The Shure SE215 have made quite a name for themselves in the live music scene, offering solid monitoring capabilities at a competitive price point. Specifically, the SE215 are often available for less than $100 / £100 / AU$200, meaning they’re a fairly low-priced set of entry-level in-ear monitors for live performers, producers, or fans of wired listening.
Let’s start where it matters most: sound quality. The Shure SE215 have a self-proclaimed “warm” sound signature and look to showcase “enhanced bass” while still delivering clear, detailed overall audio. So, how do they fare? Generally, quite well.
First, the Shure SE215 live up to their promise of offering enhanced bass. When I tuned into Black Eye by Allie X, the thumping drum machine had impressive levels of depth and responsiveness, making for a punchy, rhythmic listening experience. Generally, the track’s bouncing bassline was managed well, sounding controlled and impactful throughout the song’s runtime – something I’d always look for when testing the best wired earbuds.
And this was a recurring theme, pretty much every tune I threw on offered very good low-end depth, especially considering the price you pay for these IEMs. The only slight issue you may have is that the higher focus on bass can result in a slightly cluttered sound, especially at top volumes.
When listening to I Want You by Moloko, the song’s pounding bass was both impactful and immersive, but cranking the volume up could sometimes create a slightly overbearing, cluttered sound. This could be slightly frustrating for musicians who want ultra-clear, expertly balanced information during sets, but again, at medium volumes, I found the focus on bass to be pleasing, rather than a source of severe bloating.
The only other complaint I’d have sonically is that highs can sometimes sound a touch inaccurate with these IEMs. For instance, cymbals in I Want You sounded prominent but slightly harsh, particularly the crash that connects the intro to the main portion of the track. But otherwise, audio quality is up to standard here. Vocals, although not perfectly breathy or realistic, are clear and well-balanced, while music rarely sounds distorted or tinny.
Despite offering commendable audio quality, I’d argue that the real highlight of the SE215 is in another domain entirely – passive noise isolation. I’ve been impressed by Shure’s wired noise cancellation before (see my Shure AONIC 3 review), and these deliver more than enough protection against external sounds.
When using the default foam tips and listening at around 50% volume I could barely hear anything in my office, from typing through to colleagues conversing. At one stage, there was some drilling taking place, which was audible, but strongly dulled, thanks to the excellent seal these ear tips provide. So, if you’re a musician who needs a consistent, clear audio feed, free from too much distraction, the SE215 will serve you well.
Speaking of the included ear tips, you get the usual selection of small, medium and large included. But that’s not all, you also get the same, but in gel form, if you find that more comfortable for longer in-ear listening. On top of that, you get a fabric carrying case included with the earbuds, which has a clip that can attach to a belt or bag – pretty handy. For the price, you do get a decent amount included, but something worth considering is that there’s no in-line mic or controller. You can detach the cable and switch it out for an alternative with such features, but you’ll have to cough up extra for this.
I mentioned earlier that you get a great seal with these earbuds and the overall fit is very secure. The buds are attached to a bendy wire that can be molded around your ear – ideal for keeping them in-ear when you’re on the move. I would argue, however, that these aren’t the comfiest buds on the market. You definitely get a reliable, tight fit but they can feel a bit uncomfortable after a couple of hours. So, if you’re looking for a wired option for casual listening, they may not be the best option.
Regardless, these are well-made IEMs with good build quality. The earbuds I tested came in a see-through, black-tinted shell so you can see the components powering the IEMs. That might not be for everyone, but I found it made for a cool-looking aesthetic. The buds don’t appear cheap or fragile, either, so these should last you some considerable time. They don’t have a specific waterproof rating, but Shure’s website claims that they’re sweat-resistant at the least, making them fit for purpose if you’re an on-stage performer.
Finally, the included wire is decently slim, except for the slightly chunky Y-connector. You’ll hear a bit of cable noise if moving around with these earbuds, but it’s decently muted, meaning the SE215 do well at mixing style and substance overall.
All in all, the Shure SE215 are a very solid pair of entry-level IEMs, that offer impressive bass, pleasing clarity, excellent noise isolation, and a neat design. Audio can get a little bloated at top volumes and you might not find them the most comfortable buds on the market, but they’re still more than fit for purpose, whether you’re on the stage, cooking up beats in the studio or indulging in some leisurely listening at home.
(Image credit: Future)
Shure SE215 review: Price and release date
$99 / £90 / AU$179
Launched in 2011
The Shure SE215 were released all the way back in 2011, but they’re still a super-popular option among musicians and fans of wired listening in general. They’re available for around $99 / £90 / AU$179, but you can pick them up for even less on sale, so keep an eye out for sweet deals. This model is available in a range of color options, including Black, Blue, Clear and Purple.
Shure SE215 review: Specs
(Image credit: Future)
Should you buy the Shure SE215 review?
Buy them if...
You want some entry-level IEMs If you want some solid buds for monitoring audio during a live set or similar, the Shure SE215 are a good option. They don’t offer the most incredible levels of detail available, but you’ll get clear audio and a strong bass response that will likely get the job done.
You’re not looking to break the bank If you’re searching for a step up in the world of wired listening, but don’t want to cough up too much money, the SE215 are worth considering. At less than $100 / £100 /AU$200, these certainly fit the bill – you won’t have to put up with the tinny or distorted audio that a lot of super-cheap options plate up, but you’ll not get top-tier audio either.
Don't buy them if...
You want an option for casual listening For those of you that love wired listening, but aren’t into stage or studio monitoring, there are better options out there for you. Even the far cheaper SoundMagic E11C are an awesome option for more casual listeners who want a decently detailed listen on a budget.
You’re on the search for top-tier audio The SE215 do sound good, with impressive bass levels and generally clear audio, but they’re not the most premium-sounding. If you want really great wired audio that’s even suitable for studio use, the Sennheiser IE 600 are an excellent choice, though you’ll have to splash a fair amount of cash.
Shure SE215 review: Also consider
Sennheiser IE 200 Clear, well-rounded sound, a gorgeous design and a lightweight feel. They’re just some of the Sennheiser IE 200’s star qualities, which have earned it the title of ‘best step-up earbuds’ in our wired earbuds guide. Price-wise, they’re a little more than the Shure SE215, but on sale, you can easily grab them for around $100 / £100. You may not find as good noise isolation here, but audio-wise, these are very strong. Read our full Sennheiser IE 200 review.
SoundMagic E80D Whether you’re looking for an option that’s better sorted to casual listening or just want a pair of buds for USB-C listening, the SoundMagic E80D are well-worth considering. With a built-in DAC, impressively detailed audio and an excellent low-price, you’re looking at an awesome all-rounder. Read our full SoundMagic E80D review.
Shure SE215 review: How I tested
(Image credit: Future)
Tested for two weeks
Used in the office and while outdoors
Predominantly tested using Tidal on FiiO M11S
I tested the Shure SE215 over the course of two weeks. I predominantly listened with them using Tidal on the FiiO M11S, but also tried them out using Spotify on my Windows laptop. I tested the SE215 in the office, at home and while out on walks near busy roads to assess noise-isolation capabilities.
When listening to music I played 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.
The Bluesound Pulse M is a mid-market multi-room speaker that promises wide, immersive sound. It's compatible with both lossless streaming and hi-res audio over a wired connection, and is clearly aimed at audiophiles who are looking for a compact yet versatile speaker. On top of this, its angled tweeters are billed as providing a broader stereo effect than many single-unit setups are capable of.
The Bluesound Pulse M’s audio is impressively detailed, as you’d expect from a speaker capable of lossless streaming. I was impressed by how Diamonds on the Soles of Her Shoes by Paul Simon managed to sound both warm and crisp, with his voice rising above the mix and that tight, noodly guitarwork cutting right through. And its stereo effect is genuinely impressive – while you won’t hear two distinct channels for left and right per se, there’s still a separation to its sound that feels broader than a single speaker should be able to deliver.
Unfortunately, this is somewhat undermined by how unbalanced the audio can be. Like a lot of speakers in recent years, the Pulse M bets big on bass, which would normally be a pretty safe bet for a fan of sub like myself. However, in the process it neglects other frequencies, with mids in particular suffering compared to many of the best wireless speakers. With its sub and kicks, a slice of warm tech like Burst by Kiasmos should really shine on a bassier speaker, but instead that dusty arpeggiated synth and lush strings came off as slightly foggy here.
It is possible to rectify this using some of the speaker’s sound profiles. Personally, I found Front Row, Bluesound’s enhanced profile, to be a bit of a damp squib – it absolutely has an impact on the sound, giving it a bit more urgency, but that comes at the expense of a compressed feeling overall. Instead, I found using the BluOS app’s settings to boost treble and duck the bass achieved better results – although I did find myself wishing it had proper EQ settings to give me even more direct control over the sound.
When it comes to setting up and controlling the Pulse M, Bluesound’s BluOS app is easy enough to use, although it has some odd issues here and there. When setting up the speaker, multiple steps would fail, only to immediately succeed when I retried. And these glitches extend to its Alexa voice control skill as well. I found I was able to pause, play and skip music, but every time I asked my Echo Dot to select a specific track the Pulse M remained obstinately silent – so if voice control is your thing, you might be better off with one of the best smart speakers instead.
Design is probably the area where the Pulse M shines most. It’s well built, feeling sturdy without being overly heavy or bulky, while its white matte finish feels suitably premium to the touch. A built-in proximity sensor only lights up the buttons when you wave your hand near, which feels appropriately sci-fi. However, I’d personally prefer the touch-sensitive buttons to have some haptic feedback; offering that immediate feedback when pressed would make it much more obvious when the speaker has registered your input.
All in all, the Bluesound Pulse M is a quality mid-range speaker that's able to produce detailed, hi-res audio. Ultimately though, it lacks the nuance I’d expect from a speaker that costs $399 / £399 – powerful bass shouldn’t come at the expense of lush, expressive mids. Coupled with the fact that similarly priced speakers offer more – the JBL Authentics 200 offers fuller, more rounded sound for $349.95 / £299, while the spatial-audio-equipped Sonos Era 300 costs just $449 / £449 / AU$749 – this makes the Pulse M harder to recommend.
Bluesound Pulse M review: specs
Bluesound Pulse M review: price and availability
Released October 26, 2022
Costs $399 / £399 / AU$899
Launched on October 26, 2022, the Bluesound Pulse M is available to buy now. It retails for $399 / £399 / around AU$899, which puts it firmly in mid-market territory – it costs a fair way north of the Sonos Era 100 at $249 / £249 / AU$399 but doesn’t quite cost as much as its premium cousin the Sonos Era 300 at $449 / £449 / AU$749.
In return for your spend, you’ll get a compact speaker with 80W of combined amplification, a single woofer and two angled tweeters. There’s not a huge variety in terms of options. It comes in just two colorways – black or white – but that’s pretty common with more premium speakers.
(Image credit: Future)
Bluesound Pulse M review: features
Great range of connectivity options
Occasional app gremlins
Limited EQ options
The Bluesound Pulse M rocks a decent number of features for a wireless, multi-room speaker, without necessarily ripping up the rulebook. It offers a combined 80W total amplification power, with 50W going to its upfiring 5.25-inch woofer and 15W to each of its 0.75-inch tweeters. The latter two are offset at 45 degrees from each other to give what Bluesound describes as an ‘immersive’ soundstage. Combined with an inbuilt acoustic reflector, this helps to radiate higher-frequency sounds in a 360-degree pattern, reducing the impression that the sound all emerges from a single point in space.
Getting started with the Pulse M is relatively straightforward. Once you’ve downloaded the BluOS app you just need to connect your mobile device to the speaker’s hotspot so it can piggyback on it to join your local Wi-Fi network. This process is pretty simple, but that doesn’t mean it’s completely smooth sailing – at multiple points I would find the connection process would time out, only to connect instantly when I retried. This did add a bit of friction to the process, particularly given that the Pulse M seemed to need setting up afresh every time it was unplugged.
Once the BluOS app is connected, it enables you to connect to the speaker via Bluetooth or AirPlay 2, as well as connecting specific apps like Spotify, Tidal and Amazon Music directly to the Pulse M. The app also allows you to pair it with other Bluesound speakers to form a multi-room setup, or pair two Pulse Ms with the Pulse Soundbar+ or PowerNode to create an effective surround sound setup for your home cinema.
The BluOS app is also where you’ll find options to tweak the Pulse M’s sound profiles. On top of its default profile, it also offers Front Row, a setting that, according to Bluesound, enhances "richness in the lower frequencies (<60Hz)" and "openness and expansiveness in the higher frequencies (>5kHz)". It also offers access to the Tone Control settings, although these are unfortunately pretty limited: plenty of budget price Bluetooth speakers like the Tribit Xsound Plus 2 offer full nine-band EQ, whereas this speaker only allows you to boost or reduce treble or bass by 6dB either way. The BluOS app also offers ‘Replay-gain’, essentially an auto-gain adjustment that tweaks different tracks or albums to make sure they play back at similar volumes. I can’t say this is a problem I have very often these days, given that many streaming services standardize recordings to be at the same volume, but it’s nice to have I guess.
Naturally, the BluOS app isn’t the only way to control the Pulse M. If you want to control it as part of your smart home network, you can connect it to an Amazon Echo speaker using the BluOS Voice Control skill in the Alexa app. Unfortunately though, the skill seems to have a few holes here and there. Try as I might, I couldn’t get Alexa to select specific songs and artists – it would happily chirp that music was playing through my named speaker and then nothing would start. When I manually selected music though, Alexa was at least able to pause and play, as well as adjust the volume and skip backwards and forwards. So it’s a mixed bag: you’ll still have to reach for your phone a fair amount.
Should you prefer using your own digits to digital controls, the Bluesound Pulse M has a range of touch-sensitive controls on top of the speaker itself. These are invisible most of the time, but wave a hand over them and they’ll light up – you can then tap them to play and pause, skip forwards and backwards, set the volume, and pick one of five audio presets you’ve assigned in the app.
