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I tested this cheaper rival to Bose and Shokz’ cuff-style open earbuds and other brands could learn a lot from it
11:30 pm | September 8, 2025

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: | Comments: Off

Baseus Inspire XC1: Two minute review

In every headphone niche there are going to be the big-name players, and there are going to be the little-known challengers offering a more affordable or even more novel take on the form factor, and it’s no different with clip-on, cuff-style sets, which still count among the best open earbuds we've tested.

Open earbuds are a type of headphone which intentionally doesn’t block out surrounding sound, letting you hear what’s going on when you’re working out, going on a run outdoors or are on your commute, and clip-ons are one style which clips onto your ear, in a kind of cuff style, rather than a hook style that snakes behind the curve of your ear.

While this form factor is dominated by names like the Bose Ultra Open Earbuds and, more recently, the Shokz OpenDots One, a few other brands offer something different, and Baseus is now one of them.

The Baseus Inspire XC1 are the third 'clipping' headphone from Baseus, so you’d hope the brand has some expertise it can bring. Their pitch is that they fix open-ears’ common sound quality problems by bringing Bose-tuned audio, support for Hi-Res Audio and LDAC availability, all for a relatively modest price.

To that end it was claimed at launch that the XC1 were the first open earbuds with two drivers per bud, an assertion which the aforementioned Shokz OpenDots One might take issue with, but that certainly shows a focus on sound quality.

It’s ironic, then, that the sound quality was a weaker point for these open earbuds. The sonic profile is warm yet ill-defined, so bass lacks punch and trebles and mids are missing something themselves. While some fitness users might enjoy this kind of indistinct wall of noise (something to tune out with, while focusing on your workout), audiophiles aren’t going to be impressed.

I also found that the buds’ bridge could pinch over long listening periods, which isn’t ideal, but I do mean long – I could listen for several hours before noticing the issue, so it won’t be a problem everyone faces. And the fit is reliable beyond that.

I’m starting this synopsis with two negatives, but there’s a lot to like about the Inspire XC1 beyond these pitfalls. The battery life is longer than on many rivals, for one thing, and the equalizer is advanced with several presets and plenty of customization. Also, the touch controls are easy-to-use and convenient.

That last point in particular is something I want to emphasize. The vast majority of headphones and earbuds do touch controls terribly but Baseus' solution was simple and easy – other brands could learn a thing or two here.

As mentioned above, the Baseus also undercuts both Bose's and Shokz’ alternatives, and offers good value for money when you compare their feature sets and audio qualities. If you don’t want to stretch your budget to reach for those pricier options, the Baseus Inspire XC1 option could be a good compromise.

Baseus Inspire XC1 review: Specifications

Component

Value

Water resistant

IP66

Battery life

8 hours (earbuds), 40 hours (total)

Bluetooth type

Bluetooth 5.4

Weight

5.5g / Charging case: 55g

Driver

1x 10.8mm, 1x tweeter

Baseus Inspire XC1 review: Price and availability

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Announced in September 2025
  • Priced at $129 (roughly £100, AU$200)
  • Undercuts many rivals

The Baseus Inspire XC1 were released at the annual tech conference IFA in September 2025, alongside the XH1 over-ear headphones and XP1 in-ear buds.

At retail price, the Inspire XC1 cost $129 (roughly £100 or AU$200 but TechRadar wasn’t provided international release information prior to launch).

That price is in the ballpark of rivals, confirming that the Baseus product undercuts lots of its competition to a greater or lesser degree; the Huawei FreeClip, Shokz OpenDots and Bose Ultra Open earbuds all cost increasingly more.

But there are some well-respected options for cheaper still, including the JLab Flex Open and Anker Soundcore C40i. And let's not forget, Baseus itself has two other alternatives that undercut this, in the MC1 and BC1.

Baseus Inspire XC1 review: Design

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Bud and counterweight connected by small hook
  • Lightweight but can pinch after extended use
  • Easy-to-use touch controls

For those of you who skipped the intro, the Baseus Inspire XC1 is a clip-style (or cuff-style, if you prefer) open-ear earbud. The latter hyphenation indicates that these are earbuds which don’t block your ear, so you can hear your surroundings, and the former signifies that instead of using a sports loop to hover over your ear, they clip onto your auricle, using a small earbud which nestles into your ear and a counterweight behind the ear which are linked by a plastic bridge.

Clipping earbuds always look frightfully unreliable but that’s rarely the case, and it’s not true for the XC1 either: the buds’ hold is reliable and I went on many hours of runs without any slipping or falling. However, it does pinch a little which, although only noticeable after sustained use, means they can stop being comfortable if you’re listening for long amounts of time. I also found myself knocking the behind-the-ear counterweight with my shoulder on occasion when I was stretching or rolling my head, but those were rare cases.

Each bud weighs roughly 5.5g, so they tip the scales to a similar degree as rivals, and they have an IP66 rating which certifies them against any kind of solid particles like dust, as well as high-pressure water jets… I think. Elsewhere in the information Baseus provided to TechRadar, it referred to the buds as having an IPX7 rating, which offers no proofing against dust but increased water resistance.

The counterweight has a small physical button, and you can customize what this does using the app – but by default, it pauses music. I found it pretty easy to pinch this to control my music once I got used to the position, and I’m glad Baseus isn’t trying to do anything more complex with its controls like some other brands.

The case weighs 54g and it’s fairly small, although that’s not saying much given that most clip-on earbuds have tiny cases. It opens horizontally and accepts either earbud in either hole, saving a lot of faff when you want to put the buds away.

  • Design score: 4/5

Baseus Inspire XC1 review: Features

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Not as many features as rivals
  • Battery life is 8 hours, 40 hours with case
  • EQ with lots of useful presets

The Baseus Inspire XC1 will offer you 8 hours of listening time in one go, according to the brand’s figures – my own testing didn’t raise any reasons to doubt this. That just a hair on the long side compared to lots of other rivals using this form factor.

Using the case, you can get an extra 32 hours of listening time, for 40 hours in total, and again lots of the Baseus’ rivals fall a little short.

Due to the form factor, there’s no noise cancellation – it’s not unheard of in open-ears, but it’s incredibly rare and so we don’t expect it.

Baseus offers an app with a few extra features including an equalizer, a low latency mode, the ability to customize touch controls, toggles to high-res audio and a feature I haven’t seen much of on headphones: a battery-saver mode. As someone who gets battery anxiety on long trips, this is certainly a welcome feature.

The equalizer comes with seven presets, including a Bose-designed one, but you can create your own sound mix using an eight-band EQ mode too.

I’ve never written this sentence about an earbud tie-in app before, but the Baseus app felt very slow to use on my powerful Android phone. This shouldn’t dictate your purchase decision but it’s just to say ‘no, your phone isn’t breaking down’.

  • Features score: 4/5

Baseus Inspire XC1 review: Sound performance

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Two drivers per bud
  • Muddied sound profile
  • Support for several standards

Each bud of the Baseus Inspire XC1 gets two drivers: a 10.8mm woofer for low-end sounds and a balanced armature tweeter for high-end ones that we weren’t told the size of.

It’s rare to see a dual-driver open-ear, with most manufacturers opting not to kit out earbuds that will be competing with so many background sounds, but that’s not all. The buds also support higher-resolution audio and the LDAC codec if you switch them on in the app.

Listening to music, it’s clear that the sound is good quality, and that’s especially true if you do opt to make the most of the standards offered. And so you’re probably wondering why I criticized the audio before. Well, that comes down to the tuning.

The Inspire XC1 have a warm sound profile, with the woofer coming up clutch to support lots of bass. However it’s an ill-defined kind of bass, muddy and indistinct, a that’s an issue that plagues music as a whole: treble isn’t sharp, mids are mushy.

The result is that music seems to lack a lot of energy and spark. I don’t know about you, but lifeless tunes are the last thing I want with earbuds designed for exercise.

You’re probably wondering why I didn’t just jump into the equalizer to fix the problem; I tried, and it didn’t really work. Other presets beyond the default (the Bose-tuned one, I must add) maintain the issue to a lesser or greater degree. If you’ve got the buds, I’d recommend opting for the Jazz Rock preset, which was the most energetic to my ears.

  • Sound performance score: 3.5/5

Baseus Inspire XC1 review: Value

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)

The Baseus XC1 undercut a decent amount of the competition, including options which don’t offer substantially more for your money, although you can get alternatives that are a lot cheaper if you shop around.

Bearing in mind the cost and what you’re actually getting for your money, they offer a reasonable value set, letting you get all of the features of pricier rivals with a few downgrades to justify the cost.

  • Value score: 4/5

Baseus Inspire XC1 review: scorecard

Category

Comment

Score

Value

While they don't match premium options in terms of feature set, they don't in price either.

4/5

Design

They're not the most comfortable open-ears I've ever used, but they're lightweight and don't fall out.

4/5

Features

The equalizer is handy but beyond that there aren't any unique features and the battery life is about average/

4/5

Sound

I wasn't wowed by the Inspire XC1's audio chops, despite the hardware, but non-fussy workers-out will find them fine.

3.5/5

Baseus Inspire XC1: Should I buy?

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)

Buy them if...

You want something protected
I don't often see earbuds with an IP66 rating, with most opting for less protection against dust ingress and sometimes just sweat resistance, instead of the ability to survive jets of water.

You know your way around an equalizer
I appreciate how much customization Baseus offers over your music. You've got plenty of presets for people who don't want to fuss over their tuning, and a 10-band EQ for people who do.

You don't want to stretch for a name brand
Clip-on earbuds from well-known brands cost more, but Baseus offers most of those features for a lower price, even though it's not an out-and-out budget option.

Don't buy them if...

You're an audiophile
Despite the specs, I wasn't won over by the Baseus' sound quality, as it didn't offer energy in tunes. If you need perfectly-optimized music in order to enjoy your workout, you might not enjoy these buds.

You plan to wear for long periods
I could feel the Baseus on my ear after working out for an hour or longer, so if you're about to do an ultramarthon and want something comfortable, this isn't it.

Also consider

Component

Baseus Inspire XC1

Shokz OpenDots One

Huawei FreeClip

Water resistant

IP66

IP54

IP54

Battery life

8 hours (earbuds), 40 hours (total)

10 hours (earbuds), 40 hours (total)

8 hours (earbuds), 36 hours (total)

Bluetooth type

Bluetooth 5.4

Bluetooth 5.4

Bluetooth 5.3

Weight

5.5g / Charging case: 54g

5.6g / Charging case: 52g

5.6g / Charging case: 44.5g

Driver

10.8mm, tweeter

2x 11.8mm

10.8mm

Shokz OpenDots One

For a little bit more money you can get these Shokz options, which are more comfortable to wear, sound better and come with a longer-lasting battery.

Read our full Shokz OpenDots One review

Huawei FreeClip

For roughly the same price as the Baseus, this option from well-known Chinese brand Huawei comes with similar specs in most areas. However its age means that you might be able to find it greatly discounted.

How I tested

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)

I wore the Baseus Inspire XC1 for two weeks in order to write this review, which is TechRadar's standard testing time for headphones.

The buds were connected to my Android smartphone through the test. I used them on runs, on cycle rides, at the gym, on public transport, at home and on walks around my neighborhoor, mostly for music streaming but for some spoken word too.

I've been testing products for TechRadar since 2019 and this has included plenty of other workout headphones, as well as loads of open earbuds.

Read more about how we test

  • First reviewed: September 2025
I tested this cheaper rival to Bose and Shokz’ cuff-style open earbuds and other brands could learn a lot from it
11:30 pm |

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: | Comments: Off

Baseus Inspire XC1: Two minute review

In every headphone niche there are going to be the big-name players, and there are going to be the little-known challengers offering a more affordable or even more novel take on the form factor, and it’s no different with clip-on, cuff-style sets, which still count among the best open earbuds we've tested.

Open earbuds are a type of headphone which intentionally doesn’t block out surrounding sound, letting you hear what’s going on when you’re working out, going on a run outdoors or are on your commute, and clip-ons are one style which clips onto your ear, in a kind of cuff style, rather than a hook style that snakes behind the curve of your ear.

While this form factor is dominated by names like the Bose Ultra Open Earbuds and, more recently, the Shokz OpenDots One, a few other brands offer something different, and Baseus is now one of them.

The Baseus Inspire XC1 are the third 'clipping' headphone from Baseus, so you’d hope the brand has some expertise it can bring. Their pitch is that they fix open-ears’ common sound quality problems by bringing Bose-tuned audio, support for Hi-Res Audio and LDAC availability, all for a relatively modest price.

To that end it was claimed at launch that the XC1 were the first open earbuds with two drivers per bud, an assertion which the aforementioned Shokz OpenDots One might take issue with, but that certainly shows a focus on sound quality.

It’s ironic, then, that the sound quality was a weaker point for these open earbuds. The sonic profile is warm yet ill-defined, so bass lacks punch and trebles and mids are missing something themselves. While some fitness users might enjoy this kind of indistinct wall of noise (something to tune out with, while focusing on your workout), audiophiles aren’t going to be impressed.

I also found that the buds’ bridge could pinch over long listening periods, which isn’t ideal, but I do mean long – I could listen for several hours before noticing the issue, so it won’t be a problem everyone faces. And the fit is reliable beyond that.

I’m starting this synopsis with two negatives, but there’s a lot to like about the Inspire XC1 beyond these pitfalls. The battery life is longer than on many rivals, for one thing, and the equalizer is advanced with several presets and plenty of customization. Also, the touch controls are easy-to-use and convenient.

That last point in particular is something I want to emphasize. The vast majority of headphones and earbuds do touch controls terribly but Baseus' solution was simple and easy – other brands could learn a thing or two here.

As mentioned above, the Baseus also undercuts both Bose's and Shokz’ alternatives, and offers good value for money when you compare their feature sets and audio qualities. If you don’t want to stretch your budget to reach for those pricier options, the Baseus Inspire XC1 option could be a good compromise.

Baseus Inspire XC1 review: Specifications

Component

Value

Water resistant

IP66

Battery life

8 hours (earbuds), 40 hours (total)

Bluetooth type

Bluetooth 5.4

Weight

5.5g / Charging case: 55g

Driver

1x 10.8mm, 1x tweeter

Baseus Inspire XC1 review: Price and availability

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Announced in September 2025
  • Priced at $129 (roughly £100, AU$200)
  • Undercuts many rivals

The Baseus Inspire XC1 were released at the annual tech conference IFA in September 2025, alongside the XH1 over-ear headphones and XP1 in-ear buds.

At retail price, the Inspire XC1 cost $129 (roughly £100 or AU$200 but TechRadar wasn’t provided international release information prior to launch).

That price is in the ballpark of rivals, confirming that the Baseus product undercuts lots of its competition to a greater or lesser degree; the Huawei FreeClip, Shokz OpenDots and Bose Ultra Open earbuds all cost increasingly more.

But there are some well-respected options for cheaper still, including the JLab Flex Open and Anker Soundcore C40i. And let's not forget, Baseus itself has two other alternatives that undercut this, in the MC1 and BC1.

Baseus Inspire XC1 review: Design

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Bud and counterweight connected by small hook
  • Lightweight but can pinch after extended use
  • Easy-to-use touch controls

For those of you who skipped the intro, the Baseus Inspire XC1 is a clip-style (or cuff-style, if you prefer) open-ear earbud. The latter hyphenation indicates that these are earbuds which don’t block your ear, so you can hear your surroundings, and the former signifies that instead of using a sports loop to hover over your ear, they clip onto your auricle, using a small earbud which nestles into your ear and a counterweight behind the ear which are linked by a plastic bridge.

