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Majority MP3 Player review: one of the best cheap music players to consider
3:00 pm | May 12, 2024
Author: admin | Category: Audio Computers Gadgets Portable Media Players | Tags: | Comments: Off

Majority MP3 Player: Two-minute review

The Majority MP3 Player shines for its simplicity in a world where MP3 players are trying hard to be your replacement smartphone, radio and Kindle all wrapped into one. 

The Majority MP3 Player is not trying to be the best MP3 player ever invented; it’s trying to be a simple music device for people who don’t have degrees in sound engineering. Created by British audio company Majority, this is basically the cheapest MP3 player on the market that you should seriously consider buying, found on Amazon by searching 'MP3 player' and sorting 'price: low to high'. And it wears that budget badge with pride.

The Majority MP3 is absolutely tiny, and very lightweight too, so it’s not going to drag a hole in your pocket like many of its rivals. Its plastic shell may seem ‘cheap’ to some, but it'll take drops and knocks better than delicate premium options, and contributes to its lovely lightness.

My favorite feature is the sports clip on the back, which firmly clasps the MP3 player to your clothes, bag or anything else. This was so handy for keeping the player held still while keeping it within arms’ reach (ie, not in a pocket), and also means you can take the player for a run or workout and clip it to your clothes, to exercise hands-free.

Design aside, there’s more to like here too: the player is simple to use (well, once you’ve got your head around some user interface quirks) and has a battery life that outstrips lots of the competition.

As you can imagine from the price, the Majority MP3 doesn’t exactly have all the trappings of its pricier rivals. You’re not getting a touchscreen, so you’ll have to rely on a fairly rudimentary button system to get around, and don’t expect to fiddle with an on-device EQ, watch videos or read audiobooks, or download any more than 128GB of music (or 16GB, without an SD card).

However if you’re simply buying a nice lightweight little gadget that lets you outsource your music listening to a non-smartphone device, sometimes you don’t need bells and whistles; you just need simplicity. And simplicity is something the Majority MP3 delivers in spades.

The Majority MP3 Player in a man's hands.

(Image credit: Future)

Majority MP3 Player review: price and release date

  • Costs $35 / £30 (about AU$60)
  • Available since March 2023 (according to Amazon)

As stated in the introduction, the Majority MP3 is one of the cheapest MP3 players on the market at the time of writing. How cheap? Uh – that’s a good question.

At the time of writing, Majority has two separate listings for the device on Amazon UK: £29.95 and £34.95, and I can’t for the life of me tell what the difference between the two is. I’d hazard a guess that there isn’t one. The expert tech minds at TechRadar have come to the conclusion that you should buy the cheaper one.

What about outside the UK? It's available on Amazon US for $35, in mercifully just one entry. There's no Australian availability, but these prices would translate to around AU$60.

The Majority MP3 Player on a wooden bench.

(Image credit: Future)

Majority MP3 Player review: Features

  • 16GB memory, expandable to 128GB
  • Limited list of extra tools
  • 34-hour battery life, lower if using Bluetooth

You can fit up to 16GB of music onto the Majority MP3 player, which the company estimates will take 4,000 songs to fill. If you buy a compatible SD card you can expand that by 128GB which will fit countless hours of music in MP3 format. The only file format officially supported is MP3 – no AAC or WAV support is listed here.

Despite being a simple device, the Majority does have a few extra tools that may come in handy. You can record audio notes, change your background, use a stopwatch or check a calendar (though I couldn’t find a way to add anything to it) and create folders and playlists on the device.

Some features that many other MP3 players have are missing here. You can’t streaming over Wi-Fi, sync with audiobooks services, watch videos, or tune into the radio, so you'll have to rely on whatever MP3 files you manually download. There’s also no way to customize your listening experience, beyond picking your chosen headphones carefully.

There's a 3.5mm jack for wired listening, or you can ditch cables and set up a Bluetooth connection, which lets you stream the MP3 files through some of the best wireless earbuds or one of the best Bluetooth speakers – though it’ll harm your battery life of course.

That battery life is 34 hours by default if you’re using wired audio, which is a fair bit longer than some competitors (many of our favorite MP3 players last between 15 and 20 hours). Charging takes three hours, done with an in-box USB-C cable.

  • Features score: 2.5/5

The Majority MP3 Player on a wooden bench.

(Image credit: Future)

The Majority MP3 Player in a man's hands.

(Image credit: Future)

Majority MP3 Player review: Sound quality

  • Quality depends on audio files and headphones
  • No extra features to improve quality

The Majority MP3 Player isn't one to buy if you're looking for a device that ekes all the sound quality it can out of your tunes.

Unlike some pricier rivals, the device doesn't come with an on-board equalizer and doesn't support higher-quality music file types, so this isn't a portable music player for audiophiles – MP3 only here. You could probably tell that from the price.

Music played on the device will depend a lot more on the files you upload and the headphones you use than the pedigree of the Majority, then.

For what it's worth, I tested with a range of music files and they sounded effectively as good on the Majority MP3 as on pricier audio players, my computer and my smartphone. 

The bass and treble were bright and distinct, though the mid-range was a little lost compared to on some rival devices. The sound quality will best suit runners, but won't impress people who care about high-quality music.

  • Sound quality score: 2.5/5

Majority MP3 Player review: design

  • Tiny and light plastic body
  • Small touchscreen and buttons for controls
  • Plastic 'sports clip' holds 

The Majority MP3 Player is a small plastic rectangle, with a teensie screen and control panel on the front.

The player is absolutely tiny; it’s the smallest of its ilk that I’ve tested by a fair amount. It measures 4.4 x 6.8 x 1.9cm / 1.7 x 2.7 x 0.8 inches (ignore Majority’s website or Amazon, which both offer the dimensions of the shipping box as that of the device itself!). To give you a sense of that size, you’d need to put three and a half in a row to cover up a dollar bill.

It weighs only 33g too, so it’s slight enough that you can pop it in a pocket or on your clothes and forget it’s there. This lightweight form is partly thanks to the small size but likely mainly thanks to the fact it’s plastic, a material that’s often associated with ‘cheap’ tech but is also very hardy. I dropped the MP3 player a fair few times and there’s not a scratch or mark upon it.

A distinctive design feature is the use of a ‘sports clip’ on the back of the body, which you can use to clip it onto anything you want. As per the name, I used it a lot when going for a run so I could go hands-free, and it stayed attached despite all the associated jostling and bouncing. When not running, I also liked to attach the player to my clothes instead of drop it in a pocket, which made for easy access when I wanted to change the tune or turn it off.

Around the edges of the device you’ve got a USB-C port for charging and plugging into a computer, a 3.5mm audio jack (headphones are included in the box but you can use your own), an SD card slot that supports up to 128GB expandable memory, a volume rocker and a ‘hold’ button which deactivates any of the other controls so you don’t accidentally press them. On the front of the Majority is the screen and five buttons: the main selection one, ‘M’ (for ‘music’), previous track, next track and back. These are all you’ll have when navigating the menus.

That screen is 4.8cm across with a resolution of 240 x 240, and it’s bright enough that you can see it in direct sunlight. With those specs, it’s fit for purpose but won’t wow you with its fidelity, so I’m not exactly heartbroken that you can’t watch videos on the device. When you’re listening to music, a clock sometimes appears to tell you the time, but I could never figure out the rhyme or reason for it showing up or the Majority simply defaulting to a black screen; it felt pretty random.

  • Design score: 4/5

The Majority MP3 Player clipped to a blue hoodie.

(Image credit: Future)

Majority MP3 Player review: usability and set-up

  • Plugs into PC using USB-C cable
  • Navigate with physical buttons
  • User interface can be a little confusing

Downloading music onto the Majority MP3 Player is incredibly easy. You don’t need to fuss over different folders or settings; plug the player into your computer, select ‘Transfer’ on the player, and simply drag any of your music you want into the player’s folder. No, you don’t need to put it in a certain place on the folder or upload it in a certain way; throw it all in there and it’ll sort itself out. Easy!

Finding the music on the device itself may be a little trickier. You can use the forward and backward buttons to scroll forward and backward in the list, and the central one to select an option. 

Back, as you imagine, takes you back, but only one menu, so if you want to return to the player’s main menu then you’ll just have to smash the back button loads of times. And want to pause or switch tracks while you’re listening to music? You’ll have to navigate all the way back to the main menu, and then forward into the music options to find ‘Now Playing’, as there’s no simple way to jump to the music player.

I got used to the navigation after a while, but it did take a little learning. Another gripe I had is that the player takes a few seconds longer to turn on or off than I’d have liked (both are performed by pressing and holding the central button). That’s also true of turning on and off the controls hold option; you have to wait a few seconds for an animation to play out, so changing volume or skipping tracks isn’t as quick as you’d hope.

  • Usability & setup score: 3.5/5

The Majority MP3 Player on a wooden bench.

(Image credit: Future)

Majority MP3 Player review: value

  • MP3 player right at the lowest of the low end of the market
  • Does what it promises, and only a little more
  • Faults are easily forgiven at this price

If you’re looking for value for your money, you can’t find a better device than the Majority MP3 Player, and that’s simply because it’s so cheap.

You can spend literally thousands on an MP3 player if you want top-end features and audio, but Majority has gone for the opposite side of the spectrum, and you know what? You still get the same core function of playing MP3 files. 

Being unable to play hi-res music or watch videos really won't be an issue for anyone looking for something this cheap, and the storage is sufficient for its purpose. I really can't fault it for its value.

  • Value score: 5/5

The Majority MP3 Player on a wooden bench.

(Image credit: Future)

Should you buy the Majority MP3 Player?

Buy it if...

Don't buy it if...

Majority MP3 Player review: Also consider

Majority MP3 Player review: how I tested

  • Two-week testing period
  • Pop, rock, classical and spoken word music tested
  • Used at home, in office, on walks and on runs

I tested the Majority MP3 Player using its provided headphones (though obviously you can upgrade to some of the best wired headphones for an improvement), and I paired it using Bluetooth to the Earfun Wave Pro and the OneOdio OpenRock S headphones to see how it measured up.

Musically, I loaded it up with a testing playlist of rock, pop and post-rock, and also used it to stream lots of running music and classical. As you can tell I used it on runs as well as when at home, in the office and on walks.

The testing period for the Majority MP3 Player was roughly two weeks, and I was able to compare it directly with two other similar devices: the Mechen 64GB and HIFI Walker.

Beats Solo 4 review: a solid update to an iconic pair of wireless headphones, but the competition is now too hot
7:00 pm | May 5, 2024
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: , | Comments: Off

Beats Solo 4: Two-minute review

The Beats Solo 4 are long-awaited on-ear wireless headphones that aim to improve on the company's 2016 Solo 3 with an increased battery life and additional features, including a USB-C port for simultaneous charging and lossless hi-res audio playback, and Spatial Audio – as well as some new color options.

When wearing the Beats Solo 4, I was pleasantly surprised at how well isolated I was from my immediate environment, despite the lack of active noise cancellation (ANC). The claimed 50-hour battery appeared to hold true during my tests too, which is great for such comparatively small and light headphones.

As with most of the best Beats headphones, style is at the forefront, and the Slate Blue variant I tested certainly makes a statement (they are also available in Matte Black and Cloud Pink). Some parts of the plastic build and headband padding feel cheap, though, and certain aspects of its engineering, such as the folding mechanism, don’t inspire much confidence.

They offer a secure fit that’s impressively solid for on-ear headphones, withstanding the rigors of physical activity without shifting, which is important considering that Beats is promoting these headphones for exercise. However, on-ear headphones don’t really work for my ear comfort, and these did nothing to change that – and long-term comfort is made worse by the lack of adequate padding on the headband; I couldn’t use them for more than an hour at a time. 

The controls also provide issues: the main 'b' button is easy to accidentally press when hanging Solo 4 around the neck, and I found the volume buttons hard to locate while wearing. Pressing them also puts undue pressure onto the ears, which, as you can imagine, is an uncomfortable sensation. 

The sound is perhaps the most disappointing aspect of the Solo 4. The bass response can be impactful at times but wooly at others, while the mids sound muddy and lack punch compared to more of the best wireless headphones at the same price. These problems aren’t solved if you listen via any of the higher-quality wired options. The upper mids are where the Solo 4 sound their best, but the highest frequencies don’t have enough sparkle and clarity in comparison to the competition.

The Sony ULT Wear WH-ULT900N, for example, are the same price in the US (and cheaper in the UK), and beat the Solo 4 on pretty much all fronts: they have much better sound, comfort levels, and come with ANC. The Sennheiser Accentum Plus is another superb option for those who want something more audiophile-friendly, with impressive ANC and wireless hi-res support.

Beats Solo 4 held in hand

(Image credit: Future)

Beats Solo 4 review: Price & release date

  • Priced $199 / £199 / AU$329
  • Launched in May 2024
  • Available in Matte Black, Slate Blue and Cloud Pink

The Beats Solo 4 are priced at $199 / £199 / AU$329 officially, and were available to buy from May 2nd, 2024.

This is lower than today's flagship headphones – the Beats Studio Pro are $349 / £349, while the Sony WH-1000XM5 officially cost $349 / £299. Both of these are larger, over-ear models with ANC. 

For basically the same price as the Solo 4, you could also get the Sony ULT Wear WH-ULT900N or the Sennheiser Accentum Plus. Both of these are over-ear rather than on-ear, which usually improves low-end frequency response, and feature ANC and some other features lacking here. The Sennheiser headphones also match the Solo 4’s 50-hour battery, even with ANC on.