Features score: 3.5
(Image credit: Future)
Bluesound Pulse M review: sound quality
Over-liberal with its bass
Front Row audio profile lacks finesse
Genuinely impressive breadth to its soundstage
When you actually fire up the Bluesound Pulse M, the first thing you’ll likely notice is its bass. In fact, that’s probably the only thing you’ll notice. When listening to Black Eye by Allie X, I was immediately impressed with how punchy the kick sounded and how warm the low subby end of the bass sounded – but the mids sounded set quite far back in comparison. I tried switching things up to Rosewood by Bonobo, a track that very much shines on a warmer speaker and, once again, it felt like the bass overshadowed the rest of the mix, which is pretty disappointing.
Comparing it to the Sonos Era 100, it became much easier for me to diagnose the problem. In our original Sonos Era 100 review, we criticised it for its over-emphasis on bass and yet it comes across as far better integrated and more coherent. In contrast, the Pulse M pulls way too many punches when it comes to its mids. Weighing up the two while listening to Young Blood by The Naked & Famous, there’s a real slam and thud to the bass kicks and snares to the Pulse M but, like the weightlifter who overlooks their core to focus on their arms and legs, all this flexing only serves to draw more attention to its soggy middle in comparison to its trimmer rival.
That’s not to say it completely lacks all precision. In sparser mixes, things feel like they have much more room for expression. Listening to the sparser ballad-y composition of Rains again by Solji, I was impressed with how polished and detailed her voice sounds, while the drum beats and piano are granted plenty of room to breathe – when the bass isn’t hogging all the limelight, other elements are given their chance to shine.
Given the default sound is a bit of a mixed bag, you might expect Front Row, BluOS’s inbuilt frequency tweaking, to step in and save the day. In practice, it’s a bit of a blunt tool, akin to using a pocket knife for micro-surgery. Some tracks definitely shine more with it on – originally White Dress by Lana Del Rey sounded a bit demure and lacklustre to me but Front Row boosted the breathy edge to her voice and made that light cymbal work a bit more crisp. Conversely, it brought the beat and vocals in Baby It’s You by London Grammar forward a lot but at the expense of making things sound a bit too compressed.
In my personal experience, you’ll get better results getting your hands dirty and tweaking the Tone Control settings according to your own tastes. Upping the treble by 6dB on London Grammar’s track gave its hats and Hannah Reid’s honeyed vocal that little more immediacy, while dropping the bass just a fraction by 6dB tamed the Pulse M’s worst impulses. Ultimately, this setting felt much more balanced for me and I ended up using it as standard pretty much from there on out.
One place I will commend the Pulse M however is for its soundstage. Thanks to those angled, stereo tweeters, this speaker offers a much wider sound than the narrow point of origin that many single speakers are capable of. Playing Manchild by Eels, there was genuinely an impressive sense of separation between the vocal and the guitar in the left and right channels, especially the further back I was sat in the room. While I’m not convinced I would describe this as true stereo, as Bluesound has, there’s no doubt it feels immersive and broad – although it’s not quite as impressive as the Dolby Atmos a speaker like the Sonos Era 300 offers.
Sound score: 3.5/5
(Image credit: Future)
Bluesound Pulse M review: design
Gorgeous, refined design
Solidly built but not bulky
Controls could offer more feedback
For the most part, I’m a big fan of the Bluesound Pulse M’s design. The brand has nailed the nexus of minimal and premium that’s absolutely appropriate with a speaker at this price point.
Essentially a cylindrical oval shape, it gives off slight Sonos Move 2 vibes, while still being distinct enough to feel like its own beast. It comes in both black or white colorways; for me the latter has the definite edge here, feeling much cleaner and more futuristic. Its plastic body has a pleasing matte finish, while the fabric-covered grille has a curved bottom edge giving the whole thing a nice aesthetic balance. When it comes to the pure look of the device, I – unusually – have nothing negative to say.
Again, in build quality, the Pulse M occupies a Goldilocks zone of both solid without being overly bulky. The absence of a battery helps here, of course: moving it from room to room requires considerably less exertion than something like the Move 2. While it’s close in size to the Sonos Era 300, it's significantly lighter, weighing in at 2.54kg compared to the Era 300’s 4.47kg. While you’re not likely to be repositioning it very often, it’ll definitely be less cumbersome when you do.
One slight niggle centers around the touch-sensitive controls on top of the device. Given they aren’t physical buttons, I’d personally have preferred it if they’d included some haptic, or at least aural, feedback to confirm a successful finger press – I wasn’t always clear when it had actually registered a finger-press on the volume bar, meaning I’d often stab at it several times to be sure. But more of an issue for me is the lack of labelling: minimal buttons sure look cool until you’re trying to work out what half of them do, at which point you start to appreciate why almost all speakers follow certain conventions, like pluses and minus for volume or numbers for presets.
All things considered though, this feels more like splitting gossamer than splitting hairs – the overall style and build of the Bluesound Pulse M is aesthetically pleasing, and creates a decent impact in any room it’s situated in.
Design score: 4.5/5
(Image credit: Future)
Bluesound Pulse M review: value
Looks and build match its premium price
Sound can’t compete with similarly priced speakers
You’ll likely get better value for your spend elsewhere
Weighing up how the Bluesound Pulse M compares in terms of value is a tough undertaking. On the one hand, it looks stunning, works as part of a multi-room setup and can stream true lossless audio. On the other, its bass out-of-the-box is seriously overblown, its app can be periodically frustrating and it’s a bit lacking when it comes to audio optimisation features.
Those kinds of compromises would mostly be fine if the Pulse M was cheaper or the competition wasn’t so good at this price range. But this is not an affordable wireless speaker: at an MSRP of $399 / £399 / around AUS899, it’s reasonable for you to expect more than you’re getting here. For that kind of money, I want a speaker to sound great right out of the box, ideally with algorithms that optimise the sound depending on the surroundings. And the Pulse M just cannot clear that bar, which feels like a missed opportunity.
So while this is a very capable speaker in a lot of ways, it’s still not enough to quite justify the high price tag: there are simply too many speakers out there that will give you better sound for your spend. For example, the JBL Authentics 200 is available for $349.95 / £299 / AU$299 and offers both the full bass and crisp treble of the Bluesound, while providing full, convincing mids. Alternatively, the Sonos Era 300 doesn’t retail for much more, at $449 / £449 / AU$749, and it rocks both full sound as well as that awesome spatial audio effect.
Value score: 3/5
(Image credit: Future)
Should I buy the Bluesound Pulse M?
Buy it if...
You want wide, immersive sound The Bluesound Pulse M can definitely fill a room. Its soundstage is much wider than many single speakers are capable of and its ersatz stereo effect is strong enough to give decent separation between various elements in the stereo field.
You want a speaker that looks the part Looking suitably futuristic, with its matt white finish and buttons that only light up when you wave your hand near, the Pulse M will definitely make an attractive centerpiece in any living room.
Don’t buy it if...
You want unimpeachable sound balance The Pulse M is far from a neutral listen and even unreformed bass addicts might find its subby brew a little too intense. It’s definitely salvageable with some tweaking but should you have to ‘salvage’ the sound from a $399 / £399 speaker?
You want the best value for your money In many ways, the Pulse M is a quality product but it has an awful lot of competition at this price point. With multiple wireless speakers offering more features and more nuanced sound for not much more cash, it is worth asking whether another product might give you more banging tunes for your buck.
Bluesound Pulse M review: also consider
Sonos Era 300 Coming in at a little more than the Bluesound Pulse M, the Era 300 costs $449 / £449 / AU$749. But in return it offers so much more: on top of the stereo effect you get from Bluesound’s speaker, you also get a sensation of height with its true Dolby Atmos sound. On top of this, its sound is detailed and rich, although it does pull some punches when it comes to bass. Check out our full Sonos Era 300 review.
JBL Authentics 200 If you’d like to go in the other direction and save a bit of cash, the $349.95 / £299 /AU$299 JBL Authentics 200 is a quality multi-room wireless speaker that sounds great right out of the box. It offers well-rounded bass, rich mids and crisp, discerning treble and, while it doesn’t offer as wide a soundstage, it does offer great features like automatic room calibration. Read our full JBL Authentics 200 review.
Bluesound Pulse M review: how I tested
Tested for two weeks
Used in a range of rooms and settings
Played a wide range of music over Wi-Fi, Bluetooth and wired connections
I spent many hours testing the Bluesound Pulse M over the course of several weeks. Not only did I try it out in multiple different sized spaces, I also compared it to the Sonos Era 100 and hooked it up to a variety of devices, including my iPhone 16 Pro over AirPlay 2 and the Fiio M11S hi-res music player via analog stereo 3.5mm input.
In terms of music, I used our curated TechRadar testing playlist, as well as a wide array of tracks from my personal library. This allowed me to try out how the speaker handled everything from deep pulsing bass to delicate vocals. I also used a variety of different quality sources, whether that was Spotify’s standard tier, Apple’s lossless tier or Tidal’s hi-res tier.
I’ve been testing audio kit like headphones and speakers for many years now. I’ve also spent decades making music in my free time, which has given me a lot of insight into analyzing the frequencies of music, composition and soundstage.
The Kanto Ren powered speaker system is, basically, ace. Designed with multi-functionality in mind, Ren is a broad-strokes stereo hi-fi that can speak to most anything you’d want it to. With HDMI ARC, optical, USB-C, RCA and 3.5mm aux inputs, and with strong Bluetooth 5.3 connectivity besides, this is the does-everything bookshelf hi-fi system that most people spend a long time putting together piece by piece – and it sounds brilliant, as well.
These active speakers are relatively low-profile against similarly-powered hi-fi and AV systems, but pack a punch with their 100W RMS of auditory juice. There’s nothing lacking frequency-wise, with a rich and compelling responsiveness across the spectrum. This, coupled with its incredible dynamic response, makes it a supple system for TV and video games, as well as an impressive and convenient music delivery system.
In short, these are plug-and-play stereo speakers with quality internals and unbeatable I/O, and at quite a competitive price for its unique placement in the audio-tech market. The Kanto Ren should appeal to quite a few different people, whether you’re after a new bookshelf hi-fi, an alternative to a TV soundbar or a no-fuss all-in-one sound system. Some of the best stereo speakers we've tested in a while then? Why, yes.
(Image credit: Future)
Kanto Ren review: Price & release date
$599 / £599 / €719 (around AU$1,199)
Launched on December 2nd
Most powered speakers of this ilk exist in the studio monitor space, as reference speakers for audio engineers and music producers – a few popular examples being Yamaha’s HS-series speakers and Adam Audio’s T5Vs (amongst a great many others we haven’t the time to profile here). These, though, are designed as practical utilities, and with music production specifically in mind – meaning fewer consumer-friendly inputs, and a frequency response curve that aims to be as flat and neutral as possible.
The Rens take the operating principles of these integrated desktop/studio solutions and brings them to the world of hi-fi, making for a genius marriage of smart audio-tech design and consumer need. In a market where customers are willing to spend upwards of four figures on a soundbar, this powerful and portable pair of highly-connectible modern bookshelf speakers is sure to stun.
(Image credit: Future)
Kanto Ren review: Features
Wide range of inputs – including USB-C and Bluetooth 5.3
Optional subwoofer out for controlled bass
100W amplifier brings the juice
The Kanto Ren active speaker system is a well-featured all-in-one hi-fi dealio, cramming a powerful amp with some peerless connectivity into the chassis of one of the speakers. There’s six inputs to switch between here, including: USB-C, HDMI, optical, RCA, 3.5mm aux and Bluetooth 5.3. All of these are switch-between-able on the handy included remote control, which also gives you immediate control of bass, treble and volume levels (if you don’t feel like controlling any of the latter with the powered speaker’s front-borne rotary encoder, itself a satisfyingly tactile little knob).
The Kanto Ren is a stereo speaker system, and its integrated amplifier circuitry basically follows suit – which means no extending your setup to surround-sound (though why you’d ever want to do so with this particular setup is another question entirely). There is, however, an RCA subwoofer output – which naturally cries out to be paired with Kanto’s existing SUB8 sealed subwoofer. With a subwoofer plugged in, any sounds below 80Hz are neatly and automatically redirected to it; our review is a sub-less one, though, to focus on the merits of the Rens alone.
Inside, there’s some clever digital goings-on alongside the smart convenience displayed outside. There are two digital sound profiles you can engage and switch between – namely, the Vocal Boost and Night Mode algorithms, which respectively solve the two biggest problems facing the modern TV-binger: quiet dialogue and paper-thin party walls.
Another nifty digital feature is the Ren’s auto-wake function, which you can toggle on and off with the remote. This feature ensures the speakers leap to life the moment they detect incoming audio – meaning you can enjoy their enhanced sound soon as you switch your TV on. Everything’s geared to user convenience, and it shows; using the Kanto Ren system has been nothing but a breeze from day dot.
Features score: 5/5
(Image credit: Future)
Kanto Ren review: Sound quality
Simply: massive
Incredible clarity of sound
Slightly flabby low end
The Kanto Ren system was first put through its paces via its optical input, connected to my TV. My partner and I had picked an excellent time to rewatch the first two seasons of Twin Peaks together; Angelo Badalamenti’s intro theme was a hugely gratifying listen every time the opening credits swelled in, and every tense spook was robustly supported by the wellsprings of low end these speakers are capable of producing.
Speaking of spooks, the dynamic range of the Rens was thoroughly tested by my tremulous playthrough of mind-bending action-horror Alan Wake II on the PS5 – an excellent game whose subtle nods to the Twin Peaks mythos are more like vociferous headbangs. From subtle tension to outright jumpscares, the game’s sound design is a dynamic delight; the Rens handle every jolt and spike with great humour, even when in neighbour-placating ‘night mode’ setting.
The sonorous bass is supported in no small part by the ported rear, which supplies a lot of air movement – and, naturally, makes for a pumpy, slightly indistinct low-end. With this less-sculpted breathy ‘flab’ at higher volumes, you can see why Kanto went to the trouble of including a subwoofer output. Granted, my corner-alcove placement for TV listening won’t be winning any awards (and neither will my makeshift stacked-book speaker stands, for that matter), particularly with respect to bass response – which is why I tested them elsewhere in my house for their Bluetooth and aux-input musical merits.
