossy, all right, and also built of multilayered wood but it’s quite reflective, so is not perhaps the first choice for those who may wish to use their Lumina II as part of a home theater set-up in a darkened room.

At the rear of each cabinet there are four nickel-plated speaker binding terminals that can be used with bare wire, banana plugs or spade connectors. Biwiring or biamping is perfectly straightforward.

Although the configuration of the speakers makes them quite forgiving of room position, the liberal use of leather does not. The company is quite unequivocal: you should not position your Lumina II near windows or sources of heat, and they should not be exposed to direct sunlight. Perhaps lots of leather isn’t such a brilliant idea after all…

  • Design score: 4 / 5

Sonus Faber Lumina II on a stone surface

(Image credit: Future)

Sonus Faber Lumina II review: Value

‘Made in Italy’ seldom comes cheap, and in a market dominated by speakers that have been ‘designed and engineered’ in one place and then inevitably ‘made in China’, it’s quite a prestigious point of difference. And where materials, build quality and the standard of finish are concerned, it’s hard to argue that you’re not getting full value here.

And up to a point, that’s all true when it comes to sound quality, too. But a look at the ‘also consider’ section below lets you know that if you’re prepared to forgo a bit of the undeniable Sonus Faber cachet, better pound-for-pound performance is available…

  • Value score: 4 / 5

Sonus Faber Lumina II review: Should you buy them?

Buy them if...

You’re a sucker for Italian design
Like every Sonus Faber product, the Lumina II are a visual and tactile treat.

You enjoy open, detailed and naturalistic sound
These speakers have a real talent for opening up a recording and peering deep inside.

You do your listening in a darkened room
The leather finish means these speakers are more affected by sunlight than most.

Don't buy them if...

You’re vegan
The leather finish might be a dealbreaker.

You like to listen loud
The composure that’s such an admirable part of the Lumina II's sound can go astray at big volumes.

You consider ‘wallop’ to be a positive word
Other speakers of comparable size and price can dig deeper and hit harder.

Sonus Faber Lumina II on a stone surface

(Image credit: Future)

Sonus Faber Lumina II review: Also consider

KEF LS50 Meta
All price-comparable speakers tend to look a bit agricultural next to the Sonus Faber Lumina II but KEF’s outstanding LS50 Meta have a strong look of their own and, most importantly, the sort of all-around excellence the Lumina II can’t quite match. The ever-expanding number of available colors and dramatic visuals of the driver array don’t do any harm, either…View Deal

Sonus Faber Lumina II review: How I tested

  • Connected to a Naim Uniti Nova, listening to Qobuz and Tidal tracks
  • Also hooked up a Rega Apollo for CDs; Cambridge Audio/Clearaudio for vinyl

During my spell listening to the Sonus Faber Lumina II, they were powered by a Naim Uniti Nova streamer/amplifier capable of delivering 70 watts of power per channel. I also used the Naim for listening to Qobuz and Tidal, as it is both a streamer and an amplifier.

I listened to compact discs using a Rega Apollo player, and vinyl via both the Cambridge Audio Alva TT v2 and Clearaudio Concept turntables.

The Lumina II remained in my listening space for the test's entirety – the area is nothing too sophisticated, it’s a fairly ordinary (though not particularly reflective) room that works excellently for my purposes. Using this disparate sources, I listened to myriad different recordings, from a plenty of genres, and from a wide range of eras.

I tested JBL’s cheap USB-C wired earbuds with a built-in DAC for a week, and they’re great value… with one design flaw
11:00 pm | February 17, 2025
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

JBL Tune 305C review

If you’re on the hunt for some new earbuds but you’ve not bought into the whole wireless thing, the JBL Tune 305C could be an enticing budget option. These wired earbuds promise punchy bass, a comfortable fit – not a bad package for £16.75 / AU$24 (about $21). So can the JBL Tune 305C live up to these bold promises, or do they instead fall flat?

Well, let’s start where it matters most – sound. Of course, the main attraction is meant to be JBL’s “Pure Bass” sound but despite providing enjoyable warmth, this won’t conjure up the low-end boom that bass heads may want. For instance, when I tuned into Black Eye by Allie X, there was a solid amount of depth to the thumping drum machine, but it lacked the impact and prominence in the mix to really have my head bopping. When listening to All Night Long by Chris Stussy, the bouncing bass never sounded lethargic or unresponsive, but again, it wasn’t as hard-hitting as I’d hoped.

You can be assured, however, that bass won’t sound nasty and distorted. Similarly, I didn’t experience much in terms of tinniness in the treble range or overly thin mids – something that all our picks of the best wired earbuds are capable of circumventing. But clean audio isn’t always a given with budget buds – the Belkin SoundForm Wired Earbuds with USB-C Connector, for instance, are very cheap… and they sound it. The JBL feel like good value in comparison.

Another positive is that the JBL Tune 305C can play hi-res music files thanks to the inclusion of a built-in digital to analog converter (DAC) – pretty impressive for some buds that come in at £16.75 / AU$24 (about $21). But although overall audio is certainly clear, it doesn’t really sound massively detailed.

For instance, I tuned into Clair de Lune by Kamasi Washington and piano notes soaring up and sinking down sounded slightly clumped – where they’d sound more individualized and defined using more premium buds such as the Sennheiser IE 200. Piano was also given a lot more breathing space with the IE 200, whereas it sounded more muddied with the Tune 305C – but not to a degree that it was totally lost in the mix.

One reason that I didn’t get a massively nuanced, informative listen from the Tune 305C was their in-ear fit. Like the Apple EarPods USB-C, they’re pretty loose-fitting, with an 'open-ear' design. They don’t include eartips, like the SoundMagic E11D, for example, meaning sound is less concentrated into the ear canal. Some may prefer the looser feel of these – I can’t deny that they were easy to keep in for longer listening sessions.

But still, they would occasionally feel as if they were falling out, especially when I was on the go. Not ideal if you’re on a run or working out. This design choice also limits noise isolation, so you may have to put up with the sound of that wailing baby on your four-hour flight… uh oh.

But again, some may prefer the more relaxed feel of the Tune 305C. On top of that, these are pretty lightweight and didn’t subject me to all too much cable noise – impressive for buds at this price-point.

Earbud of the JBL Tune 305C

(Image credit: Future)

And that’s not all – you also get a neat controller, which has volume, play/pause and mic controls built-in. Firstly, I have to say I was very impressed with mic quality. There was some very slight tinniness on a phone call, but my voice was nice and clear. Meanwhile, a voice recording came through with limited background static and well-defined vocals – rare for lots of wired earbuds.

You’re not going to believe me, but the fun doesn’t stop there either. If you hold down the volume up button for two seconds, you can even switch between Standard, Bass and Voice modes. EQ settings are pretty rare for cheap wired earbuds, so I was delighted to find this here. Really, the only downside practicality-wise is the lack of waterproofing, which would be ideal for listening in the rain or when exercising.

Another slightly disappointing aspect of these earbuds is their design. The buds each have a raised piece of plastic with the JBL logo on which looks a little clumsy, and the flat wire might not be to everyone’s taste either. Don’t get me wrong, my eyes didn’t burn just looking at the Tune 305C, but I was hardly swooning over them. The controller looks decent, however, and is positioned near your cheek for easy access, not to mention that the wire – despite not being too pretty – is tangle-resistant, which is useful if you need to slide these into your pocket.

All in all, the JBL Tune 305C are a solid pair of in-ear buds. They have typically clean audio with commendable bass and volume, EQ options and a surprisingly good mic. The loose fit does come with sacrifices in the audio and noise isolation departments and it's a shame not to see waterproofing too. But at £16.75 / AU$24 (about $21), there’s still plenty to like here.

If you want a step-up USB-C option, the SoundMagic E80D will outperform the Tune 305C in most departments, but there are some nice cheaper options too, such as the Skullcandy Set USB-C.

USB-C connector on the JBL Tune 305C

(Image credit: Future)

JBL Tune 305C review: Price and release date

  • £16.75 / AU$24 (about $21)
  • Launched in 2024

The JBL Tune 305C launched in 2024 – the same year that the audio specialists dropped the Tune 310C model, which uses ear tips for a more snug, noise-isolating listening experience.

These in-ears are typically priced at £16.75 / AU$24, making them a very budget-friendly option. They’re also available in a number of attractive color variants including: Black, Blue, Red and White – I tested the latter for this review.

JBL Tune 305C review: Specs

Controller for the JBL Tune 305C

(Image credit: Future)

Should I buy the JBL Tune 305C?

Buy them if...

You’re on a tight budget
If you want a cheaper wired option, these are worth considering. At £16.75 / AU$24 (about $21), you get audio that’s rarely tinny or grating, solid loudness and even EQ options – not bad at all.

You’re always on the phone
If you love a phone call, you’ll likely be satisfied with the JBL Tune 305C’s built-in mic. You get decently clear, defined speech as well as call controls, making these ideal for those who enjoy a good natter.