Clipping earbuds always look frightfully unreliable but that’s rarely the case, and it’s not true for the XC1 either: the buds’ hold is reliable and I went on many hours of runs without any slipping or falling. However, it does pinch a little which, although only noticeable after sustained use, means they can stop being comfortable if you’re listening for long amounts of time. I also found myself knocking the behind-the-ear counterweight with my shoulder on occasion when I was stretching or rolling my head, but those were rare cases.

Each bud weighs roughly 5.5g, so they tip the scales to a similar degree as rivals, and they have an IP66 rating which certifies them against any kind of solid particles like dust, as well as high-pressure water jets… I think. Elsewhere in the information Baseus provided to TechRadar, it referred to the buds as having an IPX7 rating, which offers no proofing against dust but increased water resistance.

The counterweight has a small physical button, and you can customize what this does using the app – but by default, it pauses music. I found it pretty easy to pinch this to control my music once I got used to the position, and I’m glad Baseus isn’t trying to do anything more complex with its controls like some other brands.

The case weighs 54g and it’s fairly small, although that’s not saying much given that most clip-on earbuds have tiny cases. It opens horizontally and accepts either earbud in either hole, saving a lot of faff when you want to put the buds away.

  • Design score: 4/5

Baseus Inspire XC1 review: Features

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Not as many features as rivals
  • Battery life is 8 hours, 40 hours with case
  • EQ with lots of useful presets

The Baseus Inspire XC1 will offer you 8 hours of listening time in one go, according to the brand’s figures – my own testing didn’t raise any reasons to doubt this. That just a hair on the long side compared to lots of other rivals using this form factor.

Using the case, you can get an extra 32 hours of listening time, for 40 hours in total, and again lots of the Baseus’ rivals fall a little short.

Due to the form factor, there’s no noise cancellation – it’s not unheard of in open-ears, but it’s incredibly rare and so we don’t expect it.

Baseus offers an app with a few extra features including an equalizer, a low latency mode, the ability to customize touch controls, toggles to high-res audio and a feature I haven’t seen much of on headphones: a battery-saver mode. As someone who gets battery anxiety on long trips, this is certainly a welcome feature.

The equalizer comes with seven presets, including a Bose-designed one, but you can create your own sound mix using an eight-band EQ mode too.

I’ve never written this sentence about an earbud tie-in app before, but the Baseus app felt very slow to use on my powerful Android phone. This shouldn’t dictate your purchase decision but it’s just to say ‘no, your phone isn’t breaking down’.

  • Features score: 4/5

Baseus Inspire XC1 review: Sound performance

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)
  • Two drivers per bud
  • Muddied sound profile
  • Support for several standards

Each bud of the Baseus Inspire XC1 gets two drivers: a 10.8mm woofer for low-end sounds and a balanced armature tweeter for high-end ones that we weren’t told the size of.

It’s rare to see a dual-driver open-ear, with most manufacturers opting not to kit out earbuds that will be competing with so many background sounds, but that’s not all. The buds also support higher-resolution audio and the LDAC codec if you switch them on in the app.

Listening to music, it’s clear that the sound is good quality, and that’s especially true if you do opt to make the most of the standards offered. And so you’re probably wondering why I criticized the audio before. Well, that comes down to the tuning.

The Inspire XC1 have a warm sound profile, with the woofer coming up clutch to support lots of bass. However it’s an ill-defined kind of bass, muddy and indistinct, a that’s an issue that plagues music as a whole: treble isn’t sharp, mids are mushy.

The result is that music seems to lack a lot of energy and spark. I don’t know about you, but lifeless tunes are the last thing I want with earbuds designed for exercise.

You’re probably wondering why I didn’t just jump into the equalizer to fix the problem; I tried, and it didn’t really work. Other presets beyond the default (the Bose-tuned one, I must add) maintain the issue to a lesser or greater degree. If you’ve got the buds, I’d recommend opting for the Jazz Rock preset, which was the most energetic to my ears.

  • Sound performance score: 3.5/5

Baseus Inspire XC1 review: Value

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)

The Baseus XC1 undercut a decent amount of the competition, including options which don’t offer substantially more for your money, although you can get alternatives that are a lot cheaper if you shop around.

Bearing in mind the cost and what you’re actually getting for your money, they offer a reasonable value set, letting you get all of the features of pricier rivals with a few downgrades to justify the cost.

  • Value score: 4/5

Baseus Inspire XC1 review: scorecard

Category

Comment

Score

Value

While they don't match premium options in terms of feature set, they don't in price either.

4/5

Design

They're not the most comfortable open-ears I've ever used, but they're lightweight and don't fall out.

4/5

Features

The equalizer is handy but beyond that there aren't any unique features and the battery life is about average/

4/5

Sound

I wasn't wowed by the Inspire XC1's audio chops, despite the hardware, but non-fussy workers-out will find them fine.

3.5/5

Baseus Inspire XC1: Should I buy?

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)

Buy them if...

You want something protected
I don't often see earbuds with an IP66 rating, with most opting for less protection against dust ingress and sometimes just sweat resistance, instead of the ability to survive jets of water.

You know your way around an equalizer
I appreciate how much customization Baseus offers over your music. You've got plenty of presets for people who don't want to fuss over their tuning, and a 10-band EQ for people who do.

You don't want to stretch for a name brand
Clip-on earbuds from well-known brands cost more, but Baseus offers most of those features for a lower price, even though it's not an out-and-out budget option.

Don't buy them if...

You're an audiophile
Despite the specs, I wasn't won over by the Baseus' sound quality, as it didn't offer energy in tunes. If you need perfectly-optimized music in order to enjoy your workout, you might not enjoy these buds.

You plan to wear for long periods
I could feel the Baseus on my ear after working out for an hour or longer, so if you're about to do an ultramarthon and want something comfortable, this isn't it.

Also consider

Component

Baseus Inspire XC1

Shokz OpenDots One

Huawei FreeClip

Water resistant

IP66

IP54

IP54

Battery life

8 hours (earbuds), 40 hours (total)

10 hours (earbuds), 40 hours (total)

8 hours (earbuds), 36 hours (total)

Bluetooth type

Bluetooth 5.4

Bluetooth 5.4

Bluetooth 5.3

Weight

5.5g / Charging case: 54g

5.6g / Charging case: 52g

5.6g / Charging case: 44.5g

Driver

10.8mm, tweeter

2x 11.8mm

10.8mm

Shokz OpenDots One

For a little bit more money you can get these Shokz options, which are more comfortable to wear, sound better and come with a longer-lasting battery.

Read our full Shokz OpenDots One review

Huawei FreeClip

For roughly the same price as the Baseus, this option from well-known Chinese brand Huawei comes with similar specs in most areas. However its age means that you might be able to find it greatly discounted.

How I tested

The Baseus Inspire XC1 above a green blanket.

(Image credit: Future)

I wore the Baseus Inspire XC1 for two weeks in order to write this review, which is TechRadar's standard testing time for headphones.

The buds were connected to my Android smartphone through the test. I used them on runs, on cycle rides, at the gym, on public transport, at home and on walks around my neighborhoor, mostly for music streaming but for some spoken word too.

I've been testing products for TechRadar since 2019 and this has included plenty of other workout headphones, as well as loads of open earbuds.

Read more about how we test

  • First reviewed: September 2025
I tested this digital audio player and its sound dominates almost any rival, but there’s a catch
11:00 am | September 6, 2025

Author: admin | Category: Audio Computers Gadgets Portable Media Players | Comments: Off

Astell & Kern A&ultima SP4000: Two-minute review

The Astell & Kern A&ultima SP4000 is the brand’s newest flagship digital audio player, and it is priced accordingly. If you measure the worth of a product by how relatively heavy and remarkably shiny it is, though, you won’t be able to argue with the $3,999 asking price.

The SP4000 goes a distance towards justifying its cost in the way it’s specified to perform, too. Numerous technological highlights abound, none of them in any way ‘affordable’, and between the sheer heft of the physical item and the lengthy list of technologies Astell & Kern has brought to bear, the SP4000 seems about as purposeful as these things ever get.

And in action, it is an uncomplicated pleasure to listen to, fully befitting a place in the best MP3 players around. In every meaningful way, the SP4000 is an extremely accomplished device, able to combine brute muscularity with deft insight, rhythmic positivity with outright scale. No matter what you choose to listen to, the Astell & Kern seems to enjoy it just as much as you do – and it’s not about to sit in judgement on your choice of headphones either.

Astell & Kern A&ultima SP4000 review: Price and release date

Astell & Kern A&ultima SP4000 portable music player on a white surface

(Image credit: Future / Simon Lucas)
  • Priced at $3,999 / £3,799 / AU$6,599

The Astell & Kern A&ultima SP4000 is on sale now, and in the United States it sells for $3,999. In the United Kingdom the asking price is £3,799, and in Australia you’ll have to part with AU$6,599.

Not cheap, is it? Anyone who takes an interest in this sort of thing will know Astell & Kern has no problem in pitching its products as uber-high-end propositions, but no matter how many times I see one of its products priced this way, it remains difficult not to do a double-take…

Astell & Kern A&ultima SP4000 review: Features

Top panel, showing 3.5mm and 4.4mm headphone ports, of the Astell & Kern A&ultima SP4000 portable music player on a white surface

(Image credit: Future / Simon Lucas)
  • 4 x AKM4191 and 4 x AKM4499EX DACs in 1:1 architecture
  • 4 x opamps per analogue output
  • Snapdragon 6125 octa-core processor

Something would seem amiss, wouldn’t it, if a digital audio player costing very nearly four thousand of your US dollars wasn’t groaning under the weight of its specification? Well, when you consider the extensive nature of the SP4000, it’s a wonder it’s not even bigger and even heavier than it actually is.

It follows that I should try to be reasonably brief, otherwise we’ll be here all day.

At its most fundamental, the SP4000 is built around ‘octa’ audio architecture. The digital-to-analogue signal processing is in a 1:1 structure, with one AKM4191 digital processor paired with one AKM4499EX DAC. This allows digital signals to be delivered to a single DAC, four times over – this is a true quad-DAC design, with the aim of allowing precise signal transfer with a vanishingly low signal-to-noise ratio. The ability to deal with PCM resolutions of up to 32bit/768kHz and DSD512 means any realistic digital audio file is catered for.

There are eight opamps deployed, four attending to the unbalanced 3.5mm analogue output and four dealing with the 4.4mm balanced equivalent. The intention is to increase dynamic range and enhance detail retrieval – Astell & Kern calls this arrangement ‘high driving mode’ and suggests it provides powerful and stable signal output.

A newly developed LDO (‘low drop-out’) regulator in the power supply stabilizes battery voltage in an effort to suppress noise. Proprietary ESA (‘enhanced signal alignment’) technology is designed to improve the alignment of frequency signals (sometimes opaquely referred to as ‘timing’) to minimize distortion and enhance clarity. The PCB is a high-end ‘Any Layer HDI’ design that allows for extremely complex circuitry to be laid out in a very small space, minimizing signal loss.

Astell & Kern A&ultima SP4000 digital media player, showing potential DAC filter options, on a white surface

(Image credit: Future / Simon Lucas)

What else? The audio block sits behind a 99.9% pure copper shielding can, offering significant shielding from electromagnetic interference. The audio block itself is Astell & Kern’s ‘Teraton X’ design, which incorporates HEXA-Audio circuitry along with power-efficient amplification and considerable power noise cancellation, to deliver what the company suggests is the ‘ultimate sound solution’.

The entire show is run by a Snapdragon 6125 Octa-core processor that features a high-performance CPU and 8GB of DDR4. CPU, memory and wireless comms circuitry are configured as a single module, and with the digital circuit components arranged in the same area it’s effectively a system on a chip.

I could go on. There are six digital filters available to allow the user to, in a small way, design their own sound. The ‘crossfeed’ feature allows a little of the left-channel mix into the right channel (and vice versa) and, in conjunction with some adjustment options, tries to replicate the effect of listening to speakers when listening to headphones. The second generation of Astell & Kern’s DAR (‘digital audio remaster’) technology, dubbed ‘Advanced DAR’, uses a ‘virtual sound extender’ as part of a two-stage upsampling process that can convert PCM signals of up to 48kHz to 385kHz or to DSD128, and signals of greater than 96kHz to DSD256, for playback.

Surely, though, the broad point is made by now. Astell & Kern didn’t leave space for the kitchen sink, but it has thrown pretty much everything else at the A&ultima SP4000.

Features score: 5 / 5

Astell & Kern A&ultima SP4000 review: Sound quality

Astell & Kern A&ultima SP4000 digital audio player, showing VU meters, on a white surface

(Image credit: Future / Simon Lucas)
  • Epic levels of insight and detail
  • Rhythmic and dynamic positivity
  • Sounds simultaneously open and unified

Yes, you can fiddle around the edges of the way the A&ultima SP4000 sounds – investigate filters, fool around with EQs, you name it – but what you can’t do is alter its overarching sonic character. Which is just as well, because this Astell & Kern digital audio player is a staggeringly direct, informative and, ultimately, complete listen. Few are the sources of audio information, of any type and at any price, that can match its powers of communication – and I have heard plenty.

No matter if you’re listening to a 16bit/44.1kHz FLAC file of Ride’s Leave Them All Behind, a 24bit/48kHz FLAC file of James Holden’s Common Land or a DSD64 file of The Band’s I Shall Be Released: it’s all the same to the SP4000. In every circumstance it’s a profoundly detailed, rhythmically positive, articulate and energetic listen. There really isn’t an aspect of music-making at which it doesn’t prove itself masterful.

And it’s not as if I can offer a “yes, but…” or two in the name of balance. The longer I listen to the SP4000, the more beguiled I become.

Tonal balance? It’s basically impeccable. Frequency response? Smooth and even from way down at the low frequencies to the vertiginous top end. The Astell & Kern sounds naturalistic and unforced, and it’s completely even-handed in the way it presents the frequency range. And at every point, it’s absolutely alive with detail both broad and fine. The minutiae of tone, timbre and texture are made absolutely apparent, and the player loads all of this information onto the listener without being in any way showy or uptight about it. This fanatical attention to detail is simply a way of ensuring you get as complete a rendition of your digital audio files as possible.

The presentation is spacious and well-defined at the same time, and no matter if it’s a large ensemble all packing the stage or just one voice with a single guitar as accompaniment, the SP4000 lays it all out in confident and coherent fashion.

It deals with rhythm and tempo with similar authority, keeping momentum levels high and observing the attack and decay of bass sounds (in particular) with obvious care. It can ease back if necessary, though - nothing gets hurried along, but rather is allowed to proceed at its own chosen speed. Dynamic headroom is, to all intents and purposes, limitless. From the smallest, quietest event in a recording to the last almighty crescendo, the SP4000 is on top of things - the distance between these two states is prodigious. And the smaller, but no less crucial, dynamics of harmonic variation, the attention to the over- and undertones that surround the fundamental when listening to a solo instrument, are given very judicious weighting. Context is everything, and the SP4000 seems to almost instinctively understand it.

And the Astell & Kern even has the decency not to be sniffy either about the music you listen to or the headphones via which you access it. Obviously it does better work (or, rather, its potential is best exploited) by hi-res files and high-end headphones - but if you want to connect your bog-standard true wireless in-ear via Bluetooth and listen to Spotify’s free tier the SP4000 won’t judge you. Not too badly, anyway.