Beats Solo 4 review: Specs

Beats Solo 4 close-up of left driver

(Image credit: Future)

Beats Solo 4 review: Features

  • Apple and Android smart features
  • Lossless wired playback via 3.5mm and USB-C
  • No active noise cancellation

The feature set for the Beats Solo 4 is what you would expect from a modern pair of wireless headphones. One-touch Bluetooth connectivity made it easy for me to connect to Android, iPhone and Windows PCs, and lossless audio playback is supported via a wired USB-C connection. This means you can listen to sources that provide superior quality to MP3 or AAC file formats, imparting more detail across the entire frequency range, theoretically. Simultaneous charging is also possible when connected to devices that provide power. 

However, there is no high-resolution audio support when connected via Bluetooth, as the Beats Solo 4 only support AAC and SBC wirelessly, which are both compressed formats; there’s no aptX or LDAC.

There is also a 3.5mm analog input and included cable so you can use them just like a traditional pair of wired headphones, meaning you can enjoy unlimited playback without using any battery power. Again, this can offer higher-quality audio than Bluetooth, and is useful on planes.

The Beats app is responsive, easy to use, and offers options to easily manage privacy controls, such as location permission, notifications and analytics, and battery optimization settings. It also provides the battery level as a percentage that actually updates for all 100 numbers, which is very useful (and not something all headphones provide – some just note when they've dropped by 20%, for example). 

There's fast pairing and auto-switching between compatible devices for both iOS and Android ecosystems – and the Find My system for both platforms in supported. However, Apple users get a few extra features, such as hands-free 'Hey Siri' access and Audio Sharing, which lets users share playback with multiple pairs of AirPods or Beats headphones at a time. Better than these, though, is that Apple users get Personalized Spatial Audio for movies or Dolby Atmos music. There’s no support for this on Android.

I mentioned auto-switching between devices above, but be warned that this only worth within the Apple or Android systems. So, it auto-switches between iPhone and Mac; or it switches between Android and Chromebook. There's no standard multi-point pairing, so you can't switch between, say, an Android phone and Windows laptop seamlessly.

True to their minimalist aesthetic, the Beat Solo 4 headphones only have four buttons, and all of them are pretty well hidden. The main 'b' button is on the left hand side and integrated with the company logo, and controls main functions, such as play/pause and skip track, depending on the number of times it is pressed. The button is tactile and operates smoothly, although I did find it easy to press accidentally, especially when they’re hung around the neck.

The volume controls are located on the ring around the 'b' button, with the top half increasing volume and the bottom decreasing. Again, these function well, but they require too much force to register, which meant I was pressing the entire left driver into the side of my head, which isn't comfortable.

The power button is perhaps the most hidden of all, being a tiny little dot finished in the same color as the rest of the headphones. Locating this blindly when wearing the Solo 4 isn’t easy. It also has to be held down for a few seconds, but hold for too long, and you enter pairing mode. Getting the timing right is tricky, and the only audio prompt you get is when the Bluetooth connection is established. The only indication that the Solo 4 are turned on is a small LED on the outside. Basically, make sure you turn them on before they're on your head.

The microphone is also high quality, although perhaps too eager to pick up extraneous noises. When making a test call with the Solo 4, my interlocutor commented that, although I was coming through clearly and loudly despite the considerable amount of wind outside, other background noises also came through prominently, such as people talking around me in the street.

Beats quotes the battery life as being a generous 50 hours of playback. And during my test, this figure seemed to live up to reality.

I tracked them as generally losing around 5% battery per 2.5 hours (without Spatial Audio turned on), which puts them right in line for the 50-hour claims from Beats. I also observed them drop around 10% after a 6.5 hours of playback too, so you may get a little over 50 hours – but as usual with headphones, it can depend on volume and other factors.

  • Features score: 4/5

Beats Solo 4 wireless headphones close-up of ear pads

(Image credit: Future)

Beats Solo 4 review: Sound quality

  • Bass is hit-and-miss
  • Boxy lower mids, clear upper mids
  • Great passive noise isolation

Despite Beats having a reputation for bass-heavy headphones, the Solo 4 are pretty controlled on this front. The low frequencies are deep without being overbearing, although they don’t have the precision and control I would hope for. There are times when the bass is too boomy and wooly, especially noticeable in songs with sustained low notes.

The lower mids are also disappointingly muddy, but the upper mids are pleasantly crisp without being harsh. Songs with detailed percussive arrangements, for instance, come across well in the Solo 4. But the highest frequencies don’t sparkle as much as they could, lacking the finer details at the top end of the spectrum.

When connected via USB-C rather than Bluetooth, you get access to lossless audio, which, in theory at least, should provide a listening experience fit for audiophiles. During my audio test via USB-C with our special TechRadar playlist on Tidal – which provides lossless music streaming – the results weren’t radically different to Bluetooth. The bass was still amiss, and while the mids were more punchy, they still weren’t as clear as I would have liked. Using the 3.5mm analog input seemed to marginally improve the quality of these frequencies, but not by much.

In comparison to the Sony ULT Wear headphones and Sennheiser Accentum Wireless that I've already mentioned in this review, there's no competition really – these both offer more detail, a better balance across the frequencies, and a clearly richer experience overall.

Where the Solo 4 shine, though, is the noise isolation. Despite not having any active noise cancellation profiles, external sounds are blocked out well. This helps songs with heavy reverb and a strong sense of space to be comprehensively conveyed. Spatial Audio experiences are also improved by the isolation, making the illusion of the surround sound theater experience more compelling. The dynamic head tracking meant that whichever way I turned my head, even slightly, the audio panned to always match the direction of the source. 

At this price, it’s hard to get a better movie sound experience on headphones than Apple's Spatial Audio tech provides. This is a nice bonus if you'll watch a lot of movies, but really still has limited appeal for those who will only listen to music with them. 

  • Sound quality score: 3/5

Beats Solo 4 wireless headphones in their case

(Image credit: Future)

Beats Solo 4 review: Design

  • Snug and secure fit
  • Uncomfortable for sustained periods
  • Nice colors, but limited selection

The case that comes with the Beats Solo 4 is made from a soft fabric material, which makes for a lighter carrying weight. However, it does make me more concerned about their safety when buried at the bottom of a backpack or stuffed in a suitcase than if they had a hard case.

The opening for the case is also quite small, so using it isn’t exactly a seamless experience: it’s near-impossible to take them out without sliding the headband adjustments, and putting back the included 3.5mm analog and USB-C cables in their own pouches within the case is also quite the chore, since the openings for those are very small as well.

And despite being smaller than over-ear headphones, the depth of the case means that they aren't that much smaller to carry around, if at all. The Sony ULT Wear WH-ULT900N over-ear wireless headphones, for instance – which are bigger than the Solo 4 – have a case which is longer and wider, but thinner, which is something I personally prefer, as I find such cases easier to pack away. 

The Solo 4 stay true to the Beats aesthetic, looking almost identical to the Solo 3. The look is minimal and the Beats logo is displayed prominently on the sides of each can, so everyone knows what you’re wearing. The Slate Blue finish I had is vibrant without being garish, although Matte Black and Cloud Pink are other color options you can choose from. It's a little disappointing there are only three options, since the Solo 3 came in five colors, but I'm sure more will become available over time.

The adjustments on the headband are smooth and relatively easy to make – although this was trickier while wearing them, as they were fairly tight on me. The hinge mechanisms for folding the earcups feels quite loose, and so doesn’t hold them in folded position with much support. The plastic used for the overall construction doesn’t especially premium either when compared to the likes of Sony and Bose headphones.

The fit is very snug and secure, despite being an on-ear design, and so having less surface area on the pads to grip your head. Having used them for exercise, I can say that they stay on without the slightest deviation. Beats has mentioned exercise as a key use case for the Solo 4, and even in a world of fitness-focused earbuds, they do this job very well.

The price I paid for this secureness, however, was a lack of comfort overall. Despite the particularly plush ear pads, the Solo 4 felt the same as any other pair of on-ear headphones I have tried – which is to say, painful after long sessions. Not everyone feels the same but, if you’re someone with sensitive ears to pressure, like me, then these aren’t going to be the on-ear headphones that change your mind. Glasses wearers will also be in even more potential pain – but again, I will concede this is something I am personally quite sensitive to.

But with the Beats Solo 4, the more universal issue is the feeble headband padding, which meant that the top of my head felt the strain as well. The rubber coating also feels cheap and offers too much grip if anything, often sticking to my hair, causing issues when sliding them on and off. 

The upshot is that I couldn’t wear the Solo 4 for more than an hour at a time before I had to give my cranium a break. But when you do take them off and hang them around your neck, I encountered another problem: since the earcups don’t swivel, the edges can rest uncomfortably between the chin and collarbone. It may seem like a small point, but other headphones at this price point do have rotating cups to rectify this problem and make life more comfortable.

  • Design score: 3/5

Beats Solo 4 held in hand face on

(Image credit: Future)

Beats Solo 4 review: Value

  • Rivals offer better sound for the same price
  • No ANC is disappointing
  • Smart features for both Android and iOS is rare

The Beats Solo 4 are priced at $199 / £199 / AU$329, and the competition at this point is quite stiff. The Sony ULT Wear WH-ULT900N, for instance, are currently available for the same price, if not cheaper, and best the Solo 4 in virtually every aspect. I tested them directly against the Solo 4, since we had both in for review at the same time.

The Sony headphones have superior sound and comfort levels, as well as having more features, including ANC. The Beats Solo 4 almost get away with this omission thanks to their frankly excellent natural noise isolating capabilities, but it’s still far perfect, and other headphones at this price point feature ANC too.

In no small part, you'll be paying for the specific styling and the unique mix of Android- and iOS-friendly features. A lot of people will feel that's worth it, but I'm not sure it's quite enough. These features, plus Apple's top-tier Spatial Audio, good battery life and USB-C audio mean they're reasonable for the price overall – but you can spend your money better.

  • Value score: 2.5/5

Should I buy the Beats Solo 4?

Buy them if...

Don't buy them if...

Beats Solo 4 review: Also consider

How I tested the Beats Solo 4

  • Tested on Android, iPhone and PC
  • Streamed music from Tidal and used stored MP3 tracks
  • Tested over 10 days

I tested the Beats Solo 4 over the course of a week, in various scenarios. I tried them with an Android phone and an iPhone, as well as a laptop and a Fiio M11S high resolution music player. I made use of all their supported features, including wireless playback via Bluetooth, and wired via 3.5mm analog and USB-C. 

I listened to music directly from lowly MP3 files in 320kbps quality, as well as via hi-res streaming service Tidal. I tested them with a variety of genres, including rock, pop, electronic, classical and jazz. I listened both in quiet indoor environments and noisy outdoor ones. I also tried exercising with them to test how secure the fit was.

I also made phone calls and recorded voice memos with the Solo 4 to test the microphone quality too. 

I also tested the battery life by leaving the headphones connected to a mobile device via Bluetooth to play through a playlist at a typical listening volume.

Read more about how we test

  • First reviewed: May 2024
iFi GO Bar Kensei review: the stylish steel swordsman of portable DACs
7:00 pm |
Author: admin | Category: Audio Computers Gadgets Hi-Fi | Comments: Off

iFi GO Bar Kensei review: Two-minute review

The iFi GO Bar Kensei is another reminder that iFi knows precisely what’s what when it comes to headphone amps and DACs of all shapes, sizes and prices. More often than not, it’s among the leaders in any given market. And so it’s decided what the humble USB DAC/headphone amp needs is a bit of glamour to go along with performance. Hence, the GO Bar Kensei.

On paper and in the palm, it makes a lot of sense. The specification is extensive, the finish – all tactile Japanese stainless steel that catches the light – is unarguably upmarket. If you want to put an absolute rocket up the sound of your smartphone and enjoy ownership of a premium product as you do so, it would seem to be just the ticket.

And in practice, the GO Bar Kensei makes good on a lot of what it promises. It’s a deft, rhythmically adept and impressively spacious listen, able to retrieve a huge amount of detail and put it all into the proper context. It has plenty of dynamic headroom, and is able to apply its talents to any digital audio file no matter where you source it from. 

It overplays its hand somewhat at the top of the frequency range, though – ‘brilliance’ is not always a positive when it comes to treble sounds, especially when there’s not the substance to balance it out. And there’s a periodic glitch in the way the GO Bar Kensei performs that sends an unpleasant burst of noise to your headphones at the start of a new file, too. Both of these things undermine the iFi somewhat when compared to the best portable DACs, and make it a fair bit less compelling than it otherwise would be.

iFi GO Bar Kensei review: Price and release date

the iFi GO Bar Kensei on top of a wooden box

(Image credit: Future)
  • Released in March 2024
  • Priced at $499 / £449 / AU$769

The iFi GO Bar Kensei portable headphone amp/DAC is on sale now for $449 in the United States, £449 United Kingdom and in Australia, it will set you back AU$769 or thereabouts.

The world is not short of portable USB headphone amp/DACs, of course. What it is slightly shorter of is really quite expensive USB headphone amp/DACs, and shorter still of really quite expensive USB headphone amp/DACs that have gotten completely carried away with Japanese sword master analogies. So this iFi has quite a bit to prove… 

iFi GO Bar Kensei review: Features

iFi GO Bar Kensei

(Image credit: Future)
  • 32bit Cirrus Logic DAC
  • ‘K2HD’ audio processing technology
  • Balanced and unbalanced outputs

The GO Bar Kensei is necessarily compact, but that hasn’t prevented iFi from cramming it with features.

On the inside, iFi has sourced components from companies as well-regarded as muRata, Panasonic, TDK and Tantalum. These all serve to facilitate a 32bit Cirrus Logic DAC chipset that supports digital audio files of up to 32bit/384kHz PCM and DSD256 resolution, with full MQA decoding on board too. The DAC uses a 16-core XMOS microcontroller to process the audio data received at the USB-C input. 