Don't buy them if...

You want strong noise isolation
Due to their loose-fitting design, these JBL Buds will offer very little in the way of noise isolation. If you’re looking for decent passive noise isolation at an ultra-low price, consider the Sony MDR-EX15AP. But if you want to take things up a notch and wouldn’t mind going wireless, then take a peek at our guide to the best noise cancelling earbuds – which includes a very cheap option.

You’re expecting top-tier audio quality
If you’re expecting a top-drawer sonic performance from the JBL Tune 305C you’re likely to be disappointed. Sure, they have a built-in DAC for hi-res listening and pretty warm bass, but they can sometimes produce a fairly bloated sound, especially at high volumes.

JBL Tune 305C review: Also consider

Skullcandy Set USB-C
If you’re looking for a stylish, moderately priced pair of wired earbuds, the Skullcandy Set USB-C could be the perfect fit. They boast a clean, curved design, attractive color options and solid sound quality. There are no built-in volume controls, which is slightly irritating, but IPX4 waterproofing does give it some points in the durability department. Read our full Skullcandy Set USB-C review.

SoundMagic E80D
The SoundMagic E80D are some of the best budget-friendly wired earbuds around. Why? They offer excellent comfort, an inbuilt DAC for hi-res listening and impressive noise isolation. It’s a decent amount more than the JBL Tune 305C, sure, but if you have that extra cash, you’re in for a far superior sonic experience. Read our full SoundMagic E80D review.

JBL Tune 305C review: How I tested

Earbud of the JBL Tune 305C

(Image credit: Future)
  • Tested for one week
  • Used in the office and on public transport
  • Predominantly tested using Tidal

I tested the JBL Tune 305C over the course of one week. When I used these buds for music listening, I mainly used Tidal on the Samsung Galaxy S24 FE, but I also tried them out with YouTube and Spotify on my Windows Laptop.

Not only that, but I made sure to run through tracks in the TechRadar testing playlist, which contains songs from a variety of genres – read our guide on how we test earbuds for more. I did, however, also spend hours tuning into songs from my personal library. And I took the 305C with me everywhere for this review. I tested them at a busy London train station, on walks through my local town centre and in the office.

  • First reviewed: February 2025
  • Read more about how we test
I reviewed the Bowers & Wilkins Zeppelin Pro wireless speaker, and this beauty is the best one-box wireless speaker you can get for this price
2:00 pm | February 14, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Comments: Off

Bowers & Wilkins Zeppelin Pro Edition: Two-minute review

The Bowers & Wilkins Zeppelin Pro Edition is part of a great lineage. It’s been almost 20 years since the first Bowers & Wilkins Zeppelin launched – back then it was an iPod dock with a 30-pin connector. It’s moved with the times, of course, so now this version offers aptX Adaptive Bluetooth codec compatibility and the ability to host numerous music streaming and internet radio services within the ‘Music’ control app it has in common with other Bowers & Wilkins wireless audio products.

The look of the Zeppelin Pro is, of course, the look. The Zeppelin line is very much its own thing, and build quality and the standard of finish are predictably good. And when it comes to business, the Pro Edition features a reworked tweeter array and uses the titanium dome unit found in the class-leading B&W 600 S3 series of passive speakers. That's along with a couple of mid-range drivers and a relatively large (150mm) bass driver, plus 240 watts of power to drive them; the on-paper specification is promising to say the least.

And in practice, the Zeppelin Pro Edition makes good on that paper promise. It’s simple and quick to get it up and running, and once the listening starts in earnest there’s next-to-nothing to take issue with.

It’s a detailed, spacious and vigorous listen, able to tease out the finest details yet hit with real determination at the same time. The tonal balance is convincing, the frequency range is integrated smoothly, and there’s an openness to the presentation that’s far superior to any other one-box option among the best wireless speakers at this budget. It’s not the last word in dynamic expression, true – but nevertheless, the ‘plus’ column is far, far longer than the ‘minus’ where sound quality is concerned.

Bowers & Wilkins Zeppelin Pro Edition review: Price and release date

  • Costs $799 / £699 / AU$1,349
  • Launched in late 2024

The Bowers & Wilkins Zeppelin Pro Edition is on sale now, and in the United Kingdom it costs £699. American customers will have to part with $799, while in Australia it’s more like AU$1,349.

You’re not short of choice where wireless speakers at this sort of money are concerned, of course. The excellent Naim Muso Qb Gen 2 is down to this sort of money nowadays, and things like JBL’s Authentics 500 are well worth considering too…

Bowers & Wilkins Zeppelin Pro Edition review: Features

A close up of the Bowers & Wilkins Zeppelin Pro Edition wireless speaker and the B&W logo

(Image credit: Future)
  • Bluetooth 5.0 with aptX Adaptive codec compatibility
  • 240 watts powering a five-driver array
  • 35Hz - 24kHz frequency response

In most respects, the Zeppelin Pro shares a feature-set with the 2021 incarnation of the Zeppelin. Bluetooth 5.0 with aptX adaptive codec compatibility, 240 watts of Class D grunt powering a five-driver array, compatibility with the exemplary Bowers & Wilkins ‘Music’ control app, a claimed frequency response of 35Hz - 24kHz… so far, nothing has changed.

In fact, the only major difference where features are concerned is regarding 40 percent of the driver array. The Zeppelin Pro uses the same 150mm low-frequency driver and the same pair of 90mm ‘FST’ (fixed suspension transducer) mid-range drivers as the 2021 model – although the mid-range drivers have had their cone damping upgraded in an effort to minimize cone break-up.

The tweeters in the Zeppelin Pro, though, are 25mm versions of the titanium dome design that’s currently in use all across the company’s 600 S3 range of full-size passive loudspeakers. This, it’s fair to say, is an upgrade on the double-dome tweeters fitted to 2021’s Zeppelin. Revised digital sound processing is deployed to take account of the new and improved tweeter line-up.

As with previous Zeppelins, the Pro features built-in multi-room functionality - it can be paired with other Zeppelins or members of Bowers & Wilkins’ ‘Formation’ range of wireless speakers (in case anyone remembers them). The Pro can also be used in conjunction with any of the company’s current (and excellent) line-up of wireless headphones and earbuds.

And as with previous Zeppelins, the Pro is only part-smart. Bluetooth connectivity is all well and good, of course, and the fact that it can sit on your home network and access your favourite streaming services (or, at least, some of them) is good news too – but there’s no DLNA or UPnP compatibility, so network connectivity only takes you so far, and the speaker has no truck with voice assistants either.

  • Features score: 4.5 / 5

The Bowers & Wilkins Zeppelin Pro Edition from above on a wooden shelf

(Image credit: Future)

Bowers & Wilkins Zeppelin Pro Edition review: Sound quality

  • Wide and organized presentation
  • Punchy and detailed in equal measure
  • Dynamic, but not to the extent separate speakers

Everything’s relative, of course, but while the idea that the Zeppelin Pro creates a true sense of stereo separation is hard to get behind, there’s no denying it generates a wider and more spacious sound that pretty much any other price-comparable single-unit wireless speaker is capable of.

It’s this openness that’s the most immediately striking thing about the way the Bowers & Wilkins performs. You’d never confuse it for the sound of two stereo speakers, of course, but whether it’s playing a 16bit/44.1kHz file of The Wedding Present’s Dalliance or a 24bit/96kHz equivalent of Summon the Fire by The Comet Is Coming, the Zeppelin Pro musters a big, well-organised and entirely convincing soundstage on which a recording can fully express itself.

There’s a gratifying amount of attention paid to the spaces between instruments and voices, and the amount of elbow-room each element of a recording enjoys makes for a coherent and easy-to-follow presentation.

Low-frequency impact is significant, and there’s good control of the attack of bass sounds at the same time – so the low end doesn’t blur, and rhythms are confidently described. The mid-range benefits a great deal from the overall spaciousness – vocalists of all types and all competences get the chance to properly communicate, for better or for worse.

And at the top of the frequency range, the reworked tweeter arrangement allows for plenty of substance to accompany the top-end bite and attack the Zeppelin Pro can muster. Integration of the frequency range is smooth and unobtrusive, despite the numerousness of the drivers here.

The Pro maintains a nicely neutral tonality throughout, and manages to invest every part of the frequency range with plenty of broad and fine detail. It does good work with high-frequency transients, and gives the bottom end lots of texture and variation where lesser speakers can just thump along monotonally. And the mid-range is absolutely alive with personality – there’s an eloquence to the way the Bowers & Wilkins hands over a voice that is never less than engaging.

Only a slight inhibition during the bigger dynamic shifts in volume and/or intensity prevent the Zeppelin Pro from scoring full marks here. If ever a band indulged in the ‘quiet/LOUD/REALLY DAMN LOUD’ dynamic, it’s The Wedding Present – but when the angst really gets into full swing the Bowers & Wilkins just can’t quite breathe deeply enough to give it the fullest expression.