Sound quality score: 5 / 5

Astell & Kern A&ultima SP4000 review: Design

Turn knob of the Astell & Kern A&ultima SP4000 digital audio player on a white surface

(Image credit: Future / Simon Lucas)
  • Polished 904L stainless steel and PVD-coated ceramic
  • 150 x 85 x 20mm
  • 615g

Ordinarily, a digital audio player is designed to be reasonably compact, and light enough to be slipped into a pocket. Of course, Astell & Kern sets out for its digital audio players to be anything but ordinary.

So the SP4000 is a fairly large (150 x 85 x 20mm) device that weighs a considerable 615g. Too big and heavy, in other words, to be comfortably carried in any pocket smaller and less robust than that of a military greatcoat. This is its naked weight, too. If you add one of the included screen protectors (which is, admittedly, going to make negligible difference to the weight) and slip the player into its supplied Perlinger leather* protective case, it becomes heavier still. At least that case prevents the player’s sharp, pointy corners from digging into hands or pocket linings, mind you.

(*I’m not a vegetarian. I know people who are, though, and some of them are just as interested in high-quality audio as I am. So once again I find myself wondering why companies like Astell & Kern imagine real leather – in this instance, leather made from "the soft, delicate hide of calves under one year old" – to be the untouchable height of luxury. Surely it’s possible to offer a protective case for the SP4000 that looks and feels upmarket but that isn’t going to alienate who knows how many prospective customers? Or is that just me?)

The four sides of the SP4000 are built of 904L stainless steel (the same stuff the likes of Rolex uses, on the basis that it will accept an extremely high polish), and feature some of the angularity and asymmetry that Astell & Kern established as part of its design vocabulary a good while ago. The front is of toughened glass, 152mm on the diagonal, and is almost entirely touchscreen. The rear panel, meanwhile, is finished in PVD-coated ceramic.

It really goes without saying that the standard of build and finish on display here is flawless. With the design of the SP4000, Astell & Kern has set out to deliver a product that blurs the line between ‘electrical hardware’ and ‘luxury accessory’. Or, as the company’s website rather feverishly has it, "a work of art where technology, design, intuition and performance converge". You may feel that Astell & Kern has done exactly what it set out to do, you may find the design rather self-consciously opulent. Taste is a very personal thing, after all.

It’s worth noting the grandeur of SP4000 ownership starts well before you peel the protective covering off the player itself. It arrives in a branded box that’s a similar size to that which contained a pair of size 10 Tricker’s boots I bought the other day. Inside there is another, branded, clasp-fastening box covered in what I strongly suspect is a further quantity of leather.

Inside that you’ll find the SP4000, along with compartments that contain that Perlinger leather cover, a case with a flap covering into which the player (in its cover) can be slipped (more leather, I presume), various guides and warranty documents, a congratulatory note from the company, and a reasonably heavyweight, branded USB-C to USB-C cable. I am pretty sure this all comes under the heading of ‘the experience’.

Design score: 4 / 5

Astell & Kern A&ultima SP4000 review: Usability and setup

Turning knob, glowing purple, of the Astell & Kern A&ultima SP4000 digital audio player

(Image credit: Future / Simon Lucas)
  • 2160 x 1080 touchscreen
  • Supports Full Android OS
  • Qualcomm QC3.0 fast charging

The SP4000 represents the first time an Astell & Kern product has supported full Android OS. The convenience and all-around common sense of the operating system is intended to help the SP4000 be as flexible and convenient as possible, while some of the Snapdragon 6125 octa-core processor’s responsibilities center around rapidity of the OS response and the smooth, comfortable user interface motion.

Happily, it all works very well. The big 2K (2160 x 1080) touchscreen is responsive and swift, smooth-scrolling and consistent. The operating system will be mercifully familiar to anyone whose smartphone isn’t an iOS device, and it’s just as wide-ranging and usable here as it is in its most successful smartphone applications.

Setting up the SP4000 is no kind of hardship. It’s simply a question of connecting it to your local network (its dual-band Wi-Fi is tenacious when it comes to making and maintaining a connection to your router or tethering to your smartphone if you’re out and about), and from there it’s simple to load the apps you require. The ‘AK File Drop’ function makes transferring files from a PC, smartphone or FTP program on a common network faster and easier than before, too.

The Astell & Kern also supports Qualcomm QC 3.0 fast charging, which means it can be charged more rapidly (and more efficiently) than previous flagship A&ultima models. Mind you, ‘fast’ and ‘rapid’ are definitely relative terms in this instance. From ‘flat’ to ‘full’ takes around five hours, which is about half the time it takes for the SP4000 to flatten its battery if you’re listening to ordinary files at ordinary volume levels.

There are a few physical controls arranged around the edges of the SP4000. As you look at its touchscreen, there’s an elaborate volume control/power on/off on the top-right edge – it’s pleasantly shaped and knurled, and a light behind it glows in one of a variety of different colors to indicate the resolution of the audio file it’s currently playing.

On the opposite side there are three buttons that deal with skip backwards/rewind (accessible via ‘press’ or ‘press and hold’ respectively), skip forwards/fast-forward (same) and play/pause. There’s a ‘button lock’ switch on the top edge, to the right of the 3.5mm hybrid optical/unbalanced analogue and 4.4mm balanced analogue outputs, and on the bottom edge you’ll find a USB-C socket and a microSD card slot, which will accept cards of up to 1.5TB.

Usability and setup score: 4.5 / 5

Astell & Kern A&ultima SP4000 review: Value

Top panel of the Astell & Kern A&ultima SP4000 digital audio player on white surface

(Image credit: Future / Simon Lucas)

First things first: you don’t contemplate ownership of the Astell & Kern A&ultima SP4000 because you’re in any way concerned about value for money. Is it the best-sounding DAP out there? Sure. Is it twice as good as alternatives from the likes of FiiO or Astell & Kern itself that cost comfortably less than $2k? Not a chance.

No, the value in the SP4000 comes from its status as the shiny flagship of the Astell & Kern range. It comes from the knowledge that no one you bump into when in the First Class Lounge has a more expensive DAP than you. It comes from the ability to add ‘DAP’ to the list of ‘madly luxurious accessories I own’.

Should I buy the Astell & Kern A&ultima SP4000?

Astell & Kern A&ultima SP4000 digital audio player on a white surface

(Image credit: Future / Simon Lucas)

Buy it if... 

You want more from your digital audio player than just digital audio
In the same way as there’s more to a Montblanc fountain pen than just the ability to function as a pen…

You admire extremely thorough specification
Astell & Kern has left no stone unturned here.

You take good care of your belongings
That super-shiny stainless steel is quite fingerprint-hungry…

Don't buy it if... 

You pay the slightest attention to value for money
It’s it’s true value you’re after, virtually any other Astell & Kern DAP will suit you better than the SP4000.

You’re vegetarian or vegan
Astell & Kern considers leather to be shorthand for ‘sophisticated’.

You don’t own any expensive, high-performance headphones
You’d better be budgeting for some, that’s all I can say.

Astell & Kern A&ultima SP4000 review: Also consider

FiiO M23
The FiiO represents remarkable value at $699 for a DAP with such balanced, eloquent and entertaining sound. And think of what you could do with all the money you’ll have saved...
Read our full FiiO M23 review

Astell & Kern Kann Ultra
Don’t bother looking for like-for-like alternatives to the A&ultima SP4000 – there aren’t any. But there are some extremely capable digital audio players available for a fraction of SP4000 money, many of them well worth considering. The Astell & Kern Kann Ultra, for instance, is a great-sounding and well-specified device that’s yours for $1,759.

How I tested the Astell & Kern A&ultima SP4000

  • Tested for over a week
  • Tested with streamed and downloaded content
  • Tested with wired and wireless headphones

I slotted a microSD card filled with hi-res content (up to 24bit/192kHz and DSD64, anyway) into the SP4000, and I downloaded the Tidal and Presto music streaming apps while I was at it.

I used Sennheiser IE900 IEMs connected via the 4.4mm balanced output, Austrian Audio The Composer over-ears via the 3.5mm unbalanced alternative, and tried out the Technics EAH-AZ100 true wireless in-ears and Bowers & Wilkins Px8 wireless over-ears too.

I listened to lots of different types of music, via lots of different file types and sizes – and I did so indoors and (with some trepidation, I don’t mind telling you) outdoors too.

  • First reviewed in September 2025
I tested LG’s new party speaker tuned by will.i.am and I Just Can’t Get Enough – here’s why
1:12 pm | September 1, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: , , , | Comments: Off

LG xboom Stage 301: two-minute review

If you’re looking to get the party moving, the LG xboom Stage 301 could be the perfect Bluetooth speaker for you. This floor monitor-inspired party speaker aims to unleash powerful bass, AI-optimized sound, and karaoke features – for casual users and performers alike. But can it live up to the hype? Well, yes – yes it can.

During my time testing the LG xboom Stage 301, I was hooked on its clean, impactful, yet controlled sound. Bass is meaty, sure, but it doesn’t overwhelm sounds elsewhere in the frequency range. There’s also AI calibration and EQ modes so that you can uncover the perfect tuning for your space and the genre of music you’re playing.

Even when blasting bass-heavy house tunes at top volumes, the LG xboom Stage 301 didn’t produce distorted or overly compressed audio – like the best Bluetooth speakers around, it’s a disciplined, talented sonic companion. It may not be capable of ‘hi-res’ Bluetooth audio, and its front-facing design means that you get pretty directional audio, but I was still very impressed with the speaker’s sonic capabilities.

This thing doesn’t only sound good, though, it’s also rammed full of features – most of which are accessible through the LG ThinQ companion app. Auracast, multi-speaker pairing, a sleep timer – you name it. There are even some fun (but kinda gimmicky) DJ sliders and sound effects, a karaoke mode (if you’ve got mics or a guitar to plug in), and Healing Therapy sounds, for when you want to wind down.

Design-wise, this model is a hit too. It has a quality dual-bar LED light system, which can be synced to your music or customized from scratch in LG’s companion app. Elsewhere, a classic black finish, well-sized buttons, and a classy speaker grille all combine for a solid overall look.

You can also angle this speaker upwards, stand it upright, or mount it on a stand, making it a very versatile option.

What’s more, this model is actually priced pretty well – something LG hasn’t always got right with its other Bluetooth speakers. It comes in with a list price of $299.99 / £299.99 / AU$449, but you’ll already spot it going for less in some territories.

Now, you probably won’t get the maximum 12 hour battery life LG quotes – that is unless you have lights off and play music at a low volume, but you can use this speaker plugged in, which also enables the speaker to hit its maximum power output. You can also replace the battery, which is handy if you run out of juice and want to slot a second in to keep the party going.

Overall, I’m feeling highly positive about this model. The IPX4 waterproof rating is average for a stage-style model, but won’t compete with typical party speakers like the IP67-rated Earfun UBoom X, for instance. There are a couple of small technical quirks in the app, too, but otherwise, it’s a really useful companion.

And in the end, the LG xboom Stage 301 stands tall as a versatile, fantastic-sounding, and feature-rich model that’s up there with some of the best party speakers I’ve tested. LG’s xboom range – produced alongside will.i.am – has been a bit of a mixed bag so far. But the Stage 301 is, without a doubt, one of the highlights of this line, and I’m more than happy to recommend it.

LG xboom Stage 301 angled upwards

(Image credit: Future)

LG xboom Stage 301 review: price and release date

  • $299.99 / £299.99 / AU$449
  • Launched in April 2025

The LG xboom Stage 301 was announced at CES 2025 as part of a new Bluetooth speaker range, alongside the LG xboom Bounce and LG xboom Grab. It’s the largest, and, as you’d expect, priciest speaker in the line-up, which was launched in collaboration with producer and artist will.i.am.

Although the Stage 301 has a list price of $299.99 / £299.99 / AU$449, I’ve already seen it going for less – it’s down to under £250 in the UK via LG's digital store, for instance. It’s worth noting that there’s no stand included for Concert Mode, so you’ll have to purchase one separately.

LG xboom Stage 301 review: specs

Weight

14.7lbs / 6.7kg

Dimensions

12.3 x 12.2 x 11.1 inches / 312 x 311 x 282mm

Connectivity

Bluetooth 5.4, 3.5mm, USB (MP3 playback)

Battery life

12 hours

Speaker drivers

2x 2.5-inch midrange woofers, 1x 6.5-inch subwoofer

Waterproofing

IPX4

Person pressing the play button on the LG xboom Stage 301

(Image credit: Future)

LG xboom Stage 301 review: features

  • Incredibly feature-rich companion app
  • Customizable lights and EQ, room calibration, DJ and karaoke modes
  • 12-hour battery life, but can play while charging

As is usually the case, LG has packed a ton of neat smart features into this speaker. There’s classic stuff like multi-point connectivity and multi-speaker pairing (with xboom models), for example. But with the LG ThingQ companion app, you can access so much more.

You can customize the speaker’s LED lights, with a variety of presets with differing colors and motion patterns. You can also enable AI Lighting, which analyzes playback and produces optimal lighting for your audio content. I made use of the AI mode and it worked great – it really made my music come alive.

The lights aren’t the only thing you can customize though. You can also adapt the speaker’s sound to fit your needs with EQ settings. There are a handful of presets here, such as Bass Boost and Voice Enhance, but the AI sound option was the one that piqued my interest the most. This performs a real-time “genre analysis” of the media being played, in order to output the best possible audio, and again, I could really hear the difference in the best way here.

One issue I had, though, is that while listening to music, changing to a different EQ causes playback to cut out for a split second. That was a bit jarring when I simply wanted to activate Bass Boost in a pinch, say. In addition, the custom equalizer option only uses three bands, which is a bit basic compared to a Bluetooth speaker like the Sony ULT Field 3, which has a seven-band alternative.

Anyway, let’s go back to the good stuff. Something I personally appreciated was an AI calibration tool, which tailors the speaker’s sound to your listening space. After you perform this, the app provides a before and after, making the difference more tangible to listeners. This is a really smart inclusion from LG, and it genuinely improved the clarity of my tunes.

And really, I could go on all day about the app’s copious options. I’ve not even mentioned the Healing Therapy sounds, which are great if you want a bit of ambience or just want to wind down at night. On top of that, there’s a sleep timer, Auracast, customizable shortcut button (called MY Button), and a tab that integrates locally stored music files. Whew. I did say there was a lot.

But perhaps some of the more unique options are the DJ and karaoke related modes. DJ mode allows you to alter playback with delay, wah, phaser, and flanger effects, play drum and ‘club’ sound effects, and even layer vocal samples that you can record in the companion app. These sounds aren’t perfectly responsive, but it's a fun little mode to play around with.

Meanwhile, karaoke mode can be accessed if you hook a microphone or guitar up to the Stage 301. It includes vocal effects like helium, robot, and soprano if you fancy switching things up a bit, and you can alter volume or reverb using control knobs on the reverse side of the speaker.

So, there’s a lot of options at your fingertips with the LG xboom Stage 301, but does it have the battery life to keep the party moving? Well, even though LG quotes battery life at twelve hours, your mileage will almost certainly vary. See, if you’re using AI sound mode with volume high and both lights on, you won’t get close to that. With this setup, I lost 20% capacity in about 40 minutes. If you’ve got the lights off and you’re keeping volume low-high in Clear Voice mode, though, you can expect a ton more playtime.

