The idea of taking the crucial business of digital-to-analogue conversion duties away from your smartphone (which has plenty of other stuff to be getting on with) and doing it properly using a dedicated USB dongle is not a new one – our guide to the best portable and desktop DACs is proof. And the idea of making the price of this USB dongle as aggressive as possible is not especially new, either. But Chinese specialist Hidizs thinks that with the S8 Pro Robin, it has perfected the balance between ‘price’ and ‘performance’.
Certainly this little device looks more expensive than it is, both on paper and in the palm. Specification that includes a balanced architecture DAC arrangement from Cirrus Logic, proper hi-res audio 32bit/384kHz and DSD256 compatibility, and balanced and unbalanced outputs all bode well, as do low weight, tidy dimensions and build quality that makes good use of glass and aluminium.
And up to a point, the Hidizs S8 Pro Robin makes good on its promises. The sound it delivers via a pair of Sennheiser IE900 IEMs when compared to that handed over by an Android smartphone and an Apple laptop is altogether bigger, more detailed, better organised and more dynamic. Where all of these things are concerned, it’s an unarguable step forward.
It doesn’t take long to reveal one or two shortcomings, though. The S8 Pro Robin is no fan of the sort of squashed MP3 files that are Spotify’s stock in trade – it makes the compression they have undergone obvious, and compared to the work it does when given something of 16bit/44.1kHz resolution or above to deal with, they sound rather flat and undemonstrative.
And no matter the quality of the digital audio file you ask the Hidizs to deal with, it renders the top of the frequency range thin and hard. Treble sounds are edgy and splashy, and only get edgier and splashier the louder you listen. This skewing of the frequency range makes the S8 Pro Robin sound rather lopsided, and its top-end characteristics are tiring.
(Image credit: Future)
Hidizs S8 Pro Robin review: Price and release date
Released in May 2024
Priced $79 / £59 / AU$119
The Hidizs S8 Pro Robin USB DAC/headphone amp is available now, having hit shelves (in most regions, at least) in May 2024, and in the United Kingdom it sells for £59. In the United States it goes for $79, while in Australia it costs AU$119.
This is not a lot of money for a USB DAC/headphone amp, it hardly needs saying – our favourites from the likes of Astell & Kern and Helm Audio cost well into three figures. But then again, a bargain is only a bargain if it’s fit for purpose…
Hidizs S8 Pro Robin review: Features
32bit Cirrus Logic DACs
3.5mm and 4.4mm outputs
Supports up to 32bit/384kHz and DSD256 resolutions
Yes, the S8 Pro Robin is small and affordable. But that hasn’t prevented Hidizs from including quite a number of highlights where features are concerned.
For example, the S8 Pro Robin is compatible with pretty much any operating system – attach it to a source of music using the USB-C slot on the bottom and it can play nicely with Windows, every Apple OS, Android and Harmony. And at the opposite end of its little chassis there are both 3.5mm and 4.4mm output sockets - so headphones with balanced or unbalanced terminations can be connected.
It’s in between, though, that the real action is. The Hidizs uses balanced DAC architecture via a couple of 32bit Cirrus Logic CS43131 chipsets, and this allows it to support PCM up to 32bit/384kHz resolution and DSD256. Which means it has its Hi-Res Audio certification and the badge to prove it.
Six digital filters offer a small degree of input into the eventual sound of the S8 Pro Robin – these can be accessed by simultaneously pressing the ‘volume up’ and ‘volume down’ buttons on the side of the chassis. The indicator light on the glass front panel briefly flashes in one of six different colours to let you know which particular filter you’ve selected, before it reverts to a colour that indicates the type and size of digital audio file you’re listening to.
Features score: 5 / 5
(Image credit: Future)
Hidizs S8 Pro Robin review: Design
Aluminium frame
58 x 23 x 11mm (HxWxD)
17g
Hidizs has done the sensible thing, and made the S8 Pro Robin as small and light as realistically possible. At just 17g you won’t even notice it in your pocket, and at 58 x 23 x 11mm (HxWxD) it’s about as unobtrusive as these things ever get.
It’s nicely built and finished, too. The frame is aluminium, and the front and back panels are of glass - it’s quite a tactile little thing. On the front there’s an illuminated company logo, and on one side three little control buttons. The bigger button in the centre is ‘play/pause’, and it has a volume control on either side. Press both ‘volume up’ and ‘volume down’ together and you can cycle through your filter options.
Design score: 5 / 5
(Image credit: Future)
Hidizs S8 Pro Robin review: Sound quality
Enough power to drive even quite tricky headphones
Open and detailed presentation
Insubstantial top end can get tiring
The most important job the S8 Pro Robin has to do is make your headphones (and we truly hope you've chosen something from our best wired earbuds or best wired headphones buying guides here) sound better than when they’re plugged directly into your laptop or smartphone – and it can most certainly do this. Plugged into an Apple MacBook Pro or a Samsung Galaxy S21 Ultra at one end and a pair of Sennheiser IE600 at the other, the difference the Hidizs can make to your experience is significant.
A 16bit/44.1kHz FLAC file of Mary Lattimore’s We Wave From Our Boats sounds fuller, more open and quite a lot more detailed in every department. There’s greater heft to low frequencies, a more spacious rendering of the midrange and a whole lot more bite and attack at the top of the frequency range (which, as I’ll get to, is not an entirely positive trait). Dynamic headroom is improved, soundstaging is more convincing, and there’s greater positivity to the way rhythms are expressed.
Move upwards in resolution from there and all of these positives continue to apply. Go in the other direction, though, with a listen to a 320kbps MP3 file of Idles’ Never Fight a Man with a Perm and the S8 Pro Robin can’t hide its dissatisfaction. Its dynamic response is underwhelming, and the overall presentation is, when compared to what it’s capable of with bigger files, flat and undemonstrative. To say that it doesn’t sound like much of an improvement on the unassisted sound of the source players tells you all you need to know.
Still, it’s simple enough to avoid this just by avoiding listening to horribly compressed content from Spotify’s free tier. What’s impossible to avoid is the hard, unyielding nature of the Hidizs’ high-frequency reproduction. The character of the treble sound is at odds with the rest of the frequency range, and the thin, insubstantial top end is tiring and ultimately not especially pleasant to listen to. And don’t, whatever you do, turn the volume up too far – the relentless nature of the high-end reproduction here is just compounded by loudness.
And it’s also worth noting that this top-end unpleasantness is exacerbated by the majority of the filter options that are available here. In fact, there’s only one filter (called ‘deem phasis filter’ on the Hidizs website – I suspect it’s actually a de-emphasis filter, and its corresponding colour on the fascia is blue) that gets anywhere close to calming the DAC’s treble response – and consequently that’s the one I selected when conducting this test.
Sound quality score: 3 / 5
(Image credit: Future)
Hidizs S8 Pro Robin review: Value
In some ways, the Hidizs S8 Pro Robin represents unarguable value. For not very much money at all, it can turn your smartphone or laptop into a much more viable source of music, and as such is a gift for your wireless headphones.
Sonically, though, it’s not quite the finished article – and anyone who’s especially sensitive to high-frequency sound is unlikely to enjoy the way it goes about things. All of which means it probably only offers middling value for money.
Value score: 3 / 5
(Image credit: Future)
Should you buy Hidizs S8 Pro Robin?
Buy it if...
Don't buy it if...
Hidizs S8 Pro Robin review: Also consider
How I tested the Hidizs S8 Pro Robin
With an Apple laptop and a Samsung smartphone
With content from Spotify and Tidal
Connected to Sennheiser IE600 headphones via the balanced output
As a process, there’s really not much to describe here. For the best part of a week I listened to the S8 Pro Robin while it was connected to either an Apple MacBook Pro or a Samsung Galaxy S21 Ultra using the USB-C input – Sennheiser IE600 wired in-ear headphones were connected to the 4.4mm balanced output. And then I listened to a variety of music, of a variety of genre and a variety of file types and sizes, from the Spotify and Tidal apps loaded on to both devices.
The Morel Biggie is the smaller sibling of Morel’s Högtalare (Swedish for speaker) – and is ironically named, given its compact size. But don’t let that fool you, because sonically it packs a punch.
It oozes class thanks to its superb engineering, evident from the perfectly planned surfaces on every side. It’s hard to imagine it looking out of place in any home, especially given the myriad colorways available. But home is where you’ll want to keep the Biggie, because even though Morel describes it as a portable speaker, it’s still too big and heavy to be carried around easily.
True to form, the Biggie’s feature set is similarly spartan, even for a Bluetooth-only speaker. One for our best Bluetooth speakers buying guide? Well, there’s no app to control or alter its settings, which is a pretty big omission and one the bulk of the competition (even at much lower price-points) does offer in 2024. There are five buttons for operation, but the only additional interface feature is the battery level indicator. And this is poorly implemented, requiring you to hold both volume buttons to reveal the level via the LEDs of all five buttons, which is far from precise.
As for audio features, the biggie (sorry) is Auracast compatibility, which allows you to join Auracast audio streams, designed for broadcasting to an unlimited number of playback devices. You can also use two Biggies in unison for stereo playback, although I was unable to test this feature as I was only given one unit to review.
The Biggie makes a strong impression on first listen, bellowing out the bass notes and creating a sense of space that rivals some of the best Bluetooth speakers out there. Mids and highs are mostly clear and detailed, but there are too many occasions when that low-end dominates the sonic space, masking the subtleties of other frequencies.
Morel’s dynamic EQ also fails to achieve its goal of optimizing the listening experience depending on volume, and the lack of hi-res codec support means there’s no way to improve the audio further.
Battery life is also average, and during my tests it failed to live up to its claimed 20 hours, ending up closer to 16. Fast charging is available, though, which means going from empty to full takes just two hours and only 20 minutes to get four hours of playback.
As for price, the Biggie is undeniably costly, and it seems most of your money is going towards the superlative build quality. The lack of features could be forgiven if the sound was truly exceptional, but it fails to deliver on that front too.
If it’s features you’re after, Sonos’s range of speakers, including the Sonos Roam 2 and Sonos Era 100, offer a ton of options and customizations plus wi-fi support, and cost less than the Biggie. If you want a standout sonic performer, the Audio Pro C20 is one of the best in that department.
(Image credit: Future)
Morel Biggie review: Price & release date
$299 / £299 / $AU499
Multiple colorways
Available worldwide
The Morel Biggie is available now for $299 / £299 / $AU499. It comes in several colorways, ranging from monotones and oak to shades of blue, green, and red. The faux leather strap is either black or brown, depending on the colorway.
It sits towards the higher end of the market, making it more expensive than the Sonos Era 100, our current pick as the best wireless speaker. It is considerably cheaper than the Era 300, though, which is slightly bigger than the Biggie, and features Dolby Atmos support plus multi-room audio using your home wi-fi network, among other technologies.
There are also cheaper alternatives that offer better portability, such as the Sonos Roam 2, our number one pick overall for Bluetooth speakers, and the B&O Beosound A1 Gen 2, which we think is the best for sound quality.
Morel Biggie review: specs
(Image credit: Future)
Morel Biggie review: Features
Bluetooth and 3.5mm AUX playback
Stereo playback possible
No app
In terms of functionality, the Biggie is about as simple as wireless speakers get. There are only five buttons on the Biggie: one for power, two for volume, one for pairing, and one for switching between wired or wireless connections. On the back is a single USB-C port for charging the speaker, which can also be used for charging a phone (although this didn’t work with my Google Pixel 7a). The port doesn’t allow for wired playback, though – there’s a 3.5mm AUX input for that.
There’s also very little in the way of audio enhancements, with no support for Dolby Atmos, Spatial Audio, and hi-res codecs like aptX. It is Auracast compatible, which lets you join audio broadcasts that can potentially reach an unlimited number of playback devices. You can use two units together in stereo, but as I only had one test unit, I couldn’t try this out.
There’s only one way to use the Biggie wirelessly and that’s via Bluetooth. While it paired instantly with a FiiO M11S music player, it struggled to connect to my Pixel 7a. It remained stuck in pairing on the first attempt, and on the second it paired but failed to establish a connection, with the Biggie’s pairing button flashing interminably. After pressing the mode select button twice it connected successfully. Of course, minor glitches like this can occur when pairing devices, but I’ve never had an issue pairing the latest audio devices with my phone before, and it’s a blemish on a speaker of this price.
To check the battery level, you have to hold both volume buttons for two seconds. The lights of all five buttons indicate the battery's remaining charge, making for an imprecise measurement – and since there’s no app, it’s the only option. Again, it’s an oversight on a modern-day premium wireless speaker to have no mobile app of any kind.
(Image credit: Future)
There are other issues with the battery indicator too. When I tried checking the level on a full charge, all five buttons flashed very quickly and faintly, which seemed like a glitch of some kind. Also, when holding the two volume buttons together they’re obscured, so when the battery is between 21-40% or 10-20% – which is when only the volume buttons will light – you can’t see the readout until you’ve taken your fingers away. Suffice to say, it’s not the most elegant solution – ironic given it’s designed to preserve the Biggie’s minimalist design.
Morel claims the battery will last up to 20 hours, which is reasonable for a wireless speaker. Things didn’t get off to a good start during my tests, though: after only one hour of continuous playback, it dropped to four lights, indicating a level of between 61-80% (I believe it was closer to the latter figure).
However, for the next five and a half hours of playback, it remained at this level before dropping to about 60%, so thankfully the battery’s rate of depletion didn’t follow its initial trajectory. Extrapolating beyond this figure, though, the Biggie still falls short of its purported lifespan: realistically, it’s closer to 16 hours.
Features score: 2/5
(Image credit: Future)
Morel Biggie review: Sound quality
Full and rich sound
Excessive boom
No hi-res codec support
Given the compact size of the Biggie, the bass sounds are surprisingly full and powerful, with plenty of punch. Highs are crisp and mids are clear for the most part. What’s most impressive is the sense of space the Biggie imparts, doing an admirable job of rendering the kind of experience you’d expect from a much larger speaker.
However, the Biggie is all too prone to excessive amounts of boom, even with the volume low; the so-called dynamic EQ fails to keep the sound in check at all levels as is claimed, and it’s unable to rein in mild distortion at higher levels. The speaker is definitely best experienced at a distance, but even then, that boominess all too often masks the finer details, especially in classical and other string-heavy music.
It’s also a shame that a speaker aiming for the premium end of the market only supports lossy SBC and ACC codecs, losing out on the higher fidelity offered by LDAC, aptX (which the larger Högtalare supports), and others. Using a wired connection via the 3.5mm AUX input doesn’t improve matters either, sounding near-identical to its wireless counterpart.
The volume controls don’t offer enough increments, with the lowest possible setting still too loud and boomy for more discreet listening. They also frequently clash with the volume controls on playback devices, with one overriding the other. A dedicated app could’ve kept volume levels consistent between speaker and source. It could’ve also offered an adjustable EQ for those who like to dial in their preferred settings.