And iFi has deployed technology derived from JVCKenwood too – ‘K2’ was originally developed to try and bring an ‘organic quality’ and ‘sound quality correction’ (JVCKenwood’s words, not mine) to digital recordings. iFi has breathed on it to the point that JVCKenwood asserts that it’s ‘the original ideal K2 sound’. Which is why, presumably, iFi has decided to refer to it as ‘K2HD’. 

Further finessing of the sound is available via four digital filters and a couple of analogue processing modes, all of which will be familiar to anyone who’s paid any attention to iFi products released over the last few years. ‘Bit-perfect’, ‘GTO’ (which stands for Gibbs Transient Optimised, of course), ‘minimum phase’ and ‘standard’ are all, supposedly, able to make particular genres of music sound, well, more genre-ish. ‘XBass+’ intends to accentuate the lower frequencies, and ‘XSpace’ wants to expand the sound field. 

No doubt you’ll investigate all of these options at your leisure. But no matter what your eventual preference(s), getting sound out of the GO Bar Kensei happens using either the 3.5mm unbalanced or 4.4mm balanced output at the opposite end of the device to the USB-C slot.  

Features score: 5 / 5

iFi GO Bar Kensei review: Sound quality

iFi GO Bar Kensei

(Image credit: Future)
  • Rapid, detailed and spacious sound
  • Positive and dynamic attitude
  • Overplays its hand with treble sounds

The sound quality the GO Bar Kensei delivers is, I reckon, a game of two slightly lop-sided halves plus a bit of extra time. And everything I’m about to say applies no matter which of the many filter and/or processing options you deploy. It’s possible to fiddle around the edges of the iFi’s sound, but its fundamental character is always apparent.

The first of the halves centres on just how rapid, detailed, open and organised a performer the GO Bar Kensei is. It doesn’t matter if you’re playing a 24bit/96kHz FLAC file of David Bowie’s Low, a Dolby Atmos stream of De La Soul’s 3 Feet High and Rising or a 24bit/192kHz copy of Billie Eilish’s When We All Fall Asleep, Where Do We Go? - every time, the iFi extracts and contextualises a huge amount of both broad and fine detail. No occurrence is too felting or too far back in a mix to escape its attention – and as a result, the sensation that you’re getting a complete picture is always present.

It digs reasonably deep at the bottom of the frequency range, and controls the low end to the point that rhythmic expression is good and momentum is undeniable. The big, open and well-defined nature of its soundstage allows every element of a recording the space it needs to properly express itself, and it allows vocalists in the midrange to communicate explicitly. There’s real eloquence and directness to the way the GO Bar Kensei delivers a singer, a sensation of positivity that feeds into the overall idea of ‘performance’ and ‘unity’.

Dynamic expression is good too, whether it’s the shifts in volume and intensity that many recordings indulge in or the more subtle (but no less significant) harmonic variations in a solo voice or instrument. The iFi can be muscular when needs be, but it’s just as capable of being tender and delicate.

The second half concerns the way the GO Bar Kensei deals with the top of the frequency range. To put it bluntly, it’s altogether too confident where treble sounds are concerned – they’re overstated in every circumstance, and tonally they lack substance and body. The top end here is crashy and splashy, hard-edged and thin – and these unhappy traits are only compounded by increases in volume. If you pair the iFi with similarly treble-centric headphones then your teeth will constantly be on edge.

And there’s extra time, which has nothing to do with the way the GO Bar Kensei sounds but everything to do with the way it performs. On occasion, when one file ends and the next begins, the iFi will let loose a very short burst of utterly startling electrical noise, a sort of exclamation of white noise that is, of course, entirely unwelcome and obviously unintentional. It doesn’t happen every time, but it happens often enough. And it’s not as if it’s provoked by switching from one streaming service to another or anything like that – simply hitting ‘play’ on a playlist can goad it. As I say, this is by no means a constant – but in some ways, it’s even more upsetting because it doesn’t happen every time. It seems to happen (to me, anyway) more often when using iFi’s USB-C/Lightning connector attached to an iPhone than when using the USB-C/USB-C cable with a Samsung smartphone… but either way, I’m not a fan. 

Sound quality: 3.5 / 5 

iFi GO Bar Kensei review: Design

iFi GO Bar Kensei

(Image credit: Future)
  • 65 x 22 x 13mm (HxWxD)
  • Japanese stainless steel
  • Very, very small user interface

At 65 x 22 x 13mm (HxWxD) the GO Bar Kensei is certainly pocket-sized, but at almost 66g it feels quite dense. The fact that it’s built almost entirely from Japanese stainless steel is probably to blame – but while it puts a little more strain on your pocket that most USB DACs, there’s no denying the iFi feels (and looks) like a premium product.

At one end of the stick there’s a USB-C slot, and at the other you’ll find the 3.5mm and 4.4mm outputs. Along one side there are a few controls – a multi-function button that allows you to check out the various digital filters and analogue processing modes, a button each for ‘volume up’ and ‘volume down’ and the ‘IEMatch’ switch. This last has three positions: ‘off’, ‘3.5’ and ‘4.4’.

On the rear of the stick, etched into the steel surface and consequently only visible when a) very close, and b) in favourable light, are a strip of miniscule LEDs that let you know what’s what (if your eyesight is up to it) in terms of mode, file type and file size. And on the top surface, there’s a company logo and some Japanese characters reading ‘Kensei’ – which apparently translates as ‘sword saint’.  

Design score: 4 / 5 

iFi GO Bar Kensei review: Usability and setup

iFi GO Bar Kensei on top of a phone

(Image credit: Future)
  • Plug your source into the USB-C input…
  • Plug your headphones into the 3.5mm or 4.4mm output…
  •  …and select your ‘IEMatch’ position

‘Setup’ is to overstate what’s required here. The GO Bar Kensei attaches to your source player via its USB-C slot (iFi provides short, good-quality USB-C/USB-C and USB-C/Lightning cables for this purpose) and to your headphones using either its 3.5mm unbalanced or 4.4mm balanced output. 

Then you simply need to decide if you need to deploy the ‘IEMatch’ switch, and whether or not you enjoy the effect of the ‘XBass+’ and/or ‘XSpace’ settings – and that’s about everything. Audio equipment doesn’t get any more straightforward.

Usability and setup score: 5 / 5 

iFi GO Bar Kensei review: Value

  • Priced in line with rivals
  • Comparative to the cost of a digital audio player

iFi GO Bar Kensei

(Image credit: Future)

It depends which way you look at it, really. The iFi GO Bar Kensei is among the more capable USB-sized headphone amp/DACs around – although it’s far from perfect – and is able to turn your smartphone into a far better source of music than it’s capable of being by itself. 

But it costs the sort of money that can get you close to buying a very decent dedicated portable music player… but if you decide to spend the money on one of the best MP3 players instead, you have to take two phone-sized devices out with you… decisions, decisions…   

Should I buy iFi GO Bar Kensei?

Buy it if...

Don't buy it if...

iFi GO Bar Kensei review: Also consider

How I tested the iFi GO Bar Kensei

iFi GO Bar Kensei

(Image credit: Future)
  • Tested for a week 
  • Used with iPhone 14 Pro and Samsung Galaxy S23
  • Listened with Grado SR325x headphones

On and off, I spent maybe a week listening to the GO Bar Kensei. I used it with Apple iPhone 14 Pro and Samsung Galaxy S23 smartphones. I connected it to Sennheiser IE900 in-ear monitors via its 4.4mm balanced output and to a pair of Grado SR325x over-ears using its 3.5mm connection. 

I used it while at home, on the street, and on the train. I mostly listened to music from TIDAL and Qobuz (because these streaming services are full of high-resolution content of MQA and 24bit/192kHz standard), and I checked out its various digital filters and analogue processing modes as I did so.

Speck Gemstones Play review: comfy cheap earbuds, but you can do better
2:00 pm | April 28, 2024
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: | Comments: Off

Speck Gemtones Play: Two-minute review

The Speck Gemtones Play true wireless earbuds are a step out of the comfort zone for Speck, which is better known for its range of phone cases, and it shows. While the sound quality of these earbuds deliver is as you might expect for $49.99 (about £40 / AU$75), the Speck Gemtones Play earbuds don’t offer as much value as the Earfun Air 2 earbuds, which retail for roughly the same price, but have additional features like wireless charging and longer battery life. 

I’d be tempted to say that you get what you pay for from the Speck Gemtones Play, but since there are alternatives among the best budget wireless earbuds at the same price with additional features, that wouldn’t be strictly accurate. This is not to say that these earbuds are noticeably bad, because they aren’t. If you’re not an audiophile who focuses on output and dynamic range then you’ll be happy enough with the sound quality that’s on offer here. One noticeable issue, however, is the audible strain around the vocals, which is apparent when listening to both music and podcasts. This can be remedied by switching to the Vocal Range EQ preset, but it’s a shame that the default EQ settings don’t offer better vocal clarity. 

While the earbuds are easy to keep track of thanks to the Find your Earbuds function and the inclusion of a push-to-release button on the case, the lack of quality in the materials quickly becomes apparent. The hinged lid of the case feels flimsy, and the matte black finish scratches and shows fingerprints easily; the case of my review sample looked like it had been through an ordeal after just a few days of use.

If you’re looking for a better-quality finish and more features without spending extra, we recommend the 1More PistonBuds Pro Q30 or the Earfun Air 2 earbuds.

The speck Gemtones Play earbuds are pictured lying on a white tabletop in front of their charging case. The ear buds are black, with the left one having the Speck logo printed in white. The case is also black, with white inside the earbud cavities.

(Image credit: Future / Cesci Angell)

Speck Gemtones Play review: Price & release date

  • Released in January 2024
  • Priced at $49.99 (about £40 / AU$75)
  • Only available from Speck within the US, may be available from third-party retailers

The Speck Gemtones Play earbuds were released at the start of 2024. At present, Speck only sells its earbuds within the US, but you may be able to find them at third-party retailers elsewhere. 

Better known for its production of phone cases, Speck has taken a leap into audio tech, and at $49.99 (about £40 / AU$75), these earbuds are the cheapest offering in the Gemtones range, coming in below the $69.99 Gemtones Sport (with earhooks for a secure fit) and the $79.99 Gemtones Pro. 

While these are relatively cheap and cheerful earbuds, they have stiff competition from the likes of the 1More Piston Bud Pro Q30s, which have the added benefits of Spatial Audio, Low Latency mode, and ANC, which the Gemtones Play unfortunately lack.

Speck Gemtones Play review: Specs

Speck Gemtones Play review: Features

  • 28 hours max playtime
  • Four EQ profiles
  • Find your Earbuds function

The Speck Gemstones Play lack some of the features you might expect at this price point in 2024, but the easy-to-use app and a couple of novel features help bump up their score.

The Speck Gemtones app is basic, but its lack of complexity and ease of use will appeal to some. When I launched the app it spotted my earbuds straight away, and once I’d paired them via Bluetooth in my phone's settings, it only took a tap of the icon in the app to sync them.

The app provides a range of useful features, including four different equalizer presets: Default, Balanced, Dynamic Bass, and Vocal Range. It doesn’t offer the ability to create custom EQ settings, though, which is a shame, but it does have a feature that could prove particularly useful for the forgetful among us – a Find your Earbuds feature, which you can use to get either the left or right earbuds to emit a loud beeping to help you hunt them down. This only works when they’re not in the case, however – and obviously you need to be close enough to be connected to them.

A Volume Limit feature can also be found in the app, which is still not too common in headphones apps. As someone with sensitive ears, I was reassured to know that it wouldn’t be possible to accidentally hit the volume keys on my phone and raise the volume too high – and it’s also great for making sure kids don’t harm their hearing by cranking up the sound. In practice, however, this feature doesn’t work as I’d anticipated. Instead of stopping the volume from going any higher than 85dB at full volume, it reduces the sound at all levels, so 50% volume is no longer 50%. This concerns me, because once you turn the limiter off – albeit this can’t be done accidentally, as you need to enter a code – the volume shoots back up to whichever volume you’re set to. It’s also worth mentioning that even with the volume locked, the volume at which the buds announce that they’re connected is quite loud.

The app also shows you how much charge is left in the earbuds. I found that the battery life performed a little better than advertised, lasting around eight hours and 20 minutes while playing music continuously at 50% volume. I listened to music and chatted on work calls while working from home without needing to charge them, and between the charge in the buds themselves and in the case, I could do the same in the office, plus listen to music on my commute home, without running out of battery.

The Speck Gemtones Play's dual microphones didn’t impress me when compared, again, to the similarly-priced 1More PistonBuds Pro Q30 earbuds. When I listen back to a recording of myself, I sound distant and unnatural. They’d be adequate for making phone calls indoors, but the low volume and lack of clarity may prove problematic when making calls out and about, or with a rocky connection.

It’s a shame that these earbuds offer no active noise cancellation. This may seem understandable considering the price point, but as mentioned, there are alternative options on the market in this price range that offer this feature – the 1More that I've mentioned just above, or the Earfun Air Pro 3, which often fall to this kind of price. 

A further small but frustrating niggle is that you can’t start listening on another device without disconnecting the buds from the current device first – i.e., there’s no multipoint pairing – which can be a pain if you often switch between listening on phones, tablets, laptops, etc. Again, the 1More and Earfun offer this.

  • Features score: 3/5

The Speck Gemtones Play earbuds sitting inside their charging case with the lid open, on a white tabletop.

(Image credit: Future / Cesci Angell)

Speck Gemtones Play review: Sound quality

  • Acceptable sound quality for the cost
  • Good tonal range, but lacks clarity
  • Capable of delivering clear vocals, but with sacrifices

As expected for the price, the Speck Gemtones Play don’t deliver the most dynamic sound. They’re pleasant to listen to, but if you have an ear that can appreciate rich bass through to sparkling and natural treble, they may fall a little flat. On the other hand, these earbuds could pick up delicate touches, such as background synths in sections of Black Eye by Allie X, so they score points for their general clarity.