It’s not that everything happens at a fixed level of attack, you understand – it’s just that there’s greater distance between the most contemplative and most fierce moments in the recording than the Zeppelin Pro is able to describe.

  • Sound quality score: 4.5 / 5

Bowers & Wilkins Zeppelin Pro Edition review: Design

A close up of the Bowers & Wilkins Zeppelin Pro Edition

(Image credit: Future)
  • Choice of two new finishes
  • Choice of 15 (!) downlight colors
  • Still looks like a Zeppelin

If you’ve seen one Bowers & Wilkins Zeppelin, you’ve seen 'em all – which is not meant to be any kind of a put-down. In one guise or another, it’s a product that’s been in production for almost two decades, and it’s rapidly approaching ‘classic’ status – and the way it looks hasn’t done any harm in this respect.

So the Zeppelin Pro is recognizably a Zeppelin, and at 210 x 650 x 194mm it’s the same dimensions as the 2021 model. You’ll need a decently sized surface to stand it on, although at 6.6kg it’s hardly a burden where weight is concerned.

The speaker wears its relative bulk quite lightly, though, and this is helped in no small way by the two finishes – both new – in which it’s available. My review sample is in ‘solar gold’, and ‘space gray’ is also available. And within the stable, logical and extensive control app, there are no fewer than 15 different ‘ambient light’ colors with which to illuminate the speaker’s foot (and, if you’re anything like me, expose exactly how long it’s been since anyone did any dusting around here). Or you can turn it off altogether, of course.

  • Design score: 5 / 5

Bowers & Wilkins Zeppelin Pro Edition review: Usability and setup

A close up of the Bowers & Wilkins Zeppelin Pro Edition controls

(Image credit: Future)
  • Bowers & Wilkins ‘Music’ control app
  • Some physical controls
  • Swift and stable wireless pairing

The Zeppelin Pro is ‘just’ a wireless speaker, and as such it doesn’t take long to set up – unpack it, plug it in, let the ‘Music’ control app (free for iOS and Android) discover it, connect it to your local network, and you’re in business.

The control app is fairly thoroughly specified. As well as Bowers & Wilkins’ curated content, it’s also able to let you integrate your favourite music streaming service(s) – as long as they’re Amazon Music, Deezer, NTS, Qobuz, SoundCloud or TIDAL. Spotify Connect and AirPlay 2 provide alternative ways of getting music over to it. Internet radio is available via Last.fm and TuneIn.

EQ adjustment (or, more accurately, bass and treble adjustment) is available, and the app also lets you update firmware as and when, and for some reason has a switch to allow aptX Adaptive reception to be switched on or off.

There are a few physical controls at top of the rear of the speaker, too. ‘Bluetooth pairing’, ‘volume up/down’, ‘play/pause’ and ‘power on/off’ are all available.

  • Usability and setup score: 5 / 5

Bowers & Wilkins Zeppelin Pro Edition review: Value

  • Bowers & Wilkins devices are always of a very high standard
  • Not as pricey as some B&W devices, but just as impressive
  • Excellent specs and sound

If you know Bowers & Wilkins, you know there’s seldom any issue regarding the standard of build and finish of any of its products – and that’s as true of the Zeppelin Pro Edition as it is of a pair of its passive speakers costing tens of thousands of pounds.

Add in thorough specification, nicely executed control options and an intangible, but definite, pride of ownership and we’re well on the way to calling this wireless speaker ‘very decent value for money’. The way it sounds simply confirms things.

  • Value score: 4 / 5

Should you buy the Bowers & Wilkins Zeppelin Pro Edition?

Buy it if...

You know an icon when you see (and hear) one
There aren’t all that many current audio products around that can genuinely be referred to as ‘classic’. The Bowers & Wilkins Zeppelin is one.View Deal

You enjoy spacious, detailed and lively sound
By the standards of speakers in a single enclosure, the Zeppelin Pro sounds gratifyingly open – and it’s a perky, informative listen at the same time.View Deal

You think synesthesia is pretty cool
You won’t see colors because of the sound the Zeppelin Pro makes, but you get a choice of colors to accompany it.View Deal

Don't buy it if...

You don’t have significant shelf space
The Bowers & Wilkins Zeppelin Pro Edition remains one of the larger wireless speakers around, and it needs a correspondingly large shelf space in which to operate.View Deal

You want a fully smart speaker
The lack of wider networking compatibility, voice-assistant interaction and so on means the Zeppelin Pro Edition is not quite PhD ‘smart’.View Deal

You want to hear every bit of dynamic variation in a recording
The Pro Edition is a strong performer, but it lacks the lung capacity to give complete expression to the biggest shifts in intensity and/or volume.View Deal

Bowers & Wilkins Zeppelin Pro Edition: Also consider

Naim Mu-so Qb 2nd Gen
The closest smaller equivalent to the Zeppelin Pro, also made by a hi-fi legend. Far more compact, still a hugely impressive performer with tons of connectivity options. Here's our full Naim Mu-so Qb 2nd Gen review.View Deal

Cambridge Audio Evo One
A magnficient speaker that's also pretty wide, like the Zeppelin Pro – but it has a flatter and more traditional design that may suit some people. The screen on the front is nice too, and the built-in phono stage makes it well-suited to turntables.View Deal

How I tested the Bowers & Wilkins Zeppelin Pro Edition

I positioned my review sample on the top shelf of my Blok Stax 2G equipment rack, and then because it was preventing my turntable from sitting there I also positioned it on a necessarily large bookshelf.

I used my Qobuz and TIDAL accounts to stream music of many different varieties and file sizes, and I also checked out some favorite internet radio stations using TuneIn.

I can’t pretend it was any kind of hardship to do this for well over a week…

  • First reviewed: February 2025
I tested these re-released classic wired earbuds with dual USB-C and 3.5mm connectivity for a week, and now I’m thinking of ditching my Bluetooth pair
1:00 pm | February 13, 2025
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Master & Dynamic ME05: Review

10 years after their original release, the Master & Dynamic ME05 are back. Remastered for the modern era, these wired buds now include a Hi-Res USB-C adapter, meaning they’re able to seamlessly slot into your modern smartphone’s charging port. This revamped model also aims to provide “more expansive acoustics” and fit options, while still harnessing the strengths of their original, high-caliber build materials. But do these re-released classics still hold up?

Well, if we’re talking audio quality, the answer is yes – very much so. The re-released Master & Dynamic ME05 have an incredibly satisfying sound signature: it’s elegantly balanced, but adds a dash of warmth to ensure you get an exciting, yet tightly controlled listen. When I tuned in to I Want You by Moloko – a densely layered, all-action track – the Master & Dynamic ME05 captured each element with ease. The multiple synths, dramatic strings and thumping bass all sounded neatly separated and clear.

The details in this track weren’t lost either. For instance, bold vocals in the introduction maintained their breathy tone and the resonance of the piano wasn’t lost. The sudden crash of cymbals roused excitement without sounding harsh too, something I always listen out for in my epic quest to discover the best wired earbuds.

As I touched on earlier, there’s a pleasing degree of warmth to these buds, meaning you’ll hear clean bass that never sounds lethargic or muddied with lower-mids. When listening to Black Eye by Allie X, the hard-hitting drum machine could get admirably deep and sounded rhythmic and energetic.

If you’re a massive fan of bass-heavy bangers these might not quite offer the big boom you’re looking for, though. For instance, I threw on Splash Mountain by Yung Gravy and sub-bass didn’t have the raw power that’s meant to command the track. If that’s something you’re looking for, you may be better served by some of the best over-ear headphones, which are more capable of thunderous low-end output and customizable EQ.

Regardless, you’re getting fantastic high-resolution audio from these buds, whether you’re using the standard 3.5mm connector or the included USB-C adapter. This adapter supports up to 32-bit / 384kHz resolution audio, meaning you can indulge in higher-than CD quality sound with one of the best Android phones or best iPhones since the iPhone 15 switch to USB-C.

As well as the USB-C connector, the ME05 now come with a large selection of additional ear tips, including both gel and foam variants. This was something we hoped for in our review of the review of the original model back in 2017 – so kudos to Master & Dynamic for delivering! There’s also a premium-feeling carry case to keep your buds safe, adding some points in the value category.

On top of their stellar sound quality and generous fit options, the re-released ME05 have commendable build quality. The 8mm drivers are enclosed in sturdy and stylish brass casing. The metallic controller also feels durable and has well-sized button controls. Maybe some will find its central position a little unorthodox, but I liked it – sometimes wired buds place their controller too close to my cheek, which can be irritating when adjusting volume. And although it’s not detachable, the cable is up-to-scratch too – it's tangle-resistant and slim, and it really checks all the boxes.