That max 12 hours is standard for this type of speaker, though most users will probably struggle to get that much. Instead, I found it best to keep the Stage 301 playing while plugged into the power socket. You get louder max volume and don’t have to worry about the speaker dying on you. It’s worth noting, too, that the battery is replaceable. So, if you’re not near a socket, you could insert a second battery to keep the tunes blasting well into the early hours.

  • Features score: 4.5/5

LG xboom Stage 301 with person holding phone next to it with the LG ThinQ app

(Image credit: Future)

LG xboom Stage 301 review: sound quality

  • Clean, rhythmic bass
  • Limited distortion and compression
  • By design, sound is pretty directional

When we tried the LG xboom Stage 301 at CES 2025, our Managing Editor of Entertainment, Matt Bolton, said that it offered “bass that felt suitably deep but not overwhelming at all”, while also providing “tons of space for the rest of the music to leap out at you”. So, after putting the speaker through its paces in our music testing space, does this still ring true?

Well, before I give a definitive answer, let’s talk bass, which is the most important aspect of the Stage 301’s sonic abilities. I’ll start by saying that our first impression was very much accurate. This speaker didn’t spit out the heftiest bass I’ve ever heard, but that’s not inherently a bad thing. Low-end output remains meaty, but it doesn’t smother sounds elsewhere in the frequency range.

In addition, bass output is both clean and responsive. When blasting Fascinator by Max Dean, the hard-hitting kick drum sounded pleasingly deep and rapid, never sounding lethargic or unrhythmic. Sub-bass entering the fray around the minute-mark was also handled really well – every note was clear and impactful, resulting in an immersive, almost hypnotic listening experience.

If you feel like you do want a bit more low frequency weight, you can always enable Bass Boost in the speaker’s companion app or set your own custom EQ.

When bumping various bass-heavy bangers, vocal chops in the mid-range – as well as high-pitched percussion – were both well-defined in the mix, so you’ll get a disciplined, yet exciting listen out of the Stage 301. Even with a ballad like Solji’s Rains again, rain sound effects were true-to-life rather than staticky, while the delicate vocal performance was replicated adeptly, indicating that this model has the talent to handle a range of genres.

I tested the Stage 301 at a range of volumes, even cranking it up to the max for a bit. Something I realized was that peak loudness is only available if you’re using the speaker while its AC adapter is plugged in – it’s a fair bit quieter while battery powered. But when listening at top volumes, I was impressed with the lack of distortion and noticeable signal compression.

One shortcoming here, which may seem obvious, is that the Stage 301’s front-facing design limits the soundstage to a degree. For example, I tried listening to music from behind the speaker, and both mid-range and treble sounds were a bit muffled and far less prominent. This speaker is designed to fire audio towards listeners, rather than be a true 360-degree stereophonic hub, like the Marshall Kilburn III, say, so just ensure you work around its build and most will love what they hear.

And as one final note, there aren’t any ‘hi-res’ Bluetooth codecs here. The best this speaker can manage is AAC – there’s no LDAC or Snapdragon sound to uncover, something LG has experimented with on other products like the LG Tone Free T90S earbuds, which are fantastic by the way.

But still, you can expect a decently detailed, full-sound from the Stage 301. For so many speakers, ‘hi-res’ Bluetooth audio really isn’t the bottleneck. It’s well engineered drivers and enclosures, quality materials, and intelligent tuning that make a world of difference.

  • Sound quality score: 4.5/5

Volume and reverb knobs on the reverse side of the LG xboom Stage 301

(Image credit: Future)

LG xboom Stage 301 review: design

  • Classy, customizable LED lighting
  • Three different ways to stand the speaker
  • IPX4 waterproof rating

When I reviewed the LG xboom Buds, I was very critical of their looks. How could a pair of buds designed alongside the fashion-savvy will.i.am look so plain and uninspired? Well, LG can consider itself redeemed, because I love the look of the Stage 301!

First of all, I’m a huge fan of the dual bar LED lights, which can sync up to your music for a highly immersive listening experience. Unlike a party speaker like the original Tribit Stormbox Blast, this model takes a much classier approach to LEDs. They’re housed behind a speaker grille and don’t appear cheap – there’s also a million ways to customize them via LG’s companion app.

The speaker itself also has a well-finished black exterior alongside red-detailed ‘xboom’ logos on either side. Being able to see the drivers behind the grille is a nice touch too. The handle is conveniently placed as well, and 14.7lbs / 6.7kg is fairly lightweight for a model of this size and shape, making it fairly easy to transport.

In addition, buttons on top of the speaker are well-sized and backlit, while the volume control can be twisted clockwise or anti-clockwise to crank things up (or tone them down).

Something I really loved about this speaker, though, was its ability to be stood in various positions, enabling you to find the optimal sound and display type. It can be placed flat like a regular Bluetooth speaker, but I personally enjoyed using it in Street Mode, an upward-angled configuration that made me feel like I was at a rave. There’s also Concert Mode, but this requires a stand, which is sold separately.

Finally, this speaker is IPX4-rated, essentially meaning it's splash resistant. Although that’s disappointing against IP67-rated party speakers like the JBL Xtreme 4, say, IPX4 is fairly standard for a stage speaker like this. It may not be the best for outdoor environments, though, so if you’re not totally sold on the wedge design, maybe look to a typical party speaker, such as those in the ‘Also consider’ section.

  • Design score: 4.5/5

Handle and xboom logo on the LG xboom Stage 301

(Image credit: Future)

LG xboom Stage 301 review: value

  • Competitively priced against rivals
  • Already on sale in some markets
  • Very good all-round quality

LG doesn’t always get it right when it comes to pricing. I can recall testing out the LG XBoom Go XG8T and being totally bamboozled by its sky-high $379.99 / £400 (about AU$600) list price. We weren’t quite bowled over by the $179.99 / £139 / AU$299 cost of the LG xboom Bounce, either, which couldn’t stack up to rivals in its price-class.

But when it comes to the LG xboom Stage 301, it’s a different story. This speaker is priced competitively if you stack it against rivals like the JBL Partybox range or the Bose S1 Pro+ PA system. It's even on par in terms of cost against Bluetooth speaker/karaoke machine hybrids like the Tribit Stormbox Blast 2, which has a list price of almost $300 / £260.

For new DJs looking for a stage speaker, it’s fairly affordable too, with a lot of the more industry-specific models costing well upwards of $300 / £300 for similarly designed alternatives. Considering the versatility of the Stage 301 for casual listening, karaoke, and even DJing, it’s a strong value pick.

It’s already on sale in some territories too. In the UK, for instance, you can scoop the speaker up for less than £250, which is well worth it. Sure, this isn’t a budget product, and if you want mics and a stand you’ll have to purchase them separately. But with a combination of great sound, features galore, and neat looks, you certainly get what you pay for.

  • Value score: 4.5/5

Person lifting tab on the reverse side of the LG xboom Stage 301

(Image credit: Future)

Should I buy the LG xboom Stage 301?

Attributes

Notes

Rating

Features

Standard battery life, but AI features rock and it has customizable sound and lights.

4.5/5

Sound quality

Clean, impactful, but disciplined bass, controlled audio at higher volumes.

4.5/5

Design

Attractive lights, neat positioning options, IPX4 waterproofing is average.

4.5/5

Value

Well-priced against rivals, strong quality all round, overall well-worth it.

4.5/5

Buy it if...

You want plenty of bass
The LG xboom Stage 301 produces clean, impactful bass, but it never sounds overwhelming or muddy. When blasting a range of house tunes, I was treated to rapid, responsive, and rhythmic low-end output that had me hooked.

You’re looking for a versatile party speaker
The LG xboom Stage 301 is ideal for parties thanks to its floor speaker style design, immersive lighting, and pumping bass output. It even has DJ and karaoke modes if you want to make use of those. Wired connectivity is also handy if you want low-latency audio for performances.

Don't buy it if...

You want a rugged audio companion
This model is only IPX4-rated, meaning it’s not going to be ideal for outdoor use if it’s raining, or if you’re poolside, for example. IPX4 is normal for a model like this, but I would’ve liked to see LG push the boundaries.

You’re expecting ultra-long battery life
The LG xboom Stage 301 is a powerful stage speaker and won’t have the battery life of typical party rivals, such as those listed down below. Even compared to rival options, it's got a fairly standard battery life, and you’ll have to keep things very minimal to get the max 12 hours of playtime, as listed.

LG xboom Stage 301 review: also consider

LG xboom Stage 301

Tribit Stormbox Blast 2

Sony ULT Field 7

Price

$299.99 / £299.99 / AU$449

$299.99 / £257 (about AU$490)

$499 / £399 (about AU$770)

Weight

14.7lbs / 6.7kg

19.2lbs / 8.7kg

14 lbs / 6.3kg

Dimensions

12.3 x 12.2 x 11.1 inches / 312 x 311 x 282mm

18.8 x 10.2 x 7.6 inches / 477.5 x 259.1 x 193mm

20 x 9 x 9 inches / 512 x 224 x 222mm

Connectivity

Bluetooth 5.4, 3.5mm, 6.3mm (mic/guitar) USB (MP3 playback)

Bluetooth 5.4, 3.5mm, mic ports

Bluetooth 5.2, 3.5mm, 6.3mm (mic/guitar), USB

Battery life

12 hours

30 hours

30 hours

Speaker drivers

2x 2.5-inch midrange drivers; 1x 6.5-inch woofer

2x 45W mid-range drivers; 2x 15W tweeters

2x 46mm tweeters; 2 x 114mm woofers

Waterproofing

IPX4

IP67

IP67

Tribit Stormbox Blast 2
It’s safe to say I was blown away by the Tribit Stormbox Blast 2 when I tested it at the start of 2025. It offers phenomenal thumping bass, customizable LED lights, and wonderful battery life – it really is the full package. Pair that with a karaoke mode, IP67 waterproofing, as well as a regularly discounted price, and you’re looking at a class-leading party speaker. Read our full Tribit Stormbox Blast 2 review.

Sony ULT Field 7
The Sony ULT Field 7 has a lot in common with LG’s party-ready speaker, and thanks to price-cuts, it’s now well-worth considering. Both the Sony and LG are almost equal in weight, each offer ports for guitars and mics, and they each assume a unique build in what is a fairly ‘same-y’ market. You’ll get better battery life and wraparound sound from the ULT Field 7, but its build isn’t as optimal for DJs as the LG speaker and the lighting isn’t as classy. Read our full Sony ULT Field 7 review.

How I tested the LG xboom Stage 301

Button controls on top of the LG xboom Stage 301

(Image credit: Future)
  • Tested across the course of one week
  • Mainly used in the music testing space at Future Labs
  • Predominantly tested using Tidal

I tested the LG xboom Stage 301 Bluetooth speaker across the course of one week, spending most of my time with the unit in our music testing space at Future Labs.

During the testing period, I spent hours on end blasting tunes from a variety of genres, though I did put more of an emphasis on bass-heavy tracks to get the best out of the model. On top of that, I ran through the TechRadar testing playlist, which is standard practice for me when trialing audio gear.

When listening to music, I typically used Tidal, but I also tried bumping some tunes from my library on Spotify. I listened at a variety of angles and volumes, exhausted all of the features in the LG companion app, messed around with various lighting calibrations, and used the speaker in its various standing positions.

  • First reviewed: September 2025
  • Read more about how we test
I tested Beyerdynamic’s wired earbuds for vocalists/guitarists and the midrange clarity is palpable – I wish I’d had the money during my career
12:30 pm | August 30, 2025

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Beyerdynamic DT 72 IE: Two-minute review

Here's a thing very few of the best wired earbuds offer, at least in the mass-produced consumer space: specialized tuning for each member of your band – yes, even the bass player. But that's what Beyerdynamic did at the very start of the year, releasing not one but four sets of IEMs tuned just slightly differently, in a bid to give each of your musician friends what they need.

The set I have under review here is the DT 72 IE, "for guitarists and singers". These IEMs boast a "subtly tuned bass" so as not to overwhelm during performance. The optimized frequency response here is also listed as between 200-500 Hz to compensate for the occlusion effect. This is a known issue wherein the perception one's own voice is too loud, hollow, or even boomy due to the ear canal's obstruction (with said IEMs, funnily enough) and the trapping of sonic vibrations within.

What of the rest of the range? DT 70 IE is billed as the set "for mixing and critical listening". DT 71 IE is "for drummers and bassists" with a sound signature that Beyerdynamic says "enhances low frequencies while ensuring detailed reproduction of cymbals, percussion and bass guitar overtones". DT 73 IE is the pair for the orchestral musician, pianist or keyboard player, with extra care taken on treble overtones (there's a subtle boost from 5kHz upwards).

I think it's fair to say that given the asking fee of whichever set you pick (which is $499, or anywhere from £431 to £479 in the UK, so around AU$900) these are IEMs for the successful musician – something emphasized by acclaimed jazz pianist, gospel artist and producer Cory Henry and Gina Miles (winner of The Voice Season 23) who both agreed to help showcase the new products in January of this year.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Am I qualified to give these singer-specific buds a thorough appraisal? I'd say so. It's been a while, granted, but I've performed in several big musicals, films, and a fair few gigs over the years, often with a trusty pair of cheap and cheerful Shure SE215 in (or hanging out of) my ears. Hey, I sang solo and covered leads, y'know…

The Beyerdynamic DT 72 IE are not like my old Shure workhorses, though, reader. This is what I would have bought myself if I'd been making something other than a lowly performer's wage, and/or had the promise of work engagements lasting for more than six months at a time. The latter is something not even the best of us regularly gets… and I was far from the best.

But let's put the delicate topics of coin and talent to one side. The DT 72 IE are very well made. The case is fabric but pocketable and holds its shape – the 1.4m cable will not tangle, is near-silent and comes with a 3.5mm termination and 6.35 mm adapter. The headshells are beautifully small. Your accessories are also resoundingly high-end: alongside the five pairs of silicone ear tips, you also get three in Comply memory foam (which I'll always go for, if they're offered). You even get a spare set of earwax guards and detailed instructions on how to switch them out, if and when the need arises.

You'll need to shape the ear hooks yourself, but once you take a moment to get it right, I found them very comfortable and also hardly noticeable (from a visual perspective) once in my ear. So far, so successful.

What about for sound? I fired up my FiiO M23 and a few of my old audition standards. Now, I had no access to the pro mixer, mic or gain stages I used to enjoy, back in the day – so full disclosure: I couldn't set any of that up. What follows is my analysis of the DT 72 IE as listening devices to analyze my own recorded vocals and also to record a quick demo – en route to a last-minute audition, say.

And, good grief, did I hear extra detail and even a bit of vib to be proud of in my own rendition of The Show Must Go On from 2018, sung as an aerialist/singer in a German Queen tribute show called We Are the Champions. All true, I promise.

It's as if guitar riffs and my voice has been plucked from the soundstage and held above the mix in a surgical layering system, like items to be admired (or admonished) aside from all else. It's exactly what your lead vocalist of axe man needs, to hone their craft and I wish I'd had them when performing every day. If I'd had the DT 72 IE, I might've realized I was just a touch flat when trying to reach "for waiting up there is the Heaviside layer" on that cruise ship gig…

Any drawbacks to the DT 72 IE sonically? This is an analytical listen, rather than an exciting one. From a listener's perspective, things can feel just a little flat on occasion. This is because the bass injection has been pulled back and so, dynamically, tracks can feel just a touch uneventful. Beyerdynamic has expressed as much and offers another model for critical listening and/or mixing, but it's still worth stating for those who want something to lay down tracks with and to listen purely for the pleasure of doing so.