While they can be forgiven for not being as dynamic as the likes of the Marshall Motif II A.N.C earbuds, which are priced at $199.99 / £179.99 / AU$349, they also lag a little behind the sound quality of the similarly priced 1More PistonBuds Pro Q30 – and this is hard to ignore considering that the 1More earbuds also offer extra features including ANC, spatial audio, and Low Latency mode.

I found myself regularly changing the EQ presets to get the most out of different songs. While I can hear that the sound quality is improved after choosing the appropriate setting, I do wish the default preset performed a little better to make for a more effective listening experience when out and about. When left on default, music can sound flat, with an edge of strain on the speakers from vocals. Although cycling between EQ settings can improve the listening quality, it sometimes feels like you’re having to sacrifice an element such as vocal clarity or bass quality, and I found it hard to achieve a good balance. That’s especially true when the Vocal Range preset isn’t selected, as it can sound like the vocals are being dampened, as if I’m listening through a curtain.

When listening to I Want You by Moloko with the Vocal Range equalizer preset selected, the raw vocals come through beautifully. You do, however, lose the impact of the percussion hitting. The Dynamic Bass equalizer preset was a good middle ground on this occasion, softening the vocals without sacrificing that depth.

The Default equalizer preset made Justin Hawkin’s vocals in The Darkness’ I Believe in a Thing Called Love lack impact, making the listening experience fall flat. Selecting the Balanced EQ preset once again sounded muffled, as if I wasn’t in the same room as the band. I’d go as far as to say that you’ll feel like you’re listening from outside the venue when it comes to this song. The most satisfying preset for this particular track was Vocal Range, which delivered the drama lost with the other presets.

When listening to podcasts on the Default settings, voices had a tinny edge to them, but they came through with more clarity when the Vocal Range equalizer preset was selected. The same was true when listening to content on YouTube.

  • Sound quality score: 3/5

The Speck Gemtones Play earbuds sitting on a white table top. They are matte black with the Speck logo printed on the top of the left earbud in white.

(Image credit: Future / Cesci Angell)

Speck Gemtones Play review: Design

  • Useful press-to-release button
  • Comfortable fit for smaller ears
  • Light-but-cheap materials

The Gemtones Play case feels lightweight at just under 1oz / 29g. It appears more cheaply made than some other earbuds in this price bracket, with a thin, transparent black frosted flip lid and matt black body that marks easily from fingerprints. It scratches easily, too – I have long gel nails, and it was instantly clear where they’ve made contact with the case. 

The case would probably be useful for you if you plan to keep it in your pocket or hanging from its fabric loop on the outside of your bag, as it won’t open unless you push the release button, which is a feature that I appreciate. The hinge feels sturdy, but the plastic is very thin and looks like it could be easily broken. I have questions about the longevity of this case, although aside from the aesthetic issues it hasn’t let me down just yet. 

The design of the earbuds themselves isn’t anything to get excited about. Similarly to the case, they’re made from cheap-looking matte black plastic, with the left-hand bud having the Speck logo printed on it. There’s a small indicator light on each bud, and another in the space between them on the case which indicates when the earbuds are prepared for Bluetooth pairing, whether the earbuds or case are charging, or whether either are fully charged. These lights are a little on the subtle side, as the LEDs are deep-set, so it’s not clear what the lights are showing unless you’re looking down the barrel at them.

The buds feel comfortable in my ears, and I wore them for long periods with no issues. I was able to wear them straight out of the case, without needing to switch to another pair of silicone tips, which Speck includes in sizes from extra small to extra large, and this was a new experience for me, as I have smaller ears and often need to switch to smaller tip sizes. Helping them to feel comfortable is the fact that the earbuds are light at just over 0.15oz / 4g each.

While the touch features are basic, they are simple to use. A single tap on either bud will play or pause the track, and triple tapping will trigger your device's voice assistant. I quite liked that skipping past or going back to songs is triggered by a double tap on the right or left bud respectively, although if you’re in a situation where you need to settle for just one bud it’s a little annoying that you’re limited to either skipping or returning. The same issue is present with volume control too, as pressing and holding the left earbud turns the volume down, and pressing and holding the right earbud turns it up. It shouldn’t be a big deal most of the time, though.

The touch controls aren’t always responsive, and there were a few instances where the music would play or pause, or the voice assistant would be triggered, when I was trying to double tap, but this was only a small niggle. If you’d rather assign different functions than the default offering, you can customize what each touch control triggers within the app. 

The earbuds I’ve been testing were in the Back in Black finish, but they’re also available in other colors, including Pop Purple, Bop Blue, and White Album.

  • Design score: 3/5

A face on view of the Specks Gemtones Play earbuds sitting in their charging case, clearly showing the press-to-release button.

(Image credit: Future / Cesci Angell)

Speck Gemtones Play review: Value

  • Reliable battery life, delivering the promised 8 hours of playtime
  • More features available for the same price from competitors
  • Useful app, but cheap-feeling hardware

As previously mentioned, the sound quality of the Gemtones Play isn’t bad for the price. It would be unfair to expect a premium listening experience from these earbuds; however, the presence of the similarly priced Earfun Air 2, which offer more features, and the incredibly cheap but good-quality JLab Go Air Pop earbuds, which offer a better user experience and wear-detection, does lead me to question whether these are truly worth the $49.99 (about £40 / AU$75) price tag given the current competition.

Ignoring the competition, though, the app works well, and offers useful features that increase the appeal of these earbuds. In addition, the press-to-release button on the case certainly comes in handy, but the quality of the materials does let these buds down.

  • Value score: 3/5

Should I buy the Speck Gemtones Play?

Buy them if...

Don't buy them if...

Speck Gemtones Play review: Also consider

How I tested the Speck Gemtones Play

A view from directly above the Speck Gemtones Play earbuds are shown sitting in their charging case sitting on a white table top

(Image credit: Future / Cesci Angell)
  • I tested the earbuds for 7 days
  • I tested at home, in the office, on walks, and commuting
  • I listened to music, podcasts, and YouTube content

I subjected the Speck Gemtones Play earbuds to a week of testing. I tested the wearability, sound quality, and features by listening to music for hours at home, in the office, on walks, and while commuting. In addition to listening to music, I watched YouTube videos and listened to my usual podcasts.

I also followed TechRadar’s standardized testing process for earbuds, including listening to a particular set of tracks to make it easy to compare different buds, and real-world measurement of the battery life. Read more about how we test earbuds at TechRadar.

JLab JBuds Lux ANC review: budget headphones that are all about that bass
3:00 pm | April 21, 2024
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: , | Comments: Off

Jlab JBuds Lux ANC: Three-minute review

The JLab JBuds Lux ANC's sound is more bass-heavy than most over-ear headphones. It's something I've come to expect with most JLab products and means your mileage will depend on how bassy you want your music to be. 

JLab is mostly known for its budget headphones and earbuds, but with the JBuds Lux ANC it’s making inroads into the ‘luxury’ headphone market – that descriptor is a word JLab chose, and not my verdict, for reasons we’ll get into later. That’s not to say that the JBuds Lux ANC are premium devices – they cost less than $100 / £100. The brand's just trying to give buyers on a budget something to buy that feels like a top-end rival.

In some ways, it’s a successful venture. As with most other JLab audio devices, these headphones pack a bassy punch, with the 40mm drivers treating your ears if you’re a fan of thumping tunes. 

The JBuds Lux ANC also pack lots of features you’d expect from premium alternatives. As the name suggests, they have active noise cancellation (that’s the ANC) which works very well in its standard setting (although the ambient mode leaves something to be desired). They also have Bluetooth Multipoint so you can jump between different devices, spatial audio for improved movie or TV show watching and Google Fast Pair so you don’t have to spend ages setting up the device.

That’s not to mention the 70-hour battery life (when ANC is off, it’s reduced to 40 hours when it’s on), handy on-cup button controls and the ability for you to fold them down. These are all handy quality-of-life features that we like to see.

There are a few rough edges though. As previously stated the sound is bass-heavy, but this is at the deficit of other aspects of the sound – treble and especially the mid-range felt a little bit lacking. Your music preference will dictate whether these are great for you, or a poor choice, and in the interest of fairness it’s worth mentioning that I’m not a huge fan of this bass-heavy approach to sound.

Something which is less dependent on taste, and more on the shape of your head, is the fit and comfort of the JBuds Lux ANC. I personally found them rather uncomfortable to wear for long periods of time, and also a little less grippy than many of their close rivals – they were fine when sitting still or even walking, but they wobbled on the many occasions I found myself running for a bus. As I write this, I’m having to have a little break from the JBuds Lux due to my ears aching from wearing them. Like I said, ‘luxury’ is JLab’s description, not mine.

Overall, these are decent for their price, undercutting even our top budget pick for the best over-ear headphones, but your taste is a more important factor when it comes to buying them. That’s unless you like to judge a product based on its name: the JLab JBuds Lux ANC aren’t buds and aren’t luxury, so they only score 2/4 for that metric!

JLab JBuds Lux ANC review: Price and release date

The JLab JBuds Lux ANC close-up on the JLab logo

The signature JLab logo is very prominent on the JBuds Lux ANC. (Image credit: Future)
  • Released in February 2024
  • Priced at  $79.99 / £79.99 (roughly AU$120)

The JLab JBuds Lux ANC were announced in January 2024, and went on sale during the month afterwards. You might have trouble buying them though. At the time of writing, two months after their release, they’re already sold out in some regions.

The JBuds Lux ANC sell for $79.99 /£79.99 (roughly AU$120). That’s pricier than almost every other pair of headphones sold by JLab and is in line with the Studio Pro ANC, which will set you back $80 /£80 / AU$99 at the time of writing. The brand sells plenty of wireless headphones for less, though.

The sub-$100 / £100 / AU$130 headphone market is a fiercely competitive one, with many other brands trying to convince you that you don’t need to pay top dollar for great headphones. At the bottom of this review you’ll find some of our favorite similarly-priced headphones that you should consider alongside the JLab JBuds Lux ANC.

JLab JBuds Lux ANC review: Specs

JLab JBuds Lux ANC review: Features

The JLab JBuds Lux ANC's port and buttons.

On the side of the JBuds Lux ANC, there's a USB-C port, as well as buttons for power, volume and noise cancellation.  (Image credit: Future)
  • Battery life reaches 70 hours, 44 with ANC
  • Three ANC modes, standard works but ambient doesn't
  • App brings some handy extra features

As the name suggests, a key feature of the JLab JBuds Lux ANC is the active noise cancellation, which blocks out surrounding sounds while you’re listening to music. This isn’t a given in the best cheap headphones, so it’s welcome here, but even more welcome is the fact that it’s actually good!

The standard noise cancellation mode is great at isolating and removing background sound, great for if you’re sick of the inane chatter of nearby teams in the office or the rumble of the bus every day on your commute. You can turn it off if you want to hear these sounds, plus there’s a third option called Be Aware.

Be Aware is effectively an ambient mode, so that annoying noises (babies crying) are removed while important ones (large vehicles bearing down on you) remain audible. Unfortunately this didn’t work too well: I found that sounds Be Aware let in were given a tinny make-over, so they were even more annoying to hear than if I’d just turned ANC off. I didn’t use this for long.

The JLabs have a fantastic battery life, you love to see it. With ANC turned off, they’ll last for up to 70 hours without needing to be charged, though with ANC or Be Aware turned on that drops to a still-impressive 44 hours. You can charge them via USB-C cable.

The JLab JBuds Lux ANC with a phone running the JLab app.

You can completely customize the sound performance of the JBuds Lux ANC via the JLab control app.   (Image credit: Future)

Downloading the JLab app onto your smartphone offers a few extra features. You can control the noise cancellation and change what the buttons do, but you can also set a volume limit, changing between ‘movie’ and ‘music’ modes and also fiddle around with an equalizer. 

This latter lets you jump between three presets: ‘JLab Signature’, ‘balanced’ and ‘Bass Boost’, but there’s also a custom mode for if you feel comfortable messing around with sliders to personalise the tone.

Most headphone smartphone apps tell you the battery percentage, so you can accurately gauge how long they’ll last for before needing a charge. Curiously, the JLabs one doesn’t, beyond showing you a vague battery icon, which is an annoying omission. 

  • Features score: 4/5

JLab JBuds Lux ANC review: Design

The JLab JBuds Lux ANC laying on a textured surface

You can pick up the headphones in four colors: Graphite (black), Cloud (white), Sage (green) or Mauve (uh… mauve). (Image credit: Future)
  • Handy on-cup controls
  • Uncomfortable to wear for long periods
  • Folds up but no IP rating

The JLab JBuds Lux ANC are supposedly comfier to wear than most budget headphones, hence the ‘lux’ in its name. This adjective is exhibited by the use of soft fabric at the arch of the headband, and soft foam ear cups to settle on your ears.

Several people who’ve used the JBuds Lux and reported back online have called them comfortable to wear, but I don’t concur – no matter how much I extended or retracted the band to adjust its size, I found that they pinched a little too much. It wasn’t too noticeable in the moment, but wearing them for more than an hour in one sitting brought about mild earaches. The fact that not everyone has found this issue suggests that it depends on your head size, though I must point out that it’s not something I often find with headphones.

The headphones didn’t sit totally still either. When I was relatively inactive – say, relaxing on the grass in the warm sun, or sitting at a desk to write this review – there were no issues, but vigorous movement caused them to wobble and sometimes resulted in a cup falling off my ear. By ‘vigorous movement’ I mean running for a bus or jumping down stairs, and I daren’t not even attempt to use them for runs or workouts. Again, I can see this as being a head size issue, but I’d be remiss not to point it out. 