There’s also a mic that’s handily positioned higher up the cable. This includes wind reduction tech for clear calling, which I’m happy to report works well. To test mic quality, I made a voice recording and found that there was a bit of static in the background, though my speech was still extremely clear-cut and natural-sounding.

At this stage, you may think I have little to no complaints about these remastered classics – and you’d be right. But they’re not quite perfect. That’s mainly because these buds aren’t ideal for when you’re out and about. I did experience quite a lot of cable noise – something that’s admittedly common with most wired buds – but they couldn’t mute this as effectively as models like the Sennheiser IE 200.

And although they’re comfortable in-ear, they are fairly heavy-feeling – not to mention the lack a waterproof rating, meaning you may want to look elsewhere if you need some earbuds for workouts or runs.

One more small thing before I start gushing again – don’t expect particularly stand-out noise isolation from the re-released ME05. When listening to a bass-heavy track between 40% and 50% volume, the sound of typing in my office was dulled, but I could still hear it a decent amount. That’s in part down to the more relaxed fit of these buds, meaning you’re not getting an ultra-tight seal. But still, there’s a silver lining here – I was happy to listen with these for hours on end. So, even if a model like the Shure SE215 has superior passive noise isolation, they were nowhere near as pleasing to keep in for long listening sessions.

With that said, I’d still class the Master & Dynamic as a top-drawer pair of in-ears. With awesome audio quality, eye-catching design and dual connectivity options, there’s just so much to like. At $199 / £169 (about AU$320), they’re not cheap but they are good value. A lot of audiophile-friendly buds will cost double that amount… or even more. And for the level of detail on offer, I think these are well worth your consideration.

Sure, if you want top-tier noise cancelling and waterproofing, you may be better off with a pair of the best wireless earbuds instead, but for those of you looking for a wonderful wired option, I can recommend these with ease.

Master & Dynamic ME05 with USB-C adapter and carry case

(Image credit: Future)

Master & Dynamic ME05 review: Price and release date

  • $199 / £169 (about AU$320)
  • Re-launched in December 2024

The Master & Dynamic ME05 re-released in December 2024, almost an entire decade after their original launch in 2014. They have a list price of $199 / £169 (about AU$320), which is by no means cheap, but nowhere near the price you’ll pay for more premium models like the Sennheiser IE 900 or the Campfire Audio Solaris Stellar Horizon. The re-released ME05 model is available in four classy colorways: Gold/Black; Gunmetal (Gray)/Black; Palladium (silver)/Black; and Palladium/White.

Master & Dynamic ME05 review: Specs

Master & Dynamic ME05 USB-C adapter

(Image credit: Future)

Should I buy the Master & Dynamic ME05?

Buy them if...

You’re an audiophile that doesn’t want to spend a fortune
If you’re on the hunt for some high quality, yet still affordable wired earbuds, the Master & Dynamic ME05 are an awesome option. At less than $200 / £170, you’re not splashing out the kind of cash that some audiophile-grade buds demand. For instance, quality options like the Sennheiser IE 600 come in at around $500 / £500 / AU$1000… when on sale – yikes!

You want something with style
These earbuds are a good-looking option thanks to their metallic casing, premium-feeling controller and tangle-proof cable. They’re also available in four shiny color options, all of which ooze class.

Don't buy them if...

You’re seeking workout-ready earbuds
If you want some earbuds to accompany you on runs or through workout sessions, these aren’t going to be the best. They have no waterproof rating and aren’t the most snug fitting in-ears I’ve ever tried either. If you’re a fitness fanatic, I’d personally recommend checking out our guide to the best open ear headphones.

You want amazing noise blocking
These earbuds assume a decently loose and gentle fit rather than forming an ultra-noise resistant seal. That was fine by me, but if cutting out external noise is a key priority, you could instead opt for some wired buds with top-tier passive noise isolation, like the Shure Aonic 3. If you’re open to nabbing some wireless buds, you could pick an option from our list of the best noise-cancelling earbuds and enter into the world of active noise cancellation.

Master & Dynamic ME05 review: Also consider

Sennheiser IE 200
If you want even more affordable audiophile-grade audio, the Sennheiser IE 200 could be the perfect fit for you. With fantastic all-round sound, brilliant build quality and a lightweight design, you’re getting an incredible package. There’s no in-line mic or controller included with these and they use a 3.5mm connector, but if that’s okay with you, then the IE 200 are easy to recommend. Read our full Sennheiser IE 200 review.

SoundMagic E80D
And if you’re looking for an even cheaper option, look no further than the SoundMagic E80D. They have a USB-C connector with an onboard DAC, meaning you get a surprisingly detailed listen for some sub-$50 / £40 buds. The built-in controller isn’t as good as the ME05’s and audio won’t be quite so premium, but if great value is what you’re after, the E80D are well-worth considering. Read our full SoundMagic E80D review.

Master & Dynamic ME05 review: How I tested

Controller of Master & Dynamic ME05

(Image credit: Future)
  • Tested for one week
  • Used in the office and while on walks
  • Predominantly tested using Tidal

I tested the Master & Dynamic ME05 re-release over a one week period. During this time, I predominantly listened to music using Tidal on the Samsung Galaxy S24 FE via its USB-C port, but I also tried them out using Spotify via my Windows laptop’s headphone port. I tested these buds in the office and while out on walks in windy conditions, in order to test both noise isolation and wind noise-reduction capabilities

When I threw on some music, I bumped tracks from the TechRadar testing playlist, which contains songs from a variety of genres – though I also spent hours tuning into songs from my personal library. Where appropriate, I also used the Sennheiser IE 200 to compare aspects including audio presentation, style and build.

  • First reviewed: February 2025
  • Read more about how we test
The Anker Soundcore Boom 2 Plus is a bass-heavy Bluetooth speaker that I love for blasting party bangers
4:00 pm | February 11, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Anker Soundcore Boom 2 Plus: Two-minute review

The Anker Soundcore Boom 2 Plus is a Bluetooth speaker that does exactly what it says on the tin. It blasts onto the scene with booming bass output, high volume levels and blaring LED lights – this thing is by no means subtle! And at $249.99 / £199.99 / AU$359.99 it’s by no means cheap, either – so let’s find out if the Boom 2 Plus is worth the cash.

It only seems right to start with the main attraction: bass. With BassUp 2.0 activated you’re going to get deep pumping low-end output, ideal for genres such as EDM or hip-hop, and for occasions such as house parties. Without it, you may find that bass is a touch underwhelming, so it’s worth toggling it on for when you really want to ramp up any low-frequency audio. Still, I didn’t find the Anker Soundcore Boom 2 Plus could offer quite as ground-shaking bass as the Tribit Stormbox Blast 2.

All-round sound quality is up-to-scratch, too. I found mids and highs to be clear and free of tinniness – a big relief. On top of that, there’s a nine-band EQ so you can get a more neutral sound if that’s what you’re after. The Anker Soundcore Boom 2 Plus isn’t going to supply the phenomenal attention to detail that some of the best Bluetooth speakers can offer, but it does include the AAC codec this time around, so it's a little better for Apple users in particular.

This speaker comes with a nice set of features, all of which can be accessed via the free-to-download Soundcore app. You can pick from preset or custom EQ calibrations, toggle BassUp, and alter light settings. The LED lights attached to the side of the speaker can sync up to audio output for a more immersive listening experience, and watching them rumble as the speaker pumps bass is highly satisfying.

The lights were one of many features already included in the original Anker Soundcore Boom 2. Now, don’t get me wrong, the standard-sized model is a decent budget option, but the Boom 2 Plus is an upgrade in almost every way. You get more power – as much as 140W for hitting high volumes – a more curved, quality-looking design, and a strap for carrying the speaker over long distances.

But the Boom 2 Plus isn’t without its drawbacks. Of course, its far more expensive – yet still only has the IPX7 waterproof rating, meaning it still lacks a dustproof score. On top of that, the Boom 2 Plus actually offers less playtime than the standard Boom 2, with just 20 hours on offer. Now, that’s not too bad, but considering rivals like the Earfun UBoom X can muster 30 hours, you may be left wanting more.

But overall, the Anker Soundcore Boom 2 Plus is still an adept party speaker. You’re getting plenty of bass and plenty of ways to personalize both its sound and appearance. If you can grab it at a cut-price, I’d argue it's an option well-worth considering, but unfortunately there’s some really stiff competition in this price range. And if you’re able to stretch your budget a little bit further, I’d recommend going for the Tribit Stormbox Blast 2 instead, which ultimately packs more of a punch and better protection against the elements.

Reverse side of the Anker Soundcore Boom 2 Plus

(Image credit: Future)

Anker Soundcore Boom 2 Plus review: Price and release date

  • $249.99 / £199.99 / AU$359.99
  • Launched in May 2024

The Anker Soundcore Boom 2 Plus is significantly pricier than the standard Boom 2 model, coming in with a list price of $249.99 / £199.99 / AU$359.99. That’s compared to the usual Boom 2’s launch price of $129.99 / £119.99 / AU$219.99. I’ve spotted it on sale for around $200 / £170, though, so keep your eyes peeled for a bargain.