Personally, I love them. If your favorite aspect of recorded music is the lead singer and/or the guitar solos, you may have found the set of IEMs for you. No, they're not neutral – that's the whole point.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Beyerdynamic DT 72 IE review: Price and release date

  • Released on January 23, 2025
  • Priced $499 / from £431 (around AU$900)

It's important to state that the Beyerdynamic DT 72 IE are not unique – IEMs pitched squarely at vocalists exist (from companies such as Moondrop, 64 Audio and even Sennheiser) and the 64 Audio U12t, for example, costs four times as much as the Beyer product you're reading about.

The Sennheiser IE 100 Pro, however, (a popular choice among the musicians I know) cost around a fifth of the DT 72 IE's asking fee. So it really is a mixed bag…

Beyerdynamic DT 72 IE review: Specs

Drivers

Dynamic (closed)

Weight

3g per earpiece (without ear tip)

Frequency range

5Hz - 40kHz

Waterproof rating

None

Other features

No in-line mic, plenty of accessories

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Should you buy the Beyerdynamic DT 72 IE review?

Attributes

Notes

Rating

Features

What these earbuds are designed for has been beautifully achieved – no more, no less

5/5

Sound quality

If picking out the vocal or guitar is what you need, they deliver. If you want to listen casually, too, they may not be for you – but that's hardly fair

4.5/5

Design

Beautifully svelte earpieces and cable, only let down by the need to bend (and re-bend) the ear hooks yourself

4.5/5

Value

To call them 'mid-range' feels unfathomable, but the prices you can pay in this niche sector of the market are variable, to say the least

4/5

Buy them if...

You're a pro singer or guitarist – and you're good
Done OK for gigs recently and want to level up your art? I think these are a great professional product.

You have a smaller ear
I may well put these into our best earbuds for small ears guide, because they slip so happily into my smaller tragus and present no issues to my bijou ear canal.

Don't buy them if...

You want an all-round listen
These are not that product, despite their considerably gifted performance when it comes to vocals and midrange instruments.

Gigs haven't been plentiful lately
These are either a treat for the end of a lucrative run of shows or something for the muso not short of work in general. Those of us who don't know where (or from whom) the next paycheck is coming may sadly have to look elsewhere.

Beyerdynamic DT 72 IE review: Also consider

This particular product is a tad niche for TechRadar (we're not a dedicated musician or performer site, as you'll know) but personal experience has taught me that Shure's 215 SE are often the entry-level option here, as are the Sennheiser IE 100 Pro – both of which are a lot cheaper than the model listed above.

Are they as good? No, that wouldn't be fair given the dearth in price – and that's the point I want make here: if you have the money, the Beyerdynamic DT 72 IE are very, very good for singers and guitarists.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Beyerdynamic DT 72 IE review: How I tested

  • Tested across two weeks
  • Used at home, listening to my vocal recordings and regular testing tracks
  • Predominantly tested using my iPhone (and hi-res Flac files on my laptop)

I had to go back to 2018 (the last time I sang professionally, and the year before I became a full-time audio journalist) in the name of testing the Beyerdynamic DT 72 IE.

I revisited a time when money was tight but professional fulfilment was plentiful. I had work! Lots of it – and I also had a post-grad degree to pay for. I listened to both my own vocals (even the ones recorded quickly as voice memos on my iPhone, to learn a tricksy harmony line in rehearsal) and then to everything from Melissa Etheridge to Ginuwine – both of whom I love for what they've given to music.

And know this: the Beyerdynamic DT 72 IE were never uncomfortable and always enlightening during my testing.

Read more about how we test

  • First reviewed: August 2025
I tested Beyerdynamic’s wired earbuds for vocalists/guitarists and the midrange clarity is palpable – I wish I’d had the money during my career
12:30 pm |

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Beyerdynamic DT 72 IE: Two-minute review

Here's a thing very few of the best wired earbuds offer, at least in the mass-produced consumer space: specialized tuning for each member of your band – yes, even the bass player. But that's what Beyerdynamic did at the very start of the year, releasing not one but four sets of IEMs tuned just slightly differently, in a bid to give each of your musician friends what they need.

The set I have under review here is the DT 72 IE, "for guitarists and singers". These IEMs boast a "subtly tuned bass" so as not to overwhelm during performance. The optimized frequency response here is also listed as between 200-500 Hz to compensate for the occlusion effect. This is a known issue wherein the perception one's own voice is too loud, hollow, or even boomy due to the ear canal's obstruction (with said IEMs, funnily enough) and the trapping of sonic vibrations within.

What of the rest of the range? DT 70 IE is billed as the set "for mixing and critical listening". DT 71 IE is "for drummers and bassists" with a sound signature that Beyerdynamic says "enhances low frequencies while ensuring detailed reproduction of cymbals, percussion and bass guitar overtones". DT 73 IE is the pair for the orchestral musician, pianist or keyboard player, with extra care taken on treble overtones (there's a subtle boost from 5kHz upwards).

I think it's fair to say that given the asking fee of whichever set you pick (which is $499, or anywhere from £431 to £479 in the UK, so around AU$900) these are IEMs for the successful musician – something emphasized by acclaimed jazz pianist, gospel artist and producer Cory Henry and Gina Miles (winner of The Voice Season 23) who both agreed to help showcase the new products in January of this year.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Am I qualified to give these singer-specific buds a thorough appraisal? I'd say so. It's been a while, granted, but I've performed in several big musicals, films, and a fair few gigs over the years, often with a trusty pair of cheap and cheerful Shure SE215 in (or hanging out of) my ears. Hey, I sang solo and covered leads, y'know…

The Beyerdynamic DT 72 IE are not like my old Shure workhorses, though, reader. This is what I would have bought myself if I'd been making something other than a lowly performer's wage, and/or had the promise of work engagements lasting for more than six months at a time. The latter is something not even the best of us regularly gets… and I was far from the best.

But let's put the delicate topics of coin and talent to one side. The DT 72 IE are very well made. The case is fabric but pocketable and holds its shape – the 1.4m cable will not tangle, is near-silent and comes with a 3.5mm termination and 6.35 mm adapter. The headshells are beautifully small. Your accessories are also resoundingly high-end: alongside the five pairs of silicone ear tips, you also get three in Comply memory foam (which I'll always go for, if they're offered). You even get a spare set of earwax guards and detailed instructions on how to switch them out, if and when the need arises.

You'll need to shape the ear hooks yourself, but once you take a moment to get it right, I found them very comfortable and also hardly noticeable (from a visual perspective) once in my ear. So far, so successful.

What about for sound? I fired up my FiiO M23 and a few of my old audition standards. Now, I had no access to the pro mixer, mic or gain stages I used to enjoy, back in the day – so full disclosure: I couldn't set any of that up. What follows is my analysis of the DT 72 IE as listening devices to analyze my own recorded vocals and also to record a quick demo – en route to a last-minute audition, say.

And, good grief, did I hear extra detail and even a bit of vib to be proud of in my own rendition of The Show Must Go On from 2018, sung as an aerialist/singer in a German Queen tribute show called We Are the Champions. All true, I promise.

It's as if guitar riffs and my voice has been plucked from the soundstage and held above the mix in a surgical layering system, like items to be admired (or admonished) aside from all else. It's exactly what your lead vocalist of axe man needs, to hone their craft and I wish I'd had them when performing every day. If I'd had the DT 72 IE, I might've realized I was just a touch flat when trying to reach "for waiting up there is the Heaviside layer" on that cruise ship gig…

Any drawbacks to the DT 72 IE sonically? This is an analytical listen, rather than an exciting one. From a listener's perspective, things can feel just a little flat on occasion. This is because the bass injection has been pulled back and so, dynamically, tracks can feel just a touch uneventful. Beyerdynamic has expressed as much and offers another model for critical listening and/or mixing, but it's still worth stating for those who want something to lay down tracks with and to listen purely for the pleasure of doing so.

Personally, I love them. If your favorite aspect of recorded music is the lead singer and/or the guitar solos, you may have found the set of IEMs for you. No, they're not neutral – that's the whole point.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Beyerdynamic DT 72 IE review: Price and release date

  • Released on January 23, 2025
  • Priced $499 / from £431 (around AU$900)

It's important to state that the Beyerdynamic DT 72 IE are not unique – IEMs pitched squarely at vocalists exist (from companies such as Moondrop, 64 Audio and even Sennheiser) and the 64 Audio U12t, for example, costs four times as much as the Beyer product you're reading about.

The Sennheiser IE 100 Pro, however, (a popular choice among the musicians I know) cost around a fifth of the DT 72 IE's asking fee. So it really is a mixed bag…

Beyerdynamic DT 72 IE review: Specs

Drivers

Dynamic (closed)

Weight

3g per earpiece (without ear tip)

Frequency range

5Hz - 40kHz

Waterproof rating

None

Other features

No in-line mic, plenty of accessories

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Should you buy the Beyerdynamic DT 72 IE review?

Attributes

Notes

Rating

Features

What these earbuds are designed for has been beautifully achieved – no more, no less

5/5

Sound quality

If picking out the vocal or guitar is what you need, they deliver. If you want to listen casually, too, they may not be for you – but that's hardly fair

4.5/5

Design

Beautifully svelte earpieces and cable, only let down by the need to bend (and re-bend) the ear hooks yourself

4.5/5

Value

To call them 'mid-range' feels unfathomable, but the prices you can pay in this niche sector of the market are variable, to say the least

4/5

Buy them if...

You're a pro singer or guitarist – and you're good
Done OK for gigs recently and want to level up your art? I think these are a great professional product.

You have a smaller ear
I may well put these into our best earbuds for small ears guide, because they slip so happily into my smaller tragus and present no issues to my bijou ear canal.

Don't buy them if...

You want an all-round listen
These are not that product, despite their considerably gifted performance when it comes to vocals and midrange instruments.

Gigs haven't been plentiful lately
These are either a treat for the end of a lucrative run of shows or something for the muso not short of work in general. Those of us who don't know where (or from whom) the next paycheck is coming may sadly have to look elsewhere.

Beyerdynamic DT 72 IE review: Also consider

This particular product is a tad niche for TechRadar (we're not a dedicated musician or performer site, as you'll know) but personal experience has taught me that Shure's 215 SE are often the entry-level option here, as are the Sennheiser IE 100 Pro – both of which are a lot cheaper than the model listed above.

Are they as good? No, that wouldn't be fair given the dearth in price – and that's the point I want make here: if you have the money, the Beyerdynamic DT 72 IE are very, very good for singers and guitarists.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Beyerdynamic DT 72 IE review: How I tested

  • Tested across two weeks
  • Used at home, listening to my vocal recordings and regular testing tracks
  • Predominantly tested using my iPhone (and hi-res Flac files on my laptop)

I had to go back to 2018 (the last time I sang professionally, and the year before I became a full-time audio journalist) in the name of testing the Beyerdynamic DT 72 IE.

I revisited a time when money was tight but professional fulfilment was plentiful. I had work! Lots of it – and I also had a post-grad degree to pay for. I listened to both my own vocals (even the ones recorded quickly as voice memos on my iPhone, to learn a tricksy harmony line in rehearsal) and then to everything from Melissa Etheridge to Ginuwine – both of whom I love for what they've given to music.

And know this: the Beyerdynamic DT 72 IE were never uncomfortable and always enlightening during my testing.

Read more about how we test

  • First reviewed: August 2025
I tested Beyerdynamic’s wired earbuds for vocalists/guitarists and the midrange clarity is palpable – I wish I’d had the money during my career
12:30 pm |

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Beyerdynamic DT 72 IE: Two-minute review

Here's a thing very few of the best wired earbuds offer, at least in the mass-produced consumer space: specialized tuning for each member of your band – yes, even the bass player. But that's what Beyerdynamic did at the very start of the year, releasing not one but four sets of IEMs tuned just slightly differently, in a bid to give each of your musician friends what they need.

The set I have under review here is the DT 72 IE, "for guitarists and singers". These IEMs boast a "subtly tuned bass" so as not to overwhelm during performance. The optimized frequency response here is also listed as between 200-500 Hz to compensate for the occlusion effect. This is a known issue wherein the perception one's own voice is too loud, hollow, or even boomy due to the ear canal's obstruction (with said IEMs, funnily enough) and the trapping of sonic vibrations within.

What of the rest of the range? DT 70 IE is billed as the set "for mixing and critical listening". DT 71 IE is "for drummers and bassists" with a sound signature that Beyerdynamic says "enhances low frequencies while ensuring detailed reproduction of cymbals, percussion and bass guitar overtones". DT 73 IE is the pair for the orchestral musician, pianist or keyboard player, with extra care taken on treble overtones (there's a subtle boost from 5kHz upwards).

I think it's fair to say that given the asking fee of whichever set you pick (which is $499, or anywhere from £431 to £479 in the UK, so around AU$900) these are IEMs for the successful musician – something emphasized by acclaimed jazz pianist, gospel artist and producer Cory Henry and Gina Miles (winner of The Voice Season 23) who both agreed to help showcase the new products in January of this year.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Am I qualified to give these singer-specific buds a thorough appraisal? I'd say so. It's been a while, granted, but I've performed in several big musicals, films, and a fair few gigs over the years, often with a trusty pair of cheap and cheerful Shure SE215 in (or hanging out of) my ears. Hey, I sang solo and covered leads, y'know…

The Beyerdynamic DT 72 IE are not like my old Shure workhorses, though, reader. This is what I would have bought myself if I'd been making something other than a lowly performer's wage, and/or had the promise of work engagements lasting for more than six months at a time. The latter is something not even the best of us regularly gets… and I was far from the best.

But let's put the delicate topics of coin and talent to one side. The DT 72 IE are very well made. The case is fabric but pocketable and holds its shape – the 1.4m cable will not tangle, is near-silent and comes with a 3.5mm termination and 6.35 mm adapter. The headshells are beautifully small. Your accessories are also resoundingly high-end: alongside the five pairs of silicone ear tips, you also get three in Comply memory foam (which I'll always go for, if they're offered). You even get a spare set of earwax guards and detailed instructions on how to switch them out, if and when the need arises.

You'll need to shape the ear hooks yourself, but once you take a moment to get it right, I found them very comfortable and also hardly noticeable (from a visual perspective) once in my ear. So far, so successful.

What about for sound? I fired up my FiiO M23 and a few of my old audition standards. Now, I had no access to the pro mixer, mic or gain stages I used to enjoy, back in the day – so full disclosure: I couldn't set any of that up. What follows is my analysis of the DT 72 IE as listening devices to analyze my own recorded vocals and also to record a quick demo – en route to a last-minute audition, say.

And, good grief, did I hear extra detail and even a bit of vib to be proud of in my own rendition of The Show Must Go On from 2018, sung as an aerialist/singer in a German Queen tribute show called We Are the Champions. All true, I promise.

It's as if guitar riffs and my voice has been plucked from the soundstage and held above the mix in a surgical layering system, like items to be admired (or admonished) aside from all else. It's exactly what your lead vocalist of axe man needs, to hone their craft and I wish I'd had them when performing every day. If I'd had the DT 72 IE, I might've realized I was just a touch flat when trying to reach "for waiting up there is the Heaviside layer" on that cruise ship gig…

Any drawbacks to the DT 72 IE sonically? This is an analytical listen, rather than an exciting one. From a listener's perspective, things can feel just a little flat on occasion. This is because the bass injection has been pulled back and so, dynamically, tracks can feel just a touch uneventful. Beyerdynamic has expressed as much and offers another model for critical listening and/or mixing, but it's still worth stating for those who want something to lay down tracks with and to listen purely for the pleasure of doing so.