(Image credit: Future)
In testing out the Bluetooth mode, I whacked on Richard Dawson’s 2023 album The Hermit via Spotify – the title track of which is a 45-minute post-folk micro-odyssey through bucolic far-future Northumberland. This album-length song is extremely dynamically rich, and the Rens don’t falter for a moment in representing that richness.
Dawson’s croaked whispers vault into soaring leads, and tactile, distant electric guitars get swallowed by a Talk-Talk-y orchestra of loud-yet-ambient instrumentation; all of this is clear, distinct and well-separated, and as gratifyingly dynamic as the song could ever demand to be, all in spite of the potential throttling either Spotify or the Bluetooth codec can employ. Good work, Ren! That subtle breathiness in the bass is less pronounced without my bass-trappy alcove – but even within, the Rens still retained clarity and purposeful responsiveness practically everywhere else.
To test its handling of transients in a more controlled setting, I also listened to Cool Sounds’ Like That, an irreverent record full of groovy guitars and bright disco drums; Part-Time Punk’s gloriously dead 70s drums are tactile and three-dimensional, dance-y right-to-left tom fill revealing the strength of the Ren’s soundstage.
In all, the Kanto Ren stereo pair is a delightful-sounding array, and great in practically every scenario in which they could conceivably be placed. There are obvious shortcomings with respect to the ultra-low end, but shortcomings overcome by clever design – and which aren’t all that short of the mark to begin with. They’re loud, proud and unequivocally hi-fi, beating out a great many systems built for similar or even greater price-points. For this price, and with their place in the market borne firmly in mind, they’re practically perfect.
Sound quality score: 5/5
Kanto Ren review: Design
Beautiful – if delicate – matte finish
Sleek front face
A contemporary joy
The Kanto Ren speakers are, in a word, fetching. The MDF chassis combine considered contours with sleek surfaces; the flat front panel and its sharp vertices are offset by how beautifully the speaker cones are countersunk in – the dust covers of which are, themselves, delightfully suave.
This writer’s review set came in a fetching matte blue – but there are four other fetching matte colorways for you to pick from, including a fetchingly nostalgic orange. The slight disappointment of not getting the orange Rens to review was offset immediately by how tastefully – might I say, fetchingly? – the blue ones straddled our rather fetching orange TV stand.
The tasteful nature of the speakers extends to the soft LED dot on the active speaker unit – which smoothly changes hue depending on the audio sources you switch between. The optical source, which was used for the majority of this review, is represented by a shade of lilac I’d only describe as ‘kind’.
A small niggle, though, presents in how stubbornly finger-marks stick to that fetching matte finish. Despite the conclusions you may draw from the pictures supplied with this review, its writer’s hands are not grubby little mitts after all – but rather clumsy ones, the evidence of which is borne out by the near-unmovable streaks of dark across the otherwise-fetching front faces of the speakers. I digress.
As far as practical design is concerned, the Rens serve well. Threaded holes on the rear provide for those that might want to wall-mount their speakers, and rubber feet are provided separately so as not to rob you of choice in any matter. There are even some optional speaker grilles you can place over the front, held in place magnetically so as not to mar the sleek front with anchor slots. All told; the Kanto Ren system is designed beautifully, and considerately too.
Design score: 4.5/5
Kanto Ren review: Setup and usability
Pretty much plug-and-play
Intuitive controls
Could stand to ship with more cables
Being active speakers, setting up the Kanto Ren stereo set is an absolute trifle – the hardest part being the safe manoeuvring of the speakers into place without scuffing that fetching (I said it again!) matte finish. There’s no additional hi-fi amp-wrangling or cable-knotting to contend with, past the simple fact of connecting speaker to speaker, and audio source to system. Indeed, setting these up is about as simple as setting up any decent hi-fi system could ever be (and especially so for AV setups).
The remote control is the thing you’ll be interacting with the most by far, and it couldn’t be simpler to operate. Everything’s clearly signposted, and you barely need the remote control ‘map’ to know what you’re pressing. A minor point presents in the occasional unresponsiveness of the volume control to repeated presses, but a little patience goes a long way with smooth control of the Ren’s various parameters (as it of course does with life in general).
The speakers ship with a length of two-core speaker cable for you to connect left speaker with right, via the screw terminals at the rear. Unfortunately, the Rens don’t ship with additional HDMI or optical cables for comprehensive out-of-the-box connectivity; if you don’t already have the requisite cables to hand, you might be ordering in and waiting a day for what you need. This writer had – and most of you will have, at that – cables aplenty to hand, but a spare HDMI wouldn’t have gone amiss as a little out-of-the-box sweetener!
Setup and usability score: 5/5
Kanto Ren review: Value
Not an inconsiderable expense…
But extremely well-priced for what you get
Will knock the socks off most, if not all, soundbars
The $599/£599/€719 (so, around AU$1,199) price point is not a trifling one, even if it does technically fall towards the lower end of the price spectrum in a broader field of living-room sound-system solutions. It’s an investment for an integrated hi-fi system, whichever way you slice it – but it’s a great investment too, and in all the same slice-ings.
If you’re wanting a genuine upgrade from the soundbar you got last Black Friday which sounds ‘ok I guess’, you’ll be blown away by the difference these full-throated speakers provide. If you’re looking to invest in better sound for your TV for the first ever time – and looking for a foolproof plug-and-play place to start – you couldn’t spend $599 much better if you tried. Great-sounding integrated systems are hard to come by, but for me the Kanto Ren ticks all the right boxes. As a living-room stereo pair, these are perfectly pitched to handle everything – and pretty darn well, at that.
Value score: 5/5
Should you buy the Kanto Ren?
Buy them if...
You want excellent hi-fi sound without the faff The Kanto Ren system packs a shedload of functionality into the form of two mid-sized bookshelf speakers. You don’t need anything else to guarantee a quality listening or watching experience – save for a decent subwoofer to tack on if you’ve a larger space to serve. With its broad connectivity, it can be your everything-system for anything – whether you connect your laptop via USB-C, your Wi-Fi streaming set-up via optical, or your TV via HDMI.
You’re thinking about buying a soundbar Yes, soundbars are pretty nifty looking, and yes, some soundbars purport to do pseudo-surround sound really well, but all soundbars are undeniably limited by their form. The Kanto Ren brings controlled richness and huge dynamic range in an unconventional iteration of a conventional hi-fi format, and will resultingly blow any and all consumer-grade soundbars out of the water with consummate ease.
Don't buy them if...
You want a surround-sound AV setup Being an active stereo speaker array, it should not come as a surprise that the Kanto Ren’s integrated amplifier is stereo through and through, and does not have an additional 3 channels for surround sound. Still, if you’re wanting something that’s more expressly home-cinema-coded, maybe give these a miss.
You value upgradeability The Kanto Ren is an integrated stereo amplifier system, with all the bells and whistles built right into the speakers themselves. If you like the idea of trying out some new speakers in the future, or eventually investing in some audiophile-grade tube amplifier system, you should be spending your money on a more modular type of hi-fi system.
Kanto Ren: Also consider
Klipsch R-51PM Klipsch is another vaunted name in hi-fi, on account of the incredible dynamics their speakers are capable of representing (amongst other things). These are an active bookshelf offering, with optical, USB and RCA in amongst other I/O opportunities. There’s no HDMI ARC here, but there is an incredible soundstage – and a built-in phono pre-amp for the budding vinyl enthusiasts in the room. Read more in our full Klipsch R-51PM reviewView Deal
KEF LSX II KEF’s LSXII stereo speakers are similarly impressive in terms of connectivity, with HMDI ARC, optical and USB-C as well as KEF’s own W2 streaming architecture. The cones are a little smaller, and the price a little higher – but there’s some signature KEF quality in these tiny bookshelf powerhouses.View Deal
How I tested the Kanto Ren
Tested for 4 weeks
Used primarily in living room, as main system for TV and for audio streaming.
Briefly tested in other regions of the home as an auxiliary hi-fi system (and to ensure verdicts weren’t skewed by the sound profile of my living room alcove).
The Kanto Ren speakers spent most of their time bookending my TV in the inner alcove of my living room, where they were put to the test, via HDMI ARC and optical input, as the primary audio system for watching TV and playing video games – as well as, in hi-fi terms, for Bluetooth streaming. Phono and Bluetooth were also trialled in my attic office, in order to assess the frequency response of the speakers in different acoustic spaces. I listened to personal-favourite records, the sound of which I could comfortably corroborate against the performance of other systems with which I’m familiar.
iFi has taken the proven GO Link formula and, by adding a balanced 4.4mm headphone output and deleting MQA compatibility (which is, let’s not pretend otherwise, no loss), produced the GO Link Max.
It’s a little larger than its more affordable sibling – but that’s not the same as being large. And its relative bulk is mitigated no end by classy metal casework. Only the exposed braided cable that connects the main body of the DAC to the block which plugs into your source device, gives us any cause for concern. And even then, its vulnerability is theoretical rather than actual.
Like virtually every iFi product TechRadar has tested, the GO Link Max performs well and offers significant value for money. No matter if it’s connected to a smartphone or a laptop, with a half-decent pair of headphones at the other end this DAC is capable of putting a rocket up the sound quality you’d otherwise be treated to. In every meaningful respect, it improves on the unassisted sound of your computer or phone – and not in a subtle way. Is it one of the best portable DACs available for this money? You probably know the answer to that…
iFi GO Link Max review: Price and release date
(Image credit: Future)
Released November 20, 2024
Priced $79 / £79 / AU$139
The November 2024-release iFi GO Link Max USB DAC is on sale now, and in the United Kingdom it costs no more than £79. In the United States it will set you back $79, while in Australia it sells for $139.
The world’s far from short of affordable USB DACs, of course (not least from iFi itself – see the admittedly pricier $499 / £449 / AU$769 iFi GO Bar Kensei or the five-star iFi hip-dac 3 at $199 / £199 / AU$349 for starters). But nevertheless, the combination of price and specification looks alluring here…
iFi GO Link Max review: Features
(Image credit: Future)
DSD256 and 32bit/384kHz PCM support
Twin ESS Sabre ES9219 DACs
Unbalanced 3.5mm and balanced 4.4mm outputs
Of course, the iFi GO Link Max is something of a one-trick pony – and so consequently it has very few features. Those features it has, though, are designed to get that one job done in some style.
So at one end of the braided cable there’s a little block with a USB-C connector on the end. iFi provides both lightning and USB-A adapters to fit it, so the GO Link Max should be compatible with any smartphone or laptop you care to mention. At the other end of the cable there’s a larger block with unbalanced 3.5mm and balanced 4.4mm outputs at its end, and on the inside is everything required to turn digital audio information into analogue as effectively as possible.
iFi has deployed twin ESS Sabre ES9219 DAC chipsets to get the job done – which means the GO Link Max can deal with audio files up to DSD256 and PCM 32bit/384kHz resolution. And fittingly for a company that’s never been afraid of a good acronym or two, iFi has fitted this little device with ‘THDC’ (total harmonic distortion compensation) technology to keep harmonic distortion to a minimum, and ‘DRE’ (dynamic range enhancement, sadly, and nothing to do with the celebrated hip-hop producer) which – hey! – wants to increase the dynamic contrast between the quietest and the loudest moments in your music.
This arrangement, says iFi, results in a USB DAC that can twist out 100mW of power from the unbalanced output and over 240mW from the balanced alternative. Which is a lot by any USB DAC standards, and should allow the GO Link Max to drive pretty much any appropriate headphones without problems.
Features score: 5 / 5
iFi GO Link Max review: Sound quality
(Image credit: Future)
Greater dynamism and improved levels of detail
More positive, punchier sound
Across-the-board improvements
Let’s face it: only the most optimistic customers buy a new laptop or smartphone expecting sonic excellence. These devices are too noisy (in electrical terms) and too feature-heavy for audio quality to be anything other than an afterthought. If you want great sound while you’re out and about or at your desk, a dedicated music player might seem to be the way forward. iFi, though, disagrees – and the way this GO Link Max can make your laptop or smartphone sound demonstrates that as long as the critical stuff is done properly, these can be just as viable a source of music as the most expensive stand-along digital audio player.
The difference in quality between plugging a pair of headphones directly into the headphone socket of an Apple MacBook Pro, say, and plugging the same headphones into the GO Link Max having connected it via its USB-C is really remarkable. The gains are far from mild, and they are wide-ranging. In all honesty, the reproduction is of an entirely different standard.
Take mid-range resolution, for instance. A 16bit/44.1kHz file of Lisa O’Neill’s Old Note is more detailed, more direct, carries greater harmonic variation and is, in the final analysis, simply more communicative and eloquent when heard via the iFi USB DAC. Daft Punk’s Get Lucky as a 24bit/48kHz FLAC file demonstrates greater low-frequency depth and texture, increased dynamic headroom, and an altogether more assured way with rhythm and tempo management. And Lobbo by Vieux Farka Touré et Khruangbin as a 24bit/96kHz file has greater bite and presence at the top of the frequency range, as well as increased substance.
The frequency range hangs together more smoothly and confidently, and the tonal balance is improved too. Soundstaging is more open, better defined and far more effectively controlled than it is when you leave the computer to deal with things. There’s just no aspect of music reproduction that the iFi GO Link Pro doesn’t deal with far more effectively than an expensive, high-end laptop computer.
Sound quality: 5 / 5
iFi GO Link Max review: Design
(Image credit: Future)
Braided connecting cable
150 x 15 x 10mm (HxWxD)
14.5g
Just as with the ‘features’ section, the GO Link DAC is a functional, no-frills device where ‘design’ is concerned. This is a product that needs to be as small, light and portable as is realistically possible, and that’s exactly what iFi has delivered.