The JLab JBuds Lux ANC held above on a textured surface

The JBuds Lux ANC fold up, making them ultra portable and perfect for travel.   (Image credit: Future)

Weighing 235g, these aren’t too heavy, though they’re not among the lightest headphones we’ve seen either. Like the best travel headphones, at least you can rotate the cups, extend the band and fold in the cups to make the JLabs more portable, which is a little more versatility than we see in all pairs of wireless headphones. There's no IP rating though.

On the right cup you’ve got the USB-C port for charging as well as a power button, a volume rocker and a noise cancellation toggle (between off, on and Be Aware mode). Each of these was easy to locate and press when wearing the headphones, though when I first started testing the headphones, I did mix up the power and noise cancellation buttons a few times.

As mentioned, there are four color options, and our review unit was mauve. All four options are fairly subdued, so you’re not getting anything too lurid whatever you pick.

  • Design score: 2.5/5

JLab JBuds Lux ANC review: Sound quality

The JLab JBuds Lux ANC on someone's head.

Unfortunately, for me, the fit was a little too tight.  (Image credit: Future)
  • Bass-heavy sound
  • Treble lost in the mix
  • Lots of peaking at high volumes

When going into the sound section, it bears repeating that the JLab JBuds Lux ANC are low-end headphones, and as such the best they can aim for is ‘decent’ or another similar synonym. And that target is basically hit, although more so than for most headphones, taste will be the most important judge.

Headphone or earbud fans probably know JLab’s reputation for creating bass-heavy audio devices, which is either draw you or put you off depending on what you like in your music. 

If you want as much bass as possible to enhance your music, you’ll get on well with the JBuds Lux; it’s clearly the focus of the sound mix of the headphones and it pounds through in all the songs it can. It can provide a nice warm sounds if you listen to the right type of music.

The JLab JBuds Lux ANC laying on a textured surface

(Image credit: Future)

This all comes at the cost of balanced audio, though, with treble lost in the mix, even when you try to eke out as much as possible from the app equalizer. I frequently struggled to hear, say, rhythm guitars, piano countermelodies or vocal harmonies that are usually fairly audible.

Like an unsuccessful mountaineer, the JLabs often felt close to peaking, especially when you turn the volume high. However at medium and low volumes I didn’t often hear noises get outright distorted.

I did miss the soundstage and bright audio of some of the JLab’s rivals when testing these, but then again I’m not one who prefers a bass-heavy sound. Your mileage will vary.

  • Sound quality: 3.5/5

JLab JBuds Lux ANC review: Value

  • Affordable over-ear headphones
  • The ANC is competitive 

The JLab JBuds Lux ANC close up on the JLab branding.

(Image credit: Future)

You’re getting what you pay for in the JLab JBuds Lux ANC. These are some affordable headphones that deliver the kind of sound quality and feature set that we often see in similarly-priced products.

The noise cancellation does compete with higher-end headphones, so if that’s your metric for value, you’re getting it here. But in most other categories, the JBuds Lux basically match the price.

  • Value: 3.5/5

Should I buy the JLab JBuds Lux ANC?

The JLab JBuds Lux ANC's side buttons.

(Image credit: Future)

Buy it if…

Don’t buy it if…

JLab JBuds Lux ANC review: Also consider

How I tested the JLab JBuds Lux ANC

The JLab JBuds Lux ANC laying on a textured surface

(Image credit: Future)
  • Tested for two weeks
  • Tested at home, in the office and on walks

I used the JLab JBuds Lux ANC for roughly two weeks prior to writing this review. They were the latest in a string of budget headphone reviews I've done for TechRadar, so I compared them directly to a few close rivals.

Testing was largely done at home or in the office, with some listening done while on walks in both busy and quiet areas. These all provided different tests for the ANC as well as the quality-of-life features for the headphones. To give the JLabs a fair shake, I tried to listen to a diverse range of music on them including rock, pop, classical, country, jazz and streamed TV shows from Prime Video.

I've been writing about tech for six years now including five for TechRadar, so I'm well versed in the headphone and tech space. As stated I've reviewed other similarly-priced headphones and I've also tested other JLab products.

  • First reviewed in April 2024
iFi iDSD Diablo 2 review: the red DAC’s more devilishly good second time around
1:00 pm |
Author: admin | Category: Audio Computers Gadgets Hi-Fi | Comments: Off

iFi iDSD Diablo 2: Two-minute review

There’s an iFi headphone amp/DAC at every price-point – but there was a strong case to be made for the original iDSD Diablo being the most cost-effective of the lot. So the iDSD Diablo 2 has a lot to live up to if it wants to become one of the best portable DACs around…

The design is tidier and more thoughtful than before. Specification has moved on a little, too, thanks to new facilities with Bluetooth 5.4 and xMEMS headphones. What hasn’t changed, though, is the iFi’s need to be paired with similarly upmarket headphones in order to do its thing to its full potential.

It’s worth it, though, because when partnered with some of the best wired headphones in the business, its 'full potential' is very impressive indeed. It’s a rapid, fully detailed and nicely balanced listen, able to organise a soundstage or a complicated mix until these sound as natural as can be. It communicates fluently, controls rhythms and tempos well, and can extract every scrap of information from your digital audio files without apparent effort.

Some listeners will hanker after greater low-frequency impact, and others (or maybe the same ones) will recognise that the iDSD Diablo 2 could have greater dynamic headroom. Despite this, though, the iFi is an admirable device and one that will take some shifting from very near the top of your wish-list.

iFi iDSD Diablo 2 seen from above, on a wooden table

Oh, it's red and no mistake  (Image credit: Future)

iFi iDSD Diablo 2 review: Price and release date

  • Release date: November 2023
  • Price: $1,299 / £1,299 / AU$2,199

The iFi iDSD Diablo 2 is on sale now, and in the United Kingdom it sells for £1,299. In America you’ll have to part with an only slightly more palatable $1,299, while in Australia it’ll set you back AU$2,199. 

No matter where you’re shopping, this is serious money for a piece of desktop equipment. 

iFi iDSD Diablo 2 review: Features

  • Balanced and unbalanced outputs
  • Dual-core Burr Brown DAC chipset
  • Bluetooth 5.4 with aptX Lossless compatibility

Both the price-point and iFi’s sense of itself within the market insist that the iDSD Diablo 2 be exhaustively specified, groaning under the weight of its list of features. And so it proves.

It’s not an especially small device, the iDSD Diablo 2, but nevertheless each end is crammed with connections and controls. At the front, there are 6.3mm unbalanced and 4.4mm balanced outputs – the latter is recommended for use with xMEMS solid state driver headphones, and there’s a switch directly above it to let the iFi know if it’s connected to xMEMS headphones or not. A three-position switch allows you to select a power mode – ‘normal’, ‘turbo’ and ‘nitro’ are available, and these are very excitable ways of describing the additional power output that might be required to drive headphones of particular sensitivity. An LED lets you know what’s going on as regards file type and size (if you’ve made a wired connection) or codec type (if you’re using Bluetooth). A relatively large analogue volume control (with sliding lock) completes the front fascia line-up.

The rear panel, meanwhile, features a button to initiate Bluetooth pairing (the iFi has Bluetooth 5.4 on board, and is compatible with every codec from SBC and AAC to LDAC and aptX Lossless – although, as we shall see, getting confirmation that you’re streaming aptX Lossless is considerably more of a palaver than it should be). There’s also a 4.4mm balanced line-level input, and a hybrid 3.5mm input for either optical or coaxial digital information. Two USB-C sockets complete the set – one if for connection to mains power or to charge the internal battery, and the other is for data transfer. This last is a big improvement on the original iDSD Diablo, which required an infernal (pun very much intended) arrangement of USB extension cables to make a connection. Although received wisdom says the battery is the cleaner and more effective way to power the Diablo 2, iFi also provides its iPower 2 power supply – it’s claimed to be ten times quieter than regular mains power supplies.

On the bottom of the chassis there’s a ‘IEMatch’ switch for use with in-ear monitors – the available positions are ‘4.4’, ‘6.35’ and off.

On the inside, the iDSD Diablo 2 is fitted with a dual-core Burr Brown digital-to-analogue chipset, providing support for digital audio files of every worthwhile type up to 768kHz and DSD512 as well as full MQA decoding. iFi has allied this formidable processing power to features it calls (with typical understatement) ‘PureWave’ (balanced dual-mono analogue amplification architecture), ‘Servoless DirectDrive’ (as direct and uncorrupted a signal path as possible) and ‘OptimaLoop’ (minimisation of distortion and phase sound).

iFi suggests the iDSD Diablo 2 has an enormous five-watt output, which would be more than enough to drive even the most recalcitrant headphones without any of the gain intervention options iFi supplies. Like so much in life, though, iFi’s claims for the power that’s on tap here are the subject of some debate. These five watts are a peak power measurement, rather than RMS continuous power – and iFi’s measurement window is not open for as long as is standard around the wider industry. Still, at this point the argument is academic – the way the Diablo 2 performs will dictate whether or not we should all get hung up on power ratings… 

Features score: 5 / 5

iFi iDSD Diablo 2 closeup, showing headphone jacks

Note the 'wings'  (Image credit: Future)

iFi iDSD Diablo 2 review: Design

  • 29 x 85 x 166mm (HxWxD)
  • 455g
  • Multiple positioning options

In absolute terms, the iDSD Diablo 2 isn’t an especially large device, but at 29 x 85 x 166mm (HxWxD) it still takes up valuable desktop space. So iFi has wisely made positioning it as flexible as possible, thanks to a reworked chassis that replaces the original Diablo’s smooth casework with an arrangement of 22 ‘rails’ that help cooling. Eight of these rails can each accept one of the four ‘wings’ supplied with the product, which allows it to be positioned either vertically or horizontally.

As well as these supporting ‘wings’, the iDSD Diablo 2 also comes with the iPower 2 power supply, short and long(er) USB-C cables, short USB-C / Lightning cable, USB-C / USB-A adapter, Toslink optical adapter and a 3.5mm / 6.3mm headphone adapter. It’s also supplied with an ‘iTraveller’ soft carrying case, into which almost all of these accessories will fit without problems.

Design score: 4.5 / 5  

iFi iDSD Diablo 2's underside, detailing the ports

Everything in its right place…  (Image credit: Future)

iFi iDSD Diablo 2 review: Sound quality

  • Direct, unequivocal performance
  • Detailed, quite lean sound 
  • Could conceivably be more dynamic

A desktop device like this requires a desktop, so the iDSD Diablo 2 is connected via USB-C to an Apple MacBook Pro (2020) running Colibri software in order to deliver properly high-resolution digital audio files. It’s connected to several pairs of headphones – the majority of this testing is conducted using Sennheiser IE900 in-ear monitors and a pair of Austrian Audio ‘The Composer’ over-ears, both using their 4.4mm cable. For the sake of good form, both iOS and Android smartphones are used to check out the iFi’s Bluetooth capability, too. 

But it’s safe to say that no matter the headphones or the source device, or in fact the sort of music that’s on the go (and my testing includes everything from 16bit/44.1kHz files of Doris Troy’s What-cha Gonna Do About It and Lambchop’s The Daily Growl to a 24bit/192kHz file of David Bowie’s Be My Wife and a DSD64 copy of Stevie Wonder’s Living for the City), the attitude and character of the iDSD Diablo 2 doesn’t really alter all that much. This is a swift, articulate and detailed listen, with the sort of muscle-mass of a distance runner and similar manoeuvrability. If you came for vaulting dynamism and/or overtly stocky low frequencies, you might want to look elsewhere. Everyone else, though, should listen long and hard…

At every turn, the iFi keeps a close eye on the fine details and the broad strokes, and manages to put every element of a recording into proper context. It travels from the bottom of the frequency range to the top in a smoothly convincing manner, and is able to generate a genuine sense of unity and ‘performance’ from a recording. It’s possible to tilt its frequency response just slightly towards the top end if you use unsympathetic headphones, but in almost every circumstance the iDSD Diablo 2 is a confident, balanced listen.

It creates a big, open soundstage and organises it well. It’s able to find space for the most transient aspects of a recording even in the busiest mixes, keeps every element of it at arm’s length from the others in order for it to have the necessary space to express itself - and yet ties it all together almost effortlessly. It’s almost fanatical in its attention to the small harmonic variations that lesser amplifiers are happy to overlook.

Control of the lowest frequencies is absolute – and the alacrity of their attack and decay means the iFi gives good expression to rhythms. There’s a lack of bulk or substance to the bottom end it produces, though – there’s no shortage of bass extension, but there’s not a huge amount of weight to the low end, and the iDSD Diablo 2 can sound relatively lightweight as a result. When it comes to the biggest dynamic shifts in volume or intensity, it doesn’t seem to have all that much reach either – possibly because this is a very loud amplifier even when it’s playing quietly. 

For all of its gain and sensitivity controls, the iFi sounds like it’s giving you everything it’s got right from the off – which just doesn’t leave it much headroom when the going gets louder still.

Sound quality score: 4.5 / 5 

iFi iDSD Diablo 2 and Sennheiser iE900, on a wooden table

The bulk of my testing was done with the Sennheiser IE900 or the Austrian Audio 'The Composer'  (Image credit: Future)

iFi iDSD Diablo 2 review: Usability & setup

  • Simple to operate
  • Some mild Bluetooth weirdness 
  • Short cables can be an issue

On a fundamental level, the iDSD Diablo 2 is a piece of cake to operate. Its controls are all physical, its volume dial operates at well-judged increments and the volume dial lock is a nice touch too. If you can plug a source of music and pair of headphones in, you’re in business.

The length of cables supplied are a minor irritation, though. To connect my MacBook Pro (2020) to the iFi, the USB-C / USB-C is required – but the braided cable is so short that there’s next-to-no ability to adjust its position on the desk. I have numerous USB-C / USB-C cables of various lengths in my home, I’ll admit, and iFi supplies a more useful length of much less impressive quality – but I can’t imagine it would carve into iFi’s profit margin too much to supply a braided cable, say, twice as long as this one.