Personally, I love them. If your favorite aspect of recorded music is the lead singer and/or the guitar solos, you may have found the set of IEMs for you. No, they're not neutral – that's the whole point.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Beyerdynamic DT 72 IE review: Price and release date

  • Released on January 23, 2025
  • Priced $499 / from £431 (around AU$900)

It's important to state that the Beyerdynamic DT 72 IE are not unique – IEMs pitched squarely at vocalists exist (from companies such as Moondrop, 64 Audio and even Sennheiser) and the 64 Audio U12t, for example, costs four times as much as the Beyer product you're reading about.

The Sennheiser IE 100 Pro, however, (a popular choice among the musicians I know) cost around a fifth of the DT 72 IE's asking fee. So it really is a mixed bag…

Beyerdynamic DT 72 IE review: Specs

Drivers

Dynamic (closed)

Weight

3g per earpiece (without ear tip)

Frequency range

5Hz - 40kHz

Waterproof rating

None

Other features

No in-line mic, plenty of accessories

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Should you buy the Beyerdynamic DT 72 IE review?

Attributes

Notes

Rating

Features

What these earbuds are designed for has been beautifully achieved – no more, no less

5/5

Sound quality

If picking out the vocal or guitar is what you need, they deliver. If you want to listen casually, too, they may not be for you – but that's hardly fair

4.5/5

Design

Beautifully svelte earpieces and cable, only let down by the need to bend (and re-bend) the ear hooks yourself

4.5/5

Value

To call them 'mid-range' feels unfathomable, but the prices you can pay in this niche sector of the market are variable, to say the least

4/5

Buy them if...

You're a pro singer or guitarist – and you're good
Done OK for gigs recently and want to level up your art? I think these are a great professional product.

You have a smaller ear
I may well put these into our best earbuds for small ears guide, because they slip so happily into my smaller tragus and present no issues to my bijou ear canal.

Don't buy them if...

You want an all-round listen
These are not that product, despite their considerably gifted performance when it comes to vocals and midrange instruments.

Gigs haven't been plentiful lately
These are either a treat for the end of a lucrative run of shows or something for the muso not short of work in general. Those of us who don't know where (or from whom) the next paycheck is coming may sadly have to look elsewhere.

Beyerdynamic DT 72 IE review: Also consider

This particular product is a tad niche for TechRadar (we're not a dedicated musician or performer site, as you'll know) but personal experience has taught me that Shure's 215 SE are often the entry-level option here, as are the Sennheiser IE 100 Pro – both of which are a lot cheaper than the model listed above.

Are they as good? No, that wouldn't be fair given the dearth in price – and that's the point I want make here: if you have the money, the Beyerdynamic DT 72 IE are very, very good for singers and guitarists.

Beyerdynamic's DT 72 IE earbuds for vocals and guitar on brown background, showcasing the accessories

(Image credit: Future)

Beyerdynamic DT 72 IE review: How I tested

  • Tested across two weeks
  • Used at home, listening to my vocal recordings and regular testing tracks
  • Predominantly tested using my iPhone (and hi-res Flac files on my laptop)

I had to go back to 2018 (the last time I sang professionally, and the year before I became a full-time audio journalist) in the name of testing the Beyerdynamic DT 72 IE.

I revisited a time when money was tight but professional fulfilment was plentiful. I had work! Lots of it – and I also had a post-grad degree to pay for. I listened to both my own vocals (even the ones recorded quickly as voice memos on my iPhone, to learn a tricksy harmony line in rehearsal) and then to everything from Melissa Etheridge to Ginuwine – both of whom I love for what they've given to music.

And know this: the Beyerdynamic DT 72 IE were never uncomfortable and always enlightening during my testing.

Read more about how we test

  • First reviewed: August 2025
I tested some of the cheapest noise cancelling earbuds and now I’ll never spend more than $40
11:30 pm | August 27, 2025

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: | Comments: Off

JLab Go Pods ANC: Two-minute review

I’ll admit that it was with reticence that I agreed to test earbuds clearly angling for the title of ‘cheapest ANC buds’ but let me dispel any similar cynicism you may have: the JLab Go Pods ANC are, for their price, excellent.

Perhaps I shouldn’t be surprised, because these new cheap earbuds come from esteemed affordable audio brand JLab, which has a lot of experience with affordable audio options. But anyone who’s tried to save a buck by buying lower-cost tech knows that you can’t take anything for granted, even with legacy brands.

Let’s first address the selling point in the headline: are these the best noise-cancelling earbuds on the market? No, but if you add 'cheap' to that question, quite possibly. They are cheap, they do have noise cancellation, and they certainly are earbuds. Plus, they’re really good at what they do, and so I can give them a tick there. But are they the cheapest buds with ANC?

I was expecting to be able to find plenty of cheap Amazon rivals with ANC, but I was wrong; one or two ANC-toting options from unnamed brands sit at the same price as the JLabs here, but there’s not much on offer for less that also has ANC. So from the right angle, the Go Pods ANC tick that box too.

What same-price rivals probably don’t offer is decent audio quality. For budget earbuds these sound really good, with (depending on how you set up the equalizer) crystal-clear treble, hearty mids or scooping bass, and a broad soundstage that you don’t often get in buds twice the price.

The ANC itself also works well, plastering over background sounds with little tact but with heart. That said, the transparency mode is a nightmare which will cause you to hear every little thing going on around you with frightening accuracy.

Like all good earbuds, the JLabs are also nice and lightweight, so you can wear them for ages without getting earache. Similar can be said of the tiny plastic carry case, which completely disappears into a trouser pocket.

I can’t pretend that these earbuds are perfect, and they do have a few things which annoyed me during testing. For one, JLab has replaced a charging port with a charging cable, so you plug the case into something, rather than plugging something into the case, to power it up. Good in theory, but functionally I found it less useful than the standard option which every other company uses, of simply letting you plug a cable into the case.

The in-box ear tips also didn’t offer much in the way of grip, so when I walked or ran in the buds they had a habit of falling out pretty quickly. This is a problem you can solve with the added expense of third-party eartips (or using ones you have left over from your last earbuds).

But even as earbud shortcomings go those aren’t the biggest I’ve ever faced, or even a huge issue at all in the case of the first one. Know this: these are fantastic-value earbuds.

JLab Go Pods ANC review: Price and release date

The JLab Go Pods ANC on a window sill.

(Image credit: Future)
  • Released in summer 2025
  • Costs $36.99 / £29.99 (roughly AU$60)

The JLab Go Pods ANC were announced in May 2025 and put on sale in the months after. It took them barely any time to go on offer, but more on that in a moment.

The default retail price for these buds is $36.99 / £29.99 (roughly AU$60), so they’re some of the most affordable noise cancelling earbuds you can find, and the few alternatives I can find at this price tag almost all come from unknown brands on Amazon.

I say ‘default price’ because only a few months after release, the Go Pods ANC can easily be found for a discount. In the US I found them for $29.99 and in the UK they’re at £24.99, making these super-cheap buds even cheaper. And that’s before Black Friday.

JLab Go Pods ANC review: Specs

Drivers

10mm

Active noise cancellation

Yes

Battery life (ANC off)

7.5 hours (buds) 26 hours (case)

Weight

4.2g (buds) 27.6g (case)

Connectivity

Bluetooth 5.4

Waterproofing

IP55

JLab Go Pods ANC review: Features

The JLab Go Pods ANC on a window sill.

(Image credit: Future)
  • Battery life of just 5 hours with ANC on
  • Good ANC but iffy transparency
  • JLab app brings a few useful extras

During my testing time, I didn’t once have any kind of connection issue with the JLab Go Pods ANC, so you don’t need to worry about them having an unreliable Bluetooth link.

The buds have some extra features via the JLab app, though it’s mostly just some customization and tweaks rather than anything truly novel.

It took my while to get my head around the Noise Control Modes tool, which lists ANC on, off and Be Aware mode, but with toggles by all of them, so it’s easy to turn two or all three of them on at the same time… right? That’s what I thought, until I realized that toggling these selects whether you can switch to them via the buds via touch controls. The real way to switch ANC modes is to physically select the mode you want, not toggle its slider.

Another option via the app is an equalizer, which comes with three unnamed presets and a custom mode. It’s a 10-band equalizer so it’s pretty advanced, and audiophiles will be able to get a lot of depth in how they customize their tunes.

Three screenshots from the JLab Go Pods ANC app.

(Image credit: Future)

Running down its list, the app also lets you set a max volume limit for safety, change what touch controls do, switch between a Music Mode and Movie Mode (which seems to increase the sound spread but decrease quality) and… set up a workout interval timer? That’s not exactly a standard headphone feature but it might prove useful to a few people.

The battery life of the Go Pods sits at 7.5 hours, according to JLab – that’s with ANC turned off and, from my testing, you’re looking at about 7.5 hours with it turned off which isn’t exactly a competitive figure. The company puts the extended play time offered by the charging case at 26 hours.

One final thing we probably need to touch on is the ANC itself – is it any good in these cheap buds? Surprisingly, it really is. It hushes your surroundings pretty substantially, and while it obviously doesn’t reach the heights of rivals in the market – a light background hum always got through, and sharper noises weren’t dimmed as much – it’s a lot better than JLab could have got away with for the money.

I wasn’t as impressed, though, with Be Aware mode (JLab’s take on Transparency). While using it I was too aware – not only did it not cancel noise, it seemed to amplify every little thing that occurred around me in a jarring experience overall.

  • Features score: 4/5

JLab Go Pods ANC review: Design

The JLab Go Pods ANC on a window sill.

(Image credit: Future)
  • Both buds and case are super lightweight
  • Case has a built-in charging cable
  • Ear tips don't offer much grip

The JLab Go Pods ANC have one small design difference that sets them apart from the vast majority of other samey wireless earbuds, and it’s built into the case.

The buds’ charging case is a 4.52 x 6 x 2.61cm pebble which opens lengthwise along the side; it’s made of plastic so it only weighs 27.6g (for context, most buds I test have cases double that weight). This is all to say that it’s quite small and very light.

While most charging cases are nondescript save for perhaps a logo and a USB-C charging port, JLab does away with the latter and replaces it with its own USB-C cable; you can plug this into a port to easily power up the buds.

In theory I get why JLab would use this instead of a simple port: it means you can power it up via your phone or laptop without needing an extra cable. In practice though I found it annoying, as it meant I couldn’t use the standard USB-C charger I bring for my other gadgets. I couldn’t power up the case from my phone if I was also charging said phone, and I couldn’t plug it into wall outlets on public transport or adaptors at my home (all of which use standard USB).

Onto the buds: these weigh 4.2g each so they continue the Go Pods style of being lighter than the competition. They’re stem-style buds, consisting of a large body, tips angled slightly downwards and a flat stem bearing JLab’s logo.

The JLab Go Pods ANC on a window sill.

(Image credit: Future)

There are touch controls on each of said logos, which worked reasonably well although there were a few mis-touches when I was readjusting the buds or times when one press would be picked up as two. Also the default controls are a little odd so I’d recommend jumping into the app to customize them yourself.

I really appreciate low-weight buds like the Go Pods as they were easy to use for long periods of time without feeling any ache or wear. That was only the case if I was sitting still though.

The in-box eartips seem to offer so little friction that they may as well be made out of WD40: as soon as I went for a walk, or heaven forbid a run, the earbuds began slipping from my ears (yes, I tried all three options included in the box). Even putting in or removing the buds normally, you can feel how little they’re inclined to stay in the ear – not great for active people.

While the case doesn’t have any official protection, the buds have an IP55. This means they’re mostly protected against dust ingress and can withstand low-press jets of water (including rain and sweat) but aren’t suitable for swimming.

The JLab Go Pods ANC come in three color versions: black, lilac and green, and as you can tell I tested the former.

  • Design score: 3.5/5

JLab Go Pods ANC review: Sound quality

  • Single 10mm driver
  • Can handle regimented bass and clear treble
  • High max volume

The JLab Go Pods ANC on a window sill.

(Image credit: Future)

I’m going to wager that your expectations for the JLab Go Pods ANC’s audio chops probably match what mine were going into the testing: you see the price and shudder at the thought of those cheap buds you bought on Amazon once and know what to expect. But banish the thought.

The JLab Go Pods ANC actually sound pretty good; I’m not sure I’d pick them over something like the Samsung Galaxy Buds 3 Pro but for the price, they’re surprisingly capable.

By default (that is, with the JLab Signature equalizer mode), music sounds bright with defined treble and mids, and a laudable breadth of soundstage so you can hear different passages and harmonies in the music surrounding you.

There’s clearly a little distortion crackling away when too many different instruments are playing at once, or when the hi-hat gets going, but only in mixes that can trouble much pricer buds too.

I’ll admit that I largely listened with some heavy equalizer tweaks, but I was surprised by how much bass the Go Pods were capable of when asked. There’s scope for hearty, scooping bass with the right song and right EQ set-up. But even without this set-up, lower-register lines felt well-defined.

The buds’ max volume is really high – higher than you’d ever normally need, unless you accidentally held down the ‘volume up’ button on your phone like me – and doesn’t distort as much at louder settings as many other buds do.

  • Sound quality: 4/5

JLab Go Pods ANC review: Value

The JLab Go Pods ANC on a window sill.

(Image credit: Future)

The JLab Go Pods ANC are basically the cheapest noise-cancelling earbuds that are actually worth buying.

Because of their feature set and audio quality, these aren’t just ‘good for the price’; they’re good full stop. JLab didn’t need to offer them for such a low price but in doing so, it’s made them a fearsome value proposition.

  • Value: 4.5/5

Should I buy the JLab Go Pods ANC?

JLab Go Pods ANC score card

Attributes

Notes

Rating

Features

The ANC is good, as is the general feature set, though the battery life is poor.

4/5

Design

The buds are lovely and lightweight, but the eartips don't stick well and I'd have preferred a charging port.

3.5/5

Sound quality

For the price, the JLabs sound really good: cheap and cheerful.

4/5

Value

These offer fantastic value for money given how cheap they are.

4.5/5

Buy them if…

You're on a (low) budget
If you've set yourself a budget for earbuds and it isn't a big one, then there are going to be very few alternatives to the Go Pods ANC.

You want noise cancellation
Noise cancellation is a feature which is common on expensive earbuds but not so much on cheap ones. That's not the case with the JLabs though.

You want to charge from your phone
The charging case's cable attachment lets you power up your buds from your phone, great if you rarely have access to a power point.View Deal

Don’t buy them if…

You're not willing to provide your own eartips
I didn't rate the in-box ear tips, so I'd recommend the buds mostly to people who would be willing to buy their own (or, more likely, have leftovers from your last buds).

You need a long-lasting battery
If you're listening with noise cancellation, you're only getting five hours of listening time, which isn't a competitive figure.