The metal casework of the two sections of the DAC feel and look good, and give a hint of the premium to what’s a necessarily discreet device. There’s a single LED on the main body of the GO Link Max, which lights up in one of a selection of colours to indicate the size of the digital audio file it’s dealing with – though I can’t help thinking it’s a bit of a shame that the same colour (green) indicates PCM all the way up to 96kHz. A little visual confirmation that 96kHz is a significantly higher resolution than 44.1kHz might be nice…
The only aspect of the design that’s in any way problematic is the braided cable that joins the two sections of the DAC, and even then, this is a theoretical issue rather than anything tangible. iFi reckons the braiding helps shield the cable from outside interference, and I’ve no reason to think that’s not the case – it just feels a bit vulnerable for a product that’s likely to spend a lot of its life in a pocket or a bag.
Design score: 4.5 / 5
iFi GO Link Max Review: Usability and setup
Plug into your smartphone or laptop
Plug in your headphones
Away you go!
“It’s not rocket science” is, I think, too weak a description for how straightforward the iFi GO Link Max is to use. Plugging the USB-C end into your laptop or smartphone at one end, and your headphones in at the other, doesn’t require in-depth instructions - and if you can’t get this device up and running in mere seconds, I don’t think any amount of instructions are likely to help.
Usability and setup score: 5 / 5
iFi GO Link Max review: Value
You simply can't argue with the value for money here
Does what it does in fine style
The iFi GO Link Max represents unarguable value for money. The latent fragility of the cable aside, it’s robustly made, properly finished, light and portable – and it does what it does in fine style. If you want to maximise your portable and/or desktop audio experience without spending an arm and a leg, you really can’t go wrong here.
Value score: 5 / 5
Should I buy the iFi GO Link Max?
Buy it if...
You take portable or desktop listening seriously Getting the best audio quality possible out of your laptop or smartphone really couldn’t be any easier
You own some half-decent wired headphones A balanced output is particularly welcome, and it makes plain just how serious a device the GO Link Max is
You have access to genuinely hi-res digital audio content The ability to deal with 32bit/384kHz and DSD256 files is most certainly not to be sniffed at
Don't buy it if...
You’re ham-fisted It’s not as if the cable connecting the two pieces of my GO Link DAC has failed - it just feels like it might
iFi GO Link Max review: Also consider
If you can live without the 4.4mmm balanced output, the even smaller, even lighter iFi GO Link USB DAC makes a whole lot of sense – especially as it’s usefully cheaper than the already-quite-affordable GO Link Max. If you want to free yourself for the ubiquity of iFi, though, it’s worth considering FiiO’s KA13 – by iFi standards its relatively bulky, but it get the job done in fine style.
How I tested the iFi GO Link Max
Qobuz and Tidal; Android smartphone and Apple MacBook with Colibri software
Sennheiser IEMs; Austrian Audio over-ears
I plugged the iFi GO Link Max into a Samsung Galaxy S21 smartphone using the USB-C connection, and into an Apple MacBook Pro using the same socket. I also connected it to an Apple iPhone 14 Pro via the Lightning adapter. Each device is loaded with Qobuz and TIDAL music streaming service apps, and the laptop also features Colibri software to get around Apple’s inexplicable disdain for truly hi-res digital files. Headphones included Sennheiser IE900 (connected using the 4.4mm socket) and Austrian Audio Hi-X20 (using the 3.5mm equivalent), and music came from every era and every genre. I listened to the GO Link Max for well over a working week this way – and it was no kind of hardship.
I started testing for this Nothing Ear (open) review under the impression that, like other open ear headphones, they were designed for fitness use. Over the last few years open earbuds, or air conduction headphones, have become a popular type of sports headphone to let you hear your surroundings while running, cycling or working out outdoors.
When judged against this use case, though, the Nothing Ear (open) fly far from the mark, and they're not ideal for going on walks along roads either, and it’s all from one questionable design decision. I found them frustrating to use and had to force myself to put them on my ear every time I was going to hit the gym or go on a run.
It’s a shame, because Nothing has become a reliable name in earbuds in the last few years. Its Nothing Ear and Nothing Ear (a) from earlier in 2024 were both impressive and affordable earbuds with amazing bass and unique feature sets, and there were high hopes for the Ear (open), which mark the company’s first foray into the open-ear headphones market.
I’d wait until the second foray to buy some of these buds though, because as I said one design issue ruins the user experience with these buds. That issue is in the band hook, which loops over your ears to connect the body of the bud (which goes over your ear, providing the music), with the rest of it which goes behind your ear.
This band is made of a very flexible material which does a poor job at holding the bud and counterweight still. This means that when you’re moving; say, going on a run or bending down at the gym to pick up some weights, or even walking, it wobbles. Wobbles enough to change how the music sounds for a little moment, and wobbles enough to slap against the tragus of your ear (that’s the sticky-outy bit in your ear) if you’re moving rapidly or repeatedly.
Going for workouts with the Nothing Ear (open), then, was an exercise in patience: could I survive the tap-tap-tap of the wobbling bud for long enough to complete a course or a workout routine? For the purposes of this review I endured it, but I don’t think I would have if not for that!
Putting aside fitness use, it was also an issue when I was walking at any speed (though it was more pronounced the quicker my pace), and given that the entire point of open ear buds is that you can hear your surroundings when walking on roads, this means they miss the mark as non-fitness earbuds too.
Beyond the annoying design, the Ear (open) would need to be incredibly impressive to get a decent review, and unfortunately it missed that high bar. Primarily, the audio wasn’t on par with other open-ear headphones I’ve tested, particularly in the volume department — this latter is vital to combat surrounding sounds when you’re in busy areas.
I did like a few aspects of the buds: the case is the main one, as it’s pretty slender compared to other open-ear headphone cases and was attractive all things considered. Plus the touch controls on the earbuds were handy to use, and there was no sound leakage which fixes a problem I’ve faced in other earbuds (open-ear and not).
These elements show that Nothing is on the right track with the Ear (open), but I only see these buying a worthwhile buy if you’re not into your exercise. If you simply want earbuds you can wear in public without being unaware while crossing roads, it could be a decent option — as long as your walking pace isn’t too quick!
Nothing Ear (open) review: Specifications
Nothing Ear (open) review: Price and availability
(Image credit: Future)
Announced and released in September 2024
Priced at $149 / £129 / AU$249
Middling price for this kind of tech
The Nothing Ear (open) costs a reasonable $149 / £129 / AU$249, and was both announced and released in September 2024.
That price puts them slap-bang in the middle of a host of other open ear headphones on our list of the best open ear headphones (excusing the exceedingly-premium Bose Ultra Open, which costs twice as much).
The Nothing roughly matches the $149.99 / £149.99 (about AU$290) 1More Fit Open Earbuds S50, a competitor with which the Ear (open) has a lot in common (namely, a poor fit). If you want to spend a little more you can opt for the Shokz Openfit at $179.95 / £179.99 / AU$289 but if you want to save money, the OpenRock Pro go for $129.99 / £119.99 (roughly AU$185).
Bear in mind that open ear headphone tech is in its infancy, so you’re paying a premium no matter what you opt for; if you’re conscious about price, opting for ‘standard’ headphones will get you superior audio quality at a much lower price.
Value score: 3/5
Nothing Ear (open) review: Design
(Image credit: Future)
Bendy hook makes buds wobble
IP54 rating and light weight
Case is nice and slender
I’ll start with the case, because you will too when you take the buds out of the box.
If you’ve tried other ear-hook headphones, you’ll know that the cases often end up being pretty large to house the hook. The Nothing Ear (open)’s case is comparatively small, due to its thickness of only 2cm. Its total dimensions are 12.6 x 4.4 x 2 cm and it weighs 63.8g – I found it more pocketable than many other open ear headphone cases that I’ve tested.
Like most other Nothing headphone cases, this one has a see-through front, so it’s easy to double-check whether the gadgets are in there or not.
The headphones also resemble Nothing earbuds, in that they’re small and see-through with rounded designs, but with the addition of a long silicon hook to go around your ear and a counter-weight at the end. The buds weigh 8.1g each, so they’re lighter than many rivals, which is obviously really important for fitness earbuds.
In terms of an IP rating you’re looking at IP54: protection against dust ingress and sprays of water, but not full immersion in liquid. The important thing, though, is that they’re sweat-proof.
I’ve often touted Nothing’s buds as having some of the best touch controls: they’re pinch-controlled, so you get a nice haptic ‘click’ when you trigger the function. While the Ear (open) don’t provide this same click, they’re also pinch-controlled – they’re easy to use but impossible to accidentally trigger.
That’s a lot of praise for the Nothing Ear (open)’s design, and you’ve (presumably) already read in this review’s introduction that design is the Achilles Heel of the earbuds. And that’s correct.
Evidence of how easily-bendable the hook is. (Image credit: Future)
As I mentioned earlier, the hook is made from silicon, a very weak and flimsy material being used in a very thin hook. The result of this is that, when you move about, the body of the bud isn’t held in place – it bounces around horizontally which is really annoying to feel and affects the sound quality you’re getting. Sometimes, poor fit can be justified by a reviewers’ ears not matching the size of the buds, but given that this is an issue with the build, it’s a lot less subjective than that.
The fit is a lot less rigid than on other open ear headphones I’ve tried, which I can see some people hailing as making them comfortable, but this just exacerbated the issues that I faced. I’d rather firm-feeling wearables than ones that keep flicking me!
This floppy build quality made the Nothing Ear (open) infuriating to use when on a run, as the body would bounce up and down, and at the gym, as bending down to pick up weights or leaning back on a bench would see the gravity pull the body away from my ear. That’s why I said these aren’t fitness headphones – I found myself opting to hear the clunks and grunts of my gym than endure the Ear (open) wobbling around near my ears.
A problem like this doesn’t solely affect exercise though, and it was even a problem when going on walks. It’s hard not to view these as a ‘draft one’ version of the earbud, if the problem is this pronounced.
Design score: 2/5
Nothing Ear (open) review: Features
(Image credit: Future)
8-hour battery life, up to 30 if counting case
Minimal feature set but equalizer present
ChatGPT function for certain users
In its marketing, Nothing loudly cites that the Ear (open) has a 30-hour battery life, but you have to delve into the small-text to realize that this refers to the combined lasting power of the earbuds and the case.
On their own, the earbuds last for 8 hours of listening time before they need to be charged, which is slightly above average compared to other earbuds — the lack of ANC helps here. The case holds 22 hours, for a grand total of 30, which is a little on the low side compared to some other bud cases on the market but it’s not a terrible figure.
In headphone reviews, ANC usually goes in the ‘features’ section, so I should touch on it for anyone using CTRL-F: there is none, of course, due to the nature of open earbuds. You don’t want to cancel noise, you want as much of it as possible!
In terms of the rest of the feature set, the Nothing Ear (open) has a few taken from other Nothing earbuds, but a few missing too. Using the Nothing X app you can change what the touch controls do, play with an equalizer, turn on a low-latency mode (for gaming, which doesn’t seem like something you’d want to do on open-ear buds?), and set off a ‘find my earbud’ alert which makes them play a loud chirping sound if you’ve lost them.
(Image credit: Future)
The equalizer is the main feature there, and it’s just as intuitive as Nothing fans will be used to. It’s default option is a three-band customization model between mid, bass and treble, but there’s an advanced option with an eight-band equalizer for people who know their way around EQ.
In the default Simple mode, there are three four presets as well as the ability to customize your own mix, which I think most people will go for. A few Nothing features like Bass Enhance mode and Listening Test are missing, but that’s not unexpected given the nature of these headphones.
If you own a Nothing or CMF phone you get an extra feature: you can use ChatGPT as your smart assistant from the buds. You can easily squeeze the button and ask your buds what the weather’s like, what the time is or how many kilometres are in a marathon — given that it’s ChatGPT, though, there are no guarantees that the answer will be correct!
Features score: 3.5/5
Nothing Ear (open) review: Performance
(Image credit: Future)
Max volume isn't high enough
Lacking bass and mid
Little sound leaking
You can’t expect incredible audio quality in open-ear headphones, due to the way they work — it’s just the nature of the beast, and a trade-off you get with the increased situational awareness of wearing them. That’s not even factoring in how background sounds will get in the way of your tunes.
However even with this in mind, I wasn't blown away with how the Nothing Ear (open) sounded. I’ve typically found Nothing earbuds to provide overwhelming bass and admirable treble and mid, but that wasn’t the case here.
The earbuds didn't offer as much bass as fitness-bud fans will be accustomed to, and while they did fare a lot better in the treble department, mid was left in the wayside. There was quite a bit of peaking and distorting too, particularly on drums but it affected other instruments to a noticeable degree too.
Some of these issues could be fixed with the EQ, and I squeezed enough extra bass into tunes to emphasize some workout tracks, but was always aware that I could get a better sound quality purely by changing to another pair of earbuds (normal, workout or open).
A gripe I’ve had with previous Nothing earbuds reared its head, in that the maximum volume wasn’t that high. I listened at max volume for most of my listening, and lots of the time when I was outdoors I could barely hear my music.
One thing I do appreciate — though it could be a knock-on from the volume issue — is that there’s very little audio bleed. People around you won’t be pestered by the tunes you’re listening to.
Performance score: 3/5
Nothing Ear (open) review: scorecard
Nothing Ear (open): Should I buy?
(Image credit: Future)
Buy it if...
You own a Nothing or CMF phone
The extra features that the buds provide alongside a Nothing-created phone are a neat extra that may sway your decision.
You're worried about sound leaking
Don't worry: despite the design, people around you aren't going to hear your tunes with the Nothing Ear (open).
You own in- or over-ear headphones
These shouldn't be your only pair of headphones, not if you like music. But to complement another pair, they might be acceptable.
Don't buy it if...
You exercise
For reasons explained in detail before, these earbuds just aren't good for exercising with. Sorry.
You'll wear them in noisy areas
The limited maximum volume of the Nothings means that it's hard to make out the words to songs if you're in busy areas.
Also consider
OpenRock Pro
These are some of the better-sounding open ear headphones I've used, but the best aspect was the long battery life. Plus, they're cheaper than the Nothings.
To write this review, I used the Nothing Ear (open) for roughly three weeks. During the first two weeks of that, I only used them for exercise: on a run or at the gym (so perhaps five hours per week), but for the final week I made sure to use them a lot more.