Sound quality score: 3/5
Morel Biggie review: Design
(Image credit: Future)
Brilliant build quality
Ultra-minimalist
Weight compromises portability
It’s clear the Biggie is going for the sleek, ultra-minimalist look, with a hint of tradition courtesy of the large faux leather handle – which, together with the strap locks, serves to imitate a pair of headphones, a design choice I have to believe was intentional.
The overall engineering of the Biggie is impeccable, even down to the included USB-C cable. Every edge and fixture is solid and seamless, although the fitting of the back panel in my test model wasn’t quite perfect. Still, it was more than acceptable and barely a cause for complaint.
Every side of the Biggie is completely flat, making it easy to fit anywhere in your home. The four rubber feet are thick and sturdy, keeping the Biggie firmly planted. However, despite Morel claiming it to be a portable speaker, it’s too cumbersome and heavy to take on your travels. Really, this is an indoor speaker meant to be kept in place.
The aforementioned strap can be removed if you want to streamline the Biggie even more, simply by unscrewing the side clamps. There’s an optional wall mount available from Morel, should you wish to declutter your space even more.
The magnetic cloth grill is incredibly slick and, again, feels engineered to the highest standards. A small yet sturdy leather tab can be used to pull the panel off, although it's a little surplus to requirements, more of a style accessory than anything else. The fit and finish of the panel are faultless, and it's an incredibly elegant solution to masking the buttons that sit behind, invisible until the LEDs shine through once powered on.
But despite the quality of the grill, I do worry that the thin cloth will degrade after repeated button presses through it. After only a few days with the Biggie, I began to notice a crease running up the cloth from repeated compressions against the large button panel.
Another issue is that you can’t see the power button when it’s off. Muscle memory will take hold quite quickly, but it’s still a quirky design choice to hide it from view completely and illustrates just how committed Morel is to the Biggie’s minimal aesthetic.
True to the rest of the speaker, the Biggie’s buttons are solid yet light to the touch, with a pleasing clack to the presses. Their fit isn’t quite as perfect as other aspects of the Biggie’s overall construction, but I’m nitpicking here; they’re certainly up to the standards you would expect from a speaker of this price.
Design score: 3.5/5
Morel Biggie review: Value
At $299 / £299 / AU$499, there’s no denying the Biggie is an expensive wireless speaker. It’s more expensive than the Sonos Era 100, our number one pick for the best wireless speaker, which has more features and the brand’s unique ability to create a network of speakers for a complete home setup.
If you’re looking for a more portable experience, then our current pick for the best Bluetooth speaker, the Sonos Roam 2, is cheaper than the Biggie and fits in your luggage nicely thanks to its pill-like shape. It also has an IP67 waterproof rating, making it ideal for travel. Overall, it’s a more versatile performer than the Biggie.
Other similarly premium speakers include the Bose SoundLink Max, which is sturdy and portable but $100 more than the Biggie. Being a hardy, go-anywhere speaker, though, it’s also got an IP67 rating, and a battery life that actually lasts the 20 hours it claims, according to our tests.
Should I buy the Morel Biggie?
(Image credit: Future)
Buy it if...
You adore minimalism If you want zero fuss in your speaker, then look no further than the Biggie. It’s as clean as they come and fits in virtually any space in any home.
You want a sense of space For such a small unit, the Biggie impresses with its all-encompassing soundscapes. The low-end response is also powerful.
Don't buy it if...
You want the best sound The Biggie gets boomy all too easily, and the lack of any hi-res codec support is a real shame on a speaker this premium.
You want plenty of features There are no extras on the Biggie: you get Bluetooth and wired playback, and a few buttons for control. There’s no app or settings to adjust.
You want portability Despite what Morel says, you’ll struggle to carry the Biggie around comfortably. There are plenty of Bluetooth speakers out there that are much better suited for this purpose.
Morel Biggie review: Also consider
Sonos Era 100 The Sonos Era 100 is at the top of our wireless speaker list for a reason – and that is stellar sound that’s improved even over its sibling, the Sonos One, including better bass tones and a wider broadcast for optimal listening across a larger area. It also undercuts the Biggie on price. Find out more in our Sonos Era 100 review
Tribit Stormbox Micro 2 If you’re after something more budget-friendly, the Tribit is one of the best Bluetooth speakers around. The sound quality belies its tiny size and it comes packed with features, including a power bank function, a built-in strap that can fit on your bike, and a microphone. Read our full Tribit Stormbox Micro 2 review
How I tested the Morel Biggie
I tested the Morel Biggie for about a week and tried it with a variety of playback sources, including my phone, a laptop and a music player. I tested both its Bluetooth and wired capabilities.
I mainly listened to music via Tidal, a streaming service that allows for hi-res playback, although this wasn’t applicable in the Biggie’s case, reverting to the SBC/ AAC formats instead. I used TechRadar’s specialized playlist, designed to put audio devices through their paces with a comprehensive mix of genres and sonic styles, ranging from pop and electronic dance, to jazz and classical across multiple eras.
I tested the battery by letting the Biggie run continuously for six hours and took readings about every hour. Since there’s no volume readout, I can’t say exactly what levels I had set but suffice to say, I would describe my sessions as being comfortably loud.
The Anker Soundcore Space One Pro are the most expensive headphones Anker has ever released. Sure, they're still a lot cheaper than the likes of the Sony WH-1000XM5, but it does pile on a bit of pressure for these headphones to deliver, especially considering top-rated headphones like the Sennheiser Accentum Plus come in at nearly the same price. Happily, though, the Anker Soundcore Space One Pro are a great-sounding pair of wireless headphones that kept me listening for hours on end, day in, day out.
Thanks to LDAC codec compatibility, you’re getting hi-res audio, which helps the Soundcore Space One Pro to deliver rich, well-weighted all-round sound. If you appreciate some depth, these will likely pique your interest, thanks to the impressively weighty bass and sub-bass on offer. More generally, audio is to a high standard – it's not always as sharp as it could be or as clean-sounding as some top-of-the-range headphones, but it'll satisfy the vast majority of listeners.
Thanks to the Soundcore app, you can also find the perfect sound for you. There are classic EQ settings, which include a huge array of presets and a custom option too. But what’s really exciting is the HearID setting which assesses your personal tastes and hearing capabilities to suggest the perfect calibration – something that even some of the best headphones don’t offer. Not only that, but there’s a Dolby Audio mode available for those looking for a more expansive soundstage when watching movies or TV shows on the go.
More broadly, you’re getting a strong feature-set here. There’s Easy Chat for having conversations without needing to pause your tunes, multi-point connectivity and adjustable active noise cancellation settings. Speaking of ANC, you’re getting cancellation that’s a cut above some of the best cheap headphones. Some high-pitched sounds will still creep through, even when listening at higher volumes, but overall, you’re not going to get too distracted by the outside world when using the Space One Pro.
You’ll also be able to listen pretty much unbroken thanks to two key factors: battery life and comfort. Firstly, you’re getting plenty of playtime with the Space One Pro, which can go for 40 hours with ANC on and 60 hours with ANC off – although beware, with hi-res audio switched on, this number will be significantly cut. In terms of comfort, it really doesn’t get much better. Wearing the Space One Pro is never grating, even after listening for multiple hours consecutively – a fantastic plus given a lot of over-ear headphones fall at this hurdle.
It’s not all sunshine and rainbows, though. One of the Space One Pro’s biggest flaws for me is their looks. Although when folded they’re ultra-compact, in use they appear chunky and a little bit disappointing quality-wise – especially the button controls. This might not be a deal breaker for many, but Soundcore has increased its asking price for these headphones. Don’t get me wrong, these are good quality cans, but with this amount of cash, there are some outstanding alternatives from the likes of Sony and Sennheiser available to you – are the Space One Pro better than these? I’m not too sure.
Still, they sound great and you’ll happily keep playing your favorite tracks for hours on end. The main issue is the strength of the competition. For example, in our Sennheiser Accentum Plus review, we gave these similarly priced headphones 4.5 stars, thanks to their impeccable sound quality – although their fit isn’t suited to every head. Some people may find the Soundcore more comfortable, and prefer them for that reason, but most people will probably want to go for the better sound quality.
Anker Soundcore Space One Pro review: Price & release date
$199.99 / £149.99 (about AU$300)
Launched on September 5 2024 in UK/US
Launching in Australia in October 2024
With the Anker Soundcore Space One Pro headphones, the brand has ventured into slightly more premium territory. These cans will set you back $199.99 / £149.99 (about AU$300) – that puts them in the same ballpark as the Sennheiser Accentum Plus, which retail for $179.95 / £169.99 / AU$299, and the Sony ULT Wear, which go for $199.99 / £149 / AU$348.
It’s a significant price jump on the classic Soundcore Space One, which were just $99 / £99 at launch. Of course, the newer model is more compact, has more mics and higher-quality audio, but that’s still a big jump considering the Space One still has ANC, a very similar battery life and hi-res audio capabilities.
(Image credit: Future)
Anker Soundcore Space One Pro review: Specs
(Image credit: Future)
Anker Soundcore Space One Pro review: Features
Solid active noise cancellation
Hi-res audio capability
Feature-rich companion app
Something I love about the Space One Pro is that they boast a pretty expansive feature-set. You get the classic options you’d expect from modern wireless headphones, including multi-point connectivity and EQ settings, but there’s a good amount more to uncover.
One of my favorite features was Easy Chat, which lowers the music volume playing and makes voices clearer. This was incredibly useful in an office setting, especially when I had to respond to questions or chat with colleagues briefly, making for a seamless transition from listening to talking. You can easily adjust the time it takes for music to fade back in after using Easy Chat in the Soundcore app, with 5, 10 and 15 second wait times available, although I found the default 5 was ideal. Sensitivity here was just right too; for instance, the sound of typing wouldn’t set off Easy Chat, making for a near-flawless user experience. You will have to resist singing along to the music, though…
Another neat little feature is Safe Volume. When I listen to music, I like to listen at loud volumes – maybe a bit too loud sometimes. However, the Soundcore app has a decibel reading meter that displays whether your volume level is normal, acceptable (ie, a bit on the loud side but probably okay), or too high. This is useful for keeping yourself in check, and you can set a high volume limit too, if you want to be on the cautious side, or to keep kids' hearing safe if you give the headphones to them.
As I mentioned, there are classic EQ settings here, including a bunch of neat presets for various genres and the option to make a totally custom sound. However, one of the coolest settings available is HearID Sound, which assesses your hearing capabilities at various frequencies and asks you to pick your preferred sound through a small handful of multi-choice questions to find your perfect sound. This worked fantastically well and gave me some added depth in the bass department, a little bit of additional height in the treble, with a dip in the mid-range – a calibration that suited my taste very nicely.
One more feature that enables you to customize sound is Dolby Audio. This is useful if you want a more immersive, expansive sound from your headphones, but is likely better suited towards people watching videos. I found that this did add a bit of width to the soundstage, but I rarely used it when listening to tunes. When you are blasting your favorite songs, though, you can activate the LDAC audio codec (compatible with most Android phones), which delivers richer, more detailed hi-res audio – something I kept turned on throughout most of the testing process.
(Image credit: Future)
Another part of the Space One Pro that’s decently customizable is ANC. You can toggle on Wind Noise Reduction when out and about and switch between full, normal, and transparent levels of noise cancellation. But how is the ANC itself? Pretty good actually.
In a café, I could still hear a conversation on my table with music at half volume, but at a more realistic listening level of 65-70%, I could barely hear any words at all. When listening to more mellow classical music, however, sounds like plates being placed down crept through sometimes, even at high volumes.
At around 60% with Wind Noise Reduction on, traffic was barely audible, although some higher pitched noises did seep through from time to time. Similarly, when using a hairdryer, the screech-like noise it emitted was still audible when listening to a bass-heavy track.
With the lower-frequency tones of a microwave, I heard almost nothing at 50-55% volume, although this didn’t surprise me a lot as the Space One Pro seemed to be very competent at blocking out lower-frequency sounds, as is common with the best noise cancelling headphones.
I compared this to the more budget 1More Sonoflow and Sony WH-CH720N in the same environments, and the Space One Pro were a clear upgrade over them both.
To top everything off, the Space One Pro have a very respectable battery life of 40 hours with ANC on and 60 hours with ANC off. This is, of course, reduced if you’re using hi-res audio. When testing battery life with ANC on, I found the 40-hour claim to be accurate.
Sure, there are some headphones out there, such as the Cambridge Audio Melomania P100, that can go for up to 60 hours with ANC on, but they’re about $80 / £80 more expensive. And this battery life is 10 hours longer with ANC on (and 20 hours with ANC off) than the considerably pricier Sony WH-1000XM5. So, all in all, it's fair to say the Space One Pro are a top choice if longevity matters a lot to you.
Features score: 4.5/5
(Image credit: Future)
Anker Soundcore Space One Pro review: Sound quality
Full-sounding hi-res audio
Satisfying bass
Audio isn’t perfectly sharp
Overall, we were pretty positive about the original Anker Soundcore Space One’s audio, particularly because of its ability to offer strong bass, clear vocals and LDAC support. Thankfully, all of this holds true for the Pro model, which more generally delivers great audio quality.
Let’s start with bass: if like me you’re someone that appreciates lots of depth, these are gonna hit the spot. Sub-bass in Backseat Freestyle by Kendrick Lamar was perfectly weighted, never feeling overly dominant in the mix – a lot of cheaper headphones struggle to handle this level of depth, but not the Space One Pro. When listening to Black Eye by Allie X, the dynamism of the bass connecting up to the mid-range was impressive too, although the kick of the drum machine was slightly lethargic.
Mid-range sounds come through clearly and with solid levels of detail. When comparing these to the cheaper Sony WH-CH720N, the Space One Pro achieved a fuller sound, helping to expose a few more sonic intricacies. This is, of course, helped further if you activate the LDAC codec for hi-res audio.
Like the ‘non-Pro’ edition, these produce a pleasingly wide soundstage experience, which is ideal for atmospheric tracks like Rains again by Solji. This track sounded a little bit constrained with the CH720N, but when using the Space One Pro, the intro’s rain sound effects were natural and quieter vocal segments were more controlled. The soft vocals maintained their intended levels of delicacy too and highs often sounded sweet when using these headphones. From time to time, vocals could be a little harsh at top volumes, something I discovered when listening to the opening of SICKO MODE by Travis Scott, but this wasn’t too common.
All in all, I found the Anker Soundcore Space One Pro to be very good in the audio department. They’re not going to deliver the incredible accuracy, intricate detail and flawlessly clean audio that super-premium competitors can offer, but for some headphones below the $200 / £150 / AU$300 mark they perform well. Bass is the star of the show here, but there’s excellent customizability if you’re more of an avid podcast fan looking for an emphasis on clear vocals, for example.