This 2024-issued model is available in a number of color options – all of which cost the same. The colorways available to you are: Adventure Green; Explorer Green; and the variant I tested, Phantom Black.

Anker Soundcore Boom 2 Plus review: Specs

Anker Soundcore Boom 2 Plus with strap attached

(Image credit: Future)

Anker Soundcore Boom 2 Plus review: Features

  • Nine-band custom EQ
  • Customizable LED lights
  • 20-hour battery life is decent, but nothing special

In terms of features, the Soundcore Boom 2 Plus is almost identical to its standard-sized sibling. Button controls enable you to toggle on the low-end-boosting BassUp option, sift through light show settings and pair to a second speaker via PartyCast 2.0. And once again, there’s a USB-C port which enables the Boom 2 Plus to become a power bank.

If you download the Soundcore app, however, you get access to even more features. The standout is EQ adjustment, which grants access to a nine band equalizer and a small selection of presets: Soundcore Signature, Voice, Treble Boost and Balanced (as well as BassUp). I would maybe have liked to see a few genre-specific options, but there’s still plenty of customizability here.

The app also lets you personalize the Boom 2 Plus’ lights remotely. There are six effects available: Flash, Flame, Lightning, Scan, Cyclone and Bounce. On top of that, you can play around with a color wheel to get an even more tailored look to the speaker’s LEDs. The lights are on passive radiators which rumble violently during bass-heavy tracks, and this was enjoyable to watch, especially in dark rooms. They sync up to sound output, which makes for an immersive audiovisual experience, but if that’s not to your taste, you can switch them off entirely.

One benefit of going lightless is that you’ll save some battery life. And that might be useful, because the Soundcore Boom 2 Plus actually offers less playtime than the standard Boom 2. That’s a little disappointing and given rivals such as the Earfun UBoom X can serve up an impressive 30 hours, its fair to say this speaker’s battery life is a bit unimpressive. 20 hours is by no means bad, but it’s worth noting that BassUp – like the lights – will contribute to faster drainage.

One thing you do get over the standard edition, however, is an aux-in port, which enables wired listening – pretty neat. Otherwise, you’ll be relying on Bluetooth 5.3, which is plenty good enough, and there’s also Google Fast Pair for a speedy setup.

  • Features score: 4/5

Button controls on the Anker Soundcore Boom 2 Plus

(Image credit: Future)

Anker Soundcore Boom 2 Plus review: Sound quality

  • Booming bass with BassUp 2.0 on
  • But won’t offer massively sophisticated all-round audio
  • Impressive volume levels thanks to max 140W power output

Just by hearing this speaker's name, you probably know exactly what you’re going to get here. And if you guessed big, booming bass – congrats, you were right. Well, that is if you have BassUp 2.0 turned on – without this bass isn’t actually that impactful for a speaker of this size. But don’t get me wrong, having BassUp 2.0 on will definitely mean the low-end soaks up most of the limelight. For a party speaker, though, that’s not necessarily a bad thing.

When tuning in to Favorita by kryptogram, I was impressed by the speaker’s bass output with impactful, deep drum kicks instantly grabbing my attention. Similarly when listening to a house track, Dasha - Tour Maubourg Remix by Fusion Affair, the speaker showcased solid low-frequency response, with dominant, pumping bass. When I threw on Diva Bonita by bbno$, the track’s imposing sub-bass came through with authority, something that you’ll miss out on from a lot of cheaper models.

When I put the Boom 2 Plus next to the Tribit Stormbox Blast 2, however, I did find the latter offered considerably weightier power in the low end – even with its XBass feature turned off. Of course, that model is a little more expensive, but if you want ultimate bass performance, I’d recommend it over this Soundcore speaker.

Regardless, the Boom 2 Plus can get very loud. That’s in part thanks to its high maximum power output of 140W – 100W of which comes from the two 50W woofers, with the remainder stemming from the speaker’s dual 20W tweeters. Pair that with the Boom 2 Plus’ competence in the bass department and you’re looking at a speaker that’s primed for parties or outdoor events, where you want to power through excess noise.

If you want a speaker capable of delivering a highly nuanced listen, though, this isn’t a top option. Sure, you get AAC this time (meaning any tracks played in AAC on a compatible device will be played without conversion or other inteference – most notably for Apple Music users on Apple devices) rather than SBC (the standard Bluetooth codec) alone, and there’s a nine-band equalizer that can help you tune a more balanced sound – but I still found there was a lack of detail, particularly in the mid and treble frequency range.

When listening to I Want You by Molko, I wasn’t struck by a true-to-life cymbal crash or particularly natural-sounding, breathy vocals. The speaker also wasn’t highly capable of managing this track’s densely layered mix, so you may want to turn to a model like the Edifier D32 if you’re looking for stronger instrument separation.

Of course, that’s not something this model has to excel in. Ultimately, this is designed to be a party speaker that leans into its low-frequency talents and it does that well. Also, even if they’re lacking a bit of detail, mid-range and treble frequency sounds rarely sound tinny or harsh, even at higher volumes. I also found that I could get a fairly balanced sound profile out of this speaker after turning BassUp off in Soundcore Signature and slightly tweaking EQ.

  • Sound quality score: 4/5

Soundcore logo on the Anker Soundcore Boom 2 Plus

(Image credit: Future)

Anker Soundcore Boom 2 Plus review: Design

  • More curved, premium looking design this time out
  • Still only IPX7 rated
  • Eye-catching LED lights

In terms of looks, the Soundcore Boom 2 Plus is a huge upgrade on its standard-sized sibling. It’s less stubby and blocky looking, now donning a wider, more curved look. On top of that, the metallic speaker grille has a more premium feel and appearance, creating a far cleaner aesthetic overall.

Of course, much has remained the same – the LED lights on the side of the speaker are still bold and vibrant – they can also sync up to bass output for a more immersive listening experience. And the button controls on top of the speaker are again well-proportioned, clear and responsive.

But with this speaker’s added length comes added bulk – meaning Anker has had to make a change here. That’s right: this model comes with a strap included, which can be attached to hooks on the handle. This is pretty basic; there’s no shoulder pad or anything, but it’s still a nice addition if you’re going to carry the Boom 2 Plus over longer distances. This is also welcome as the Boom 2 Plus is more than twice as weighty as the standard model, coming in at 8.4lbs / 3.8kg – though this is still fairly lightweight overall.

Something that, perhaps disappointingly, has remained much the same, though, is this speaker’s ingress rating. Like the standard Boom 2, this is IPX7 rated. Now, the positive here is that the speaker can be submerged in up to a meter of water for as long as 30 minutes – something we’d expect from all of the best waterproof speakers. It's floatable too if you want to take it into the pool with you, for instance.

The bad? This thing skips on a dustproof rating again, meaning it might not be the best beachside companion. If you want a more rough and ready model, look for the IP67 rating, which a ton of competitors have, including the fantastic Bose SoundLink Max.

But enough moaning. I did like the small rubber tab on the reverse side of the Boom 2 Plus. Simply flick this up or down and you get access to the USB-C charging port – which can be used to charge the speaker or external devices – as well as the aux-in if you want wired listening.

I was also a fan of the multiple color options available. You can grab the Boom 2 Plus in Phantom Black, Explorer Blue or Adventure Green – all of these look neat and are discreet enough to bring out the best of light features in dark rooms.

  • Design score: 4/5

LED lights on the side of the Anker Soundcore Boom 2 Plus

(Image credit: Future)

Anker Soundcore Boom 2 Plus review: Value

  • Considerably more expensive than standard model
  • But does offer improved audio and design
  • Unfortunately rivals offer better bang for your buck

The Anker Soundcore Boom 2 Plus has a list price that’s almost double that of the standard model. So, with added price, you’re going to expect a massive improvement. Do you get that? In many ways, yes. I would argue that this model is far better looking and, perhaps unsurprisingly, has bassier, cleaner audio. If you want an all-out party speaker, it’s no contest – the Boom 2 Plus is far superior.

At the same time, you get a smaller battery life and there are some lingering issues such as the lack of a dustproof rating. Perhaps a larger problem for the Boom 2 Plus, though, is that it’s sitting in an awkward spot price-wise. If you go cheaper, you can grab the Earfun UBoom X, which also packs plenty of bass, as well as highly customizable audio. And if you can push your budget just a little more you can get the mighty Tribit Stormbox Blast 2, which is a top-tier party speaker in my book – it can also double up as a karaoke machine if you’re into that kinda thing!

In its own right, though, the Soundcore Boom 2 Plus is still a solid Bluetooth speaker and plenty good enough to keep the party moving. If you can get it for less than $200 / closer to the £150 mark, it’s a model well worth considering. Nonetheless, there is some stiff competition, which can’t be ignored.