This latter testing involved use at home, at my office, on walks in various areas and on public transport. Most of my testing was done using Spotify and Tidal though I watched a few videos and played games to see how they fared. It was paired with an Android phone during the process.
I've been reviewing technology for TechRadar for almost six years as of writing this, which includes many audio and fitness devices. I've also tested open-ear headphones and other Nothing earbuds prior to the Nothing Ear (open).
Bose SoundLink Flex Gen 2 review: two-minute review
If you’re looking for a sleek, stylish portable Bluetooth speaker, you’ll struggle to find a better-looking alternative than the Bose SoundLink Flex Gen 2. This small speaker assumes a compact, curved form with a durable rubber body and attractive metallic-looking grille. But it’s more than just a pretty face.
The Bose SoundLink Flex Gen 2 plates up impressively powerful audio for its size, with commendable levels of detail and surprisingly good instrument separation. As a result, you get a layered, clear listening experience that will keep you tuned into your favorite tracks for hours on end. Sound quality can get a touch harsh and unstable at top volumes, but for the vast majority of the time, it steers well clear of tinniness and distortion.
Audio in the treble is communicated with delicacy and finesse, with mids also sounding as rich as you’d hope to hear from some of the best Bluetooth speakers in this size and weight class. Bass – although not delivering as much impact as a large-sized party speaker – has solid depth and dynamism too. You can, unlike its original gen predecessor, alter EQ settings on the Bose SoundLink Flex Gen 2. Just download the Bose app and switch things up to your liking. However, there is a disappointing lack of presets (four that increase or reduce either bass or treble), so you’ll likely need to manually adjust audio with the app’s three-band equaliser.
But you don’t only get a strong audio performance from the SoundLink Flex Gen 2, you also get excellent build quality and durability. This Bluetooth speaker has the IP67 dustproof and waterproof rating, meaning it can survive being dunked under a meter of water for half an hour. Pretty impressive. On top of that, it has a durable exterior, discreet feet that keep it standing and a customizable shortcut button, which I personally used to activate my voice assistant. Design-wise, this really is the full-package.
And even in the features department, the SoundLink Flex Gen 2 has a solid amount to work with. Of course, the Bose app opens up a lot of this, including the aforementioned EQ settings and shortcut button customization. But it also enables you to view devices connected via multi-point, change auto-power off time and even name the speaker from a list of random names (mine was Pint Size Party). And like its first generation ancestor, the SoundLink Flex Gen 2 harnesses PositionIQ tech, which optimizes audio output depending on the speaker’s orientation.
The re-utilization of PositionIQ is welcome, but it does hammer home something undeniable about the SoundLink Flex Gen 2. It’s very similar to the original Bose SoundLink Flex. Not only does it look almost identical, but it also has a like-for-like sound profile. Perhaps most frustratingly, the newer variant has the same battery life – just 12 hours – which is a little underwhelming when you consider recently-released rivals, like the Beats Pill, offer a much longer playtime.
Having said that, the addition of EQ options and a more up-to-date Bluetooth version is a noticeable improvement. Is it worth upgrading for owners of the original SoundLink Flex? Perhaps not. But if you want a new Bluetooth speaker, this certainly stands on its own four feet as a very strong option. So, if you’re new to the SoundLink Flex line and want a great-sounding portable speaker for all environments, I’d recommend this one. Otherwise, you may be better served by an alternative in our guide to the best waterproof speakers.
(Image credit: Future)
Bose SoundLink Flex Gen 2 review: price and release date
$149 / £149.95 / AU$249.95
Already appeared on sale
Launched in September 2024
The Bose SoundLink Flex Gen 2 is a mid-priced option in the portable Bluetooth speaker market. It’s available in a nice range of colors, including: Alpine Sage (green); Black; Sandstone (brown); and my personal favorite, Blue Dusk.
It has a list price of $149 / £149.95 / AU$249.95, although I’ve already seen it available for $119 / £119 (about AU$180). Given it only launched in September 2024, that’s quite an enticing price – though it still has hot competition. Rivals like the JBL Flip 6, for instance, have been discounted to as little as $79 / £79 on Amazon.
(Image credit: Future)
Bose SoundLink Flex Gen 2 review: specs
Bose SoundLink Flex Gen 2 review: features
Companion app compatibility
Speaker pairing for stereo mode
PositionIQ tech
Perhaps the biggest upgrade the SoundLink Flex Gen 2 has over its predecessor is that it actually has a companion app. It’s not got a ton of fancy features, but it’s pretty much a must-have for modern Bluetooth speakers in my view – and this is a pretty slick, clean-looking app too.
So, let's start with the most important function – EQ settings. These were absent last time, and although it’s nice to have some customizability, they’re actually pretty disappointing. There’s a grand total of four presets: Bass Boost; Bass Reducer; Treble Boost; and Treble Reducer. Wow, really? Sure, you can manually adjust EQ across three bands (Bass, Mids, Treble), but I would’ve preferred to see more depth here – maybe some genre-specific presets, for instance.
So what else does the app have? Firstly, it has a Source option, to toggle Multi-point – a handy feature – on or off and view connected devices. It also has an option to change the function of the Shortcut button to Speaker Link (to pair Bose speakers), Voice Assistant or Spotify Resume – pretty neat. These are nice additions in my view, making for a decently well-rounded in-app experience – even if EQ options are a bit lacking.
But there’s more: the SoundLink Flex Gen 2 continues the use of PositionIQ. This essentially provides positional compensation, meaning that the speaker can optimize audio output depending on its placement and orientation – pretty cool for a small Bluetooth speaker like this that’s made for use in a range of environments. In addition, you can pair this speaker with another in order to access Stereo audio output – but frustratingly, this is locked to Gen 2 models alone. I can’t help but think that backwards compatibility with the original model would’ve been a real incentive for owners to opt for the upgrade, so this feels like a bit of a missed opportunity.
Although this speaker has a USB-C port, you’re not able to use this for music output. There’s also no 3.5mm port, so it’s going to be wireless play only, guys. For me, this isn’t an issue, but the option would be a nice touch.
Finally, this speaker offers fairly average battery life. It can deliver approximately 12 hours of playtime with music at around 50% volume – the same as its predecessor and similarly-price competitors like the JBL Flip 6. Some may feel that simply matching its predecessor isn’t enough and what’s more, there are a lot of similarly-sized Bluetooth speakers that can offer superior numbers. Just look at the Beats Pill, for instance, which supplies an awesome 24 hours of playtime.
Features score: 3.5/5
(Image credit: Future)
Bose SoundLink Flex Gen 2 review: sound quality
Balanced, punchy sound
Impressive dynamism and instrument separation
Bass may be a little thin for some
On the SoundLink Flex Gen 2’s box, Bose says that “you’ve never had a sidekick that sounds this good”. And for many, that may well be true – this speaker does offer balanced, pleasingly nuanced audio. But despite its talents, I would argue that audio isn’t quite S-tier quality.
One reason for this is that music can be a little rough around the edges at high volumes. When tuning into As If Waltz by Geordie Greep, I felt that the track sounded almost compressed at 90%-100%, with treble a touch abrasive and vocals lacking the crisp clarity I heard at lower volume levels. This was an issue we also identified in our review on the SoundLink Flex Gen 2’s predecessor, but like that model, volume can climb surprisingly high for the speaker’s size, so if you’re not maxing out loudness, this likely won’t affect you.
Additionally, some may find that bass isn’t quite as impactful as they’d like, especially for larger rooms or more open spaces. Although bass is responsive and sharp, it can be a touch thin, especially out of the box. You can remedy this, in part, by upping bass levels in the Bose app, just don’t expect the boom of a larger party speaker. When listening to The Boys Are Back in Town by Yung Gravy, I found that the imposing, in-your-face low-end felt a little constricted. A significant factor here is, of course, the SoundLink Flex Gen 2’s size – it’s no beefy Boombox. If your main focus is ground-shaking low-frequency audio, you might want to consider a larger option, like the Earfun UBoom X or Bose SoundLink Max, for instance.
But anyway, that’s enough moaning. I want to be clear, the Bose SoundLink Flex Gen 2 does, in fact, sound very good and it’s going to offer a significant sonic step-up from almost any budget portable speaker. Why? Well there are a few key reasons. First of all, instrument separation is pretty strong. When playing St. Thomas by Sonny Rollins, the warm double bass, forward-sounding sax, sporadic percussion and cool keys all occupied surprisingly separate spaces, combining for a satisfying listen.
On top of that, instrumental and vocal elements sound natural and detailed. For instance, the drum solo in St. Thomas sounded authentic with even the weight of each drum hit sounding discernible and true to life. The rainfall at the start of Rains again by Solji also maintained its intended sound, without coming through like static or a muffled, crackling mess. Vocals also had a breathy, delicate quality that many cheap alternatives miss out on.
I’ll circle back to bass as well. As I mentioned earlier, it’s not exactly thunderous, but it does have solid depth and a respectable bite for a small speaker. I listened to I Want You by Moloko on both the Bose SoundLink Flex Gen 2 and a budget option – the Tribit Stormbox 2 – to identify the key benefits of splashing some extra cash. And bass clarity was one of the key improvements. With the Bose speaker, bass was neatly separated and had a more accurate tone than Tribit’s alternative – which served up a slightly muddied, muffled sound in comparison.
Another song with a lot of low-end emphasis – Black Eye by Allie X – produced similar results. The depth of the drum machine was replicated with far more finesse using Bose’s speakers, with the Tribit offering a more dulled sound. The dynamism of the bass connecting up to the lower mids was also far more impressive with the SoundLink Flex Gen 2, so if you’re willing to spend more on a Bluetooth speaker, you’ll certainly hear the difference, that much is certain.
Sound quality score: 4/5
(Image credit: Future)
Bose SoundLink Flex Gen 2 review: design
IP67 waterproof and dustproof rating
Attractive look with classy color options
Simple, well-sized button controls
So perhaps unsurprisingly, I’d argue that the Bose SoundLink Flex Gen 2’s design is actually its standout aspect. It looks very similar – no, almost identical – to its predecessor, but I’m not complaining; it was a very nice-looking model.
This speaker has smooth, curved corners, a rubbery body and beautifully finished speaker grille. It’s available in a really nice set of colors too. These aren’t eye-poppingly vibrant, more-so classy and refined. The unit I reviewed came in Blue Dusk – a really beautiful medium-blue color that is neither boring or overbearing. It’s oriented to sit lengthways too and has four subtle bumps that act as a base for the speaker to stand on.
And that ties into a fantastic aspect of the SoundLink Flex Gen 2 – it’s equally as practical as it is pretty. Firstly, it has a pretty durable design, in part thanks to its rubber outer casing, which means it should be fine to throw around (to an extent) and capable of taking a few falls. It also has the IP67 dustproof and waterproof rating, meaning it won’t succumb to an untimely death, even when submerged under a meter of water for up to 30 minutes. It also has a handy fabric tab that you can use to attach the speaker to a bag or belt.
Finally, the SoundLink Flex Gen 2 has a solid set of onboard controls. You get power, Bluetooth, shortcut, volume up/down and play/pause buttons. All of these are perfectly sized and are super clear – there’s no second-guessing what does what. There is, however, a user manual and tips section in the Bose app, so you’ll be able to get the best out of your speaker. Really, there’s nothing I didn’t like about the SoundLink Flex Gen 2’s design – it’s a true thing of beauty – but it doesn’t skimp on ease-of-use or durability either.
Design score: 5/5
(Image credit: Future)
Bose SoundLink Flex Gen 2 review: value
Not the cheapest speaker out there
But already available on sale
Clear quality improvement over budget options, too
When it comes to value, the Bose SoundLink Flex Gen 2 finds what I’d call a happy medium. The bottom line is, this isn’t a cheap, budget product – but it’s not a top-of-the range, premium pick either.
And I’d argue that the quality you get here matches that price profile nicely. Audio quality – although not mind-blowing – is very good and skips on the muddy, constricted sound you get from a lot of budget options. But you also get a stunning design and a decent enough feature-set to boot, which really help to justify the price tag.
You can already get this bad boy on sale too. I headed over to Amazon in the US and the UK and spotted this thing on discount, so you won’t have to spend a lot more than $120 / £120 if you’re savvy. That’s really not too bad given the quality on show – and given it’s predecessor was only a touch less. So again, it may not be the ultimate budget-friendly pick, but the SoundLink Flex Gen 2 still earns its keep.
Value score: 4/5
(Image credit: Future)
Should I buy the Bose SoundLink Flex Gen 2?
Buy it if...
You want a step-up from budget audio quality If you’re fed up of the restricted, muddy sound a lot of budget options produce, the Bose SoundLink Flex Gen 2 could be the step-up you’ve been looking for. Audio quality isn’t quite top-of-the-range, but instrument separation is solid, sound is clear and the general balance here is strong.
You’re all about style This speaker is undoubtedly a sleek, elegant-looking one. Given it also comes in a range of fresh, albeit not so vibrant colors, you’ll likely love what’s on show here. It’s compact and portable too, so you get practicality as well as good looks. Everyone’s a winner, really.
Don't buy it if...
You’re on a tight budget This speaker isn’t ideal if you’re working with a limited budget – it’s been on sale a few times, but it’s still never exactly been cheap. And there are so many quality, low-cost Bluetooth speakers to choose from. For instance, the super-impressive (yet admittedly smaller) JBL Clip 5 has a list price of just $79.95 / £59.99 / AU$89.95, but it’s regularly on-sale for less.
You want ground-shaking bass If you’re someone that wants incredible low-end power, the Bose SoundLink Flex Gen 2 might not be for you. Sure, bass is clean and output is decently meaty given its size, but if you really want to bring the boom, I’d recommend choosing one of the best party speakers instead. I’d particularly single out the JBL Charge 5, which has great bass and is only a bit larger.
Bose SoundLink Flex Gen 2 review: also consider
JBL Flip 6 The JBL Flip 6 is a strong mid-range Bluetooth speaker that has a lot in common with the Bose SoundLink Flex Gen 2. It’s got an IP67 waterproof rating, offers up to 12 hours of battery life and even weighs about the same. What’s more, it has an outdoorsy, rugged design and distinctly powerful bass. There’s no voice assistant and similarly to this Bose speaker, audio can be a touch edgy at top-volumes, but it’s still a great option if you’re in the market for a portable speaker. Read our full JBL Flip 6 review.