Sound quality score: 4/5
(Image credit: Future)
Anker Soundcore Space One Pro review: Design
Ultra-compact foldable design
May be a little chunky looking for some
Super comfortable fit
When I first unboxed the Anker Soundcore Space One Pro, I got more of an earmuff than headphone vibe. Initially, I was struck by how chunky they were – even the headband is pretty thick and padded. Don’t get me wrong: the Space One Pro aren’t horrible looking, but I don’t think there’s gonna be a rush to hang them in the Louvre.
Even in terms of build quality, I wasn’t massively impressed. That’s mainly because the buttons and silver detail on the headphones look and feel a bit cheap. I did, however, quite like the Cream White color that these cans came in, though a Jet Black alternative is also available.
It’s not all about the looks, of course, and thankfully these headphones are incredibly comfortable. Every day I’ve tested the Space One Pro, I’ve used them for at least five hours and have not once felt a smidge of discomfort, so if coziness is the number one thing for you, these are absolutely perfect.
Another smart aspect of these headphones is their compact nature. Thanks to what Anker calls a FlexiCurve Structure, these can halve in size when fully folded, perfect if you’re a bit limited for space in your backpack or tote bag.
A case is available for them (added free for initial order, but that may not be the case if you buy in the future) that's also waterproof, unlike the headphones themselves, which don’t have a dust or waterproof rating.
Something these do lack is touch controls – which may be pleasing to some, but I would’ve personally appreciated them. Instead, you’re stuck with plain old button controls and unfortunately they’re a bit lacking. I already mentioned they’re not the prettiest, but I also found the volume controls to be quite unresponsive and I had to hold down the power button for quite a while to switch the headphones on or off. You can customize which button controls do a little bit in the Soundcore app, but options are pretty limited.
Overall, I don’t love the Space One Pro’s button controls and I’m not an enthusiast when it comes to their looks either. However, what I can’t deny is that they’re massively comfortable and super-compact, making them totally user-friendly. Fashionistas – you’re probably best served elsewhere I’m afraid, but otherwise I’d urge you not to rule these out on looks alone.
Design score: 3.5/5
(Image credit: Future)
Anker Soundcore Space One Pro review: Value
Anker’s most expensive headphones ever
Stack up to similarly-priced competitors on features and sound
Still a tad too costly at launch
I’ll be real, reader, I’m conflicted here. I’ve really enjoyed my time with the Anker Soundcore Space One Pro; they’re a great-sounding, ultra-comfortable pair of wireless headphones that have kept me listening for hours on end. But there’s a massive amount of competition in this price range from some of the most well-respected tech companies in the game.
For example, the aforementioned Sennheiser Accentum Plus offer confident, punchy sound, a longer battery life and a more attractive design for a similar price. And the Sony ULT Wear are also super comfortable and offer the LDAC codec – although in our Sony ULT Wear review we had a mixed response to its bass-boosting ULT button. Good options abound at this price point, making any one choice harder to justify.
And there are often bargains available on more premium options: for instance, the legendary Sony WH-1000XM4 are regularly available at a similar price to these these headphones, and they are going to offer almost everything you get here, but with even better audio and a classic design. However, it is worth noting that this only applies to when the Sonys have their price cut, and the Space One Pro will inevitably also see strong discounts, probably as soon as Black Friday, shortly after launch.
What I’m more confident in stating, though, is that these outperform the stronger budget wireless headphones, such as the Sony WH-CH720N and 1More Sonoflow, both of which we’ve spoken about highly on numerous occasions. These have considerably better ANC, audio quality and features. So, although I wouldn’t expect these to be listed at a way lower price, I think these will be extremely attractive on sale, when they’re closer to the $150 / £120 mark.
Value score: 3.5/5
(Image credit: Future)
Should I buy the Anker Soundcore Space One Pro?
Buy them if…
Comfort is a priority for you A lot of over-ear headphones tend to get uncomfortable after a while, but not these. The Anker Soundcore Space One Pro are a delight to wear, even for hours on end, thanks to their soft ear cushions and well-padded headband. Say goodbye to headphone fatigue, and hello to hours of back-to-back bangers.
You want highly customizable audio If you have specific tastes when it comes to audio, these headphones are a good pick. That’s mainly because of the HearID feature, which provides a custom EQ configuration suited to your ears. There’s also Dolby Audio for a more expansive sound and LDAC compatibility for hi-res output.
Don’t buy them if…
You’re on a budget These aren’t ultra-premium headphones or anything, but they’re not the most affordable cans out there either. If you’re on a budget there are so many fantastic cheap options out there for under $100 / £100 / AU$200, check out our guide to the best cheap headphones for some recommendations.
Style is your main concern Everyone’s entitled to their own opinion, but I think many will agree with me here – the Space One Pro aren’t the most attractive cans out there. If you want some sleeker headphones, the likes of Sony and Bose have plenty of excellent options that avoid the chunky look that Anker has adopted here.
(Image credit: Future)
Anker Soundcore Space One Pro review: Also consider
Sennheiser Accentum Plus The Sennheiser Accentum Plus are a fantastic pair of mid-range over-ear headphones. They offer beautiful sound quality, a clean design, decent ANC and an epic battery life. And once you factor in their price, which is scarcely any higher than the Space One Pro, they become a very attractive option indeed – as you can see from the fact we granted them 4.5 stars in our Sennheiser Accentum Plus review.
Sony WH-CH720N I’ve owned these headphones myself for about one year and can say they’re very good if you want a cheaper option than the Space One Pro. Sure, they don’t support LDAC or produce a super-expansive audio overall, but you still get a nicely balanced sound with solid detail. Not only that, but they have awesome battery life, 360 Reality Audio support, competent ANC and a lightweight design. Given they’ve gone on sale for less than $90 / £80 in the past, they’re an incredible option if you’re working with a tighter budget. Read our full Sony WH-CH720N review.
Anker Soundcore Space One Pro review: How I tested
Tested for one week
Used in the office, in a café and while on walks
Predominantly tested using Tidal on Samsung Galaxy Z Flip 4
I tested the Anker Soundcore Space One Pro over the course of a week. During this time, I took to a number of environments including a café, built-up roads, the office and my apartment. I typically connected the headphones to Tidal on my Samsung Galaxy Z Flip 4 with the LDAC codec active in order to access the best quality audio. I also tested the headphones with the FiiO M11S hi-res music player, my Windows laptop, and an iPhone 13 Pro. When listening to music, I went through the TechRadar testing playlist, which includes tracks from a number of genres, before expanding to a wider music selection. When appropriate, I also compared the Soundcore Space One Pro directly to the Sony WH-CH720N and 1More Sonoflow.
First reviewed: September 2024 Read more about how we test
The LG XBOOM XO2T is not the company’s first attempt at a stylish portable speaker – the slightly larger XO3C is still available, for instance – but it is, in LG’s own estimation, the best iteration. At least, that is how it was presented to me when LG gave a demonstration on this speaker.
While I can’t confirm how it stacks up against LG’s previous iterations (since those weren't made available to me), I’ve spent plenty of time with the XO2T reviewed here and I have to say that I’m impressed. Is it among the best Bluetooth speakers out there? I think so, though it does depend on your needs.
To start with, there’s plenty of volume on tap that stays surprisingly clear at higher volumes, plus it sounds very good for its size. It might not be audiophile-grade, sonically speaking, but most people will be impressed with the amount of low-end it musters up, not to mention the detail-rich sound. The high-end is ever-so-slightly dull and is the main difference, audio-wise at least, that keeps it from rivalling a truly premium, Bang-and-Olufsen-style product. But it gets close.
Due to its form factor, you’ll miss out on stereo audio, unfortunately, though you can always pair it with a second one for that. But there are plenty of features available, mostly through the app, to make up for it. Also, this is a portable speaker meant to deliver quality audio no matter where you’re located in relation to it.
Just as striking as its audio performance is the way it looks. Not many portable speakers make me want to upgrade my furniture to something from Ethan Allen or grab a bourbon on the rocks. This one does. It has a sleek, almost teardrop shape, but also mood lighting for an experience you just don’t get from most portable speakers. The only real issue is that its fabric covering does tend to attract hair, so if you have a pet, you might end up with a somewhat fluffier LG XBoom XO2T.
Groovy baby! (Image credit: Future)
LG XBoom XTO2 review: Price and release date
$199.99 / £199.99 (about AU$300)
Launched March 2024
Since the LG XBoom XO2T is a relatively new speaker, having been released in March of 2024, it is not a model you’re going to see a whole lot of offers for – yet. While you can certainly wait to hopefully get a discount, the asking price of $199.99 / £199.99 (about AU$300) is really not a bad figure for what you get – although it's true that you can buy myriad rugged, outdoorsy barrel-shaped Bluetooth speaker options for a lot less.
It’s currently only available in one color, unlike the XO3, which is available in black and beige. More importantly, it seems to not be available in Australia at the moment. Whether that will change in the near future remains to be seen since it’s relatively new. However, this review is coming out five months (August 2024) after the speaker’s initial release.
(Image credit: Future)
LG XBoom XTO2 review: Specs
(Image credit: Future)
LG XBoom XTO2 review: Features
Customization for both sound and lighting
Can link with other LG speakers
Multipoint connectivity
When it comes to features, the LG XBoom XO2T has a good assortment. Just about all the features discussed here are available through the app including the ability to adjust the sound and lighting. As far as adjusting the sound goes, it might seem light at first glance as there’s a Standard, Soundboost for listening to music, and Custom selection available. However, when choosing custom, you can pull up a six band EQ tab with up to 6 dB of boost per band. That’s pretty significant.
There’s actually much more in the way of customization when it comes to the light at the top of the speaker. There are three different types of mood lighting available: Ambient, Nature, and Party, with each type having three presets and a My Pick selection where you can customize the hue and saturation. Plus, the Ambient and Party modes have a Candle Effect and Party Strobe effect to add some movement to the lighting. My particular favorite is the “Comfort of a cozy night” setting under the Ambient selection. You can also adjust the lighting’s brightness.
There are some other features on hand as well, such as the Wireless Party Link mode that lets you use multiple LG speakers at one time. This is where you can pair two XO2Ts together for a stereo experience. There’s also an XBoom Lab selection, where you can play with new features. Currently, there’s a "Healing Therapy" section listed, where you can download and play healing sounds that are pre-paired with specific mood lighting settings. Also worthy of mention is a One Touch Mode that gives you the ability to hold the Lighting button on the speaker for two seconds to bring up a specific playlist and lighting setting. However, it only works with the Apple Music Library or Apple Music (at least on my iPhone). At least multipoint connectivity is available.
Features score: 4.5/5
(Image credit: Future)
LG XBoom XTO2 review: Design
Chic lamp-like design
Bluetooth-only connectivity
Good battery life
The LG XBoom XO2T resembles a fancy 1960s lamp more than a portable speaker, and it’s a design choice that I truly appreciate. I’ve tested and used quite a few different Bluetooth speakers and very few inspired me from a design perspective. This one is one of the few.
Of course, it probably resembles a lamp because it is. Sure, you have the bulk of the body covered by a fabric as well as an upward-facing silver grill to emanate audio in all directions. But, it also has an overhang that houses a downward-facing LED light.
The light can get pretty bright, though I wouldn’t use it to replace anything but a nightlight. It’s better for use as mood lighting (which is what it’s advertised as anyway) via the app’s customization mentioned above.
While a lot of the features are available just via the app, the capacitive controls on top are good enough for general usage. The Bluetooth icon is the only one that stays lit, but a quick tap will light up all the available controls including Volume Up, Play / Pause, Volume Down, and Lighting.
The port selection is pretty minimal as there’s no Aux or 3.5mm input, just a USB-C port for charging. The LG XBOOM XO2T is a purely bluetooth experience. Plus, the USB-C port has a covering that’s difficult to pull out, though this is most likely to maintain the speaker’s IP55 rating, making it a little safer to use outside.
A little more impressive is the battery life. It’s rated as offering up to 15 hours of use. While there are some other speakers that offer more, this is not the type of speaker I imagine someone would take on a hike, so 15 hours is more than adequate. In fact, I actually appreciated running it over night for ambient music and a night light and only using 40% of the battery after 8 hours.
Design score: 4.5/5
(Image credit: Future)
LG XBoom XTO2 review: Sound quality
Goes nice and loud
Great performance in the lows and mids
High-end can come off a tad dull
First things first, this thing can get loud! Though LG doesn’t offer a specific dB rating for the LG XBoom XO2T, I was able to get it up to 90 dB. Pretty impressive for something this size with what appears to be a one-inch tweeter, a three-inch driver and passive radiator handling the sound. On top of that, it stays fairly clear at higher volumes except for loud, aggressive bass sounds.
More importantly, the XO2T sounds very good. Whether I was listening to Kavinsky’s Nightcall, Jidenna’s Long Live the Chief, or The Weeknd’s I Feel It Coming, the low-end is punchy and full. There’s not much in the way of sub-bass, but that’s to be expected.
Often smaller speakers – and I would consider the LG XBOOM XO2T to be in this category – you end up with something where the low-end and high-end (or bass and treble) are boosted while the mids suffer, offering a somewhat hollow sounding listening experience. Or, the mids are a bit too full so that you feel like you’re getting a good listening experience, but the audio isn’t exactly clear.
Higher quality speakers thread the needle and the LG does so well, as the mids are full but balanced. Voices and guitars (as well as other upper midrange instruments) have body to them without sounding distorted as I experienced with Paramore’s Now and Cocteau Twin’s Heaven or Las Vegas. Another example is Chris Stapleton’s version of Tennessee Whiskey, where I felt the full range of his voice – rich and full without sounding compressed or distorted.
The only place where the sound quality leaves something to be desired is in the high notes. While you can surely boost treble frequencies through the app’s EQ, there’s a slight shortfall in terms of detail here, as if there’s a very thin blanket over the audio. Considering the speaker’s construction – again there’s a 3-inch driver, a one-inch upward firing tweeter and a passive radiator – it’s not a huge surprise.
Sound quality: 4.5/5
(Image credit: Future)
LG XBoom XTO2 review: Value
The LG XBOOM XO2T’s price tag of $199.99 / £199.99 (about AU$300) may seem to be in the premium bracket for portable speakers, it’s actually more in the midrange. Offerings from premium brands such as Bose, with the Bose SoundLink Max, will certainly put this speaker’s price tag into perspective, especially when you consider all that the LG XBoom XO2T has to offer.
The Ultimate Ears Everboom, for instance, also delivers 360-degree with plenty of oomph and comes with a nice aesthetic and build. It does have a little more battery life and a slightly better IP67 rating. But it will also set you back $249.99 / £249.99 / AU$349.
The Sonos Roam 2 is another portable speaker in this range with its slightly lower $179 / £179 / AU$299 price tag. While you have access to the Sonos ecosystem for multi-room setup, you could do the same with the LG via the Wireless Party Link feature (more on that later). Plus, the LG XBOOM XO2T has better battery life and at least a more unique look, not to mention that mood lighting.