  • Value score: 3.5/5

Rubber tab open to expose USB-C and AUX ports on the Anker Soundcore Boom 2 Plus

(Image credit: Future)

Should I buy the Anker Soundcore Boom 2 Plus?

Buy it if...

You want a bass-heavy party speaker
If you want a Bluetooth speaker for house parties or events, the Anker Soundcore Boom 2 Plus has you covered. With a maximum power output of 140W and BassUp feature for booming low-end output, you’re certainly going to keep your guests entertained.

You want a lightweight option
Some boombox-like speakers can be heavy. Really heavy (I’m looking at you Tribit Stormbox Blast 2). But much like the standard model, the Boom 2 Plus bucks that trend, coming in at 8.4 lbs / 3.8kg. Combine that with the included strap and this speaker is pleasingly easy to take with you on the go.

Don't buy it if...

You want premium all-round sound
If you want a nuanced, supremely separated sound, this speaker isn’t for you. With the right tuning, you can get clear, decently balanced audio, but still, you’re not going to uncover the finest details.

You want a speaker that can brave any environment
The Soundcore Boom 2 Plus skips on a dustproof rating, meaning it’s not totally primed for all outdoor environments. There are a ton of options with the coveted IP67 rating, but you can go a step further with the LG XBoom Go XG8T, which actually has military-grade protection against the elements.

Anker Soundcore Boom 2 Plus review: Also consider

Earfun UBoom X
Like this Anker speaker, the Earfun UBoom X won’t offer the most detailed, revealing sound quality. But it does still pack quite the low-end punch, has some integrated LED lights and a wired connectivity option. The real win is that this model has a 30 hour battery life and super-low price for a speaker of its size, making it a very viable candidate to be your next party speaker. Read our full Earfun UBoom X review.

Tribit Stormbox Blast 2
I’ll keep it simple: the Tribit Stormbox Blast 2 is one of the best portable party speakers money can buy. It’s only a bit more expensive than this Anker model, but has superior bass output, more playtime and an IP67 dustproof and waterproof rating. It doesn’t get much better than that. Read our full Tribit Stormbox Blast 2 review.

Anker Soundcore Boom 2 Plus review: How I tested

Hook on the Anker Soundcore Boom 2 Plus

(Image credit: Future)
  • Tested over the course of one week
  • Mainly used at our music testing facility at Future Labs
  • Predominantly listened to tracks via Tidal

I listened to the Anker Soundcore Boom 2 Plus for hours at our music testing facility at Future Labs. I blasted a bunch of tracks from my own music library alongside tunes from the TechRadar testing playlist, which we use to assess audio performance across a variety of genres. I connected to the Stormbox Blast 2 with the Samsung Galaxy S24 FE and mainly listened to songs via Tidal.

Further to this, I played a podcast episode on Spotify and watched video content on YouTube in order to assess vocal clarity across different platforms. When appropriate, I used the Tribit Stormbox Blast 2 to compare elements like sound, design and ease of use.

  • First reviewed: February 2025
  • Read more about how we test
I reviewed Sony’s LinkBuds Speaker, and it’s the Bluetooth speaker that best fits into my real home life, thanks to unique features
5:00 pm | February 6, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Sony LinkBuds Speaker: Two-minute review

Sony has released a fair few speakers in its day but the new LinkBuds Speaker is the first to be released under its LinkBuds branding; the original Sony LinkBuds were novel for having open-ring designs so you could hear your surroundings while also streaming music, but the name now just seems to be used for a range of lifestyle audio options instead of applying to that particular open design, so here we are.

I often having to get name whingeing out of the way early when I review products like the Sony LinkBuds Speaker, because I want to save the rest of the review to focus on compliments on the device (and because I love a good name-whinge).

Don’t make the mistake I did when I first started using the speaker – unlike many other entries into our annals of the best Bluetooth speakers, this creation isn’t designed for house parties or loud gatherings. Instead, it’s a svelte house-trained pet that does its best work when you keep it domestic.

That’s most evident from the charging cradle, which was my favorite aspect of the entire speaker. It charges the speaker when you’re not using it (or when you are), acting as a hub that you can easily whisk the speaker away from when you’re marching into another room.

But there’s more evidence as to the LinkBuds Speaker’s introverted state. Its understated design means it fits snugly into your home decor, but it's not as rugged as the best waterproof speakers. Its microphone means you can use it as an ersatz home assistant (via your phone, at least) and a range of other features such as a programmable musical alarm clock and hourly time alerts all indicate that this is a housebound gadget.

That doesn’t mean you’ll be left in the lurch if you take it outside, especially with a surprisingly big 25-hour battery, but you might not find the audio fits parties or summer cookouts. That’s doubly the case with audio which proves quite directional, and doesn’t quite equal some rivals on the market in terms of energy and vibrancy – if you’re looking for a party speaker, the Sony will disappoint.

I was pleasantly surprised with the feature set offered by Sony, with its Sound Connect app boasting quite a few handy features – some are ones I haven’t seen on rival devices, which is a neat touch. Admittedly some of these features are hidden deep in the app – I still have no idea how I enabled the aforementioned hourly notification – and not all of them work wonders.

But it’s another illustration of how the Sony offers brains over the raw brawn of some of its rivals. It’s no slouch in the audio department, but it’s found a different way to best the likes of the JBL Flip 6: the features.

I should cap this intro by saying one more thing if you like the ideas of these extra features: only buy this if you use Spotify, Amazon Music or Endel. Loads of the extra features require a subscription to one of these three streaming services so you're not going to be able to use all the features if you use Tidal, Apple Music or YouTube Music.

Sony LinkBuds Speaker review: Price and release date

  • Released in October 2024
  • Officially priced at $179.99 / £139 / AU$249

The Sony LinkBuds Speaker was announced in October 2024, alongside two new earbud additions to the brand: the LinkBuds Fit and LinkBuds Open.

You can buy the speaker for $179.99 / £139 / AU$249 so it costs a little more than rivals in the area such as the JBL Flip 6, Ultimate Ears Boom 4 or Bose SoundLink Flex, but it roughly matches the Sonos Roam 2 which we rate as the best Bluetooth speaker.

I should point out that at the time of testing, three months after the LinkBuds Speaker’s release, it’s already on offer from some retailers, so it’s worth hunting around to find a discount as they're easy to find.

The Sony LinkBuds Speaker on a shelf beside a bed.

(Image credit: Future)

Sony LinkBuds Speaker review: Specs

The Sony LinkBuds Speaker on a shelf beside a bed.

(Image credit: Future)

Sony LinkBuds Speaker: Features

  • A 25-hour battery life
  • Lots of features thanks to Sound Connect app
  • Many tools require Spotify, Amazon Music or Endel

The Sony LinkBuds Speaker offers a surprisingly admirable 25 hours of battery life, which laps most of its close rivals – you can expect between 10 and 15 hours of listening time on its competitors.

Thanks to how the aforementioned charging cradle fits into my real-world experience, I never actually had to test this figure the hard way, but that’s not the end of the world – it just goes to prove that you’ll never have battery anxiety with the LinkBuds Speaker.

You can get many more features from the LinkBuds Speaker by using Sony’s Sound Connect app – until recently called Headphones Connect.

One useful feature is auto-play, so you can set your speaker to start auto-playing from Spotify, Amazon Music or Endel at certain times on certain days, basically like an alarm clock. In my testing, I was unable to choose which playlist Spotify auto-played from, and it default to carrying on whatever I last listened to, but the writing in the app suggests that I should be able to pick them. Hopefully a software update will change this.

As I'll discuss in the Design section of this review, the speaker has a quick access button. Using the app, you can map this to use two of: Spotify Tap, Amazon Music Play Now or Endel Quick Access (all three bring up a curated playlist from the app of choice). As you can tell, these are the only three apps supported by Sony’s app – sorry, Tidal fans – but you can use other streaming platforms for standard speaker playback. You just can’t use the extra features.

Audiophiles will also be pleased to hear that there’s an in-app equalizer. It’s a five-band one with an extra Clear Bass dial to increase or decrease bass prominence between -10 and 10. You can save two different custom EQs, and there are no presets. In my experience I didn’t find that the equalizer made much of a difference on the sound quality.

Sony’s auto-EQ mode is back, but I’ve not previously been impressed by this, and the LinkBuds Speaker didn’t change that. The way it works is that the app presents you with five different EQ mixes and you have to choose your favorite; you do this twice and the app creates a custom mix for you. The problem is that the mixes it suggests to you are often so indistinct that I can never tell the difference between them, so it’s not a good way of gauging my actual tastes.

I was impressed by a few of the quality-of-life features Sound Connect offers. You can choose the auto-power-off length, toggle on a battery-saving mode that stops you overcharging the speaker, connect two multiple devices (including LinkBuds earbuds, which can automatically switch your music from the buds to the speaker when you get near) and can enable a Sony-made audio decompression feature to improve the sound of music on lossy streaming services. They all just improve the way you use the speaker in small but meaningful ways.