Sonos Roam 2 We rate the excellent Sonos Roam 2 as our top overall pick for the best Bluetooth speaker. Why? Well, you get rich, powerful audio, Wi-Fi connectivity alongside Bluetooth 5.3 compatibility and a sleek, highly portable design. You don’t get quite as much battery life as the Bose SoundLink Flex Gen 2 and it’s a touch more expensive – but it may well be worth those sacrifices. Read our full Sonos Roam 2 review.
Bose SoundLink Flex Gen 2 review: how I tested
(Image credit: Future)
Tested for one week
Predominantly used at the Future Labs music testing space
Mainly tested using Tidal on FiiO M11S
I spent hours listening to music on the Bose SoundLink Flex Gen 2, testing it across various EQ modes and volume levels. I predominantly used the speaker in our music testing room at Future Labs to best judge audio quality and validate battery life claims.
When listening to tunes, I predominantly tapped into Tidal on the Fiio M11S hi-res music player. I streamed tracks from our carefully curated TechRadar reference playlist as well as a bunch of songs from my personal library. This included songs with deep bass, high-pitched vocals, and complexly layered mixes, enabling me to hear the speaker’s full range capabilities and dynamism across different frequencies. I also used the Tribit Stormbox 2 to closely assess the improvements this Bose speaker can offer over a more budget model.
A good starter deck should be easy to use and sound decent without breaking the bank. The House of Marley Revolution does both, with an added dose of sustainable style that makes it one of the best-value Bluetooth turntables we’ve tested.
Made with eco-friendly components, the Revolution sets itself apart from your average budget turntable's plastic build. There’s a reassuring weight to its construction, while the materials lend it a quality feel which belies the cost. The base is wrapped in fabric woven from recycled resources, while the distinctive bamboo plinth makes a statement wherever you place it.
Pre-calibrated out of the box, setting up the Revolution is as simple as dropping the felt mat on the platter and attaching the counterweight to the tone arm. You can wire up for easy analog audio or push the Bluetooth button for wireless pairing. Then you’re good to go. It’s all incredibly straightforward. This plug-and-play approach won’t appeal to hi-fi enthusiasts, but it makes for a hassle-free vinyl experience that’s ideal for first-time listeners.
The same goes for the audio output: this isn’t the kind of deck that needs to be paired with high-end hi-fi separates. If you’ve got a picky ear, there’s plenty to be picked at. Mids can be muddy, for example, and we detected some distortion in the treble at times. Then again, hooked up to House of Marley’s Uplift Bookshelf Speakers (sold separately – although you'll find tempting bundle deals), the sound was more than dynamic enough for everyday listening, with a surprising fullness to the low end in particular.
It won’t trouble the best turntables for audio quality. But if you want an entry-level Bluetooth deck that looks good, sounds decent and is foolproof to operate, we think the Revolution offers fantastic value.
House of Marley Revolution: price & release date
(Image credit: Future / Chris Rowlands)
Launched in September 2024
Available now for $169.99 / £149.99 / A$199
The House of Marley Revolution turntable was released in September 2024. It joins the Stir It Up and Stir It Up Lux decks in the sustainable brand’s turntable line-up. Priced at $169.99 / £149.99 / A$199, it sits very much in entry-level category.
The Revolution turntable can also be bought bundled together with House of Marley’s wired Uplift Bookshelf Speakers ($179.99 / £199.99 / A$349) or a Get Together Duo wireless stereo pair (£249.99) in the UK.
Audio-Technica AT-LP70XBT review: Specs
House of Marley Revolution: design
(Image credit: Future / Chris Rowlands)
Plinth made from renewable bamboo
Dust cover made from post-consumer plastic
Unit wrapped in sustainable Rewind fabric
House of Marley has made its name with audio gear crafted from sustainable materials – and the Revolution is no exception. This is a turntable that does its bit for the planet. The built-in dust cover is made from post-consumer plastic, while that unmissable plinth uses renewable bamboo. The body of the unit is clad in Rewind fabric, which is woven from reclaimed cotton and hemp, with recycled rPET.
More than a fad, these materials make the Revolution a genuinely distinctive turntable, especially compared with the generic plastic build of many budget decks. The grain pattern on the plinth might not appeal to minimalists, but it gives the Revolution an organic look seldom seen in modern audio products. Similarly, the fabric wrap lends the base a nicely tactile finish, albeit one that might attract dust over time.
There are still clues that this is an entry-level turntable: the section at the base of the tonearm is plastic and there’s more flex there than you’d get from a deck at twice the price. But on the whole, the Revolution doesn’t feel cheap. It helps that there’s a good weight to the unit. It’s also obvious that House of Marley’s design team has paid plenty of attention to detail, right down to the subtle red, yellow and green stripes found on the headshell.
Design score: 4.5/5
House of Marley Revolution: features and setup
(Image credit: Future / Chris Rowlands)
Plug-and-play setup with arm counterbalance
Wired or wireless speaker connectivity
Pre-calibrated tracking force and anti-skate
As you’d expect from a starter deck, the Revolution is a cinch to set up. The only assembly that’s really required is to slide the counterbalance onto the tone arm and screw it in place. Otherwise, the Revolution is the definition of a plug-and-play turntable. Tracking force and anti-skate come pre-calibrated out of the box, so all you need to do is connect a set of speakers and you’re away.
You can wire in a pair of separates for a full analog setup, using either the RCA line out or passive speaker jacks on the rear. Alternatively, the Revolution’s Bluetooth support lets you output audio wirelessly. House of Marley offers the Revolution as a bundle with its Uplift (wired) or Get Together (wireless) bookshelf speakers, but it works just as well with your existing audio kit. Put a Bluetooth speaker into pairing mode, press the Bluetooth button on the turntable and – in our experience – it will find and pair within 10 seconds.
Controls are kept to a bare minimum, with the power knob doubling up as a volume control, in addition to a three-speed playback setting and tonearm lift lever. There’s also a switch to toggle Bluetooth in and out. With Bluetooth set as an input, you can pair it with a source device, allowing you to stream music via the turntable to your wired hi-fi speakers – a useful feature if you don’t have another way to connect your separates to a streaming service.
Features and setup score: 4/5
House of Marley Revolution: audio performance
(Image credit: Future / Chris Rowlands)
Replaceable Audio-Technica AT3600L stylus
Stream to and from Bluetooth devices
Quality is fine for everyday listening
Lift the tonearm over a record and the platter will start spinning automatically. Lower it and you’ll be rewarded with audio that’s surprisingly rich for a budget deck. Your choice of speakers will naturally have an impact on the sound signature, but output quality from the Revolution is perfectly serviceable for everyday listening.
Wired up to House of Marley’s Uplift Bookshelf Speakers, there was a nice dynamism to the playback. Albums of all genres sounded lively, from Radiohead’s OK Computer to Rumours by Fleetwood Mac. There’s a surprising amount of weight to the low end as well, which means your records are never at risk of sounding flat. Playing Barry Can’t Swim’s When Will We Land? on a Friday afternoon certainly got the house moving.
That bass actually proved too much when paired with the JBL Authentics 200 over Bluetooth. It could be that House of Marley has tuned the output to suit its own speakers, but the lower frequencies were too punchy to enjoy in that particular setup, crowding out the upper range. That isn’t the case when the Revolution is connected to the Uplift speakers, which deliver a relatively balanced listen for the money.
All of this is caveated by the fact that the Revolution is by no means a hi-fi-quality turntable. Audiophiles will find plenty to sniff at. The mids are easily muddied, for example, especially on complex tracks. Listening to AM by the Arctic Monkeys, detail was quickly lost on heavier numbers. Treble can also be quite harsh at times and we picked up a fair bit of distortion at the top end.
This isn't a deck capable of doing justice to high-end stereo speakers, but nor is it priced like one. More expensive turntables will give you a fuller and more dynamic listen, but if you want an affordable first deck to spin records on a daily basis, you can do worse than the Revolution.
Interestingly, we picked up that the Revolution ran ever so slightly slow compared with digital tracks, although not enough that you’d notice unless you were timing for it.
Audio performance score: 3.5/5
House of Marley Revolution: value
(Image credit: Future / Chris Rowlands)
Distinctive design and decent build at a fair price
Sounds quality is reasonable for the cost
If you’re looking for a straightforward turntable at a palatable price, we think the House of Marley Revolution gets close to the value sweet spot. There are some cheaper Bluetooth turntables out there, but none with the same style and build quality as the Revolution.
It’s not a perfect product by any means. This isn’t one for serious audiophiles, but it ticks all the right boxes for a reasonably priced starter deck. You get a solid construction, simple setup and distinctive design, plus the flexibility of wired or wireless connectivity.
There are plenty of turntables that sound better and the Revolution’s audio shortcomings would be laid bare if paired with some of the best stereo speakers. But team it up with a matching set from House of Marley and you’ve got a reliable setup for spinning records on a daily basis, with audio quality that’s rich enough for easy listening.
Value score: 4/5
Should you buy the House of Marley Revolution?
Buy it if...
You want a distinctive turntable A bamboo plinth and Rewind fabric body wrap help the Revolution to cut a dash on any sideboard, while a recycled plastic dust cover adds to its unique eco credentials.
You need something simple to use A plug-and-play turntable that’s pre-calibrated out of the box, the Revolution makes it easy to get your records on. Setup is straightforward and Bluetooth connectivity is seamless.
You’d like the option of wired or wireless Giving you useful flexibility, the Revolution lets you enjoy playback via wires or Bluetooth. Hook it up to House of Marley’s Uplift or Get Together speakers, or use your own.
Don't buy it if...
You want the very best sound quality The Revolution represents excellent value, with surprisingly dynamic sound for the price. That said, muddy mids and a dash of treble distortion mean quality isn’t perfect for hi-fi enthusiasts.
You want a flexible setup Designed with simplicity in mind, the Revolution keeps things streamlined. You can’t adjust the tracking force or anti-skate, and while the stylus is replaceable, you can’t upgrade the cartridge.
You want perfect playback During our tests, the Revolution ran a touch slow at times. Not enough to notice unless you’re listening very closely, but still an imperfection which could distract the keenest ears.
Audio-Technica AT-LP70XBT: Also consider
Audio-Technica AT-LP70XBT Our favorite budget Bluetooth turntable will set you back a fair bit more than the Revolution and you’ll have to live with a plastic chassis. That said, it also benefits from fully automatic operation, as well as superior sound quality. Read our Audio-Technica AT-LP70XBT review here.
Pro-Ject Debut Carbon If you have ambitions of becoming a vinyl enthusiast, we recommend the Pro-Ject Debut Carbon for your first deck. It costs more, but your reward is a gorgeous aluminium build and solid hi-fi credentials, including fantastic sound quality. Read our Pro-Ject Debut Carbon review here.
How I tested the House of Marley Revolution
(Image credit: Future / Chris Rowlands)
Tested for three weeks
Used as my primary turntable in living room
Tested using House of Marley’s Uplift Bookshelf Speakers
I installed the House of Marley Revolution in my living room for the best part of a month. It was used on a daily basis to spin records of all genres. I paired it with House of Marley’s wired Uplift Bookshelf Speakers, as well as testing its wireless capabilities by connecting it to my JBL Authentics 200 via Bluetooth. I listened keenly to tracks that I know well, to get a feel for how the Revolution handled specific details, as well as its overall character.
Bose clearly likes the name 'QuietComfort Earbuds', because this is the third pair of earbuds to which the brand assigned the name – and that's not even counting suffixes! To clear up confusion, we've slapped the '2024' on the end up in the headline and our section headers. Got it? Good.
Following on from 2020's Bose QuietComfort Earbuds, 2022's Bose QuietComfort Earbuds 2 and 2023's Bose QuietComfort Ultra Earbuds, these could be called 'Gen 3' or simply '3', but Bose has decided to simplify things but dropping the descriptor entirely. For all intents and purposes, then, these are the new QCE (until newer ones come out).
It's no wonder that audio powerhouse Bose loves this name, though, because it's a very literal description of the two principal selling points of its earbuds. When you wear them, things are quiet (because of the Active Noise Cancellation) and comfortable (because of the design).
First up, the ANC: Bose's earbuds have noise cancellation that beats out anything else I've tried at this price – and many earbuds that cost much more. It completely eradicates all but the most incessant and loud background noises, and its Aware mode is fantastically smart in isolating and amplifying voices while hiding other sounds.
I was surprised by just how dramatic the two modes were. On a stormy day, on Aware mode, I could hear someone talking to me perfectly but didn't hear a peep from the trees which were almost blown at a 90-degree angle. Turn on full Quiet mode and I couldn't even tell if someone was talking to me.
Onto 'comfort', then. Again the Bose QuietComfort Earbuds knock it out of the park, with a snug and sturdy fit. Bose has brought back its stability bands from previous models, but has redesigned them to look slightly less like velociraptor talons – these ridges ensure the buds stick firmly in your ear. During testing, I was constantly surprised by just how secure the earbuds felt; in fact near the end I did an 8km run and never did the earbuds come close to falling out.
But the name isn't all, and the Bose have a few other tricks up their sleeve: they sound great, the battery life is surprisingly good, the app has plenty of features and the price is pretty low all things considered.
A few minor annoyances detract from the experience of using the Bose QuietComfort Earbuds, but not by much. I found the case a little too big, and it really bulged out of my pocket. Plus, the buds support the SBC and AAC codecs for music streaming, but audiophiles will miss the likes of aptX, FLAC and WMA.
My personal biggest gripe, though, was that the earbuds' voice controls were far too sensitive, to the point that other people nearby me would accidentally control my earbuds when saying words similar to the voice commands. This was easily remedied by me turning the feature off, but it's a shame for there to be a feature that I can't use.
These issues aside, the Bose QuietComfort Earbuds are some of the best mid-range buds you can buy for the price, and might even sway you into spending your hard-earned cash here, instead of on something plenty more expensive but not that much better.