Value score: 4/5
(Image credit: LG)
Should I buy the LG XBoom XTO2?
Buy it if…
Don’t buy it if…
LG XBoom XTO2 review: Also consider
How I tested the LG XBoom XTO2
Tested for 2 weeks
Listened to all sorts of genres of music as well as podcast and streaming video
Predominantly tested using high fidelity streaming through Deezer and Podcast app on an iPhone 13
I spent two weeks testing the LG XBoom XO2T, having listened to all sorts of genres of music through the HiFi tier of the Deezer streaming app as well as watching some YouTube videos and listening to some podcasts through the iOS Podcast app. I also played around with the LG XBOOM app, to test all the features including customizing the lights and audio.
The LG XBoom XO2T, after all is said and done, seems to made for those that don’t want to pay quite the premium prices of Bang & Olufsen or Bose, but still want a quality speaker that looks as good as it sounds.
I’ve spent the last few years reviewing tech gear including audio equipment, where I’ve gotten a feel for what to look for and how to put a piece of kit through its paces to see whether it’s worth the recommendation.
It goes without saying that $3499 / £2999 / AU$5899 is an awful lot of money to consider spending on a pair of wired over-ear headphones – and yet you’re almost spoiled for choice here, as our best wired headphones guide proves. What sets the D7000 apart, though, is that Final Audio has gone to town where the technology of planar magnetic headphones is concerned, and consequently has a pretty compelling story to tell.
It’s developed something it calls an ‘air film damping system’ to overcome the low-frequency limitations of the planar magnetic driver technology. It’s created a ‘pinna-aligned diffuser’ to overcome the variations in the shape of the human ear. It’s gone so far as to build its own manufacturing and assembly jigs in order to keep the entire construction process in-house and under its control. It's not a stretch to say that Final's need to get the science of bringing sound to your ears just right borders on obsessive.
The D7000 is far from the most cooperative headphone this sort of money can buy, so you’ll need to spend more – on a headphone amplifier with a fair bit of grunt. But if you’re able to drive the D7000 effectively, there’s a lot to enjoy about the sound.
Yes, the case is huge (Image credit: Future)
Final D7000 review: Price & release date
Released February 27, 2024
Priced $3499 / £2999 / AU$5899
The Final Audio D7000 are available to buy now, and have been since the end of February 2024. A price of $3499 / £2999 / AU$5899 lets you know the company is not messing around with this model, and it also lets you know that alternatives from the likes of Focal (see the May-launch Azurys), Grado (see our Grado Hemp review) and Meze Audio (that would be the Meze Audio Liric) are firmly in Final Audio’s sights.
(Image credit: Future)
Final D7000 review: Specs
(Image credit: Future)
Final D7000 review: Features
‘Pinna-Aligned Diffuser’
‘Air Film Damping System’
Not the easiest headphones to drive
Wired headphones seldom bristle with features – and the Final Audio D7000 are no different in that they have what they need to get the job done and nothing else. But it’s fair to say that Final Audio has applied itself to these features rigorously.
For instance, the company has addressed the inherent problems planar magnetic drivers have in producing properly low frequencies by developing something it calls an ‘Air Film Damping System’. If you play at significant volume, the movement of the diaphragm when it’s delivering bass information can be exaggerated to the point that it contacts the magnets that are driving it – which obviously is undesirable. Final Audio suggests that a) every other planar magnetic design consequently doesn’t dig as deep into the frequency range as is ideal, and b) it has solved the issue.
A necessarily complicated system involving perforated metal shields suspended on either side of the diaphragm creates a layer of air between the diaphragm and its magnets - it acts as a braking system and allows the diaphragm to generate the desired low frequencies without the danger of contact with the magnets around it. The diaphragm itself is thin and light even by prevailing standards, and has a super-thin spiral-pattern aluminum coil etched onto it.
The other major feature here is the ‘Pinna-Aligned Diffuser’. The concept of acoustic adjustment via diffusion has been gaining traction for some time – but Final Audio feels it has identified, and subsequently solved, an important issue: the shape of the wearer’s pinna. The pinna (the shape of the outer ear) obviously varies widely from person to person, and it can significantly affect a headphone listening experience. Final Audio’s listening tests, using both real live ears and simulations, have resulted in a diffuser shape that is, according to the company, optimal for every listener regardless of the shape of their pinna.
The driver arrangement has resulted in a headphone with an impedance of 50Ω and sensitivity of 89dB/mW – this translates to ‘quite difficult to drive’. It seems likely that anyone spending the thick end of three grand on a pair of headphones is not going to connect them directly to a laptop headphone socket or something like that – but equally, these numbers suggest a sturdy headphone amp will be a necessity.
The amount of oomph that’s likely to be required to drive the D7000 makes the supplied cable seem slightly odd. It’s three meters long, for starters, which is far from the most practical length, and is terminated in an unbalanced 6.3mm jack – which is not the most helpful (or premium) option. At this sort of money it’s not unreasonable to expect a variety of cables, in a variety of lengths, with a variety of terminations – a 4.4mm balanced jack, for instance, would help the headphone amp into which it’s plugged deal with the rather tricky load the D7000 present.
Features score: 4.5/5
(Image credit: Future)
Final D7000 review: Sound quality
Tremendous powers of insight and analysis
Open, organized and utterly believable sound
Could quite easily be more dynamic
In many ways, the sound the Final Audio D7000 make is approaching ideal – or, at least, it is for someone with similar sonic priorities to mine. If you admire high detail levels, nicely neutral tonality, a beautifully balanced frequency response and a big, well-organized soundstage, then we have something in common. And you’ll no doubt enjoy the D7000 as much as I do.
A big 24bit/96kHz FLAC file of Weyes Blood’s Grapevine is exactly the sort of thing the Final Audio excel at dealing with. Their carefully judged tonality gives a touch of warmth to the acoustic instruments and the staggeringly direct and informative midrange, and their response from the bottom of the frequency range to the top is impressively even. The hard work Final Audio has done in an effort to liberate dynamic driver-type levels of bass extension and substance from the planar magnetic arrangement has without doubt paid off; the D7000 dig respectably deep and hit with determination. They may not be the punchiest headphones this sort of money can buy, but they’re certainly no slouches.
The top of the frequency range is open and airy, but more than enough substance to avoid sounding in any way thin or hard. And with the impeccable vocal, they demonstrate real midrange fidelity and positivity – there’s an enormous amount of detail, both broad and fine, extracted and contextualized. The D7000 communicate through the midrange in the most eloquent and expressive manner, and singers sound direct and characterful as a result.
(Image credit: Future)
The soundstage these headphones can generate is extremely wide and respectively deep, so even a recording as relatively complex as Stevie Wonder’s He’s Misstra Know-It-All (as a DSD64 file) sounds organized and coherent – even the layout of the drum kit is absolutely explicit. And this recording demonstrates that what the D7000 lack in outright low-frequency impact, they make up for in control – rhythmic expression is always convincing.
Up to this point, the Final Audio combine analysis with entertainment in a most agreeable manner. They’re fun to listen to, musical in their approach, and have so many pertinent observations to make about the minutiae of recordings that each listen is a little voyage of discovery.
The only significant drawback is a relative lack of dynamism. While they’re very attentive to the low-key dynamics of harmonic variation, the D7000 aren’t all that inclined to really lean in when the going gets intense or big shifts in volume occur. That’s not much of an issue with the recordings I’ve mentioned so far, because they both offer very polite increases in attack – but when you ask the Final Audio to deliver something along the lines of My Bloody Valentine’s Feed Me With Your Kiss as a 24bit/96kHz FLAC file, they can sound slightly undemonstrative. The D7000 are either unwilling or unable to properly track the variations in intensity with proper determination, and they are slightly short of the sort of headroom that allow significant distance between the quietest and loudest moments in the recording.
Sound quality score: 4/5
(Image credit: Future)
Final D7000 review: Design
437g
Washi’ fabric for headband and earpads
Aluminum/magnesium alloy housing
‘Big’ seems as good a word as any to start with. The Final Audio D7000 aren’t outrageously heavy at 437g, they stay comfortable through long listening sessions thanks to the materials used in their construction and their careful hanger arrangement… but they nevertheless feel big because, well, they are. Or, at least, their earcups and earpads are. If you’re blessed with a smaller-than-average head, there’s a good chance the D7000 will prove to be rather more headphone than you’re comfortable with.
Final Audio has designed the D7000 to be as repairable and serviceable as possible and that is to be commended. Those tiny exposed screw-heads tell their own story – almost every part of these headphones can be removed if required. So hardware upgrades are possible, as is replacement or repair. In other words, the D7000 should last you a very long time. This is just one advantage derived from Final Audio’s insistence on conducting the entire manufacturing process in-house – even to the point that it’s designed and built its own assembly jigs and measurement jigs in order to ensure the quality of build and finish is exactly how it wants it to be.
The earcup housings are made from machined aluminum/magnesium alloy, which helps keep weight down, and they feel just as good as they look (as long as you’re fine with black – it’s the only option where finish is concerned). They adjust on the headband using a fairly rudimentary ‘friction pole’ arrangement, but that does at least mean the arms don’t flare out from the side of the weather’s head all that far.
Final Audio has used a light, breathable fabric for the covering of the headband and earpads. It’s derived from ‘washi’, a traditional Japanese paper – and as well as offering good moisture control, lightness of build and excellent durability, we will all be pleased to learn it also has excellent anti-bacterial and odor eliminating properties.
Design score: 4/5
(Image credit: Future)
Final D7000 review: Value
Well built; exceptional attention to materials used
Requires good amplification – and expensive regardless
If you’ve read this far then you know the D7000 are very well built and finished, using high-quality materials. You’ll know they use some quite innovative technologies in order to do their thing, and you’ll know their modular construction should mean they last for years. You’ll know that in pretty much every respect except dynamic response, they’re a profoundly enjoyable listen – as long as you have amplification capable of driving them efficiently. And you’ll also know they’re by no means your only choice if you want to spend big on some new headphones…
Value score: 4/5
(Image credit: Future)
Should I buy the Final D7000?
Buy them if...
Don't buy them if...
(Image credit: Future)
Final D7000 review: Also consider
Focal Stellia Focal's stunning – and we mean that visually as well as aurally – over-ears have been sitting pretty among the audiophile-grade elite for a few years now. Think high-quality craftsmanship with a stunning open presentation that leads to mind-blowingly good sound. Yes, that $3,000 price tag could be a tad excessive, but if you've got Final Audio money, you've got Focal money… See our Focal Stellia review for the full story
How I tested the Final D7000
Connected to an iFi iDSD Diablo 2 headphone amplifier
With a variety of digital audio file types and sizes
For well over a working week
My reference amplifier (a Naim Uniti Star) has a 3.5mm headphone socket – and so all my testing was done using a (hugely capable) iFi iDSD Diablo 2 headphone amplifier connected via UBS-C to an Apple MacBook Pro loaded with Colibri software in order to play proper high-resolution content. I listened to less information-rich stuff too, of course, and to music of every style and genre. And I did this for well over a working week, because frankly it was no kind of hardship at all…
Well, the Dyson Zone wasn’t an April Fool’s joke and the company best known for its vacuums was indeed dead serious about entering the audio market – because, lo and behold, we now have Dyson’s second pair of headphones. This time around, they go without the Bane-like air purification mask and, instead, focus solely on what’s important to a pair of headphones: sound quality. It also introduces a more accessible aesthetic in the process.
Called the OnTrac, Dyson is now unequivocally aiming for a share of a crowded market currently occupied by some of the best headphones and best noise-cancelling headphones from more well-established brands.
The OnTrac’s spec sheet certainly implies Dyson is in with a fair shout. Music is delivered via custom 40mm neodymium drivers that are tilted 13˚ towards the ear, which allows your ear canal to suck up the waves as confidently as the maker’s iconic vacuums. ANC is onboard, which utlizes a custom algorithm to cancel up to 40dB worth of unwanted ambient noise and, in practice, it works very well indeed, with office chatter all but silenced and screaming babies on trains dulled to a whisper. It doesn’t quite reach the lofty heights of the best-in-class sets (Bose, I’m looking at you), but you can also do an awful lot worse.
Comfort is subjective. I have to agree that, despite the size and 451g weight of the OnTrac, it doesn’t feel like it when worn, thanks in no small part to Dyson’s rather clever move of attaching two small battery units to the headband (rather than the ear cups) for more even weight distribution. But the weight does become a little uncomfortable over prolonged periods (something I don’t experience with my daily pair of Sonos Ace cans). I do appreciate the fact that the OnTrac can be customized to a great degree thanks to interchangeable ear cushions and ear cups, plus the headband is available in four color finishes. It makes an already unique-looking set of headphones even more so.
On the sound quality front, the Dyson OnTrac delivers an overall presentation that is cleaner than I was initially expecting. Vocals, in particular are handled with poise and there is a discernible soundstage within which instruments are placed. While detail is also good, the OnTrac lacks dynamic punch and music can sound a little flat. It’s not an offensive or ‘bad’ listen by any means, but when competitors do sound better and for less money, it becomes tricky to recommend.
How much is the Dyson OnTrac I hear you ask? At $499 / £449.99 / AU$799, the OnTrac enters right near the top of the premium headphone market, and immediately gains the Apple AirPods Max and Bose QuietComfort Ultra as natural competitors. Sony’s WH-1000XM5 also gets a deserving mention here. These three pairs all represent some of the best wireless headphones currently available and all come from established brands. In the OnTrac, Dyson has to be rather optimistic, expecting potential customers to part with a big chunk of cash despite not having a lot of audio experience.
If you value having the option to customize your headphones, though, and you want something that is genuinely unique, the OnTrac should be at the top of your wishlist. And if Dyson can release a future firmware update that allows for greater customization of the EQ, it could be onto a genuine winner.
(Image credit: Future / Max Langridge)
Dyson OnTrac review: Price and release date
Announced July 18, 2024
List price of $499 / £449.99 / AU$799
Additional cost for customizing ear cushions and ear cups
The Dyson OnTrac headphones were announced on July 18, 2024 and are now available to purchase outright directly from Dyson and select authorized retailers for $499 / £449.99 / AU$799. At this price, they sit at the upper end of the premium headphones market. The Apple AirPods Max are officially priced higher at $549 / £499/ AU$899 but can be picked up at a discounted price during big sale events, while the Bose QuietComfort Ultra – comfortably the best noise-cancelling headphones available right now – retail for $429 / £449 / AU$649 and, again, are often discounted.
If you want to customize your OnTrac headphones, ear cushions and outer caps are available for $49.99 / £49.99 / AU$79.99 a pair, although, at the time of writing, these are only available directly from Dyson.
For anyone else wanting to personalize their headphones, adding one pair of each soon adds up, so you’ll need deep pockets if you want to unleash the full potential of Dyson’s latest headphone effort.