JLab Go Pods ANC review: Also consider

JLab Go Pods ANC

JLab Go Pop ANC

Earfun Air 2

JBL Wave Beam

Drivers

10mm

10mm

10mm

8mm

Active noise cancellation

Yes

Yes

No

No

Battery life

7.5 hours (buds); 26 hours (case)

7 hours (buds); 24 hours (case)

9 hours (earbuds), 40 hours (total)

8 hours (buds) 24 hours (case)

Weight

4.2g (buds) 27.6g (case)

4.1g (buds); 22g (case)

4.5g (buds) 45g (case)

8.8g (buds) 39.5g (case)

Connectivity

Bluetooth 5.4

Bluetooth 5.4

Bluetooth 5.3

Bluetooth 5.2

Waterproofing

IP55

IP55

IPX7

IP54

JLab Go Pop ANC

Forgive the incredibly similar name. These buds cost just less than, or the same as, the Pods depending on where you live, and have a similar feature set with the design being the biggest difference.

See our full JLab Go Pop ANC review

Earfun Air 2

These buds have a similar design to the JBLs but miss noise cancellation. They're cheap, but not quite as affordable as the Go Pods.

See our full Earfun Air 2 review

JBL Wave Beam

Another low-cost option that has a similar stem-toting design is the JBL Wave Beam. This has a smaller driver and no noise cancellation but it won't break the bank and has a fairly good battery life.View Deal

How I tested the JLab Go Pods ANC

  • Tested for four weeks
  • Tested at home, in the office, working out and on walks

I tested the JLab Go Pods ANC for about four weeks, which is longer than the standard TechRadar testing process, but is a testament to their audio chops.

I used the buds while they were connected to my Android phone, mainly for Spotify but also for streaming movies, games and listening to voice notes. I used them while at home, at the gym, on runs and on walks around my neighborhood.

I've been testing gadgets for TechRadar for over five years now and in that time have used other JLab products as well as some of their biggest competitions.

  • First reviewed in August 2025
I tested Cambridge’s Evo 150 SE streaming amp and it is as high-performing a just-add-speakers system can possibly be, for this money
1:30 pm | August 26, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi | Comments: Off

Cambridge Evo 150 SE: Two-minute review

A little over four years after it launched its well-regarded Evo 150 music streaming amplifier, Cambridge has given it the once-over and rechristened it Evo 150 SE. The differences are not numerous, but they are noteworthy nonetheless – and that’s even before you take into account the fact that this new model is actually less expensive than the model it replaces.

A neat form factor, with swappable side panels a particularly nice touch, a big, bright display and several very decent control options are all carried over. So is the expansive selection of digital and analogue, wired and wireless input options. Power, at 150 watts per channel into 8 ohms, is unchanged too – but now the Hypex NCOREx Class D amplification is ‘tuned by Cambridge’. This is by far the most significant differential between the 150 SE and the outgoing 150.

It makes its presence felt, too, in the weighty, punchy (and ultimately fractionally overstated) low frequency reproduction. But it hasn’t affected the machine’s ability to create a big soundstage, to extract and deliver lots of detail, to manage a rhythm confidently, or to generate a large and persuasive soundstage.

Add in great ergonomics, a fine standard of build and finish and the ability to drive a couple of pairs of speakers without alarms, and it’s apparent the Cambridge Evo 150 SE is a very worthwhile proposition indeed. Even if it doesn’t look all that different to the product it replaces.

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

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

Cambridge Evo 150 SE review: Price and release date

  • Release date: July 2025
  • Price: $3,299 / £1,999 / AU$5,999

The Cambridge Evo 150 SE launched in July 2025, and in the United Kingdom it sells for £1,999 – the same price as the outgoing Evo 150 had hit after launching at £2,249 back in 2021. In the United States you should expect to pay $3,299, while in Australia it’s currently listed at AU$5,999.

Of course, the market for streaming amplifiers is hotting up nicely – brands as venerable as NAD and as up-and-coming as Eversolo have products contesting this region of the market. So simply having a decent reputation for this sort of thing is only going to carry Cambridge (and the Evo 150 SE) so far…

Cambridge Evo 150 SE review: Features

  • 150 watts of Hypex NCOREx ‘Tuned by Cambridge’ Class D amplification
  • Numerous wired and wireless, analogue and digital inputs
  • Four-layer PCB

There was very little wrong with the feature-set of the original EVO 150, so Cambridge has (very sensibly) left well enough alone. Or, at least, it has in all but one very significant area.

So what’s carried over from the outgoing model? Well, there’s the remarkably generous selection of physical and wireless inputs and outputs, for starters. Where analogue stuff is concerned, the Evo 150 SE has a line-level unbalanced input on stereo RCAs, a balanced equivalent via XLRs, and a moving magnet phono stage for use with a turntable accessed by another pair of RCAs. Digital inputs run to a digital coaxial input, a digital optical socket, an HDMI ARC and a USB-B input.

Wireless stuff is handled by dual-band wifi and Bluetooth with aptX HD codec compatibility. Wi-fi, of course, means the Cambridge can deal with AirPlay 2, Chromecast, Spotify Connect and TIDAL Connect - and it also gives access to internet radio. The 150 SE is Roon Ready, too.

As far as outputs go, there are binding posts for two pairs of speakers and a 3.5mm headphone socket. In addition, there’s a pre-out for a subwoofer, corresponding pre-outs for use with a power amplifier. And the Cambridge is a Bluetooth transmitter as well as a receiver, so it can drive your wireless headphones.

Incoming digital signals are handled by an ESS Sabre ES9018K2M digital-to-analogue converter that can deal with resolutions of up to 32bit/384kHz and DSD256. The Cambridge is compatible with all popular file types, and quite a few unpopular ones too.

So far, so very-similar-indeed-to-the-old-model. But what makes this machine an ‘SE’ is the fact that Cambridge has worked in such close collaboration with Hypex on its NCOREx Class D amplification that here it’s branded as ‘Tuned by Cambridge’. And it is, at least according to the companies involved, ready and able to produce “warm, dynamic and controlled sound”.

Features score: 5 / 5

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

Note the 'wings' (Image credit: Future)

Cambridge Evo 150 SE review: Design

  • 39 x 317 x 352mm (HxWxD)
  • Large, bright, full-colour display
  • Swappable side panels

Just as with ‘features’, not a lot has changed where the design of the Evo 150 SE is concerned - it demonstrably wasn’t broken, and so Cambridge has chosen not to fix it. Unlike the ‘features’ section, though, where there’s a difference here between the 150 and this 150 SE it is absolutely trifling.

So your £1999 buys you a nicely proportioned, beautifully made and flawlessly finished box with a bright, crisp full-colour display on the fascia that will display album artwork or virtual VU meters as well as providing menu and set-up options. The Evo 150 is supplied with two pairs of side-panels that attach magnetically and can easily be swapped - one is a real wood veneer, the other a dark grey slatted alternative.

So yes, the difference between the Evo 150 and this Evo 150 SE is - hold on to your hat - the knurling of the two-part volume dial/input selector. It’s less knurled than it was before.

Design score: 5 / 5

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

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

Cambridge Evo 150 SE review: Sound quality

  • Detail and dynamism in equal measure
  • Big, organised soundstage
  • Slightly overconfident low-frequency reproduction

There are differences between the way the Evo 150 SE sounds when delivering a DSD64 file of Tears For Fears’ Head Over Heels via some network-attached storage compared to the same song streaming from the free tier of Spotify, of course – but one of the most admirable things about this Cambridge machine is how consistent it sounds. No matter which of its inputs you’re using, its fundamental character comes through loud and clear.

And broadly speaking, its character is a lovely balance between ‘detail’ and ‘energy’, and between ‘scale’ and ‘dynamism’. The Evo 150 SE is capable of revealing the finest, most minor details in a recording, and giving them the appropriate amount of emphasis relative to the overall performance. It invests music with the sort of vigour and momentum that can bring it to life, without ever threatening to lose control of proceedings. It creates a large and well-defined soundstage, and ensures that every element of recording (no matter how numerous the elements might be) gets the required elbow-room to express itself – though it delivers music as a unified and singular piece at the same time. It has the sort of dynamic headroom that allows it to track the shifts in intensity or volume during the course of a recording without sounding pressured or stressed.

At the top of the frequency range, the Evo 150 SE attacks with chunky determination. Treble sounds have brilliance and a fair amount of bite, but they’re substantial enough to prevent any hardness or edginess creeping in. It’s a similar story through the midrange: the Cambridge is forward and direct, but never pushy, and it reveals a big amount of information, both broad and fine, about what’s going on there. Voices, in particular, benefit no end from this eloquence and positivity.

The tonal balance up to this point, and down into the low frequencies too, is almost (but not quite) neutral – there’s just a hint of warmth that suits the overall character of the Evo 150 SE just fine. The frequency response, though, is slightly skewed. The Cambridge puts slightly more emphasis on the bottom end than is absolutely ideal, with the result that the overall presentation is slightly tiled towards bass. It’s not that the low end here lacks detail or is in any way ponderous – the Evo 150 SE controls the low frequencies carefully at their attack and decay, and expresses rhythms confidently as a result. But while there are doubtless plenty of listeners who will interpret this slight bottom-heaviness as ‘exciting’, it serves to make the Evo 150 SE sound less than neutral. And to demand you take some care with partnering equipment, especially loudspeakers.

Having praised the Cambridge for the consistency of its sound through its numerous inputs, it’s nevertheless worth pointing out just what a gem the Evo 150 SE’s phono stage is. A vinyl copy of The Cinematic Orchestra’s Every Day sounds full, dynamic to almost comical degree, lavishly detailed and is delivered with complete positivity. Yes, that tilt towards the bottom end is still in evidence – but the way the Cambridge handles the various rhythms and tempos goes an awfully long way towards making up for it.

Sound quality score: 4.5 / 5

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

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

Cambridge Evo 150 SE review: Usability & setup

  • Remote handset or app control
  • Simple to get attach to your local network
  • Big-print on-screen menus are nicely realised

Control is available via the on-screen menus and the input dial, or via the perfectly adequate yet entirely unremarkable remote control handset. Or you can do what all sensible people will do, and use the fourth (and current) version of the StreamMagic control app. This is a comprehensive, logical, stable and usable app, which offers a lot of options – I’m particularly keen on the ability to include only those inputs you’re using on the home screen. It’s good for integrating your favourite music streaming services, saving half a dozen internet radio stations as presets, and plenty more besides.

As far as ‘setup’ goes, it’s simply a question of making the physical connections you want to make, and then getting the 150 SE on to your local network. It behaves as an AirPlay speaker when fresh out of the box, so finding it and hooking it to your network couldn’t be easier (unless you’re using an Ethernet connection to your router, which makes it easier still). Then load up your streaming services and internet radio stations, nominate the inputs you’re using to the front of the app, and away you go.

Usability & setup score: 5 / 5

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

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

Cambridge Evo 150 SE review: Value

When the original Evo 150 launched back in 2021, it cost £2249 – and everyone seemed to think that was fair enough. Somehow Cambridge has managed to retain everything that was great about the original, dial in some upgraded amplification and lower the asking price to an extremely eye-catching £1999. So yes, there’s splendid value for money here.

Value score: 5 / 5

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

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

Should you buy Cambridge Audio Evo 150 SE?

Buy it if...

You admire well-realised industrial design
The Evo 150 SE is an understatedly swish looker, and those magnetically attached side panel options are never less than gratifying.

The description of sound as ‘thumping’ strikes you as a positive
You’ll never find yourself craving greater low-end heft or substance.

You own (or will own) some capable loudspeakers
The Cambridge is an adept performer in so many ways - and it deserves the speakers that can do that fact some justice.

Don't buy it if...

Your speakers or source equipment aren’t of a similar standard
See above, really - if you want the Evo 150 SE to sound like the money’s-worth (which it most definitely can) your sources and speakers need to step up.

You crave perfect sonic balance
There’s a definite flavour to the way the Cambridge sounds - and as with all flavours, it’s very much a matter of taste.

A triple screen-grab of Cambridge Evo 150 SE's companion app, showing various features and support

(Image credit: Cambridge)

Cambridge Audio Evo 150 SE review: Also consider

In 2025 the Naim Uniti Atom is an old stager – but that just means it’s matured, rather than being in any way past it. The audio balance is more neutral than the Evo 150 SE, and what the Naim lacks in inputs (there’s no phono stage, for instance) it more than makes up for in both tangibles and intangibles.

The Cambridge Evo 150 SE on a gray hi-fi rack, showing the color screen, grilles and ports

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

How I tested the Cambridge Audio Evo 150 SE

  • Two-week testing period
  • Bowers & Wilkins speakers
  • Rega P1 turntable; network storage; Tidal Connect, internet radio

With a pair of Bowers & Wilkins 702 S3 Signature at the business end, with a Rega Planar 1 turntable as a physical source and a mixture of Tidal Connect, network-attached storage, internet radio and various devices attached via Bluetooth at the other end, the Cambridge Evo 150 SE always held its own.

No genre of music seemed to be off-limits, and it wasn’t as ruthless with lower quality content as it might have been - try as I might, I couldn’t make it insist on hi-res stuff. Which means it was a pleasure to listen to in pretty much every circumstance.

First reviewed August 2025

I test audio kit for a living, and these earbuds’ death-proof battery and regal design blew me away
12:00 pm | August 23, 2025

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: | Comments: Off

Noble FoKus Amadeus: Two-minute review

Noble FoKus Amadeus wireless earbuds, in front of their carry case, on a wooden surface

(Image credit: Future / James Grimshaw)

Can earbuds make you feel like royalty? Well, Noble Audio are here to give it a good old college try with their Noble FoKus Amadeus earbuds; the latest and cheapest in the FoKus series, but which benefit from some posh new engineering in both soft- and hardware. Specs-wise, these true wireless ‘buds knock it out of the park with LDAC and aptX Adaptive Bluetooth connectivity (other codecs are available), customizable sound profiles and an extensive battery capacity I actively struggled to exhaust during review.

Sound is the primary reason to buy something like the FoKus Amadeus – and these do sound great, with a cushy low-end and plucky transient response that makes for a playful listening experience straight out of the box. But these earbuds’ ergonomics are almost more noteworthy than their fidelity. Noble’s expertise in custom IEMs shows, with an asymmetrical design that follows the contours of the average ear canal better than any other generic-fit ear-thing I’ve tried. A glut of spare and swappable ear tips seals the deal with a thoughtful kiss.

These earbuds are only really let down by a lacklustre ANC, which is far from best-in-class – though their stock sound profile could be a little divisive, too, depending on your taste. That said, this writer found them to auditorily succeed exactly where they promise to, and even exceed expectations in other areas. If you’re looking to put some serious money behind a serious set of the best high-fidelity earbuds out there, these are very likely the earbuds you seek.

Noble FoKus Amadeus: Price and release date

  • Release date: June, 2025
  • Price: $320 / £299.99 / approx. AU$615

Noble sits pretty at the cutting edge of the in-ear monitor (IEM) market, with a suite of four-figure products that are as much to look at as they are to listen to. Noble’s custom IEMs are rightfully lauded for the incredible attention to detail they possess in practically every sense. With the recent FoKus series, Noble offers that rarefied approach to quality audio at a (slightly) more palatable price.

Indeed, the Noble FoKus Amadeus (the brand's latest offering) are clearly designed to evoke a different form of rarefied quality, often ascribed to classical music. If the presence of “Amadeus” in the name (for Falco Wolfgang Amadeus Mozart, no less) wasn’t enough, look instead to that regal red finish on the earbuds. It's at once a refined finish in its own right, as well as a subtler nod to the firebrand composer via his oft-painted tailcoat. These surface-level signifiers are here to guide your thinking on the Noble FoKus Amadeus’ guts, too, where Noble has aimed to “[blend] classical artistry with contemporary engineering”. Rich stuff indeed.