A feature I got really close to liking is the ability to set hourly reminders. This was surprisingly convenient to help mark the passage of time through the day, reminding me that it was lunchtime or that my working hours were finished… except there's no way in the app to silence it for certain hours. I was woken several times by the speaker announcing that it was 2am or 3am and so turned this otherwise-handy feature off.

I’ll briefly touch on pairing: when I first started using the LinkBuds Speaker, I simply couldn’t connect to it via Bluetooth pairing. However as soon as I opened the Sound Connect app, it immediately recognized and paired. So if you’ve just bought this gadget and can’t get it to connect, download the app now!

  • Features score: 4/5

The Sony LinkBuds Speaker on a shelf beside a bed.

(Image credit: Future)

Sony LinkBuds Speaker review: Design

  • Black or gray squoval
  • Has a hook for hanging; charging pad in box
  • A fair range of buttons

The Sony LinkBuds Speaker basically looks like a small furry squoval. (It's a real word! A portmanteau of square and oval!) Compared to lots of other portable speakers it’s a little plain looking, but I liked how it blended into the background of my home more than other speakers I test. Sometimes nondescript is good. The fabric cover also gives it a premium look that many other rivals lack.

It’s not a huge speaker, measuring 11cm tall and with body dimensions of 8.4 x 9cm, but it’s a little heavier than you’d think at first glance at 520g.

The ‘back’ of the speaker – a word I use because the sound is pretty directional, as I’ll get into in the sound quality section – has its power button as well as the USB-C charging port (which you can use instead of the included base plate, another feature I’ll explain later on). It also has a hook that you can use to hang the speaker on a hook in the bathroom, on the back of a chair or wherever works – but it’s not that big so it was hard to clip onto certain objects, plus the way the speaker hangs has problems with the directional sound (yet another tease about a future point to discuss).

On top of the speaker are buttons: volume up, volume down, play/pause/accept phone call, and the quick access button. There’s also a small light: white when the speaker is on and red when it’s off, and purple sometimes… for some reason? If there’s a way of turning the LED off, I couldn’t find it, which was a little annoying at night.

I’d be remiss not to include mention of the LinkBuds Speaker’s base plate, because it became an integral part of the experience during my testing. Included in the box is a charging cradle, which you plug into a USB-C charger, and it holds the speaker firm and slowly charges it up. Once I set this up in my office, it became a ‘home’ of sorts for the speaker – when I was listening during work, it would power up so that there was charge for when I was taking it out and about. Super convenient, two thumbs up from me.

You can buy the speaker in black or light gray, and your choice will affect the base plate as well as the speaker itself. It has an IPX4 rating so it’s protected against splashes of water but not solid jets or submersion, so it may not be at home at a pool party.

The Sony LinkBuds Speaker on a shelf beside a bed.

(Image credit: Future)
  • Design score: 4/5

Sony LinkBuds Speaker review: Sound quality

  • Good, not great audio quality
  • Volume fine indoors but not loud enough for outdoors
  • Directional audio poses a problem

The Sony LinkBuds Speaker combines a tweeter and woofer in a classic two-way system; I couldn’t find much information on either component from Sony's materials.

There’s no use beating about the bush; the LinkBuds Speaker doesn’t quite sound as great as rivals I’ve tested at this price point from Ultimate Ears and JBL. It offers a balanced audio mix, but lacks the 'oomph' that portable Bluetooth speakers generally need.

For example: there’s ample bass, but not as much as you’d get on an outdoor speaker; clear treble, but a distinct lack of shine to some instruments; the same lack of soundstage that you get on smaller speakers like this thanks to mono audio. The maximum volume is sufficient if you plan to use the speaker exclusively at home or in your garden, but in wider open spaces, it might prove hard to hear. Unlike its rivals, Sony hasn't turned any one element up to 11.

The mono audio problem can be fixed, according to the Sony website, by simply buying a second speaker and pairing them together to get stereo sound. That will, of course, double the amount you’re paying to listen.

My main concern when I started listening to the LinkBuds Speaker was simply that audio didn’t sound as energetic or exciting as on many other portable speakers I’ve tested; lots of rivals are designed as party devices and going in with the same expectations here will leave you disappointed.

This was underlined when I used the LinkBuds Speaker to play music at a gathering; after a few drinks, balanced audio isn't as important as vibrant bass. However once I figured out that the Sony is designed for a different use case – namely home listening – I could appreciate it a little more.

The LinkBuds Speaker’s sound depends a lot on the direction you are to it – that’s not uncommon in speakers, as 360-degree audio is a rare treat. But it makes a marked difference in the LinkBuds Speaker, and it’s doubly annoying for two reasons.

Firstly, due to its design, it’s pretty hard to glean which way the front is from a glance – close up, you can see the way the buttons are facing and where the hook is. If the speaker is in the corner of a room, you’ll have to guess if you’re getting the full experience. Secondly, when you use the hook to hang the speaker up, its positioning means that the tweeter and woofer point downwards – the only person getting optimal audio is the downstairs neighbor.

Sony boasts about its Sound Diffusion Processor in the LinkBuds’ web post, which is supposed to spread sound from the speaker out into a wide area, but I can only assume this listing was written on opposite day because my experience was that music sounded so much better when the speaker was facing you.

The Sony LinkBuds Speaker on a shelf beside a bed.

(Image credit: Future)
  • Sound quality: 3.5/5

Sony LinkBuds Speaker review: Value

I can't go so far as to say that the Sony LinkBuds Speaker is outstanding value for money, but it ticks all the boxes that you want when you're paying this much.

The range of features, the audio quality, the design; I'm pretty sure I'd be able to accurately predict the LinkBuds' price because it's in line with expectations.

That changes a little if you can find the speaker discounted, though, and if you find it nearing the $100 / £100 / AU$180 mark, it may tip more into 'must-buy' territory.

  • Value score: 3.5/5

The Sony LinkBuds Speaker on a shelf beside a bed.

(Image credit: Future)

Should I buy the Sony LinkBuds Speaker?

Buy it if…

You're a homebody
Looking for a Bluetooth speaker that you plan to use at home, rather than in outdoor events? Look no further.

Battery life is important
No-one likes that most gadgets take constant charging. You can put it off for 25 hours at a time with the LinkBuds Speaker, and top it up super-easily.

You want to be woken up by music
The LinkBuds Speaker's musical alarm clock feature has woken me up for the last week, and I'm all for it.

Don’t buy it if…

You're a party planner
The LinkBuds Speaker lacks the max volume, overwhelming bass or rugged design needed to make it a real party speaker.

You're not an app fan
Some people don't like having to use an app to control their speaker or headphones, and that's a fair stance, but you won't like the LinkBuds Speaker in that case.

Sony LinkBuds Speaker review: Also consider

JBL Flip 6
It's been around for years, but it remains a stalwart rival in the Bluetooth speaker space. It has a balanced sound and a hardy design, though it lacks some features (and the long battery life) that the Sony has – you can dig into it in our full JBL Flip 6 review.

Bose Soundlink Flex Gen 2
Another well-received rival from Bose, this gadget takes some party speaker DNA but not as much as some other rivals. It provide balanced audio, but perhaps doesn't quite have the charm of the Sony, but you can read more in our full Bose SoundLink Flex Gen 2 review.

Meze Audio 105 AER open-backed headphones are a lesson to high-end audio brands: you can let us mere mortals in on it too
1:30 pm | February 1, 2025
Author: admin | Category: Audio Computers Gadgets Headphones | Comments: Off

Meze Audio 105 AER: Two-minute review

Meze Audio doesn’t just stick to the super-high end with its headphone designs – it just seems that way sometimes, because its super-high end headphones are so very good. Mind you, its idea of what constitutes ‘entry level’ won’t chime with everyone – these 105 AER open-backed, wired, over-ears are $399 / £369 / AU$799 a pair.

That money does buy a nicely designed, beautifully finished pair of headphones, though certainly they’re a notch or two up from the equivalent Grados, say, where perceived value is concerned. And while the lack of a balanced cable option is a bit stingy, there’s no arguing with the lengths Meze Audio has gone to where the dynamic drivers that do the audio business are concerned.

And in pretty much every respect, there’s no arguing with the way they sound either. In every meaningful respect, the 105 AER get the job done in fine style: they’re an easy listen in the most positive way. Detail levels are high, soundstaging is solid, dynamic headroom is considerable, low-end presence is impressive... you name it, the Meze Audio understand it. Some of the best wired headphones money can buy then? Oh certainly, if you'll accept their open-backed nature.

If you’re in the market for wired, open-backed headphones – with all of the caveats those descriptions imply – and you have this sort of money to spend, it would be grossly negligent not to check the 105 AER out.