Pricing the OnTrac so high definitely doesn’t work in its favor. It’s fair to say Dyson isn’t a ‘market leader’ when it comes to audio products, so to price its second pair of headphones much higher than five-star pairs from established audio brands is a bit delusional. Even if the OnTrac were brandished with a Sony or Bose logo, it would still be a tough sell. If the headphones were brought down to around the $400 / £400 / AU$600 mark, I think it would be a bit easier to be a little more positive about them.
(Image credit: Future / Max Langridge)
Dyson OnTrac review: Specs
Dyson OnTrac review: Features
Up to 55 hours battery life
Good, not ‘best-in-class’, noise cancellation
No wired listening or hi-res audio
One of the headline features of the Dyson OnTrac is its 55-hour battery life. It’s quite exceptional and eclipses much of its closest competition. The Sennheiser Momentum 4 Wireless (60 hours) and Cambridge Audio Melomania P100 (60 hours ANC on / 100 hours off) are similarly-priced pairs that do better, but nothing from Sony or Bose comes even close. Dyson includes a 1.2m braided USB-C cable in the box for the moment you do eventually run out of juice.
Alongside the exceptional battery life, Dyson is also keen to emphasise the capabilities of its noise-cancellation system. Eight mics are deployed in total across both ear cups to constantly listen to the world around you – 384,000 times a second, Dyson stresses – and cancel out external sound up to 40dB. This isn’t an adaptive noise-cancellation system, meaning it’s either ‘on’ or ‘off’, although there is a Transparency mode that lets in ambient sounds. This can be activated with a strong double tap on either ear cup. If you want to turn it off entirely, you’ll need to use the MyDyson app.
In real-world testing, the noise cancellation works incredibly well. Office chatter was canceled out entirely and screaming babies on public transport were reduced to near-silence. It’s certainly one of the better iterations of noise cancellation I’ve personally come across, although I would say the Bose QC Ultras do still claim the title of truly best in class.
Alongside being able to adjust noise cancellation, the MyDyson app is where you can (sort of) tailor the sound. There are three EQ presets to choose from: Enhanced (on by default), Bass Boost and Neutral. It would have been nice to be given the opportunity to fully personalize the EQ settings in a similar vein to what Bowers & Wilkins or Bang & Olufsen offer through their respective apps.
(Image credit: Future / Max Langridge)
The MyDyson app also displays a live sound exposure graph that constantly monitors noise levels both inside and outside the ear cups, clearly showing you whenever the levels become potentially harmful. It turns out I prefer to listen at a volume level that borders on ‘not recommended’. It doesn’t send you notifications when the audio you’re listening to encroaches into harmful territory, but you can toggle a setting that will ensure the volume doesn’t go above 80dB.
The Dyson OnTrac also features wear detection, meaning they’ll automatically play and pause when you put them on or off respectively, and it works with pinpoint accuracy. The headphones will also turn themselves off after 30 minutes of inactivity.
Elsewhere in regard to the feature set, the OnTrac falls a little short in comparison to the best at this level. Firstly, the Bluetooth 5.0 standard is used which is pushing seven years old and now lags behind Bluetooth 5.3. We’re also starting to see Bluetooth 5.4 show up in equally premium models. While it still serves up a reliable connection to source devices – I did experience the very occasional issue where the app didn’t immediately recognize the headphones were connected – it means some important features are missing, including multipoint connectivity for simultaneously connecting to two devices.
As far as audio codec support goes, the list is pretty short with just the basic SBC and AAC codecs alongside the rather niche LHDC. It’s a bit disappointing that a pair of headphones that cost as much as the Dyson OnTrac doesn’t support aptX in one form or another, or true high-resolution audio. There’s also no support for spatial audio or wired listening.
Features score: 3.5/5
Dyson OnTrac review: Sound quality
Clean and detailed
Bass Boost increases the low end but delivers a pleasant soundstage
Not the most dynamically adept
Despite their rather ‘in ya face’ looks, the Dyson OnTrac is a lot more delicate in its audio presentation. To earn its pay, Dyson places emphasis on the OnTrac’s ability to cater to a broad frequency range of 6Hz to 21kHz. That’s much lower – and a bit higher – than the human ear can hear, but Dyson says it made the decision to ensure the OnTrac could comfortably handle all sounds within the ear’s range of detection and to minimize distortion at higher volumes.
With the Neutral EQ preset selected, Dua Lipa’s Training Season bops along nicely in its opening verse with a decent helping of bass, and her vocal comes through crisp and cleanly. There is a good sense of space, with instruments and various other aspects of a track being clearly placed. But when compared to other pairs such as the Sonos Ace or the Bose QuietComfort Ultra, the sound delivered by the OnTrac feels more constrained with less room to breathe. It’s feels more like how on-ear headphones sound rather than over-ears, which the OnTrac technically is in the way they fit (I discuss this in the design section below).
(Image credit: Future / Max Langridge)
It certainly pays to play around with the EQ presets as I found what worked for one song didn’t necessarily work for the other. Training Season sounded fine on the Neutral preset, but Miley Cyrus’ Flowers was given an extra pop of energy when selecting Enhanced. On several occasions, Neutral flattens things to the point where it wasn’t all that engaging or fun.
And while the OnTrac could certainly keep up with the boogie rhythm of AC/DC’s Whole Lotta Rosie (I am reviewing these in Australia, after all), their lack of dynamic clout is exposed. It’s not to say there isn’t a change between the quieter intro vocal and louder burst of up tempo guitar, it just lacks a little bit of punch compared to some competitors. The Sennheiser Momentum 4 Wireless, for example, are just way more keen to rock out playing the same track. It’s as if they’re saying “alright, let’s do this!” compared to OnTrac's more reserved, “are you sure? You might damage your hearing” mentality.
It’s a similar story with Rammstein’s Los. Comparing the performance of the OnTrac against the Bose QuietComfort Ultra and there’s a noticeable difference in clarity. Till Lindeman’s vocal is far more pronounced when played through the Bose and, when the full band comes in at around 30 seconds, there’s greater depth. The OnTrac sounds more two dimensional in comparison. It’s good in the sense there’s decent drive behind the sound, but there are more competent performers that cost less money.
Bass heads will enjoy the Bass Boost EQ preset as it does certainly ramp up the low end, but it does muffle the overall sound somewhat. The pulsing bass rhythm throughout Planetary Assault System’s Desert Races benefitted far greater from the Enhanced preset instead.
Overall it’s not exactly a bad sound produced by the Dyson OnTrac. It’s clean and can unearth some detail, but their more neutral sound profile won’t be to everyone’s taste. An adjustable EQ could potentially help to some degree, and I hope this can be made available with a future firmware update, but with such a high-end price tag, it would be fair to expect a high-end sound straight out of the box.
Sound quality score: 3.5/5
Dyson OnTrac review: Design
Up to 2,000 color combinations
Large ear cushions for noise isolation
Can run hot
Dyson’s first foray into headphones was shockingly different to say the least, and while the OnTrac are far more headphone-y, they still deviate from the headphone norms of black, white and the occasional green or blue if a manufacturer is feeling adventurous.
The headband, which employs a modular-like design, is available in four different colors, and each comes with a default set of ear cushions and outer ear cups. Copper features navy-blue headband panels and copper ear cups; Black/Nickel has a black headband and shiny grey ear cups; Aluminum has a black headband, silver ear cups and yellow ear cushions; finally, Ceramic Cinnabar (the color of my review unit) features a coral-like orange headband and matching ear cups.
The headband colorway you choose is what you’ll live with, but the ear cushions and outer ear cups can be swapped out to any of seven choices for each, with a claimed total of 2,000 variations possible, paving the way for complete headphone personalization unlike anything I’ve seen before.
(Image credit: Future / Max Langridge)
Changing the cushions and cups isn’t difficult, as both come off with a slight twist. When you take the removable ear cups off, Dyson has added a nice little touch on the main ear cup by showing where each component can be found by way of a blueprint-style design.
The ear cups, despite being physically large, are actually incredibly slim and don't protrude much from the head. I previously thought the Sonos Ace were among the more aesthetically pleasing pairs of headphones in this sense, and so I have to give Dyson credit here.
The ear cushions are made from a microfiber material as opposed to the often used memory foam with a PU leather coating. It’s soft to touch and, indeed, soft when they’re on your head. But they’re not exactly what you would call breathable. Dyson has opted for the large cups and cushions to aid with passive noise isolation if you switch noise cancellation off, but also to increase the effectiveness when it’s turned on. But the size of the cushions and the material, combined with the fact they clamp onto your head tightly (which I do ultimately like as it instills confidence they won’t slip off) means things can get real hot real quick. I carried out most of my testing with the season coming into Australian spring and, after wearing them for a couple of hours, my ears were sweating despite the milder temperatures.
I also found I needed to wiggle the OnTrac around more than normal to get a comfortable fit so that the cutouts fully enveloped my ears. By comparison, the Sonos Ace, which I wear on a daily basis, slides right into place with no adjustments needed, making me think I was wearing headphones that felt more like on-ears than over-ears.
The ear cups themselves rotate so that they can be slid into the case and, in theory, you can wear them around your neck. But because they’re so large, it’s incredibly uncomfortable to do the latter.
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(Image credit: Future / Max Langridge)
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(Image credit: Future / Max Langridge)
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(Image credit: Future / Max Langridge)
There are two physical buttons on the OnTrac – one button for power and initiating Bluetooth pairing mode on the left ear cup and a small joystick on the right ear cup is used to adjust volume, skip tracks and play/pause. During my testing I found the joystick was responsive for the most part, although I occasionally had issues with adjusting the volume – it didn’t register me thumbing it up or down and I found you may have to give it a really good push. As mentioned earlier, a solid double tap on either ear cup will switch between noise cancellation and transparency modes and you'll get an audible feedback letting you know your command has been received.
The Dyson OnTrac comes supplied with a case (expectedly so, given the price) that has seemingly been inspired by the minimalist slip-case aesthetic employed for the AirPods Max, but offers a little bit more protection than Apple does. Think of a conventional headphone travel case, but remove the zipper sides so you’re left with just the front and back pieces. That’s what Dyson has done here, and attached them with a piece of elastic so when the OnTrac is out of its case it compresses down flat.
The headphones slip back in without any trouble, but they’re exposed at both the top and the bottom, meaning they’re susceptible to dust ingress at the very least and the headband is left exposed for keys to scratch up against it when the case is in your bag. I love the intention of the fold-flat case, but the execution doesn’t quite nail it, and when you’re spending this much on a set of cans, you’re going to want to protect them as much as you can.
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(Image credit: Future / Max Langridge)
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(Image credit: Future / Max Langridge)
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(Image credit: Future / Max Langridge)
Design score: 3/5
Dyson OnTrac review: Value
Cheaper competitors offer better sound and more features
Customization can get expensive
As I’ve already mentioned, the Dyson OnTrac costs an eye-watering $499 / £449.99 / AU$799. While that seems on brand for Dyson (everything the company makes is expensive), it would be easier to recommend the headphones if they cost a little less. After all, competing pairs of premium headphones have to be considered and, ultimately, the OnTrac falls short of what is now expected in this space. Battery life is fantastic and is a big gold star for Dyson, and the sound is certainly passable, but the fact is you can find greater sonic insight from others.
Hi-res audio support, or at the very least support for wired listening would have been nice to see, too. And, while I do think the ability to customize the headphones is an interesting and unique one, the added cost makes it much less of an impulse decision and I feel Dyson should throw in a bonus set of cushions and/or ear cups with the purchase of a pair of OnTrac headphones to justify the high price tag.
Value score: 2/5
Should I buy the Dyson OnTrac?
Buy it if...
You want a unique-looking pair of headphones
The ability to personalize the OnTrac headphones is a unique proposition and there’s no denying that they’re solidly built.
You need long battery life
While it’s not quite the class leader, the OnTrac’s 55 hours of battery life trumps much of the competition.
Don't buy it if...
You want best-in-class ANC
Noise cancellation is really very good, but if you want to block out everything from the world around you, Bose is still the option to go for.
You want an in-depth app
There’s no ability to fully adjust the EQ settings, and you’re instead given just three fixed presets. Some people may also miss the option to tailor the level of noise cancellation.
You listen in spatial audio
It might not be a dealbreaker for everyone, but given many other pairs in this space support some form of spatial audio, its omittance here is more noticeable.
Dyson OnTrac review: Also consider
Bose QuietComfort Ultra Headphones
It's going to take a lot to topple Bose from the top of the noise-cancellation headphone pack, although the Dyson OnTrac does come agonisingly close. These also add spatial audio and a more engaging sound, although the 24-hour battery life falls well short of Dyson's effort.
Class-leading 100 hours of battery life make Cambridge Audio's first pair of headphones the ones to get for frequent flyers. They deliver a glorious sound, too.
A more lively and detailed sound is what you'll get from these Sennheisers, along with slightly better battery life, improved connectivity and a more impressive feature set.
I used the Dyson OnTrac for a couple of weeks, listening to them at home, in the office and when commuting to work on loud, busy trains. I connected them to an iPhone 15 Pro and a MacBook Pro, and listened to a variety of music genres to determine if and how the EQ presets would affect them. During my two-week listening period, I never had to reach for the charging cable, owing to the OnTrac's incredible battery life.
Take a quick look at the Tannoy Autograph Miniature and it’s easy to find yourself asking some brief but pointed questions such as “what is that?” and “why does it look like an antique?” The Tannoy doesn’t look like most other speakers because Tannoy has been making speakers for a very long time and when it has a product range called ‘Heritage,’ you’d better believe that there is a considerable amount of heritage involved – some of these products can trace their lineage back over fifty years.
The catch is that some of them are also on the large side. They can clock in at the best part of a metre wide, which means you’ll need a fair amount of room to accommodate them. The Autograph Mini is designed to embody the styling and engineering of these larger speakers but at a size that allows them to fit in smaller rooms without overwhelming them. While each Autograph Mini speaker is a great deal more manageable than its bigger brothers, the engineering and technology (yes, despite the looks, there is technology in there) is exactly the same. Tannoy feels that certain aspects of how a speaker behaves and interacts with a room require very specific engineering solutions which shape the design of the speaker.
The result looks and feels like nothing else on the market. But does that result in a set of the best stereo speakers – ie. is this a speaker proposition you actually want to own? $2,200 buys some extremely talented offerings, so is this timewarp Tannoy good enough to vie for your attention?
Tannoy Autograph Mini review: Price and release date
(Image credit: Future)
Released in 2020
£2,200 / $2,200 / AU$3,599
The current version of the Autograph Mini has been on sale for a few years now (TechRadar's audio editor actually held it in on her knee at High End Munich 2023) and it replaced a very similar version that debuted in 2008. If this sounds like it has been on sale for a while and might be in danger of replacement, you need to start thinking more in terms of ‘Tannoy time.’ The full size Autograph on which this speaker is based first went on sale in 1954 and recently had a 70th Anniversary edition launch. If it ain’t broke, Tannoy will not be rushing to fix it.