Both my iOS and my Android smartphones see, and pair with, the iDSD Diablo 2 quickly enough. Once the connection is made, the LED on the iFi’s fascia glows yellow to indicate the AAC codec – because that’s iPhones for you. But an Asus smartphone gives every impression of streaming aptX Adaptive (green LED) even though it’s able to deal with aptX Lossless (white LED).  

Usability & setup score: 4/5

iFi iDSD Diablo 2 on its side, showing the file indicator light

This white light (for aptX Lossless) was oddly hard to come by when using sources able to handle it…  (Image credit: Future)

iFi iDSD Diablo 2 review: Value

It’s nigh-on impossible to suggest the iFi iDSD Diablo 2 isn’t a profound improvement on the sound to be achieved by plugging your headphones directly into a smartphone, say, or a laptop. 

As a desktop audio device, then, it makes a lot of sense if you’re the sort of person who takes listening this way seriously enough to have invested in capable headphones and a lot of high-resolution digital audio files. For ‘casual’ or ‘recreational’ listeners, though, a device that demands such equally accomplished (and correspondingly expensive) partnering equipment has to be considered overkill. 

Value score: 4/5

iFi iDSD close-up of the front fascia, on wooden table

Note the new 'rails' on the casework to help with cooling (Image credit: Future)

Should you buy iFi iDSD Diablo 2?

Buy it if...

Don't buy it if...

iFi iDSD Diablo 2 review: Also consider

iFi iDSD Diablo of the branding on the casework, silver on red

iFi makes strong design choices and you love to see it (Image credit: Future)

How I tested the iFi iDSD Diablo 2 review:

  • Various headphones
  • Various audio file types and sizes
  • Various sources of music

For an almost-unbroken week, the iFi iDSD Diablo 2 sat next to my laptop, and played music either from the machine’s memory (using a wired connection) or from one of a few smartphones (using Bluetooth). Music stored as MP3, FLAC and DSD files was used, and headphones from ‘moderately pricey’ to ‘extremely expensive’ were plugged into both the balanced and unbalanced outputs…  

First reviewed April 2024

Lenco L-3810 review: striking the perfect chord between analog and digital
2:00 pm | April 20, 2024
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Tags: | Comments: Off

Lenco L-3810: Two-minute review

The Lenco L-3810 proves that lightning can indeed strike twice. After all, this isn't the first time Lenco has delivered a product with the sort of specification and functionality that makes a bit of a mockery of its asking price. The L-3810 may not be the answer to an audiophile vinyl-fancier’s prayers, but if you’re thinking of dipping a toe into the vinyl water without a) chucking money at it or b) forgoing a nicety or two, it’s a solid option.

It’s not, strictly speaking, a plug-and-play device – but it’s not far off. The headshell must be fitted, but it already has its Audio Technica 3600 cartridge fitted and adjusted. You have to put the platter onto the spindle and the slip mat onto the platter, and set the counterweight and anti-skate controls. But really, apart from connecting it to the mains and to your amplifier or wireless speaker, that’s about it.

Specification is very impressive at the money, too. The L-3810 is a direct drive turntable, which will please any budding superstar DJs. It’s got pitch control, a target light and a stroboscope too – so it looks the part. And thanks to an integrated phono stage, it can be connected to pretty much any system with an analogue input. It even has an analogue-to-digital converter behind its USB-B socket, so archiving your vinyl as digital audio files can be done too. 

When it comes to the actual business of playing records, there’s plenty to like about the L-3810 that's comparable to the best turntables. It’s decently punchy and rapid, ties every element of a recording together confidently, extracts a fair amount of detail and summons a good amount of drive. It’s adept with rhythms and tempos, too. A lack of high-frequency extension and attack makes it sound rather duller than it otherwise would, though. 

Lenco L-3810 review: Price and release date

The Lenco L-3180 playing a record

(Image credit: Future)
  • Released in March 2024
  • Priced at $499 / £279 / AU$499

The Lenco L-3810 turntable was announced as a super affordable option for vinyl and mixing beginners in late February and went on sale in March 2024. In the US, you should expect to pay $499, while in the UK, it goes for £279 and in Australia it will cost you AU$499.

As far as functionality is concerned, there’s quite a lot here by turntable standards, and it demonstrably doesn’t cost an arm and a leg. So well done Lenco, you have already piqued everyone’s interest. 

Lenco L-3810 review: Features

the back of the Lenco L-3810 turntable with its ports visible

(Image credit: Future)
  • USB-B output
  • Switchable phono stage
  • Audio Technica 3600 moving magnet cartridge

It’s fair to say that the Lenco L-3810 is more fully featured than your average turntable. In fact, it makes your average belt-driven, one-function turntable look a bit remedial.

First of all, this is a direct-drive turntable, meaning the platter is connected directly to the motor that turns it. It’s an arrangement more commonly seen in pro/DJ equipment, because it offers both superior rotational stability and the ability to reach the correct rotational speed very quickly indeed. 

Lenco has taken a lot of other cues, where features are concerned, from the established ‘DJ deck’ specification. The L-3810 has a stroboscope to confirm its platter is turning at precisely 33.3 or 45rpm. It has a target light, to help when cueing up vinyl in dimmer conditions. And it has a pitch control slider (+/= 10%) in case you would prefer the platter to turn at a speed other than 33.3 or 45rpm.

The ‘J’-shaped tonearm has a bayonet fitting for the headshell, which is in turn supplied with a very acceptable Audio Technica 3600 moving magnet cartridge pre-fitted and -adjusted. 

At the rear of the chassis, along with the more usual input for power and stereo RCA outputs for connection to an amplifier, one of the best wireless speakers or what-have-you, there are two further features that serve to set the Lenco further apart from the mainstream turntable herd. One is a switch marked ‘phono/line’ – this switches the integrated pre-amplification on or off, depending on the type of system you’re connecting the Lenco to. The other is a USB-B output. Using this to connect to a PC loaded with the appropriate software (I like Audacity, but others are available) allows you to make digital copies of your vinyl in real time.  

Features score: 5/5

Lenco L-3810 review: Sound quality

The Lenco L-3180 on a table with speakers on either side of it

(Image credit: Future)
  • Good sense of rhythm
  • Punchy, quite driving presentation
  • Needs greater treble presence

First things first: if your current system doesn’t include any phono amplification, you’ll be very glad Lenco included some here. If it does, however, it’s well worth conducting an ‘A/B’ comparison between it and the L-3810’s phono stage – the amplification Lenco has fitted here is functional, certainly, but it’s nothing special.

Equally, if it’s the DJ-centric features that have caught your eye then you may need to temper your expectations a little. Yes, the direct drive arrangement here means the L-3810 comes up to speed nice and quickly when compared to a belt-driven alternative - but it’s not the instantaneous ‘go!’ of a true DJ design, and it can take a revolution or two before the platter is spinning at a stable and consistent speed. And that Audio Technica 3600 may be a very capable cartridge, but it won’t thank you for trying out a bit of scratching…

As a straight-ahead record player, though, the L-3810 has a fair bit to recommend it. It’s very ‘together’ in terms of its presentation, for starters – the sense of unity and singular it can create is impressive, and it makes a recording like The The’s I’ve Been Waiting For Tomorrow (All of My Life) sound like a performance, rather than a collection of individual events. This is one of the characteristics that the vinyl format is prized for, and the Lenco makes good on the promise.

It integrates the frequency range well too, and from the lowest frequencies to the top of the midrange it’s an even, quite detailed listen that strikes a nicely naturalistic balance. There’s a definite shortage of top-end extension and energy, though, a lack of treble sparkle or attack that can make the overall presentation sound just slightly dull and blunt. What treble presence there is integrates properly with the rest of the frequency information, mind you.

As far as dynamic headroom is concerned, the L-3810 plays things slightly safe – which, in the context of the system it’s likely to find itself part of, is probably sensible. It alludes to changes in intensity or sheer volume rather than pouncing on them, which makes for an easy listen that’s not quite as visceral with a recording like FKA twigs’ Two Weeks as it really should be. Harmonic variations are quite readily identified, though – as long as they don’t occur up at the top of the frequency range.

Low frequency grip and control of the FKA twigs album is good, though – bass sounds are straight-edged at the moment of attack, which means momentum is decent and rhythmic expression is straightforwardly good. There’s a reasonable amount of punch to the Lenco’s sound, and a fair amount of impetus as a result.

All of this applies, to a lesser or greater extent, to the digital copies the Lenco is capable of creating. Obviously the analogue-to-digital conversion process takes some of the heat (and some of the detail) out of the vinyl sound, and the lack of top-end confidence is always apparent – but if you’re after some digital versions of your favourite vinyl for use when you’re not sitting in front of your L-3810, you could definitely do worse.

Sound quality score: 3.5/5 

Lenco L-3810 review: Design

The Lenco L-3180 playing a record

(Image credit: Future)
  • Pastic chassis
  • Clear dust cover
  • Looks just like a record player

When it comes to the design of a turntable, every manufacturer has to make a binary choice: it either goes with the basic ‘rectangle with a circle on it, plus tonearm’ or ‘control-heavy alternative a la Technics’. There’s no shame in either. Lenco has gone for the second option – it’s decided its L-3810 should look like a junior SL-1200.

Without its clear plastic dust-cover, the L-3810 measures an unremarkable 151 x 450 x 365mm (HxWxD). The chassis (which is available in white or grey finishes) is made of plastic, the platter that supports your vinyl is made of aluminium, and the slipmat that sits between them is felt. The ‘J’-shaped tonearm is made of aluminium, too.

The main body of the turntable stands on four big, rubber-bushed plastic feet that have a degree of articulation.Which is handy both for helping the deck stay level, and also to isolate it a little from external vibrations.

There’s nothing luxurious about the way the Lenco L-3810 looks or feels, and its all-in weight of just over 4kg lets you know it’s not the last word in solidity. But then when you consider the asking price, compare it to the feature set, and then bear in mind the competence with which this record player is built and finished, ‘nothing luxurious’ seems absolutely fair enough.

Design score: 4.5/5 

Lenco L-3810 review: Usability and setup

A closeup of the stop/start button on the Lenco L-3810

(Image credit: Future)
  • Cartridge is pre-fitted and pre-adjusted
  • Controls are reliable and responsive
  • Phono stage is defeatable 

All you need to do to get the L-3810 ready to play is put the aluminium platter on the spindle and put the felt slipmat on top of it, attach the headshell, fit and adjust the counterweight, and finesse the anti-skate control. Or, at least, that’s all you have to do to get it ready to play a record - if you want to actually hear it, you’ll need to connect the stereo RCA outputs on the rear to your amplifier, speaker or whatever, and then establish whether or not the Lenco’s integrated phono stage needs to be switched on or off. 

Setup, then, is pretty simple. And usability is simple, too – the ‘power on/off’ dial, the ‘stop/start’ button, the pitch control and the speed selector all operate smoothly, and the manual tonearm lift feels robust, too. There’s really nothing here that’s going to create even a moment’s confusion. About the trickiest part of operating the Lenco is getting to grips with the third-party software that’s required if you’re going to make digital copies via its USB-B output. 

Usability and setup score: 5/5

Lenco L-3810 review: Value

The Lenco L-3180 playing a record

(Image credit: Future)
  • Great performance for the price
  • Not suitable for amateur DJs

There’s certainly no arguing with the functionality Lenco provides at the asking price, and it’s difficult to take meaningful issue with the way the L-3810 is built and finished either. 

It’s not a realistic proposition for anyone who takes DJing even half-seriously, of course – but when it comes to system compatibility, very acceptable digital versions of your vinyl and a politely forceful overall sound, the L-3810 offers pretty decent value for money.

Should you buy the Lenco L-3810 review?

Buy it if...

Don't buy it if...

Lenco L-3810 review: Also consider

How I tested the Lenco L-3810

The Lenco L-3180 playing a record

(Image credit: Future)
  • Tested for over a week
  • Listened by itself and with a reference pre-amp 
  • Made digital copies of vinyl on my MacBook Pro 

The Lenco L-3810 replaced my reference turntable on the top shelf of my home system, and it stayed there for well over a week while I listened to (and occasionally copied) records. 

It played via its internal phono amplification and via my reference pre-amp, and it was connected via its USB-B output to my MacBook Pro in order to see what sort of digital copies it makes.

Final VR500 review: unassuming wired in-ear headphones that have it where it counts
1:30 pm |
Author: admin | Category: Audio Computers Gadgets Headphones | Tags: | Comments: Off

Final VR500: Two-minute review

The Final Audio VR500 are among the Japanese specialist’s most affordable headphones – but that doesn't mean they’ve missed out on the customary Final Audio attention to detail. The company wants to make the VR500 the default affordable wired headphone for gamers and music-lovers alike – and it’s given them every chance to succeed in the best wired headphones arena. 

Specification is good, inasmuch as the VR500 are fitted with proven full-range dynamic drivers. Build quality is solid, thanks to their neat ABS resin construction. The 1.2m cable a) is long enough for most scenarios, and b) features a one-button in-line remote with mic.

And in practice, the VR500 work very well indeed. Some listeners might hanker after more outright punch, but where detail retrieval, spaciousness, precision and fidelity are concerned, the Final Audio outperform their asking price quite comfortably. In fact, the VR500 are good enough that they give the established  go-to affordable wired in-ears from SoundMagic (namely the SoundMagic E11C) plenty to think about. 

Final VR500 on a wooden table, in the sunlight

Demure build, but the Final VR500 aren't shy about sound  (Image credit: Future)

Final VR500 review: Price & release date

  • Released February 20, 2024
  • $34.99 / £29.99 / AU$49.99

The Final Audio VR500 wired in-ear headphones have been on sale since February 20, 2024, and in the United Kingdom they’re a penny under £30. In America they’re a touch less than $35, and in Australia you get a tiny amount of change from AU$50.