Meze Audio 105 AER headphones in a hi-fi testing room, on gray background

(Image credit: Future)

Meze Audio 105 AER review: Price & release date

  • Released December 1, 2024
  • Priced: $399 / £369 / AU$799

Meze Audio isn't often seen in the sub $400 space – see the $1,999 / £1,799 / AU$3,399 Meze Audio Liric for reference, (now into their second iteration), however, the company has dipped its toes into more consumer-accessible pools recently, perhaps most notably with its $159 Alba in-ears.

At this price, Meze knows it could turn some heads – most pertinently from music lovers used to seeing such fees from Bose (whose QuietComfort Ultra cans are just a bit pricier) and Sony's top-tier wireless designs. Will the bid win them over? It depends – wireless audio has, and will always have, its perks. But on audio quality alone, there really is no contest…

Meze Audio 105 AER headphones in a hi-fi testing room, on gray background

(Image credit: Future)

Meze Audio 105 AER review: Specs

Meze Audio 105 AER headphones in a testing room

(Image credit: Future)

Meze Audio 105 AER review: Features

  • 50mm full-range dynamic drivers
  • 5Hz - 30kHz frequency response
  • 112bB sensitivity, 42 ohms impedance

Just like every other pair of wired over-ear headphones, the Meze Audio 105 AER are not exactly overburdened with features. But just like every other pair of Meze Audio headphones I’ve tested, the 105 AER features are very thoroughly implemented.

Let’s be honest, though; when I talk about ‘features’, really I’m talking about the drivers that deliver sound to your ears. Everything else about the 105 AER is more correctly found in the ‘design’ section – so let’s talk about the drivers, shall we?

The ‘feature’ here is a 50mm full-range dynamic driver – or, more correctly, two of them. It’s closely based on the driver Meze Audio fits to its considerably more expensive models, with some minor adjustments to the frame and driver membrane to keep weight (and costs) down.

The ‘W’-shaped dome is made of a carbon-fibre/cellulose composite. Meze Audio prizes it for its durability and light weight, and reckons it rejects resonances more effectively than any alternative material. The torus – the ring that surrounds the dome – is made of semicrystalline polymer. It too is light and responsive, and its impressive damping characteristics keep vibrations and resonances to a minimum. Finally, there’s a copper/zinc alloy stabiliser around the outside of the membrane to further reduce distortion.

This arrangement results in a frequency response of 5Hz - 30kHz, manageable impedance of 42 ohms, and helpful 112dB sensitivity. So while the 105 AER are light on features, they are demonstrably fit for purpose.

  • Features score: 5/5

Meze Audio 105 AER headphones in a testing room

(Image credit: Future)

Meze Audio 105 AER review: Sound quality

  • Impressive powers of resolution
  • Big, unified and poised sound
  • Great insight and variation

One of the major benefits of the open-backed arrangement, in theory at least, is a spacious and open presentation of music. The Meze Audio 105 AER are one open-backed model that validate this theory.

A 2.8MHz DSD file of Radiohead’s Reckoner delivered by the 3.5mm output of a FiiO M15S digital audio player proves the point in some style. This is a complex, element-heavy recording that modulates through a number of dynamic variations, but throughout it the 105 AER maintain a big, well-defined and properly organised soundstage on which every individual element gets plenty of space in which to express itself. The resolution of the stage is straightforwardly impressive, and even though the Meze Audio offer plenty of separation they nonetheless present the record as a singular, unified whole. There’s a coherence to the way the song is delivered that makes it seem of a whole, like a performance.

Detail levels are high across the board. The 105 AER load on the information at every point, but are especially adept at offering lots of variation at the bottom of the frequency range. The top end is substantial and detailed, sure, and the midrange is articulate too… but where bass is concerned, the Meze Audio are able to offer a great deal of textural and tonal variety while still maintaining straight-edged control and ample weight.

The whole frequency range hangs together nicely, and there’s a smooth transition from top to bottom – the 105 AER play no favourites and transitions from lowest to highest frequencies evenly. The tonal balance is quite carefully neutral, which allows recordings to reveal their balance without the headphones sticking their oar in too obviously. So a 16bit/44.1kHz file of Aretha Franklin’s How I Got Over is as warm as an 18 tog duvet, while similarly sized file of Kraftwerk’s Europe Endless has just the right sort of austerity.

The Meze Audio handle the dynamics of harmonic variation with just as much confidence and positivity as they do the dynamic shifts in volume or intensity. They offer convincing rhythmic expression and a naturalistic way with tempo management. In fact, they have the sort of direct, unequivocal overall personality that makes every listen an event and makes every recording sound like it deserves your attention.

  • Sound quality score: 5/5

Meze Audio 105 AER headphones in a testing room

(Image credit: Future)

Meze Audio 105 AER review: Design

  • 1.8m detachable cable with 3.5mm termination
  • Self-adjusting headband
  • Detachable velour earpads

I’ve previously described the design of some of Meze Audio’s pricier over-ear headphones as ‘overwrought’ – and at the time I thought I was being quite kind. So it’s nice to be able to report that having to keep costs down has resulted in a design that makes the 105 AER look coherent, quite elegant, and definitely no more than ‘wrought’.

The detachable ear pads are of velour-covered memory foam. They feel nice, sit comfortably without warming your head too quickly, and can easily be cleaned. The almost-semicircular outer headband that connects the two earcups is of slender stamped magnesium and the inner headband that’s the actual contact point is self-adjusting and made of PU leather. The outer part of the earcups is an interestingly organic design and made from ABS-PC thermoplastic. The result is Meze Audio’s lightest over-ear headphone to date – a very manageable 336g.

Each earcup needs wiring, and the 105 AER are supplied with a 1.8m length of braided cable that has the necessary pair of 3.5mm connections at one end and a single 3.5mm connection at the other. There’s also a 6.3mm adapter included. It’s a pity there’s no option of a balanced cable, but perhaps if we all pester Meze Audio then something might be forthcoming.

The 105 AER are supplied with a hard, zip-fastening travel case that’s a cut or two above the alternatives supplied by rival brands with their $399-ish over-ear headphones. A little pouch inside keeps your cable tangle-free when the headphones are not in use – and there’s enough room in there for a second cable, no problem. Just saying…

  • Design score: 5/5

Meze Audio 105 AER headphones in a testing room

(Image credit: Future)

Meze Audio 105 AER review: Value

  • Accomplished audio performance
  • Convincing standard of build and finish
  • Comfortable fit, coherent looks

It’s not even a question of ‘value’, really – but about the only way the Meze Audio 105 AER don’t make a strong-going-on-compelling case for themselves concerns the way they fit. Or, more correctly, the number of people they will fit – because although that headband is self-adjusting, it has upper and lower limits, and the lower limit isn’t all that low. In every other respect, though, it’s hard to make a justifiable complaint about the value that’s on offer here.

  • Value score: 4.5/5

Should I buy the Meze Audio 105 AER?

Meze Audio 105 AER headphones in a hi-fi testing room, on gray background

(Image credit: Future)

Buy them if...

You value balanced, insightful and organised sound
That description could conceivably be interpreted to mean the 105 AER are not much fun - but that’s not the case. It’s just that ‘fun’ isn’t all they are…

You do your listening alone
Open-backed headphones are quite anti-social at the best of times, and the 105 AER leak sound in the manner of a sonic colander

Your source(s) have unbalanced headphone sockets
A 3.5mm connection with a 6.3mm adapter is all well and good, but what about those of us whose source equipment has a balanced output too?

Don't buy them if...

You’re after outright low-frequency wallop
The 105 AER are a balanced and nicely poised listen - which means low frequencies are given the correct sort of emphasis rather than being overstated

Your head is on the small side
The headband is self-adjusting, sure - but only up to a point. The more petite-headed among us may find it tricky to get a satisfactory fit

Meze Audio 105 AER review: Also consider

Sennheiser HD-660S2
The Sennheiser HD 660S2 look pretty purposeful where the Meze Audio 105 AER look relatively dainty, but the sound they make is balanced, poised very carefully neutral – and they come with a 4.4mm cable.
Read our Sennheiser HD-660S2 review for more

Grado Hemp
Grado's Reference Series Hemp may cost a little more but they’re very accomplished performers, with a botanical point of difference – it doesn’t prevent them looking like something the rear gunner might have worn during a bombing raid in 1944, mind you…
See our Grado Hemp review for the full story

How I tested the Meze Audio 105 AER

  • Connected to an Apple MacBook Pro, a Naim Uniti Star and a FiiO M15S
  • With a whole lot of different styles of music in a number of different formats
  • Alone, because I’m not a barbarian

Because they’re open-backed, the 105 AER aren’t really candidates for mobile use. So all my listening took place either at my desk, connected to my laptop or to a digital audio player (the 4.4mm balanced output of which went sadly unused), or in my listening space connected to a Naim Uniti Streamer. At the desk, listening consisted of digital audio files of various types and sizes, while the connection to the Naim allowed for vinyl and CD content as well as network-attached stuff. And this happened, on and off, for well over a week…

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