In the UK, a pair of Autograph Minis will set you back £2,200 for a pair. In the US, this seems to be a dollar equivalent $2,200 and in Australia they cost AU$3,599. This can feel a little on the steep side for a speaker as dinky as this one but it reflects that some of the techniques required to build it are rather labour intensive and the materials used are not cheap either.
This price does not include stands of any description (and neither is one offered as an accessory) and the Tannoy is a passive speaker that will need amplification and source equipment to work. I used a study but… functional… looking pair of Custom Design stands for testing but the following comments should be applicable to any respectably solid pair of stands that are 50-60cm tall.
Tannoy Autograph Mini review: Specs
Tannoy Autograph Mini review: Features
(Image credit: Future)
120mm Dual Concentric driver
Bespoke Crossover in a ply cabinet
60Hz- 20kHz frequency response
As the Tannoy is a passive set of stereo speakers, it isn’t overburdened with functionality but some of the reasons it looks the way it does are down to the hardware it uses. The full size Heritage models use drivers that vary between 8 inches (203mm) and 15 inches (380mm) in size. The Autograph Mini uses a rather smaller 4inch (120mm) driver, but the principles on which it works are the same as the larger models.
Where you see a single driver on the front of the Tannoy, there are in fact two. A four-inch midbass driver is made of treated paper (and a friendly reminder that however unsophisticated it sounds, paper is a brilliant material for speaker drivers) and attached to a rolled rubber surround. In the centre of driver, where you would usually find a dust cap or phase plug is the tweeter. This is a 25mm unit made of titanium. It is sunk inside a cylindrical housing that improves its sensitivity and there is an assembly that Tannoy calls a ‘Tulip’ waveguide that helps to radiate the energy from the tweeter out in a manner that works with the mid bass.
Tannoy calls this arrangement 'Dual Concentric' and it’s been an element of the company's speakers for decades. This latest iteration includes a system that Tannoy calls Omnimagnet. This manages to place the drive magnets for the mid bass driver and the tweeter in the same place without them interfering with one another, which further improves their relationship. The internal wiring is all silver and the crossover makes use of proprietary Tannoy capacitors and low loss laminated core inductors in the pursuit of the best possible performance. Connection to an amplifier is via a single set of binding posts.
We’ll cover the Tannoy’s looks in a little while, but it’s important to stress that the means by which it is built is genuinely different to most rivals. Where most speakers at the price are made a variation of MDF, the Autograph Mini is made from sections of ply that use actual carpentry to fit together. Rather than making this as thick and inert as they can, Tannoy uses internal sections that are designed to act as resonance and damping control by being less inert than the main sections of the cabinets and bleeding energy off.
Just above the speaker terminals on the rear of the cabinet you’ll find a small bass port to help the mid bass driver in its excursions. Even with this present, any purchasing decision regarding the Tannoy needs to be made in the knowledge this is not a bass monster. A small driver in a small cabinet (not only is the Mini only 35cm tall, its sharply tapered sides mean that its internal volume is limited) is not a recipe for seismic bass and Tannoy quotes a lower roll off of 60Hz but at a whopping -10dB (or only in a very limited sense for those of you not too invested in numbers). On the plus side though, sensitivity is very good at a consistent 8 ohms.
Features score: 4/5
Tannoy Autograph Mini review: Sound quality
(Image credit: Future)
Exceptional three dimensionality and imaging
Superb tonality with good recordings
Limited bass… but more grunt than you might expect
It is hard not to judge how the Tannoy is going to sound based on those vintage looks but it’s very important that you do because some aspects of the Tannoy’s performance are beyond more modern looking rivals. Tannoy hasn’t been diligently working away at dual concentric drivers for decades for the hell of it. The two drivers have a relationship that is so seamless that there isn’t the first clue where they are handing over information to one another. The effect is incredibly cohesive.
The attention that has gone into making the drivers radiate energy in a consistent way also means that the Tannoy produces a beautiful stereo image. Paint the Roses, a live concert recording of Larkin Poe and the Nu Deco Ensemble, is recreated in a manner that really gives you a sense of the venue and the performers relative to the audience. Having created this effect, if you close your eyes, it’s incredibly hard to actually place where the Tannoy’s cabinets really are. It’s an extremely impressive disappearing act.
What’s more, voices and instruments are recreated in a way that is astonishingly convincing. An aged but lovely vinyl pressing of Joan Armatrading’s Me, Myself I, is packed full of guitars both electric and acoustic, bass, piano and strings, all supporting Armatrading’s sublime vocals. The manner in which the Tannoy gets stuck into All the way from America is more than a simple reproduction. It’s a performance that encourages to you stop fussing with phones (or indeed trying to write a review) and give it your full and undivided attention.
The caveat to this positivity is that the recordings mentioned so far are very good ones. The Tannoy is not a truly merciless speaker; you can put something like To Lose My Life by White Lies on and not start grimacing, but the Autograph Mini will tell you what the limitations of this recording actually are. This is not a set of speakers that will take a music collection and gloss over the rough edges – and the Autograph Mini will also show up limitations in your partnering equipment while it does so. Even though each Tannoy isn’t hard to drive, I still found these speakers did their best work on the end of a potent Naim Audio integrated amplifier. This isn’t a cheap speaker pair, and it can’t really be driven on the cheap either.
Where the Tannoy springs more of a surprise is the bass extension. So there is no confusion at this point, if your musical leanings tend towards dub and drum and bass, this is realistically not the speaker for you – but there is a lot more actual grunt on offer here than you might expect. The manner in which the Tannoy makes its limited reserves of low end available does an impressive amount to convince your brain that there is enough bass. It blasts its way though the ‘not quite jazz, not quite electronica’ of Kessencoda’s Outerstate in a way that never feels thin or light. There is a speed and cohesion to the Tannoy that the Antiques Roadshow aesthetic never really hints at.
Sound quality score: 5/5
Tannoy Autograph Mini review: Design
(Image credit: Future)
Oiled Walnut finish
Oatmeal cloth grilles
209 x 356 x 155 mm and 4.4kg each
In some ways, it doesn’t really matter what I type here or what my thoughts on the Autograph Mini’s styling are because I’m pretty sure most people reading this made up their mind shortly after they started reading. Let’s put something in context though, because I do think it matters. The Tannoy looks the way it does mostly for the engineering reasons already mentioned. It’s not a mock-Tudor speaker but instead the logical result of decades of engineering work.
This doesn’t mean that the Autograph Mini isn’t going to look a bit odd in some situations. If your living space is sleek, modern and minimalist, the Tannoy is going to sit in that space in a way that is largely at odds with it. Don’t go thinking that fitting the grilles will make much of a difference ether. There are grilles, and they have nice magnetic trim tabs too, but they use the classic ‘oatmeal’ cloth the company has used for decades which means that the Autograph Mini speakers look just as determinedly old fashioned with them on as they do off.
The thing is though… if you have a space that’s remotely sympathetic to how the Tannoy is styled, it’s hard not to fall for just how exquisite an object it is. In a world where even speakers that cost quite a bit more than this still feel like tools, the Tannoy sits at the intersection of art and furniture in a way that will win many people over to their charms. This is helped by the standard of build being immaculate, even judged at the price.
Design score: 4/5
Tannoy Autograph Mini review: Value
This is not a cheap speaker and it is unlikely you’ll save any money choosing suitable equipment for them. You can see where the money has gone though. The standard of build and finish is truly excellent, even judged at $2,200 / £2,200 and you are also paying for a level of engineering knowhow and pedigree that makes most other speaker brands look like the young upstarts that they are. Then, when it’s actually time to listen to them, used within their surprisingly wide performance envelope, they can delight.
Value score: 4/5
Should you buy the Tannoy Autograph Mini?
Buy it if...
You live for tonal detail and realism
From 100Hz and up, there are very few speakers at the price that can live with how vivid and real the Tannoy sounds. They do an incredible job of bringing music to life
You like a bit of history
The Autograph mini is a reflection of seventy years of ongoing development and the result has attributes that simply don’t appear in much of the competition. Tannoy knows what it wants and delivers it perfectly.
You live in a listed building
If your furniture is old and you appreciate a bit of vintage, there are few speakers that carry off retro as well as this one does.
Don't buy it if...
You need serious bass
It hits harder than you might expect but the Tannoy is not a bass monster and seriously weighty tracks will sound a bit lacking
Your music library is compressed or lacking in quality
This is not a speaker that ignores limitations in quality and mastering. Poor quality material simply isn’t going to sound great on them.
You want something modern looking
It goes without saying really that if you want cutting edge material science and clean cut modern styling, you have come to the wrong place.
Tannoy Autograph Mini: Also consider
The Monitor Audio Studio 89 is a different sort of nostalgia and is modern in ways that the Tannoy will never be and delivers bass it has no answer to. Bowers & Wilkins’ talented 705 S3 is a formidable all rounder with a different (but in some ways, no less lovely) take on a wood finish too. Finally, a more niche but fascinating device is the Neat Petite Classic. This is another compact retro speaker offering, but while it’s nowhere near as pretty as the Tannoy, it combines plenty of low end clout and an impressively forgiving nature to make it a formidable all rounder.
How I tested the Tannoy Autograph Mini
(Image credit: Future)
I used the Tannoy with a combination of Chord Electronics Qutest DAC taking a USB feed from a Roon Nucleus and a Naim Supernait 3 integrated amplifier; a brilliant sounding device that seems to coax good results out of most speakers but that will also highlight what they are doing wrong. A Rega Planar 10 turntable using the new Nd7 moving magnet cartridge was connected to the Naim’s phono stage to allow for a bit of vinyl testing too.
Testing was carried out in my relatively normal living room which I use as a listening space. As well as the listed recordings, a host of other material was streamed from my local music library and Qobuz and interspersed with vinyl as well.
British tech brand Nothing has, in just a few short years, become a popular name for tech fans with its smartphones and earbuds proving you don’t need to spend a lot to get decent quality. It’s recent CMF by Nothing sub-brand pushes that idea to its extreme, but it doesn’t always work.
The CMF Buds Pro 2 are a good example of that: if you’re used to getting a lot more than you pay for with Nothing products, you’ll be surprised to find that these CMF earbuds give you exactly what you pay for. Nothing more, nothing less.
These are reallybudget earbuds too; you won’t find worthwhile products for less, and they’re among the cream of the bargain bin… if not the crop. At $59 / £59 / AU$99, your wallet will thank you.
Your ears might thank you too, because the CMF Buds Pro 2 sound good compared to same-price rivals, likely thanks to the union of a bass driver and a tweeter. Bass is the focus of music for sure but treble isn't lost, and the equaliser gives you some customization over your sound. I've certainly tested worse earbuds, including some that cost more.
The noise cancellation is a feature that doesn’t really impress, sadly. I found that it didn’t really compare to most of the CMF Buds’ rivals, even similarly-priced ones, and the Transparency mode was particularly poor. Still, any level of ANC is nothing to get snobby about, given that many rivals in this super-affordable category lack it.
What could have been the redeeming feature of the Buds Pro 2 is a returning feature from other CMF earbuds: the case has a swivel dial which you can use to control your music, rotating it to alter volume or pressing it for play/pause, and this partly replaces on-bud controls that most headphones have.
In practice, though, the implementation of this feature is poor. The dial is prone to accidental turns or presses in your pocket, the notification sound to tell you that a function has been triggered is startlingly loud, and there’s a significant delay between using the dial and hearing its result.
Lots of these issues can be overlooked if you consider the low price, but I’d recommend putting a little extra aside beyond the Buds 2 Pro’s asking price: the in-box ear tips are made from a material that isn’t very grippy, and they didn’t reliably stick in my ears. I’d recommend you look to third-party ear tips if you’re considering the CMFs.
There are some parts of the CMF Buds that I liked. The case-buds combo comes in four colors, including a distinctive orange (pictured) and a suave navy blue, so you have more options than for many other buds you may be considering. Plus a few Nothing-exclusive features like its bass boost mode and ChatGPT integration (as long as you’re using a Nothing phone) return, even if the overall feature set is nothing impressive.
It’s easy to look at any super-cheap earbuds and hand-wave any issues as being a symptom of the price, and that’s true with the CMF Buds Pro 2 as well – they’re basically what you’d expect for buds costing this much. However the budget bud market is competitive and a few rivals get you better value for money – more on them in the 'Also consider' section below.
CMF Buds Pro 2 review: Price and release date
(Image credit: Future)
Unveiled in July 2024
Costs you $59 / £59 / AU$99
The CMF Buds Pro 2 were but on sale in July 2024, just a short time after two other pairs of earbuds from Nothing: the Nothing Ear and Nothing Ear (a). This won’t be the last time you hear about these rivals in this review.
You can pick up the Buds Pro 2 for $59 / £59 / AU$99, so they’re not just cheap earbuds, but they’re cheap earbuds. That’s a $10 / £10 / AU$10 price increase over the original Buds Pro, and I can’t compare the price to a non-Pro CMF Buds 2 because, at the time of writing, no such model exists.
This area of the market is incredibly competitive, with Nothing itself offering some tempting entries into the sub-$100 / £100 / AU$200 price bracket, and so a low price alone isn’t enough for the CMFs to get winning grades.
CMF Buds Pro 2 review: Specs
CMF Buds Pro 2 review: Features
(Image credit: Future)
11-hour buds battery, 43-hour with case
Limited features in app, including spatial audio
Mediocre ANC
The CMF Buds Pro 2 uses Nothing’s smartphone tie-in app, called Nothing X, and as a result it borrows a few Nothing features.
Using Nothing X you can fiddle with an equalizer, change the case control scheme, toggle Spatial Audio, change between a few ANC modes and turn on ‘Ultra Bass’ which does what it says on the tin. Hidden in a menu are toggles for wear detection, high-latency mode, a default to LDAC audio, a find-my-buds feature, and an ear tip fit test. Good for the money, eh? Well, on paper, yes.
I'm going to get into the equaliser in the sound section, so stay tuned for that. The noise cancellation in the app is similar, in theory, to other Nothing earbuds: you can change between it being off, in Transparency mode (which belts surrounding sounds into your ears so loud that you can barely hear your music) and between four ANC intensities: low, mid, high and adaptive.
I’d recommend sticking with high ANC mode; the Buds Pro 2’s noise cancellation isn’t very strong, and you’ll want to make the most of it when you can. In testing it struggled to do anything about surrounding chatter, air conditioning unit hums, microwaves and other similar noises. Saying that, ANC is far from a given in buds this cheap and so knocking what there is here, rudimentary though it is, feels a little churlish.
Features like Spatial Audio, in-ear detection and an ear tip fit test are useful, but there are a few far more basic features lacking, that many of similar-priced rivals have. The lack of touch controls is something I’ve mentioned before, but many rivals have a full equalizer experience, not truncated ones like this. I also miss Nothing’s much more effective custom listening profile detector from the Nothing Ear.