Bose QuietComfort Earbuds 2024 review: Price and release date
(Image credit: Future)
Unveiled in October 2024
Sells for $179 / £179 (roughly AU$270)
Bose announced the QuietComfort Earbuds in October 2024, following the biannual release schedule of the other two earbuds of the same name.
You can buy the Bose QuietComfort Earbuds for $179 / £179 (roughly AU$270, though I couldn’t find them on sale in Australia). This price puts them as more affordable alternatives to the QuietComfort Ultra Earbuds, which sell for $299 / £299 / AU$449.
Ignoring the premium alternatives, the ‘standard’ QuietComforts’ price places them in the mid-range earbuds sector – you can’t call them 'cheap' but they’re certainly not expensive either, bringing some top-end features to a lower price point. Importantly, they're about $/£100 cheaper than their two namesakes.
To make the most of the Bose QuietComfort Earbuds, you need to use the bespoke Bose QCE headphones app – not any of the other Bose apps on your chosen app repository – and I’d strongly recommend you download it because it’s your ticket to most of the headphones’ features.
Let's deal with the first half of the QuietComfort name. Bose knocks the 'quiet' bit out of the park – it’s almost like the company names its products based on its fantastic noise cancellation. The QCE use a similar Active Noise Cancellation tech to Bose’s other products, many of which we rate as the best ANC earbuds. In fact, the company’s website implies, but doesn’t go so far as to explicitly say, that it’s exactly the same tech.
Either way the ANC is fantastic, drowning out sounds which I thought would be impervious to the best ANC-ing; no more chatty office spaces, rattling of train carriage or roar of wind in trees. I also found the earbuds’ Aware mode more accurate than many companies’ equivalents – this cancels most background noises but isolates and amplifies certain noises like oncoming traffic or people talking nearby.
The app also has an equalizer – it mostly offers you presets but there’s a custom mode that lets you adjust low, low-mid, mid, high-mid and high sounds to your taste. It’s not quite as in-depth as many earbud EQs but I’d say it’s the most complex you can make an EQ like this while making it usable by non-audiophiles.
(Image credit: Future)
Other features enabled by the app include multi-point pairing, the ability to change the touch control functions, a way to set up the earbuds to be remote camera triggers for your phone, a low-latency gaming mode, a battery prediction feature – which was really useful, so much so, I wish there were a way to find it that wasn’t buried in menus! – and voice control.
If you’ve read the introduction, you’ll know that I had an issue with this latter feature. It’s intended to let you use voice commands to control the buds hands-free (rejecting or accepting calls, playing or pausing music, skipping tracks, changing the volume, adjusting the ANC and so on) but it was far, far too sensitive. When I tested the buds in my office or in public, people around me would (accidentally, I presume) trigger these voice functions, and I kept finding my music stopping, or getting louder. It's really annoying. The only way to stop this happening, I found, was to turn off voice commands.
At some point, the QCE are getting a feature from their Ultra sibling: Bose Immersive Audio is on its way, though it wasn’t on the buds as of this review. This feature is basically Bose’s own version of Spatial Audio, so movies, games and sometimes music sound like they're coming from all around you. However the buds miss another feature of the Ultra, CustomTune technology which scans your ears to deliver sound mixed for you, a sign of the lower price.
Bose predicts the battery life of the buds to be 8.5 hours with the case getting you an extra 31.5 hours (or 2.5 charges). In my testing, the buds actually hit nine hours with ANC on, so presumably they'd last even longer with it turned off. I presumed 8.5 hours would be ANC off, with an ANC on figure of around six hours, and was very pleasantly surprised.
Features score: 4.5/5
Bose QuietComfort Earbuds 2024 review: Design
(Image credit: Future)
Comfortable and secure fit in-ear
IPX4 rated against sweat and showers
Chunky case
Given this section is about design, it's time to deal withe the second half of the QuietComfort name.
Each bud weighs 8.5g, and they’re bigger than some other earbuds I’ve used but the center of mass is towards the ears so they don’t wobble when you’re walking. They felt secure and comfortable to wear, even for long period of time, and I never felt any worry about them falling out.
Helping the security of fit is the fact that each earbud has a ‘stability band’, a protruding rubber ridge which helps ensure that the bud is wedged into your ear. There are multiple sizes of this in the case, as well as different ear tip options, and I imagine most people would be able to use these to find a fit as stable as mine.
(Image credit: Future)
Further helping the 'comfort' descriptor are the buds' incredibly easy-to-use buttons, which you can activate with just a tap of the flat part of the body.
Unlike many other earbuds, you don’t need to push the buds so far into your ear that they hit skull, nor do they require a finger manoeuvre so complex that you need to be double jointed. However, the sensitive button did pick up accidental touches quite a bit, especially when I was was putting the buds in my ear.
The buds are IPX4 resistant, which Bose says they repel sweat and ‘water’, albeit the latter is more likely to be splashes instead of immersion.
A small gripe I have with the new QuietComfort Earbuds is that the case is a fair bit bigger than most other true wireless cases I’ve tested. It’s not exactly football-sized but its 3.2 x 8.9 cm x 5.1 cm body made it feel like a rock in my pocket.
The case also feels like a questionable element as the buds audibly rattle around in it. I don’t think they could ever sustain damage from this wiggle room but it makes you question whether or not there’s a lot of empty space there…
Though Bose hasn’t added a word into its earbuds’ name for sound quality, prospective buyers will be happy to know the QuietComfort Earbuds don’t cost you a premium price.
The QCE have a crackling warm tone, with rich and meaty bass, though not to the extent that these will only cater to bass-heads. I’ve used earbuds that turn the bass up to 11 to the detriment of everything else, but these buds are more nuanced. Mid tones remain energetic and excitable and for the most part, treble did too, although in certain songs I did find the vocals missed some sparkle that other earbuds could provide.
The QuietComforts go nice and loud too – not ear-blisteringly loud when you crank it to the max, but I never found myself going near to the max volume in everyday use.
My favorite aspect of the buds’ audio, though, was a much more dramatic sound stage than many other buds I’ve tested. You can hear the different instruments spread around you like dishes at a tapas restaurant, and if you close your eyes you feel like you could point to where each one is. In fact, I’d say these Bose provide perhaps the best sound stage of any earbuds that don’t support top-end audio codecs.
Oh yeah, about that – support for some fancier codecs and features are missing, which ensures the Bose Earbuds Ultra still maintain some relevance, but if you listen to your music on Spotify you might not even mind.
Sound quality: 4/5
Bose QuietComfort Earbuds 2024 review: Value
(Image credit: Future)
Rare earbuds that justify the price
Bose's best value-for-money proposition
I previously referred to the Bose QuietComfort Earbuds as some of the best non-premium in-ears. Though this is true, in that they’re definitely cheaper than the top-end buds you can find on the market, they’re still pricier than loads of other options out there.
If you want to save money, you can find earbuds with pretty good fit or ANC or sound quality for about half the price of the QCE. They won’t do the job quite as well as these buds, but they’ll save you money.
But if you want features as advanced as the QuietComfort offer, you’d be hard-pressed to find a rival as capable on all fronts and costs any less.
I'd add that, being cheaper than previous QCEs and the Ultras, these are arguably the best-value earbuds Bose has put out recently.
Value: 4/5
Should I buy the Bose QuietComfort Earbuds 2024?
Buy them if…
You need quality noise cancellation If you work somewhere noisy or hate hearing annoying sounds on your commute, the QuietComfort Earbuds' ANC will be a blessing.
You have trouble finding well-fitting earbuds Sometimes, it can be really hard to find earbuds that fit you well. Not so much with the QCE, which come with multiple ear tips as well as stability loops for a secure fit.
Don’t buy them if…
You're buying them for the voice controls The Achilles' Heel of the Bose QCE is the voice controls, which are far too sensitive. If that's the reason you're buying, I'd advise looking away.
You want to listen on high-res codecs With the Bose QCE only supporting SBC and AAC codecs, people who want high-quality sound from top-tier apps will be disappointed..
Bose QuietComfort Earbuds 2024 review: Also consider
Bose QuietComfort Ultra Earbuds A year after going on sale, these Ultra earbuds have reduced to nearly as low as the new buds. They have some extra features and a slightly different design.
JBL Live Beam 3 This same-priced alternative have a cool case screen, a great battery life and pretty good audio, even if the QuietComfort win for quietness and comfort.
The testing period for this Bose QuietComfort Earbuds review lasted two weeks, not counting time spent reviewing. I used them alongside my Android smartphone with many different music and video streaming apps, and also games.
The Bose got to enjoy a few different environments over those two weeks including my home, my office, various trips to the local neighborhood and gym, bus and train trips and even a run at one point.
I've been testing gadgets for TechRadar for nearly six years now, including audio products for much of that time, and that includes some of the earbuds I compared the Bose to earlier.
Reader, I want you to cast your mind back to the 2010s, maybe even the noughties – I’m sure many of you will have fond memories of plugging your wired Apple earbuds into your iPod, or perhaps even an early-gen iPhone. And my mind was cast back to this exact period as soon as I got my hands on the Apple EarPods USB-C. These wired earbuds may not fit your iPod anymore, but they’ll work with almost any modern handset – Apple or not – thanks to their USB-C connector. But do these buds merely open a window to the past, or do they craft a strong sonic experience in their own right?
Well, to find out, let’s start with sound quality. Perhaps unsurprisingly, you’re not going to get next-level performance from the Apple EarPods USB-C; after all, they only cost $19 / £19 / AU$29. But for the most part, they do still offer adequate audio. I rarely felt that treble was too grating or that overall sound was tinny – an issue that a lot of cheap competitors are guilty of. On top of that, you get a decent helping of bass – even if it’s not ultra-clear or able to stretch to extreme depths. Given these also support Apple lossless audio, at a glance they seem decent for general audio quality – but let’s drill into the details.
I tried listening to Young Blood by The Naked and Famous and quickly identified one key issue. The electric guitar that blares throughout the track is meant to have a well-defined position in the mix – in the lower-mid range, separated from the bass – to uphold the track’s powerful, full-sounding profile. However, it really didn't sound all too distinct, coming through slightly muddied with sounds in the low-end – an issue that you won’t experience with some of the best wired earbuds.
And speaking of that low-end, you’re not going to be blown away with incredibly clear quality. For instance, I played Ma quale idea by Pino D'Angiò and the iconic, funky bassline was uncharacteristically muddy. This muddiness almost smothered D'Angiò’s smooth, deep vocals, cluttering the soundstage. Despite that, actual bass levels are respectable – you get a solid amount of low-end weight for some super-cheap wired buds, even if clarity isn’t top-drawer. You won’t get tasty sub-bass though. I tried listening to The Boys Are Back In Town by Yung Gravy and although sub-bass was audible, it lacked its imposing, ground-shaking boom.
The lack of bite was also apparent with treble elements in Rains again by Solji and the vocalist’s high notes – despite avoiding the abrasiveness some cheap buds inflict – failed to reach their grandiose, showstopping potential, sounding slightly dulled and restrained.
Something that I feel diminishes the listening experience significantly is actually nothing to do with audio quality, though. That’s right: I’m talking about the fit of the Apple EarPods USB-C. These earbuds don’t have eartips, so you don’t get a proper seal with them. This looser fit means that sound isn’t perfectly concentrated and the buds will sometimes feel as if they’re falling out of your ears. This can be quite frustrating when you’re on the move; I found myself readjusting to get a more snug feel a little too often for my liking. It is worth noting, though, that some may find wearing buds with eartips for extended periods uncomfortable – so your impression of the fit itself will vary depending on personal preference.
A less debatable flaw of the relatively loose fit of the EarPods is that it allows a lot of external noise to seep through. Again, the lack of eartips removes what is typically a passive protective layer, so I often heard colleagues talking in my office or cars zooming by while on walks. If shutting out the wider world is a top priority, I’d simply recommend not grabbing these – there are better wired options for noise isolation, like the SoundMagic E80D or cheap wireless buds with active noise cancellation, like the Earfun Air Pro 3.
But on a positive note, these are a very elegant pair of wired buds – in fact, a lot of budget competitors can’t even come close in the style department. They are a fair bit heavier than a lot of competitors at 1.1oz / 30g, but they never felt heavy in-ear or irritating to wear for longer listening sessions. The drivers are encased in the classic white glossy housing that Apple fans will be well accustomed to. The wire is also slim, rounded and not too bad of an offender when it comes to cable noise – which is still noticeable, but not overwhelming. The USB-C connector here is also pleasingly compact and never got in the way when I was holding my phone.
Finally, the included controller is sleek and well-sized, though it did sit a little closely to my cheek – if it was slightly further down the wire it would be perfect. It includes volume and play/pause controls for music and taking phone calls, as well as a mic. And in terms of quality, the mic is pretty standard. Vocals were decently clear on a voice recording and phone call, although there is some noticeable static in the background – something that’s typical for cheap and even some less cheap buds.
So, at the end of it all, where do I stand on the Apple EarPods USB-C. Did they provide a fun, nostalgic ride for me? Sure, they still have the token Apple charm, sleek looks and minimalist design, and the wired look is aesthetically pleasing, in my view. But did they impress me in terms of audio quality? Well, not quite. The soundstage is a tad messy, with instruments often failing to find a defined pocket to play in. But having said that, there’s not too much tinniness or unpleasantly aggressive treble sounds that you get with a lot of cheap wired buds. Overall, then, the Apple EarPods USB-C are pretty solid given their low price – that is if you can deal with their lack of ear tips.
(Image credit: Future)
Apple EarPods USB-C review: Price and release date
$19 / £19 / AU$29
Launched in 2023
The Apple EarPods USB-C released in 2023 and are the tech giant’s debut in the wired USB-C world. One of the most attractive things about these buds is their super-low price. They’re available for just $19 / £19 / AU$29 – that’s in-line, or cheaper than a lot of competitors. You can only get them in one color, White, but that was no issue in my book, given the glossy, bright look suits them to a tee.
Apple EarPods USB-C review: Specs
(Image credit: Future)
Should you buy the Apple EarPods USB-C?