This, it hardly needs pointing out, is not very much money for a pair of headphones from a company as auspicious and high-achieving as Final Audio – you only have to look at the price of the sort of headphones TechRadar routinely reviews to realise that. 

But everything’s relative, of course; there’s no point in spending this sort of money on a pair of wired earbuds if they don’t represent decent value for money. So let's get to that… 

Final VR500 review: Specs

Final's VR500 supplied ear tips, on a table

The level of care Final has delivered at this price point is unmatched (Image credit: Future)

Final VR500 review: Features

  • 6.4mm dynamic drivers
  • Oxygen-free copper cable
  • Five sizes of eartip included

Final Audio is keen to present the VR500 as ideal for gaming, and consequently has plenty to say about the earbuds’ ability to create a big, three-dimensional soundstage and place sound effects precisely on it. I’ll discuss the veracity of these claims in the ‘sound quality’ section, but what’s already for certain is that Final Audio has definitely specified the VR500 to do the business.

The cable connecting the earbuds to the three-pole 3.5mm jack is of oxygen-free copper. The earbuds themselves house a couple of 6.4mm dynamic drivers – they’re the same high-precision devices that feature in a couple of the company’s more expensive in-ear designs and offer full-range frequency response. And by including five different sizes of high-quality silicone eartip in the packaging, Final Audio has done its utmost to ensure your VR500 fit snugly and comfortably.  

  • Features score: 5/5

Final VR500 on a wooden table

The single button in-line remote feels good to use (Image credit: Future)

Final VR500 review: Sound quality

  • Open, spacious sound
  • Impressive levels of detail
  • Not the outright punch you might be after

In almost every respect, Final Audio has it the bull’s-eye where the sound of the VR500 is concerned. Its drive for clarity, spaciousness and good location of effects when gaming has been a complete success. By the standards of profoundly affordable wired in-ear headphones, the VR500 are basically as good as it currently gets.

In ultimate terms they’re fractionally lightweight, and short of the sort of low-frequency heft and impact that some genres of music can rely on. The bass presence they generate is swift and detailed, which allows rhythms good expression and keeps the sensation of momentum high – but if it’s out-and-out wallop you’re after, you may find the VR500 just slightly tentative.

In every other respect, though, they’re a straightforward pleasure to listen to. The soundstage they generate is big and well-organised, so both music and games are convincingly laid out. They retain and contextualise an impressive amount of detail, locate every element of a recording or a soundtrack confidently in respect to every other element, and unify even complex information into a persuasive whole.

There’s plenty of drive and attack available when it’s required, and more than enough headroom to give dynamics decent expression. But they’re also able to do ‘small-scale’ and ‘quiet’ very well too, keeping silences nice and dark while giving as much emphasis to spaces as is required. 

  • Sound quality score: 4.5/5

Final VR500 on a wooden table

Bijou branding and a compact design (Image credit: Future)

Final VR500 review: Design

  • 15g
  • ABS resin housing
  • 1.2m cable

I’m going to say it for the umpteenth time during the course of this review: everything’s relative. So while there’s nothing, really nothing, unusual about the design of the Final Audio VR500, it’s nevertheless a considered product where design is concerned and all the better for it.

An all-in weight of just 15g is a strong indication of how comfortable the earbuds are when they’re in position. The cable is tangle-resistant, and at 1.2m is long enough for all likely applications. The ABS resin the earbud- and 3.5mm jack housings are built from is smooth, nicely finished and seems helpfully resistant to scratching. The single button of the in-line mic feels positive in its action.

That’s it as far as ‘design’ is concerned, and I’m tempted to ask “what else were you expecting?”, because there’s nothing about the VR500 to suggest Final Audio has paid anything less than full attention.    

  • Design score: 5/5

Final VR500 review: Value

  • Properly built and finished
  • Impressively specified at the money
  • Enjoyable sound quality

There aren’t many products on the pages of techradar.com that cost less than £30, and fewer still that don’t feel like they’ve been overtly built down to a price. The care Final Audio has taken with the physical and performance aspects of the VR500 is really quite impressive.

  • Value score: 5/5

Should I buy the Final VR500?

Buy them if...

Don't buy them if...

Final VR500 review: Also consider

How I tested the Final VR500

  • Plugged into a laptop…
  • ...and a smartphone 
  • Used for games and for music

I used the VR500 for well over a week, and in a variety of situations. At home, connected to a laptop and a smartphone, where I listened to music and played a few games. And on an aeroplane, where they were again attached to my laptop but also to the in-flight entertainment system. 

And at no point was I anything less than impressed.

Nothing Ear (a) review: mellow yellow earbuds to herald Nothing’s purple patch
1:24 pm | April 18, 2024
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: , , | Comments: Off

Nothing Ear (a): Two-minute review

When it comes to Nothing's earbuds output, it's hard to stop oneself from playing a game of Spot the Difference. That's quite a fun game here, though, since almost all of the differences are vast improvements over anything Nothing has achieved before. All these incremental gains become especially impressive when you consider that this entry-level option from Nothing comes in at $50 / £30 cheaper than the company's last effort. 

For the money, these are some of the best noise-cancelling earbuds of the year thus far. Their closest rival? That would be Sony's class-leading WF-C700N. While there's no 360 Reality Audio support in the Ear (a) and a few Sony-specific features are, of course, off the menu, the Nothing earbuds look more premium and feel more foxy. Their noise cancellation is a touch more robust and the sound is every bit as energetic, detailed and zealous, and (dare we say it?) a tad more expansive to boot. Did I mention that the battery life is also impressive, although admittedly it's a lot better without the superb ANC processing deployed? 

I have to admit that the Nothing Ear (a) performed far more admirably than I'd anticipated. I enjoyed them more and more as the listening tests cruised by. Gone is the fidget spinner case idea: my review sample might be a fun English mustard-yellow hue, but the Ear (a) is serious about bringing you music – proof that Carl Pei's 2020 startup finally hit its purple patch. The sound is incrementally better than the Nothing Ear (2), and it's backed up by a Nothing X app that's easier to navigate and offers plenty of scope for tweaking things to your liking, including via the newer pinch-control stems. 

OK, let's get that moniker out of the way, shall we? I advise you to view Nothing's naming structure with a simple shrug and the raise of an eyebrow, but I'll try to explain it succinctly. Ear (a) is the model you're reading about now, Nothing's 2024 entry-level offering released in conjunction with the more expensive (by $50 / £30) Ear. Nothing tells me that the Ear (a) is effectively the upgrade for the Ear (Stick), while the Ear is the upgrade on the Ear (2). Good intel, but I'd say it does Nothing's newest entry-level earbuds a disservice because the Ear (a) are streets ahead of the Ear (Stick) in every regard. 

Both the Ear (a) and Ear were unveiled simultaneously in April 2024. They supersede the inaugural July 2021 Nothing Ear (1), the October 2022 follow-up Nothing Ear (Stick), and the March 2023 Nothing Ear (2). So, aside from a few minor updates (including a Nothing Ear (1) Black Edition, which fared much better than the troublesome originals) the Ear (a) can also be considered the company's joint-fourth Nothing-branded release. That is, if we're not counting the super-cheap CMF by Nothing Buds, which arrived barely a month before the model we're reviewing here. Got it? Well done. (You're doing great, by the way.)

If you take nothing else away from this Nothing Ear (a) review, know that at $99 / £99 (or around AU$192) you'll not be disappointed with these lovely little yellow earbuds.

Nothing Ear (a) next to the Nothing Ear (2) earbuds

Nothing Ear (a) on the left, Ear (2) on the right. Yes, there are key differences (Image credit: Future)

Nothing Ear (a) review: Price & release date

  • Released on April 18, 2024 (hitting shelves on April 22, 2024)
  • Priced $99 / £99 / around AU$192

If the price above made you think 'Hang on, isn't that less than the older Ear (2)?' well done for paying attention. The Nothing Ear (a) are priced to sell – and sure as eggs is eggs, sell they will. 

The Ear (a) earbuds come in three colorways – a warm yellow alongside the more ubiquitous shiny black or white finishes. Why go with yellow? It's a primary color, which Nothing says aligns with its stripped-back, transparent-wherever-possible design language (yes, the stems still feature see-through plastic too). 

At this level, the Ear (a)'s closest competition aside from Sony's WF-C700N is perhaps the slightly more expensive Sony LinkBuds S, because remember, the class-leading Technics EAH-AZ80 come in at $299 / £259 / AU$499, and Apple's AirPods Pro 2 retail for $249 / £249 / AU$399. 

Of course, that's hardly a fair comparison, since those two options offer premium perks, including triple device connectivity (Technics) and remarkably accurate head-tracked spatial audio from an iOS device (Apple). 

That said, Nothing's relatively humble asking price is tempting, particularly when you consider the expressive sound quality and solid noise-nixing they can serve up. 

Nothing Ear (a) held in a hand, with the case in the background

Hello, yellow!  (Image credit: Future)

Nothing Ear (a) review: Specs

Three screenshots of the Nothing X App

The Nothing X App is a fuss-free, wholly positive experience  (Image credit: Nothing)

Nothing Ear (a) review: Features

  • Bluetooth 5.3 with LDAC support
  • Greatly improved ANC
  • Pinch-to-speak ChatGPT integration coming, with Nothing Phones

The nominal price of these earbuds is listed above, so I won't keep banging on about it. But if you want listening gear that does the basics – good sound, great noise cancellation, clear calls, easy comfort, a bit of EQ wizardry, and reliable on-ear controls – and does them very well indeed, these are that gear. Also, they're a bit of a conversation starter if you want that, miles away from the black and gray pebble-like options often seen at their level.

Want something better than the basics? Well, Nothing's got an ace up its sleeve here too. Although I was unable to test it in my not-yet-public version of the Nothing X app (rollout will be gradual across Phone (2) followed by Phone (1) and Phone (2a) for the Nothing Ear and Ear (a) in the weeks after April 18, 2024) Nothing tells me it has integrated both Nothing earbuds and Nothing OS with ChatGPT, to offer users instant access to the chatbot directly from its devices. What this means is that users with the latest Nothing OS and ChatGPT installed on their Nothing phones should soon be able to pinch-to-speak to the popular consumer AI tool, directly from these entry level Ear (a) earbuds. However comfortable you feel with AI, it certainly adds value at the level. 

Nothing X app screens showing AI voice integration using Nothing earbuds

Voice AI using ChatGPT is coming using Nothing Ear (a) using your Nothing smartphone…  (Image credit: Nothing )

Back to the Ear (a) specifically and call handling is far better this time around, with recipients telling me my voice was unusually clear, which checks out when you see that the Clear Voice Technology has been upped from v2.0 in the Ear (2) – or 1.0 with Bass Lock software in the Ear (Stick) – to 3.0 here. 

You're getting Bluetooth v5.3 and LDAC support for hi-res audio (the Sony-developed codec that lets you stream high-resolution audio up to 32-bit/96kHz over Bluetooth at up to 990kbps, if your device supports it and the file is up to scratch), which is a valuable inclusion at this level. 

There's no onboard spatial audio wizardry and you don't get the Ear (2)'s splendid personalized hearing tests. However, you do get in-ear detection (to pause music when they're out and resume it when they're in), a low lag toggle for gaming, issue-free multipoint to two devices, an ear tip fit test and a Find My Earbuds feature, which issues a rattlesnake-style sound from whichever bud you're trying to locate. 

Now, the noise cancellation. After deploying ANC (rather than 'Transparency' or 'Off'), you can select from High, Mid, Low, and Adaptive profiles. High is very good: the hairdryer we use in our meticulous and methodical testing was largely nixed. I can see why it drops the battery life from 9.5 hours without ANC to 5.5 with it, but when the near bubble-of-silence outcome is this good, it's a hit I'm willing to take. The quoted improvement is 45dB over 40dB of ambient noise nixing and if that's hard to quantify, let me tell you that when I sat down to do some work at home wearing Ear (a) with ANC on High, I didn't realize the oven extractor fan was on (my other half was making breakfast), but as soon as I switched to Ear (2) it became perceptible. 

Heading over to the Transparency option, this is signified by a woman exhaling, which is fun. Although there's no slider to tweak the level of ambient sound you're letting in, it's perfectly acceptable and means voices can be heard without removing the Ear (a). 

The Nothing X app takes the reins and it too is much improved, never faltering and always serving me what I need, without going round the houses to get there. The EQ tab is essentially a three-band offering presented in what I like to call a splodge, rather than sliders for each – think Nura True Pro's visual depictions rather than a mixing desk, with four presets for more bass, more treble, voice focus or a balanced sound – but of course, you can create your own. It's not the most fully-featured offering Nothing has in its arsenal (for that you'd have to opt for the Nothing Ear) but it certainly works. 

Anything missing where it should be? Nothing. No sir. 

  • Features score: 5/5

Nothing Ear (a) next to the Nothing Ear (2), on a brown sofa

The new Ear (a) next to the Ear (2): a fun game of Spot the Difference  (Image credit: Future)

Nothing Ear (a) review: Sound quality

  • LDAC handled very well indeed 
  • Fun and zealous sound
  • Unusually expansive for this type of in-ear

If you've read the star rating at the top of this review and come this far (thank you for sticking with me), it will come as no surprise to learn that the Ear (a) doesn't lack in the sonic department.

Those with a Sony smartphone (I used the Sony Xperia 1 IV) will find LDAC codec files are delivered with expanse and pinpoint accuracy when it comes to the placement of each sonic article. In Aerosmith's Going Down / Love In an Elevator, a shaker sits comfortably in the well of my right ear as backing vocals come in through the left. When the heavily processed "Going down" vocal bridge sweeps across the soundstage like a freight train, it grazes the back of my brain en route. 