In terms of battery life, the CMF Buds Pro 2 hit that ‘bang-average’ button: the buds will get you roughly six and a half hours of listening if you’ve got ANC turned on, and 11 if you’ve got it turned off. Those figures are pretty standard for wireless earbuds.
By using the case you can dial those figures up to 26 or 43 hours respectively, the latter of which is actually rather respectable, but remember, the ANC isn't amazing.
Features score: 3/5
CMF Buds Pro 2 review: Design
(Image credit: Future)
Novel dial-toting case has issues
Earbuds don't stick in ear well
Buds and case are light and protected
Perhaps the most unique part of the CMF Buds Pro 2 is the case design.
It starts with the color: no boring black or white here but dark gray, light gray (okay, those two are a bit boring), navy blue and bright orange. You can tell which one I tested – ‘bright’ is an understatement – and it’s nice to see earbuds with a range of colors.
The next special feature is the dial, which can be turned left or right or pressed in. This lets you change the volume or pause/play songs easily.
In theory this is a novel concept, and I did find it really easy to pause music when the case was within reach, but changing volume definitely wasn’t as convenient as bud touch controls tend to be, and I found a range of inconveniences with the buds over the testing period. In fact, I ended up turning off the controls by the latter half of my testing time.
Firstly, rotating the dial resulted in a deafening beep to indicate that the volume was changing. I can see what Nothing was going for here, but the beep didn’t correspond with the new volume; the noise could be painfully loud at times. That became especially annoying bearing in mind that the dial didn’t adjust music much, and I’d need to turn it through endless resolutions to get the same effect as one simple press on my phone’s volume rocker. Oh, and there was a delay between using the dial and seeing an effect which effectively ruled out swiveling the dial loads to bump up the sound, as I’d only find out too late if I’d turned it far too loud.
(Image credit: Future)
However, the most annoying aspect for me was that the dial could be quite sensitive in my pocket; I was subjected to endless accidental presses. On one journey in a closely-packed bus, people walking past me would nudge the case in my jacket pocket, pausing my music. When I wore certain pairs of trousers, the constricting and flexing of my pockets when I walked would sometimes press the pause button. And sometimes when I put the case loose in my bad, its companion items would jostle against it and press the button. In the end these everyday annoyances pushed me to turn off the controls, despite my best attempts to like the controls.
Looking at the case itself, it measures 53.4 x 53.4 x 23mm and weighs 46g (not including the buds). Beyond the dial it only has a small button to enable pairing, and a USB-C port for charging.
The earbuds themselves match whichever color of case you opt for. They’re lightweight stem-toting buds weighing 4.9g each. Despite what you'd think given the presence of the dial, the buds also do have touch controls, but I found them quite sensitive and would often accidentally press them when trying to re-align the buds in my ear every time they slipped (for reasons you'll learn in just a moment). As a result I turned them off pretty quickly.
The buds have an IP55 rating against dust ingress and showers of water, though the case has no official rating.
While these buds are light enough to sit comfortably in your ear, they’re also light enough that you might not notice if they fall out of your ear (well, other than your music stopping). And fall they will: Nothing has seemingly opted to use soap for its ear tip material given how slippery they are, and during testing they just wouldn’t stay in my ears reliably, even when I tried different tip sizes. I put this down to the material, which doesn’t seem to have as much friction as the usual silicon tips you see in earbuds.
It’s fairly easy to remove the Buds 2 Pro ear tips and I’d recommend you try out some third-party ones if you can, because the in-box ones just weren’t reliable for me. Worst of all, they kept sliding just far enough out of my ear for wear detection to think I wasn’t wearing them any more, so it kept pausing my music, and as a result I had to turn that feature off too.
Side-note: if you turn off wear detection, the buds don't even pause your music when you return them to the case, unlike basically every other earbud I've tested. Remember to turn your tunes off yourself!
Design score: 2.5/5
CMF Buds Pro 2 review: Sound quality
Heavy bass focus, but treble isn't lost
Limited sound stage
Equaliser brings some benefits
(Image credit: Future)
As in many other Nothing-built earbuds, bass is the focus of the CMF Buds Pro 2. Whatever genre of music I listened to, the bass was the most palpable part of any song.
That might put some people off, but it's a staple feature of cheap and cheery earbuds like this. Treble and especially upper mids do suffer a little, but much less than in some other buds I've tested at this price.
That's possibly thanks to the fact that the 11mm bass driver is joined by a 6mm tweeter to carry the flag for higher-pitched lines.
I did miss the sense of soundstage that some other buds offer: the CMF seem to present all elements of a song in one solid block rather than spread out, and it meant that some instruments disappeared behind the omnipresent bass.
The Nothing X app offers the ability to add even more bass to its buds, and I've enjoyed this feature in other propositions from the company. However I couldn't hear much of a bass boost in the CMF Buds Pro 2, even when ratcheting it up to full power.
The equalizer in the app also lets you tweak your music, to a degree. For those of you who’ve cut your teeth on earbud app equalizers, this isn’t quite as in-depth; you can change the prominence of bass, mid and treble, to +/- 6 points. There are also six presets: pop, rock, classic, electronic, vocal enhancement or something called Dirac Opteo which apparently changes the EQ based on your music, but to my ears had little effect.
This EQ isn't hugely powerful, but it's a lot simpler to use than some others, and I did manage to rescue the treble somewhat from songs.
Sound quality: 4/5
CMF Buds Pro 2 review: Value
(Image credit: Future)
The incredibly low price means they offer value for money
Definitely consider buying extra eartips though
I've been quite critical of the CMF Buds Pro 2 throughout this review, and that's because the design and feature set don't quite work for me. That said, the price makes the setbacks all-too-easy to overlook.
For just $59 / £59 / AU$99, these are some of the cheapest buds you can find from a reputable company, and while it's a very low benchmark, these buds do offer you reasonable value for money.
That's because you can de-activate the annoying features, leaving a case with an ornamental wheel, earbuds that sound decent for your price, and maybe a slight extra bill for when you buy third-party ear tips.
Value: 3.5/5
Should I buy the CMF Buds Pro 2?
Buy it if…
You're on a budget It's easy to overlook many issues when buds are so gentle on the bank account, and so if you want super-cheap buds the CMF could be a safe bet.
Don’t buy it if…
CMF Buds Pro 2 review: Also consider
How I tested the CMF Buds Pro 2
(Image credit: Future)
Tested for 3 weeks
Tested at home, in the office and on walks
I tested the CMF Buds Pro 2 for over three weeks, and that review time saw them paired with both my Android smartphone and Windows laptop. I didn't test them alongside a Nothing phone.
To test the buds I listened to music on Spotify, watched TV shows on Netflix and Prime Video, partook in voice and video calls and played games on my phone. Most of this was done at home or in the office but I used the buds on several long journeys on trains and buses.
I've been testing gadgets for TechRadar for over five years, and in that time I've reviewed many budget headphones, as well as phones, tablets, watches and electric scooters.
The Victrola Hi-Res Onyx is a welcome surprise in this touch-above-entry-level bracket, offering customary entry-level versatility coupled with the form and features of quality manual turntables twice the price. It helps, too, that it looks a bit swankier than most of its competitors.
The Hi-Res Onyx is a highly capable turntable with a built-in Bluetooth encoder, that enables you to cast your vinyl audio out to any Bluetooth device of your choosing. Its Qualcomm aptX Adaptive capabilities up the fidelity factor (hence the ‘Hi-Res’) – making for the slickest wireless audio you’ll have heard in a while.
The Hi-Res Onyx performs admirably as a straight-up turntable too, with a decent Audio-Technica cartridge and a fine-enough phono preamp built in for ease of use; a toggleable auto-stop protects the condition of your stylus, while counterweight and anti-skate mechanisms let you dial your turntable in perfectly for the protection of your records.
There are some points of friction, from the imprecise counterweight set-up to an ineffectual dust cover, but these are trifles against the greater successes of the Hi-Res Onyx. It’s not quite for everyone, but it does a fantastic job for most – and particularly so for its price. One of the best turntables to have graced our testing process in some time then? You betcha.
Victrola Hi-Res Onyx review: Price and release date
(Image credit: Future)
$399 / £399 / AUS$625
Launched on Sept 7, 2023
Victrola has made a point of graduating from the entry level in recent years, with a slew of turntable designs that reach beyond the bedroom bookshelf towards a fertile market of accessible hi-fi record players. This, the Hi-Res Onyx, is a further graduation from a stand-out model with limited reach: the Sonos-compatible Victrola Stream Onyx.
These stream-y record players join a plurality of designs from manufacturers old and new, all vying for the same hot property in a still-emerging space for the turntable market. The union of analogue and digital is by no means new, but the valuable integration of Bluetooth technology into something like a turntable has proven difficult for many – until, perhaps, now.
Victrola Hi-Res Onyx review: Specs
Victrola Hi-Res Onyx review: Features
(Image credit: Future)
Manual turntable with auto-stop and built-in phono stage
Bluetooth streaming
Counterweight and anti-skate
In a welcome break from the vast majority of other Bluetooth-enabled turntables, the Hi-Res Onyx is a calibrate-able two-speed manual turntable, with an adjustable counterweight and an anti-skate mechanism to ensure both pristine playback and the safety of your records.
This commitment to playability follows in the Hi-Res Onyx’s choice of cartridge, again a step or two above those commonly found on cheaper players. The Onyx comes with an Audio-Technica AT-VM95E moving-magnet cartridge, a budget cartridge on Audio-Technica’s roster but one which delivers excellent sound for its price and against competition. A toggleable auto-stop function further protects your recs, and protects the stylus too.
A lot of manual turntables below £400 would stop here, but the Hi-Res Onyx is made of… more… stuff. There’s a switchable phono preamp built in, allowing you to plug the Onyx into most anything; Victrola are kind enough to supply a high-quality RCA cable with a ground lug, too. The rub of the unit, though, lies in its wireless attributes.
The Hi-Res Onyx is so named for its Bluetooth transmitter, which supports the high-fidelity Qualcomm aptX Adaptive and HD codecs as well as Bluetooth 5.4 and LE Audio. With this mode, you can stream your vinyl audio out to any Bluetooth receiver, be they headphones or speakers in rooms afield. The mode is pretty seamless, in pretty much every sense, being accessed by a single press of the Hi-Res Onyx’s single front-facing button. It’ll pair with your receiver of choice instantly, and automatically re-pair with the same next time you switch modes.
I would switch to Bluetooth for kitchen listening, then switch back to the wired connection on returning to the living-room; the switch-back is immediate and immaculate, with no pops, clicks or abrupt pauses – a genuine and welcome surprise that dramatically improves its practicality.
Features score: 4.5/5
Victrola Hi-Res Onyx review: Sound quality
(Image credit: Future)
Impressive fidelity
Rich, fulsome bass
Occasionally obvious wowing
At this price (and with the right initial set-up), the Hi-Res Onyx is hugely impressive. The relative fullness of the built-in phono pre-amp, the relative quietude of the motor, the relative smoothness of record playback… Relative to players from premium brands, there’s always going to be room for improvement, but relative to other mainstream entrants at this price or even slightly above, ‘impressive’ is the word (and ‘relative’ the second word).
Wye Oak’s Civilian + Cut All The Wires: 2009-2011 double-album is a fave go-to review album, mostly because it’s great but also because there’s a great degree of dynamic shift from song to song. No Words is a plaintive, near-fragile track with lonely electric guitars and a leaping vocal, handled with care by the Hi-Res Onyx; the guitars chime, there’s silk in Jenn Wasner’s voice, and the sparse kit cuts through without pulling focus.
Electricity, on the other hand, is a rich and boomy hit of maximalist folk-noise – and does a better job of showing the Hi-Res Onyx’s relative(!) shortcomings. Mid frequencies get a little lost in that prominent, fulsome low end, while some treble elements are unwarrantedly boosted; a missing guitar moment here, an over-prominent hi-hat there.
A more ostentatious record, in CANT’s Dreams Come True, speaks more to the Hi-Res Onyx’s strengths. Too late, too far’sbooming kicks, searing synths and mounting voices fill the field, well-separated and delightfully wide, while BANG’s stacked line-up of deep subs, shimmering leads and drowned vocals are distinct, legible yet cohesive. However, the quieter last tracks of Side A and B respectively reveal some unfortunate speed dysregulation, as the pianos and broken vocals of (brokencollar) and Bericht warp a little too far for comfort.
The Bluetooth streaming mode, which describes the ‘Hi-Res’ bit of the Hi-Res Onyx (on account of its aptX Adaptive Bluetooth codec support), is innervatingly good. I am usually something of a Bluetooth curmudgeon, but a combination low-difficulty pairing and strikingly detailed sound has won me round. Wye Oak’s Holy Holy is a gratifyingly full-spectrum listen, and there’s nothing missing from the heft Queens of the Stone Age’s Songs For The Deaf – …Millionaire and First It Giveth sounding as bombastic as they always should.
Sound quality score: 4/5
Victrola Hi-Res Onyx review: Design
(Image credit: Future)
Smart, understated monochrome aesthetics
Smooth and ergonomic interactivity
Cool design forfeits ease of calibration
With regard to setting-up, the Hi-Res Onyx is a relative cinch. Far from the plug-and-play practicality of cheaper units, there is some assembly required – but this is no bad thing. One such assembly step, though, reveals a small sting in the turntable-design tail.
Before we get to that, I’d like to acknowledge the fun of the Hi-Res Onyx’s aesthetic design. Aesthetically speaking, the Hi-Res Onyx is a demure thing. It’s an obelisk of sorts, wedded to matte black and almost impressively so at that. Were it not for the white hairs of the household cat, the Onyx would be a Clarke-ean monolith amidst a sea of kooky mid-century hi-fi furnishings. It’s hard not to use the word ‘sleek’ to death when it comes to designs like this – though I suppose I have now, so there.
This commitment to ineffable quasi-minimalism leads to some neat flourishes. The tonearm cradle, for instance, is of uniform material, and holds the tonearm in place with a concealed magnet as opposed to a plastic clip. This is swanky – and kinder on the tonearm if you forget to unlatch it before you use the tonearm lift.
Another flourish brings with it a frustrating moment, though. The counterweight is a pleasing object, fastened smartly in place on the tonearm’s rear by a small, knurled grub screw. Indentations on the tonearm’s rear indicate where to affix the counterweight, but they don’t quite corroborate with the recommended tracking force for the cartridge; I had to use a digital tracking force scale to ensure it was set correctly. Pleasing as this counterweight is to handle and place, conventional screw-back counterweight designs (with the numbered calibrator wheel) aren’t as fiddly.
Not to ‘and another thing’ this section, but another, separate, gripe emerges with respect to the dust cover Victrola provides. It’s a smartly-designed, single plastic sheet, moulded to arch over the resting tonearm and conforming with the contour of the platter. However, it only protects the tonearm and platter when the turntable isn’t in use. It’d be nice to have a more conventional kind of lid, particularly for this writer – whose cats pose an eternal and existential risk to the preservation of beloved records in-play.