Buy them if...
You love the way Apple products look If you typically like the white, glossy look of Apple’s peripherals, you’ll surely be a big fan of these buds – well, design-wise at least. If your top priority is style, these hit the right notes, thanks to a diminutive connector, sleek curved buds and a slim wire.
You’re on a tight budget These buds subvert the preconception that many have of Apple products – they’re not expensive at all. At just $19 / £19 / AU$29, they’re ideal if you’re working with a limited budget.
Don't buy them if...
You’re an audiophile If top-drawer audio quality is what you’re after, keep looking. I didn’t find these buds to produce grating, nasty sound, but I didn’t feel that they offered well-defined, separated or dynamic audio either. They’re just decent sound-wise – fine for cheap buds, but not good enough for the keenest of listeners.
You want decent noise isolation Because of their shape and design, the Apple EarPods USB-C won’t keep sound out effectively whatsoever. If you want passive noise isolation, you’re better off choosing some buds with ear tips in order to form a sound-repelling seal.
Apple EarPods USB-C review: Also consider
Skullcandy Set USB-C The Skullycandy Set USB-C offer a sleek, curved design, excellent color options and IPX4 waterproofing, making them a worthy budget pick. Audio isn’t going to wow and the controller lacks volume controls, but if you just want some stylish, cheap buds, that likely won’t be a real dealbreaker. Read our full Skullcandy Set USB-C review.
SoundMAGIC E80D If you want to take a step-up on the Apple EarPods audio quality-wise, the SoundMagic E80D could be the perfect fit. They’re a fair bit more than Apple’s buds, but for less than $50/£40/AU$70, you still get detailed, balanced audio – partially thanks to a built-in DAC. You also get solid noise isolation and a comfortable fit. Sure, the controller is a little fiddly, but otherwise these are a great pair of wired earbuds. Read our full SoundMAGIC E80D review.
Apple EarPods USB-C review: How I tested
(Image credit: Future)
Tested for one week
Used in the office, at home and while on walks
Listened using both Apple Music and Tidal
I tested the Apple EarPods USB-C over the course of one week. I used them while using Apple Music on the iPhone 16 as well as with Tidal on the Samsung Galaxy S24 FE. I also played tunes on Spotify and watched video content via YouTube. I tested the EarPods USB-C in the office, at home and while out on walks near busy roads.
When listening to music I played tracks from the TechRadar testing playlist, which contains songs spanning a variety of genres – though I also spent hours blasting bangers from my personal library. When appropriate, I compared these buds to the similarly priced Skullcandy Set USB-C, in order to better assess audio quality, comfort and elements of design.
The Q Acoustics 3020c is one design in a five-strong range of (relatively) affordable new speakers from the British brand's 3000c series. Four different finishes are available, and no matter which one you prefer it will do justice to a braced, elegantly curved cabinet that’s just slightly longer than it is tall. Satin nickel driver surrounds behind magnetically attached grilles only add to the impression of a thoughtful and quite upmarket design.
A driver array consisting of a 22mm soft dome tweeter that’s decoupled from the main speaker baffle is bolstered by a rear-facing bass reflex port. Sat below is a 120mm mid/bass driver of the ‘continuous curved cone’ design that Q Acoustics first introduced in a far more expensive range of passive loudspeakers than this one. Claimed frequency response of 60Hz - 30kHz is the result and, if accurate, should be more than adequate for people who don’t prioritize ‘bass, and plenty of it’ over everything else. As well as the reflex port, the rear panel also features a single pair of extremely low-profile cable binding posts.
(Image credit: Future / Simon Lucas)
In action, the Q Acoustics 3020c prove a forthright, detailed and surprisingly assertive listen. No matter the type of music you listen to, and no matter its source, they sink their teeth in and let it know who’s boss immediately. Detail levels are high, drive and attack is plentiful, and both the tonal balance and the integration of the frequency range are completely convincing. Their stereo focus is impressive, their soundstaging abilities even more so, and the sort of momentum and urgency with which they can imbue a recording is always striking.
They’re not the heftiest speaker this sort of money can buy, it’s true – the low-frequency stuff they generate is taut and straight-edged, but could conceivably be punchier. And when it comes to dynamic expression, there’s a slight lack of headroom apparent. Because their default position is to be reasonably intense to start with, any changes in intensity are necessarily inhibited – just a touch, to be fair, but it’s a trait nevertheless.
Neither of these things prevent the Q Acoustics 3020c being a thoroughly enjoyable and quite invigorating listen, though, which warrants entry to our best stereo speakers roundup. Anyone with this sort of money for a speaker of this sort of size needs to hear them.
(Image credit: Future / Simon Lucas)
Q Acoustics 3020c review: Price & release date
Released August, 2024
Priced $499 / £399 / AU$899
The Q Acoustics 3020c are on sale now, and in the United States they sell for $499 per pair. In the United Kingdom, they go for £399, while in Australia you’re looking at AU$899.
It’s an eye-catching price, for sure, and exciting when you remember just how much excellence Q Acoustics has demonstrated at the loudspeaker entry level. But competition is fierce: from Dali and Elac to KEF and JBL, there are numerous well-regarded alternatives – and they're far from alone...
(Image credit: Future / Simon Lucas)
Q Acoustics 3020c review: Features
120mm mid/bass driver
22mm decoupled soft dome tweeter
60Hz - 30kHz frequency response
Like most passive loudspeakers, the Q Acoustics 3020c aren’t exactly overburdened with features. A couple of drive units, a helpfully positioned bass reflex port and some speaker binding posts are about all that can be expected – and sure enough, that’s about all the 3020c have.
Mind you, this being Q Acoustics those features are thoroughly implemented and entirely fit for purpose. The 22mm soft dome tweeter, for instance, is hermetically sealed and mechanically isolated from the baffle from which it protrudes. To all intents and purposes it’s floating, which prevents pressure modulations both from the energy it’s producing and from the mid/bass driver beneath it. The chamber it sits in is vented in an effort to minimize distortion, and has a lower-than-usual crossover point in order to make integration with the mid/bass driver as smooth as possible.
The mid/bass driver itself is a 120mm design of the ‘continuous curved cone’ type Q Acoustics first introduced on much more expensive loudspeakers than this one. Its continuous curve profile offers well-controlled frequency response, enhanced low-frequency dynamics and excellent dispersion characteristics – Q Acoustics suggests it offers the bass performance of a more common conic design with the midrange control of a flared cone design. The best of both worlds, in other words.
There’s a modestly sized bass reflex port venting from the rear of the cabinet, just above a single pair of extremely low-profile cable binding posts – Q Acoustics provides port bungs to help ensure the 3020c’s low-frequency activity is appropriate no matter where in your room they end up being positioned. The arrangement is good for a frequency response of 60Hz - 30kHz, according to the manufacturer, and with nominal impedance of six ohms and sensitivity of 87dB, the 3020c shouldn’t be any kind of problem for an amplifier to drive.
Features score: 5/5
(Image credit: Future / Simon Lucas)
Q Acoustics 3020c review: Sound quality
Positive, upfront and informative sound
Impressive powers of resolution
Not as out-and-out punchy or dynamic as they might be
Sit up straight and pay attention – that seems to be the 3020c's attitude when it comes to sound. This is an assertive and direct pair of loudspeakers, and while it has a range of talents to reveal, what’s most immediate about the 3020c is, well, just how immediate it is.
Once through a copy of Fela Kuti’s Water No Get Enemy makes the point in unequivocal fashion. There’s plenty of harmonic dynamism on display, a really impressive amount of detail retrieved at every turn, but it’s the sheer bite and attack of the recording, the blare and the stridency, that the Q Acoustics really zero in on. This kind of positivity could, if imperfectly deployed, seem like raucousness – here it’s more a kind of urgency. Music-making is a serious business, according to the 3020c, and there’s really no time to pussyfoot.
If this makes the Q Acoustics sound in any way uncouth, be assured that’s not the case. Their tonality is judged nicely – they’re a neutral and uncolored listen, from the top of the frequency range to the bottom. The integration of the two drivers is smooth, the contributions of the bass reflex port are careful, and the inputs of each area of the frequency range are properly balanced and entirely convincing. Details both broad and fine are confidently identified and contextualized throughout, and the minutiae of tone and texture is readily available as a result.
(Image credit: Future / Simon Lucas)
The soundstage the 3020c can create is large and properly organized, and there’s great stereo focus even when a recording is as packed with contributors as Fela Kuti’s. Switching to something on a much smaller scale – Anastasia Coope’s Woke Up and No Feet, for instance– allows the Q Acoustics to demonstrate how adept they are at opening up a recording and making each element available. That's even if, as with this recording, it’s lo-fi and lacking in separation in the first place.
The lower frequencies aren’t the meatiest you ever heard from a pair of speakers at this sort of money, it’s true, but there’s no arguing with how well controlled they are. There’s an almost martial observation of bass attack and decay, and the result is a spring-heeled approach to rhythmic expression that keeps momentum levels high and means music really drives along. If that’s the trade-off for a slight lack of outright punch and substance, it seems fair enough to me.
What’s just a touch less easy to accommodate is a slight lack of dynamic potency. It’s not as if the 3020c ignore changes in volume or intensity during the course of a recording, but they don’t breathe quite as deeply as some alternative designs when it comes to making these shifts completely obvious. They’re direct and attacking by default, and it seems this doesn’t leave them quite as much room for manoeuvre as is absolutely ideal. In isolation it’s a shortcoming that almost doesn’t register, but when you’re competing in an arena as fierce as these Q Acoustics are, even the mildest weaknesses get pounced upon.
Sound quality score: 4.5/5
(Image credit: Future / Simon Lucas)
Q Acoustics 3020c review: Design
279 x 175 x 281mm (HxWxD)
5.5kg
Choice of four finishes
The 3020c are not the first Q Acoustics loudspeakers to be longer than they are tall – but just because it’s a familiar design trope that’s based on sound engineering principles, that doesn’t make it seem anything less than slightly strange. It certainly rules out the possibility of positioning the 3020c on a regular shelf-sized shelf, and it means there will be significant overhang when positioned on a speaker stand with an ordinary top plate.
Where build and finish are concerned, we’re on equally familiar Q Acoustics ground, which is an uncomplicatedly good thing. The curved cabinet corners look good, the satin nickel driver trim gives a premium impression (as well as being a magnet for fingerprints) and the vinyl wrap covering the MDF cabinet is flawlessly applied. The outside is available in satin black, satin white or walnut as well as the oak of my review sample, while the inside features the point-to-point bracing the company has been perfecting for some time now.
There’s a final design flourish in the use of magnetically attached grilles. Not only do they cover slightly less than the entirety of the front baffle (leaving the casual ‘Q’ logo exposed), but they don’t require any visible fixings – the baffle looks unsullied when the grilles are removed.
Design score: 4.5/5
(Image credit: Future / Simon Lucas)
Q Acoustics 3020c review: Setup and usability
Position the speakers securely on a shelf or stand…
Attach speaker cable using plugs or bare wire…
... And away you go
Just as with ‘features’, there’s really not a lot involved in the set-up or subsequent usability of passive loudspeakers. It’s really not rocket science, and it shouldn’t take long before you’re up and running.
So, you’ll need to position your speakers securely – they are supplied with little rubber feet in order to decouple them from the surface on which they stand. Ideally, you’ll be further from them than they are from each other when you’re listening, and ideally they’ll be ‘toed in’ just a little towards you. You’ll need to attach them to your amplifier using half-decent speaker cable.
After that, it’s just a question of putting some music on and letting them do their thing…
Setup and usability score: 5/5
Q Acoustics 3020c review: Value
It’s hard to suggest the Q Acoustics 3020c don’t represent value for money. Even in terms of the amount of stuff your $499 / £399 / AUS$899 buys, they’re impressive – these are reasonably big cabinets by prevailing standards, build quality is impeccable and the standard of finish is top-tier, too.
And when it comes to sound quality, the 3020c – while being a quite specific flavor – have a whole stack of talents that will keep you listening long after you should have stopped and started doing something else.
It’s really only those listeners who want to be able to hear the low-frequency stuff from another room who might disagree.
Value score: 4.5/5
Should you buy the Q Acoustics 3020c?
Buy them if...
You’re after a vigorous, direct and detailed sound They just about stop short of grabbing you by the lapels, but the 3020c are a positive and quite attacking listen nevertheless
You admire a standard of build and finish that belies an asking price Between cabinets that are braced on the inside and curved on the outside, flawlessly applied vinyl wrap and shiny ‘satin nickel’ driver surrounds, the 3020c look like a more expensive proposition than they actually are
You have deep shelves or big speaker stands ‘Longer than tall’ is always a slightly awkward look in a loudspeaker, and you’ll need an appropriately sized surface on which to position your Q Acoustics
Don't buy them if...
You crave low-frequency impact The bass the Q Acoustics create is textured, tonally convincing and carefully controlled – but other designs hit harder
You haven’t checked your options The 3020c are deeply competitive, but they’re by no means your only choice at this sort of money and you should investigate the whole of the market
You feel strongly about loudspeaker proportions If you’re even slightly freaked out by loudspeakers that are longer than they are tall then you’re going to find the 3020c more than somewhat strange
Q Acoustics 3020c review: Also consider
The Elac Debut 3.0 DB63 have a rather ungainly model name, but at around $470 / £369 per pair they’re cracking value for money. Not as visually sleek as the 3020c if you ask me, but they have the all-around sonic talent to really take the fight to the Q Acoustics.
How I tested the Q Acoustics 3020c
Connected to a Naim Uniti Star and a Cambridge Audio EXA100
Connected using QED XT speaker cable
Playing a wide variety of music from a number of different sources
During my time with the 3020c the only amplification to hand was, to be absolutely honest, somewhat overspecified. But by the same token I know the way they sound pretty well, so was perfectly comfortable hooking the Q Acoustics to both the Cambridge Audio and the Naim devices using a QED speaker cable that falls just as readily into the ‘overkill’ category.
I listened to vinyl records, CDs and music streamed from Tidal in the course of the test – of all styles and types.