Even when I stream lossy Spotify tracks (or much better Apple Music songs) the Nothing Ear (a) buds handle them admirably, with ample texture and space around Elton John's Rocket Man vocal, in a cohesive mix that brings forward the synths and bass plucks other earbuds at this price can't reach. 

For dynamic build and nuance, the Nothing Ear (a) are best described as meaty and arresting. It's not that they lack refinement exactly, just that they prioritize fun and energy over that integrated hi-fi listen some might prefer. For me, there's so much here to celebrate sonically that I cannot pick fault. No, they're not better than something at nearly three times the price (such as the Technics EAH-AZ80, for example), but for the money, Nothing has tweaked its recipe to near perfection here. 

Want to see what I mean? Play the intro of The Who's Substitute. Tell me those guitar strings and shaker aren't every bit as jangly and expressive as you could ever wish for at $99… 

  • Sound quality score: 5/5

Nothing Ear (a) earbud on the left, Nothing Ear (2) on the right

See how Ear (a) is just slightly bigger than Ear (2), across the board?  (Image credit: Future)

Nothing Ear (a) review: Design

  • Smaller and more pocketable case
  • Pinch stems work really well, even when wearing gloves
  • Nothing's design language is beautifully realized 

Holding the Nothing Ear (a) earpiece next to the Nothing Ear (2) is a fresh surprise. Nothing has tried hard to keep its popular design language constant, but these two earpieces are actually very different beasts. I've placed the Ear (2) next to the new Ear (a) in the images below to prove that the earpiece is just slightly bigger across the board – 1.5mm taller, 0.2mm wider, and 0.8mm deeper, to be exact. The Ear (a) earbud is also 0.3g heavier than the Ear (2), although the case is 12.3g lighter and quite a bit shallower.

I mention these facts and figures only to highlight that it is emphatically not a case of 'same buds, different box' from Nothing. They're different. They're better. Perhaps the only potentially disappointing stat here is the size of the driver, which is now 11mm – down from 11.6mm in the Ear (2) and 12.6mm in the Ear (Stick) – and the 11mm driver in the flagship Ear is ceramic, while this one isn't. Not so fast, though, as Nothing tells me that through tweaks to the dual chamber design under the hood, which now includes two extra vents for improved airflow, it's extracted 10%-15% more from Ear (a)'s driver. However Nothing has achieved it, I certainly agree that the sound from said driver is greatly improved.

After switching out to the smaller ear tips (you get three in total), I find the Ear (a) a breeze to wear – although if you've particularly small ears you may need to try before you buy, and my guide to the best earbuds for small ears is worth consulting. 

The new case makes a lot of sense. It flips open as easily as it slips into and out of my pocket, and the earbuds are some of the easiest to retrieve I've ever tested – Nothing's right-red, left-white dots also help you match the colors for charging. You don't get wireless charging support at this price, but the IPX2 rating of this charging nest (for mild water resistance) is more than you get with plenty of pricier options. The earbuds themselves boast an IP55 rating, which is the same as Nothing's new Ear earbuds, although the Ear's case has an IP55 rating – so it's essentially dust- and water-resistant. 

Nothing's pinch stems also work really well. You can customize what the morse code short- and long-press combinations do for each stem – yes, including volume. These stem-squeeze controls also work with gloves on, unlike many touch-capacitive solutions. 

  • Design score: 5/5

Nothing Ear (a) earbuds on a brown sofa, in their closed case – with transparent lid

Rarely have I had so many colleagues strike up a conversation with me over a set of earbuds  (Image credit: Future)

Nothing Ear (a) review: Value

  • As good-looking as any earbuds can be for this money
  • Winning ANC at the level 
  • LDAC for extra sound-per-pound value 

I've sprinkled this liberally throughout the review, but I'll say it again, design-wise there's nothing better at the level. But don't be mistaken, these aren't style over substance: the sound quality is very good, and for noise-cancellation specifically, they're extremely hard to beat for the money. 

As always, it's important to state that if you're prepared to spend $299 / £279 / AU$429 (aka three times the money) there's better noise-cancellation available in the Bose QuietComfort Earbuds 2, but that's hardly fair. 

Prior to testing the Nothing Ear (a), for this price point, I would nudge you towards the Sony WF-C700N, but in my honest opinion, these entry-level Nothings give those a solid run for their money, across the board. And for premium looks for budget money, there's really no contest… 

  • Value score: 5/5

Should I buy the Nothing Ear (a)?

Buy them if...

Don't buy them if...

Nothing Ear (a) review: Also consider

How I tested the Nothing Ear (a)

Nothing Ear (a) held in a hand, on brown background

USB-C for juicing up, but there's no wireless charging (Image credit: Future)
  • Tested for two weeks, listened against the Sony WF-C700N, Bose QuietComfort Earbuds 2 and Technics EAH-AZ80
  • Listened at work (in the office, walking through Dorset, on a train) and at home
  • Listened to Tidal Masters, Apple Music Lossless tracks and Spotify on an iPhone 12 Pro, MacBook Pro and Sony Xperia 1 IV

The Nothing Ear (a) became my primary musical companions for five days – after a thorough 48-hour run-in period. 

They accompanied me to work (walking brusquely to a train into our Paddington office or on the London Underground to various events) and on a flight to Copenhagen (I know, get me).

To better test the comfort levels (and battery life claims), I followed TechRadar's meticulous methodology testing. 

To check the audio quality across the frequencies, I listened to TechRadar's reference playlist (spanning everything from pop to classical) on Apple Music and Tidal, and also my own musical selections and podcasts. I also wore them to watch YouTube tutorials (mostly about silversmithing: finessing bezel settings and working with art clay silver, since you ask) from my MacBook Pro. 

I’ve been testing audio products for well over five years. As a dancer, aerialist and musical theater performer in another life, sound quality, fit, and user experience have always taken priority for me personally, but having heard how wonderful ANC can be when done well, I know what I'm listening to here also. 

Read more about how we test earbuds at TechRadar

  • First reviewed: April 2024
CMF By Nothing Buds review: stylish budget earbuds with a vibrant flair
1:00 pm | April 14, 2024
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: , | Comments: Off

CMF Buds: Two-minute review

The CMF By Nothing Buds are very cheap for what they offer. At just $39 / £39, it’s predictably too good to be true to expect great Active Noise Cancellation, exceptional sound quality, and all the other things that come from much pricier earbuds. However, there’s a charm to the CMF By Nothing Buds with their minimalist yet attractive case and that extends to use.

They certainly won’t rival most of the best wireless earbuds but among budget buys, there’s a temptation here. The CMF By Nothing Buds sound reasonable if not exceptional. There’s a crispness here but bass is pretty weak and understated. Music won’t stand out here and even the soundstage is a little lackluster but they’re fine for listening on the move.

Similarly, ANC is more about dampening background noise rather than taking a proactive approach, but it’s better than nothing. You’re left being merely impressed that the CMF By Nothing Buds even attempts ANC at this price. There’s also app support, although it’s temperamental. 

Dual-device connectivity and reasonable battery life all add up to make the CMF By Nothing Buds a nice pair of budget buds, even if not the pair you’ll want to live with forever. That’s not bad at all for under $50 / £50, although in an ideal world, you’ll want to invest more into the best noise-cancelling earbuds.

CMF Buds review: Price and release date

The CMF Buds on carpet

(Image credit: Future)
  • Released in March 2024
  • Officially price dat $39 / £39

The CMF By Nothing Buds was released in March 2024 for $39 in the US and £39 in the UK. The Nothing site directs you exclusively to Amazon for online purchases while UK customers can go to the Nothing store in London if they prefer.

The earbuds are available in orange, dark gray, and light gray. Orange is the most eye-catching color and it’s already proving to be the most popular. Typically, the best budget wireless earbuds are usually black or white so being able to get something more distinctive is a nice perk. 

The biggest rival at this price is the JLab Go Air Pop, which is slightly cheaper but lacks ANC. Other than that, you’ll have to pay more for options like the Sony WF-C700N with the budget wireless earbuds market fairly limited when you go this low.

CMF Buds review: Specs

The CMF Buds being held

(Image credit: Future)

CMF Buds review: Features

The CMF Buds control app

(Image credit: Future)
  • Up to 35.5 hours of battery life with ANC disabled
  • Companion app
  • Dual-device connection 

Perhaps surprisingly for the price, the CMF By Nothing Buds cover all the bases for essential features. There’s what Nothing calls dual-device connectivity so you can switch between your devices. There’s app support, ANC, and decent battery life.

The app is a little bit of a mixed bag. It’s simple to use and clearly laid out with options for adjusting the equalizer, activating Ultra Bass which makes things a bit more bossy, along with ANC controls. The issue with the app is that I found it would sometimes forget my earbuds. My phone would happily pair with the CMF By Nothing Buds and then switching over to the app would report an issue so I’d have to re-pair them. It’s not the end of the world but it can be mildly irritating if you just want to change the ANC settings briefly.

The ANC is also pretty poor. It dampens down surrounding noises but never to the point where it isn’t entirely obvious that the noise is there. That goes for whether you have the Transparency mode enabled or you go ‘full’ ANC. I’m not exactly complaining though as efforts are made and at this price, any kind of attempt of blocking out noise is a welcomed thing.

Nothing promises a battery life of up to 35.5 hours via the charging case and 6.5 hours on one 10-minute charge. That seemed about right in my time with it and I had no complaints at all. Diving into the app can always help you see what’s going on with power. As is often the way, Bluetooth 5.3 means no chance of dropouts. 

Features score: 3 / 5

CMF Buds review: Sound quality

A single CMF Bud

(Image credit: Future)
  • Weak ANC 
  • Little quiet 
  • Small soundstage

The CMF By Nothing Buds’s strong point definitely isn’t audio quality. They don’t sound awful but it’s very run-of-the-mill stuff. These aren’t hidden gems to rival the best earbuds. 

Instead, you get a fairly weak aural experience that you’ll have to crank up to enjoy. That’s fine for going for a walk but if you want to hear every crisp note of your favorite songs, you’ll be a bit disappointed. I worked my way through David Guetta’s discography and nothing truly caught my attention. Bass is fairly flimsy and trebles and mids are distinctly weak. Better however was listening to podcasts. Sound is reasonably crisp so voices come through clearly. 

That’s less the case when you’re walking near busy traffic as the CMF By Nothing Buds’s ANC doesn’t do much to block things out. The soundstage also feels pretty narrow so you won’t feel wrapped up in the magic of a hit through these. Even when using the ultra bass setting on the Nothing app, the likes of Muse’s Hysteria struggled to truly grip me.

Sound quality score: 3 / 5

CMF Buds review: Design

The CMF Buds on carpet

(Image credit: Future)
  • Super smooth case
  • Touch controls 
  • Room for a lanyard 

The CMF By Nothing Buds’s case feels like a minor work of art. It’s angular yet smooth and it looks so much cooler on your desk than regular earbud cases. It has a silver sliding circle that moves around to reveal holes for a lanyard. I received a lanyard with my earbuds but these don’t come as standard. Still, it’s easy enough to get hold of your own.

The case isn’t a wireless charging case which is hardly surprising at this price, but it means it’s lightweight and easy to store. The buds themselves are fairly standard and they fit snugly in your ears with a selection of silicone eartips included to get things how you like them.

Each earbud has a touch-sensitive area for controlling things like skipping tracks, answering calls, switching between ANC and Transparency mode. No complaints here. For a change for touch controls, it wasn’t overly easy to activate the controls.

Design score: 4 / 5 

CMF Buds review: Value

The CMF Buds in their case

(Image credit: Future)
  • Cheap for what they offer 
  • Not perfect but appealing 

The CMF By Nothing Buds aren’t perfect at anything but they’re incredibly cheap for earbuds that offer ANC, even if it’s not great. 

In an ideal world, you’d want to spend more and enjoy ANC that actually works well, of course. The likes of the Sony WF-C700N and the JLab Go Air Pop sound better but the former cost a lot more and the latter lack ANC. It all depends what’s most important to you.

Value score: 3.5 / 5

Should I buy the CMF Buds?

Buy it if... 

Don't buy it if.. 

CMF Buds review: Also consider

How I tested the CMF Buds

A CMF Bud being held

(Image credit: Future)
  • Tested over seven days 
  • Compared to Soundpeats Air4 Pro and Apple AirPods (Pro 2 and 3rd Gen)
  • Listened to Apple Music, Spotify, YouTube videos and Twitch 

Over the lasts even days, I’ve replaced my usual AirPods Pro 2 with the CMF By Nothing Buds. Of course, the price difference is huge so I also reacquainted myself with the more affordable Soundpeats Air4 Pro that I was using fairly recently. 

I used the CMF By Nothing Buds on my daily morning walks. I know the route well enough that I can tell you all the worst places for traffic noises, so it was a good way of seeing how well the buds fended off distractions.

I also used them on a run to see how well they coped with wind and speedy (ish) movement. It was a good test of the Transparency mode in particular so I didn’t have to worry about missing hearing a bike ride past me.

At home, I used the CMF By Nothing Buds to watch Twitch videos and content on YouTube. That went well with my podcast listening to check out how clear voices sounded on them. 

For music, I predominantly listened to Apple Music and Spotify. The iPhone 14 Pro was driving most of that with a MacBook Pro entertaining me with videos. My taste is fairly varied so there was a lot of spoken word content but also Linkin Park, David Bowie, Foo Fighters, and David Guetta.

I’ve reviewed audio products for over 10 years. I might usually use pricier earbuds as my main option but I regularly use cheaper earphones and headphones for work and so I can keep up with the biggest work-related question I’m asked by friends -- ‘do you know of any good cheap earbuds?’.

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