The Hi-Res Onyx is smart-lookin’ and smart to use. Where it wins many points for being smooth in style and ergonomics, it unfortunately drops one for occasional impractical awkwardness.
Design score: 4/5
Victrola Hi-Res Onyx review: Value
(Image credit: Future)
Practical and versatile for its price bracket
A quietly-featureful bargain
At a shade under $400 / £400, the Victrola Hi-Res Onyx pitches itself a tad above the entry level, putting itself in ‘somewhat serious investment’ territory for the average household. That money, though, is buying you a discrete and practical unit that outplays most in its range.
It’s rare to find such a fully-featured turntable with this kind of tweakability at this price point. The result is something that can work to most hi-fi briefs – a quietly versatile machine that excels in its class.
Really, this turntable is a bit of a bargain – and straight-up convenient, at least for those who haven’t already poured money into a comprehensive hi-fi system. If you own a phono preamp, you probably don’t need any of this turntable’s flashier attributes, at which point you should be looking elsewhere in the market anyway. For most, then, this is a valuable advancement on the tried-and-tested entry-level formula.
Value score: 4.5/5
Should you buy the Victrola Hi-Res Onyx?
Buy it if...
You’re a techy minimalist The Hi-Res Onyx is an unimposingly smart machine, in looks and in-side. Though low-profile, it makes just enough of a statement to be an asset to your living space.
You’re a household headphone-wearer The Hi-Res Onyx’s high-quality Bluetooth connectivity is a real gift, even if only for making it possible to blast your faves while doing the dishes.
Don't buy it if...
You already have an extensive hi-fi setup Those with an existing hi-fi setup might not necessarily benefit from the Bluetooth-streaming function – and might not need the built-in preamp either.
You want a long-term hi-fi mainstay Brilliant as the Hi-Res Onyx is in its space and for its price, there are equivalently priced, no-nonsense manual turntables elsewhere that may better suit the long term – whether from minor improvements in design or from general upgradeability.
Victrola Hi-Res Onyx: Also consider
Cambridge Audio Alva TT V2 Cambridge Audio was first to market with an aptX HD-compliant Bluetooth turntable, and it’s a doozy. The Alva TT V2 is pricey, but the price buys you a stable direct-drive record player that looks, sounds and feels a million. See our full Cambridge Audio Alva TT V2 review
Audio-Technica AT-LP120XBT-USB Audio-Technica’s AT-LP120XBT-USB is a polymath turntable, with aptX Bluetooth transmission, a USB output for digitising records and a plethora of DJ-adjacent tools. See our full Audio-Technica AT-LP120XBT-USB review
How I tested the Victrola Hi-Res Onyx
(Image credit: Future)
Tested for 3 weeks
Used as primary turntable in living-room hi-fi system
Predominantly tested through Cambridge AV amplifier and Celestion speakers, as well as a Soundcore Bluetooth speaker
The Victrola Hi-Res Onyx became my primary living-room turntable for a month. The RCA outputs fed my dependable Cambridge Audio Azur 540R amplifier and Celestion F1 bookshelf speakers; for Bluetooth, I connected to my Soundcore Motion 300 speaker. I used personal favourite records with which I am intimately familiar, and with which I was able to get a feel for the Hi-Res Onyx’s character both wired and wirelessly.
The Victrola Eastwood II is, in many ways, the ideal first turntable. It is an eminently attractive, well-featured all-in-one hi-fi solution that beats plenty of its competitors on a number of metrics. But is it one of the best turntables for the money? Well, bi-directional Bluetooth connectivity, a mini-but-mighty built-in amp and a truly plug-and-play setup routine together make the Eastwood II a formidable entrant to the entry level sector, at least…
That Bluetooth connectivity is the main draw here, as the Eastwood II is capable of both receiving and sending audio via its respective Bluetooth and Vinyl Stream modes – as well as acting as a conventional player with RCA and headphone aux outputs on the rear. Using each mode is easy to the point foolproof-i-ness, and switching between them as simple as clicking the Eastwood’s single rotary encoder/button.
An Audio-Technica cartridge furnishes this starter turntable with surprising fidelity, too - but, despite these worthy merits, the Eastwood II has its fair share of disappointments. Cheap materials and a flimsy-feeling tonearm system with no counterweight inspire less confidence in the Eastwood II’s handling of your records, and the motor serving the turntable’s plastic platter is prone to instability – with often-audible impacts on the turntable’s sound performance.
Functional elements of the Eastwood II leave you wanting, too, from a dust cover that catches your records to a fundamental missed opportunity with the Bluetooth setting. While a versatile first turntable, this won’t be the one for everyone – particularly not record owners looking to upgrade an existing hi-fi system.
In spite of these gripes, the Eastwood II is a great choice for the teenage or student bedroom – and a smart aesthetic addition to most any space too. At a shade over £100/under $100, it’s also hard to beat budget-wise!
Victrola Eastwood II review: Price and release date
$99.99 / £119 / €129.99 (around AU$146)
Launched on July 31, 2024
As intimated by its title, the Eastwood II is a successor model to Victrola’s Eastwood hybrid turntable. The design principles and core functionality remain the same, but material improvements and a sleeker aesthetic set the Eastwood II apart from its predecessor. There are two styles of Eastwood II available as of August 2024 – a striking Black, and a cool mid-century-ish Walnut – the latter of which is the unit reviewed here.
Both colourways sell at $99/£119/€129.99, which is around AU$146, give or take, or a pleasingly cheap price for its build and capabilities. The price goes some way to describing some of the material decisions made here, but equivalently-priced turntables with better tonearms and platters do not have any of the bells and whistles offered by this highly-accessible hi-fi alternative.
Victrola Eastwood II review: Specs
Victrola Eastwood II turntable review: Features
(Image credit: Future)
Three-speed playback
Near-comprehensive Bluetooth connectivity
Not as versatile as it could be
Let’s start with the basics: the Eastwood II is a semi-automatic, belt-drive turntable capable of playing 33 1/3, 45 and 78rpm records. The turntable part of it is simple as can be, comprising two selectors for record speed and toggling an auto-stop function (which stops the motor when the tonearm reaches the end of the record), and a lever for the tonearm lift. All these controls are embedded by the tonearm pivot, leaving the record’s base clear and clutter-free – save for a single rotary encoder knob.
This simplicity belies the Eastwood II’s selling point – its near-comprehensive connectivity. Three modes afford you a great deal of versatility for a relatively inexpensive all-in-one unit. Vinyl mode lets you listen to records via its built-in speakers, on headphones via an aux output or on your hi-fi via RCA outputs; Bluetooth mode lets you stream music from your phone or laptop to the turntable; Vinyl Stream mode lets you stream a record from the turntable to a Bluetooth receiver of your choice.
The single rotary encoder knob controls most everything mode-related, and is foolproof in its function; pressing and holding turns the unit on, clicking cycles through the unit’s three modes, and turning the knob controls the volume of the onboard amplifier. Not only is it foolproof, but it’s very satisfying to use indeed. In amongst this connectivity, though, there’s a gap which makes the Eastwood II feel less capable than it is.
The Bluetooth mode of the turntable does not work with its RCA outputs, presumably due to the RCA outs being fed by an always-on phono pre-amp for the record player – meaning you cannot use your wired hi-fi system when streaming audio. The ability to do this might only be meaningful to a select few owners, but to this reviewer, its lack feels almost arbitrary – particularly as enabling the Bluetooth mode to kill the preamp would be a trivial thing to engineer. A little more thought into this Bluetooth mode might have made this a much more seamless hi-fi companion, as well as a self-contained unit.
Of course, this is a self-contained unit, and most will be buying this as a one-and-done solution for playing records. Good, then, that a built-in amplifier and speaker system is plenty loud! For Bluetooth audio, the Eastwood II uses the default A2DP standard; while audiophiles might balk at the lack of aptX utilisation, there are few situations where that additional fidelity would really achieve anything. As such, the Eastwood II is (almost) everything it needs to be.
Features score: 4/5
Victrola Eastwood II turntable review: Sound quality
(Image credit: Future)
Great-sounding entry-level cartridge
Rich mid-range and crisp highs
Powerful, somewhat boxy internal amp/speakers
In a vacuum, the vinyl-playing bit of the Eastwood II is great for the price. The Audio-Technica AT-3600LA cartridge with which it ships is a cut above those often found on other budget turntables. The difference is best illustrated through a dedicated hi-fi system, via the RCA port on the back – which was my first experience of the Eastwood II, and a joyfully positive one at that.
Wye Oak’s Civilian + Cut All The Wires: 2009-2011 double LP was well-represented, with touching, even tactile softness in the quieter moments of We Were Wealth, and a full-throated bombast to the explosive end of Electricity and the drums-and-thrum of Black Is The Color. There’s middy richness and a crisp treble, and even some solid low-end representation (even if a tad indistinct in places). This representation is hampered somewhat, though, by the sometimes-unstable performance of the turntables motor, which caused some obvious wowing or warbling in places.
Lighter-weight records, like my pressing of Andy Shauf’s The Party, seemed to fare worse, wearing said warble a little more prominently on their respective sleeves. Opening track The Magician, full of enigmatic piano chords and drawn-out clarinets, would sound great if not for seemingly-random dips in playback speed that tugged on those legato notes; closer to the spindle, album closer Martha Sways suffered from a warbly near-vibrato that similarly killed my immersion. In short, this probably isn’t the turntable for active listeners.
As for the built-in amp and speakers, through which most users will do their listening, there is a lot to like. The amp is plenty powerful for filling a room, though there’s little headroom when the volume gets pushed. Nick Drake’s Pink Moon is clear and breathy, with some surprisingly sonorous guitar representation, but the overrepresented upper mids have a tendency to squash and crunch a bit when things get louder. The speakers sound a tad boxy (perhaps an unavoidable characteristic for smaller all-in-ones of the Eastwood II’s ilk), but a snappy high end and bloomy low end create a surprisingly fulsome version of this boxiness.
As for headphone listening, there’s a real sense of clarity in the reproduction – albeit at the expense of some bassy heft, which is found wanting when I revisit Wye Oak’s Black Is The Color. All round, the Eastwood II is clearly a capable budget unit, with some pleasant surprises that are unfortunately caveated by some not-so-pleasant limitations.
Sound quality score: 3/5
Victrola Eastwood II turntable review: Design
(Image credit: Future)
Swanky mid-century-ish looks
Smart dust lid, imperfectly executed
Brittle-feeling in places
Eschewing the all-too-common faux-leather-and-shiny-bits design of throwback suitcase record players, the Eastwood II chooses modernity for its aesthetics – at least, a form of mid-century modernity, with a charming fabric front and some wood-effect side panels that together look effortless.
Functionally speaking, the Eastwood’s design is both smart and simple. There’s no convoluted setting-up, nor any real confusion as to how to get it working straight away; it’s the most plug-and-play it could possibly be, and great for it too. However, despite how easy it is to get installed and in use, the Eastwood is still hamstrung by some design oversights that make daily use less-than seamless. One major gripe relates to the turntable’s lid.
The smart part is that, since 12” records extend beyond the smaller size of the unit’s base, the lid has cut-outs to accommodate these extraneous segments. This is, in principle, a nifty flourish that makes playing records with the lid closed feel sleek, even dynamic. But the rear cut-out isn’t deep enough, and catches the back of your 12”s whenever you try to place them; something nifty in principle becomes frustrating in practice.
To Victrola’s credit, you can tell they’ve attempted to fix this already – the rear cut-out is deeper than the others, to create more room for placing records – but it sadly wasn’t quite enough. This is something of a theme with the Eastwood II, where great ideas and intentions are met with unfortunate execution.
Though the Eastwood II boasts upgraded materials from its predecessor model, there are still inexpensive plastics in use, which make for a brittle feel. This is most obvious when handling the tonearm, which is at once flimsily light in-hand and heavy-handed on-vinyl. A heavier, counterweighted tonearm would inspire more confidence, but seems a tall order at this price and with this many internal features.
Design score: 3.5/5
Victrola Eastwood II turntable review: Value
(Image credit: Future)
Beats many equivalent models for sound quality
Great jumping-on point for new vinyl owners
Tough to justify for certain consumers
The Victrola Eastwood II is on the cheaper side of the Bluetooth turntable spectrum, and cheap even against a majority of all-in-one turntable solutions on the market. For those that beat it on price, the Eastwood II beats them handily on sound, thanks to that Audio-Technica cartridge and capable internal amplifiers. It’s also extremely easy to use, and hence a great jumping-on point for those new to vinyl (or even just after a bedroom speaker system).
However, the three-figure price point might be a tad tough to justify for slightly more seasoned buyers. Little oversights in design and function add up, rendering this visibly-sleek tabletop hi-fi a little less sleek to use. Also, the tonearm’s cheap construction can be found in units half the Eastwood II’s price.
Value score: 3.5/5
Should you buy the Victrola Eastwood II?
Buy it if...
You’re looking for your first turntable It’s the perfect introduction to playing records, being simple to use and great-sounding for its price – better, indeed, than similar players in its price bracket.
You don’t have a hifi system yet Everything’s in-house here! No need for separate amps or speakers, and not even any need to cables to play music from your phone or computer.
Don't buy it if...
You’re an active listener This player’s warble and wow are difficult to ignore, particularly on cheaper pressings.
You want an all-in-one addition to your hi-fi If you’ve already got a hi-fi amp, you can get a better stand-alone record player at this price – besides which, a missed opportunity with the Bluetooth setting means this won’t act as a receiver for your hi-fi.
Victrola Eastwood II turntable: Also consider
Lenco LS-410 Lenco’s LS-410 is a similar kind of all-in-one turntable, albeit lacking Victrola’s fun Vinyl Stream technology. For a little more money (and for sacrificing this essential aspect), you can have a Bluetooth-enabled turntable with a slightly more stable platter and a counterweighted tonearm. See our full Lenco LS-410 review
Pro-Ject Juke Box E1 While significantly pricier than the Eastwood II, the Pro-Ject is much closer to a bona fide home hi-fi – with a solid platter, stable belt-drive system, powerful built-in amplifiers and a Bluetooth receiver that doesn’t discriminate. Read our full Pro-Ject Juke Box E1 review
How I tested the Victrola Eastwood II turntable
Tested for 4 weeks, as primary turntable in living room
Tested with Cambridge Audio amp and Celestion speakers, Audio-Technica headphones and a Soundcore Bluetooth speaker
The Eastwood II was put through its paces via my tried-and-true Cambridge Audio Azur 540r amplifier, which feeds two Celestion F1 bookshelf speakers. For headphone listening, I trialled the unit with a wired pair of Audio-Technica ATH-M40xs, and for its Vinyl Stream connectivity I paired it with a Soundcore Motion 300.
The records I chose to listen with are records I know back-to-front, meaning I can fairly evaluate differences in sound and playback – both with respect to different turntable modes, and with respect to other turntables.