The FoKus Amadeus wireless earbuds retail for $320 / £299.99 / approx. AU$615, putting them firmly above the peloton as far as the average earbud is concerned. That retail price does, however, make these the cheaper earbuds in Noble’s FoKus range, and hence the most accessible in Noble’s entire premium-quality oeuvre. Still, for your money, you’re buying a rarefied piece of portable kit, with multiple modes of Bluetooth connectivity, 42 hours of out-and-about-iness and a considered approach to conveying your faves ear-ward.

Given the highly competitive entry-level price band some dozens of dollars below, this price could be a bit rich for some consumers’ blood – but Noble Audio does an excellent job of justifying their expense, in theory and in execution.

Noble FoKus Amadeus: Specs

Type:

True wireless ANC in-ear

Dimensions:

17 x 25 x 25mm (WHD)

Weight:

8.6g (earbuds); 55.5g (charging case)

Drivers:

8.3mm, triple-layer

Frequency range:

20 Hz - 20 kHz

Battery life:

Up to 12 hours (earbuds, ANC off); 42 hours (charging case)

Control:

Capacitive touch controls; native voice assistant; Noble FoKus control app

Bluetooth:

5.4 with SBC, AAC, LDAC and aptX Adaptive compatibility, USB-C charging

Noble FoKus Amadeus: Features

Noble FoKus Amadeus in-ear headphones on a wooden surface

(Image credit: Future / James Grimshaw)
  • Excellent Bluetooth connectivity
  • Exceedingly decent battery life
  • Shame the ANC isn’t great

The key audiophilic selling point for Noble’s latest buds is the new driver design. The Amadeus sport a single triple-layer diaphragm driver per earbud, utilizing three skins of different materials – ceramic, titanium and PEEK – for enhanced frequency control. This commitment to single-driver superiority is backed-up by a holistic approach to audio excellence; there’s multifarious Bluetooth 5.4 connectivity, with support for SBC, AAC, LDAC and aptX Adaptive codecs.

While this driver's sound profile is great out of the box (more on which later), there are extensive EQ-fiddling opportunities in the Noble FoKus app, which is a pretty sweet one-stop shop for controls and customization. As well as graphic EQ bands, curves and presets, you’ll find a nifty Personal EQ algorithm, courtesy of algorithmic boffins Audiodo. Complete a short hearing calibration process, and you get a fully personalized sound profile with which to enjoy your investment all the more.

The Amadeus purport to provide three different listening modes: standard listening, ANC, and an Ambient mode which boosts the sound of the outside world for safer public groovin’. These features can be accessed and toggled via the aforementioned Noble FoKus app, or more readily via the Amadeus’ dual-bud capacitive-touch control capabilities.

Unfortunately, the latter two modes leave a little to be desired. I was willing to make concessions for the ANC mode when testing it on a loud rush-hour bus, but even in my quiet living room, it did little to quell incidental sounds from elsewhere. The Ambient mode possesses quite a high noise floor, too, which naturally proved a little distracting at times.

All that said, these earbuds do an excellent job of passive sound isolation anyway, so I didn’t really feel additional noise cancellation to be necessary. For the Ambient mode, sharp and loud sounds cut through any music with remarkable fidelity – fundamentally, I’d rather suffer a hissy soundtrack and not get hit by a car, than the opposite.

Lastly but no less importantly, the Amadeus offer up to 12 hours' continuous battery life in one sitting – and up to 42 hours using the charging case (thus outliving mayflies, but that's only part of the story, as I'll explain). It’s never easy to estimate what on-paper battery-life specs mean for real-life usage, so let me say this: outside of early days review-related stress-testing, these earbuds made it through six weeks of casual everyday usage on a single full carry-case charge. If that’s not enough for you, a 10-minute charge will gift you two hours of playback. You’ll never be caught short with these.

  • Feature quality score: 4.5/5

Noble FoKus Amadeus: Sound quality

Noble FoKus Amadeus in-ear headphones, inside their carry case, on a wooden surface

(Image credit: Future / James Grimshaw)
  • Broad, comfy, forgiving low-end
  • Transients and dynamics handled marvellously
  • Customizable sound profiles

For the majority of my time with the Noble FoKus Amadeus, I elected to listen at their stock, undoctored best, reserving the ‘calibrated’ experience for after I’d gotten a feel for what exactly they’re aiming for. In a nutshell, I can describe what they aim for as ‘presence’.

They lean warm and cushy, giving you a real solid base of bass to lean on; that warmth is a great foil for the pluckier high-end, which shines when handling percussive brilliance. Gelli Haha’s Bounce House is a catchy piece of slant-pop ear candy and all the more, er, moreish for the combination of speedy transient response and supple low-end on display. It's a great primer for these earbuds' capabilities out of the box.

The Amadeus landed on my desk around the same time I discovered the discography of 1970s American soul underdog Leroy Hutson, who replaced Curtis Mayfield in The Impressions. As such, quintessential DJ-fodder albums like the eponymous Hutson were frequent listens through the Amadeus’ smoooth-with-three-‘o’s drivers. Standout fave and stone-cold banger Lucky Fellow is resplendent in its tactile width. Hard-panned percussive guitars, leaping dynamic drums and fulsome, reedy vocals-in-harmony are all presented at their level best

Moving on to less-novel territory, one of my more common tester albums is Queens of the Stone Age’s Songs for the Deaf. This is a record I have known inside-out and back-to-front since its 2002 release, and which hasn’t lost a speck of luster in all 13 intervening years (because it is absolutely 2015 right now, Bowie’s absolutely still alive, and I am absolutely NOT an ancient fossil of a tech reviewer).

I’m pleased as punch to report that, through the FoKus Amadeus earbuds, this benchmark album still very much punches me in the face with urgent snares, sausage-fat guitars, growling bass and Mark Lanegan’s gruesome gravel-words. Again, the Amadeus' transient capabilities shine – spiky but not sharp, sudden but controlled, and in possession of a unique tactile clarity. It’s actually a bit addictive.

Nevertheless, there are some minor criticisms to be made –sometimes, energy can be a little misplaced. That plush, supple low-end can allow kick drums to take up a little too much real estate on occasion and, otherwise, can serve to cover for an occasional lack of width in the upper ranges.

Also, I did briefly test Audiodo’s sound profile calibration via the Noble FoKus app, and will say that I’m personally not a fan. The test is fun, using different volumes of tones at different pitches in each ear to develop a picture of your hearing sensitivity across the spectrum, but I found the results a little disarming first time round.

I won’t be knocking the Amadeus for featuring this algorithmic tech. I do think it’s a great thing to have – particularly as a way for people with gig-battered ears to improve the audibility of spoken voices in podcasts or phone calls. For music, though, my personalized EQ curve only served to put an uncanny mid-scooped sheen over sounds I was already familiar with and mentally compensating for. The great thing about these EQ options is exactly that: they’re optional.

  • Sound quality score: 4.5/5

Noble FoKus Amadeus: Design

Noble FoKus Amadeus in-ear headphones (in their carry case), eartips of different sizes, USB-C charging cable and felt carry bag.

(Image credit: Future / James Grimshaw)
  • Satisfying satin-red carry case
  • Absurdly comfortable in-ear fit
  • Touch controls are great, but finicky to start

You don’t design a set of wireless earbuds to look like this without wanting someone to talk about it. The FoKus Amadeus are waggling their figurative eyebrows at you, and trying not to drop a monocle in the process – an image befitting something non-ironically named for a classical composer.

There’s the glossy red finish on each earbud that recalls at once a luxury guitar plectrum and a Rover 800 dashboard (a lesser-spotted Sterling 800 if you're in the U.S.) – it serves to turn your head into an oddly proportioned executive sandwich accordingly. There’s also the delicious satin-red charging case lid, which incidentally possesses one of the more satisfying clasps I ever did feel. I could open and close this little box all day long.

The Amadeus earbuds are presented so lushly that you daren’t simply drop the case in your tote bag, among your keys and other scratchy effects – and Noble thought of that too. To prevent the marring of that pleasing finish, you can slip the case into a tiny velour drawstring pouch, and feel delightfully dainty in retrieving your earbuds from within.

Striking as these are as objects d’art, it’s my view that comfort is really where these buds stand above the rest. It’s not an easy job to make something relatively substantial fit so comfortably, and yet Noble’s achieved it with more success than any other brand I’ve tried.

For one, I’m a big fan of the different eartip options, handily provided by Noble in a little plastic case for your perusal. There are three sizes of single- and double-flanged eartips respectively; I personally got on best with the mid-sized double-flanged eartips, which delivered a security of fit hitherto unexperienced in other wireless earbuds.

This level of security is aided all the more by some clever topology. These earbuds share the same design principles as moulded in-ears, with angled drivers that seek to nestle close by the second bend in your ear canal. This, coupled with a clever balance of weight above the drivers, makes for a supremely snug and happy fit.

The capacitive touch functionality on the Noble FoKus Amadeus earbuds is great, by virtue of being very difficult to engage accidentally. The control scheme, though, is a little difficult for the sheer amount of functionality there is.

Noble has tried to make this as intuitive as possible, dividing tasks between earbuds – double- and triple-tapping the left earbud controls volume, while the same actions on the right move between tracks – but this isn’t the easiest to internalize without frequent revision. Even after a month of daily use, it’s still 50-50 whether I switch ANC mode on or activate my phone’s voice assistant.

Mercifully, the Noble FoKus app enables you to customize these controls to your own liking; a small but crucial gesture, that soothes the old-man-yelling-at-cloud in me. That something so insignificant (and readily rectified) commands so much of my attention is, in fact, proof that these earbuds are probably doing something right.

  • Design quality score: 5/5

Noble FoKus Amadeus: Value

Noble FoKus Amadeus in-ear headphones on a wooden surface

(Image credit: Future / James Grimshaw)
  • Great feature-set
  • Outstrips competition
  • Worth it if you’ve got it

That $320 / £299.99 / approx. AU$615 price point isn’t one to be sniffed at. The vast majority of wireless earbuds come in well below this price, as do the vast majority of soundbars, consumer-grade monitor speakers and even integrated hi-fi systems. If you’re willing to spend this much, you obviously care a great deal about your mobile listening experience and understand that spending a little over the odds is the only way to get clear of that entry-level quality trap.

With an extensive battery life and some excellent Bluetooth connectivity, the FoKus Amadeus meet the basics well. With a great build quality and reassuring carry case, there are no qualms to be had about their design either. With an incredible set of newly engineered drivers, capable of providing all the oomph and splat you could ever want on the move, their sound fidelity is quite simply excellent.

All together, these facts make for a very compelling argument as to the Noble FoKus Amadeus’ value. Still, it’s a lot to drop on some earbuds. Which is exactly why you might have noticed some heightened scrutiny, with respect to the miniature frustrations I experienced during my testing.

This higher standard is an unfortunate function of pricing something in that difficult “middle” range (which looks indistinguishable to the top shelf, from the point of view of the average, budget-conscious buyer). Such frustrations would be somewhat forgiven in cheaper earbuds, and absolutely unforgivable in a set that dared to ask for more.

Even with this nitpicky frame of review, the Noble FoKus Amadeus earbuds absolutely pass muster. And that’s without noting the various ways in which Noble have outstripped the competition at this same price range – with longer battery life, better sound and better connectivity besides. If you’re spending this much on earbuds, you’re buying these, their twee, reverential branding notwithstanding.

  • Value score: 4.5/5

Should you buy the Noble FoKus Amadeus?

Features

Bluetooth 5.4 with LDAC and aptX Adaptive; extensive battery capacity; lots of EQs and listening modes; but ANC not up to scratch.

4.5 / 5

Sound quality

Truly excellent warmth and pluck from single-driver earbuds, but a little overwarm sometimes.

4.5 / 5

Design

Visually arresting, ergonomically delightful and highly customizable inside and out.

5 / 5

Value

Competitive features and addictive sound profile justify the inflated price point.

4.5 / 5

Buy them if...

You need earbuds that go the distance
These are the least-fatiguing in-ears I’ve ever tested, thanks to both their excellent fidelity and impeccable ergonomic design. Throw in some astonishing battery longevity, and you’ve a pair of quality wireless earbuds built for endurance – be it a long-haul flight, or a long and drudging week.

Tech-bro earbuds bore you
Everything’s a soulless white, grey or greige nowadays – and this includes earbuds, which often fall prey to the grosser minimalist instincts of their manufacturers’ head honchos. Look upon these deep-red, wood-finished wonderbuds, and rejoice in the return of romantic design!

Don't buy them if...

You can’t afford them
A pithy suggestion, sure, but one that bears repeating; if you have to stretch to reach the asking price, you probably shouldn’t invest in them. Outside of their incredible comfort and unique sound profile, there’s nothing here you can’t find in some form at a cheaper price (albeit, with some concessions).

You’re looking for peerless ANC
It’s a small shame that the Noble FoKus Amadeus don’t sport especially effective ANC, though I do think ANC and earbuds are a difficult marriage. The Amadeus’ passive attenuation is more-than good enough by itself. Still, if you want the blissful silence only technology can provide, you may be better off with a pair of ANC-equipped headphones.

Noble FoKus Amadeus: Also consider

Noble FoKus Amadeus

Sony WF-1000XM5

Bose QuietComfort Ultra Earbuds

Price

$320 / £299.99 / AU$615 (approx.)

$229.99 / £175 / AU$331

$220 / £199 / AU$399

Drivers

8.3mm triple-layer

8.4mm Dynamic driver X

10mm

Active noise cancellation

Yes

Yes

Yes

Quoted battery life

12 hours (earbuds, ANC off); 42 hours (charging case)

8hr earbuds, 24hrs total with the case

6 hours (buds) 24 hours total with the case

Weight

8.6g (earbuds); 55.5g (charging case)

4.2g per earbud

6.24g per earbud

Connectivity

Bluetooth 5.4 with SBC, AAC, LDAC and aptX Adaptive compatibility, USB-C charging

Bluetooth 5.3, USB-C, Sony 360 Reality Audio, DSEE Extreme upscaling

Bluetooth 5.3, USB-C, aptX Adaptive, Snapdragon Sound

Frequency range

20Hz - 20kHz

Not stated

Not stated

Other features

Noble FoKus app, capacitive touch, ambient sound

Sony Headphones Connect companion app, ambient sound, wind-reduction bone conduction mics

Immersive Audio, sound 'modes'

Sony WF-1000XM5
Sony’s a popular name for all things head- and ear-phone-y. These earbuds take after their over-ear siblings with some sweet design and a decent tackling of noise-cancelling tech. They might be a little more clinical than Noble’s FoKus Amadeus in some senses, but they could be more practical in others. Read our full Sony WF-1000XM5 review.

Bose QuietComfort Ultra Earbuds
Bose’s top-flight QuietComfort Ultra earbuds are pretty darn solid, with aptX Adaptive compatibility and some fun head-tracking capabilities. They sound pretty nifty, too. Read our full Bose QuietComfort Ultra Earbuds review.

How I tested the Noble FoKus Amadeus

Noble FoKus Amadeus in-ear earbuds in front of their carry case on a wooden surface

(Image credit: Future / James Grimshaw)
  • Tested for six weeks
  • Used at home and on the go
  • Predominantly tested using streaming services Bandcamp and Spotify, on a Samsung Galaxy S23 smartphone

The Noble FoKus Amadeus became my daily-driver earbuds, taking up a permanent space in my tote bag for daily usage on public transport and while gallivanting about town. I streamed music from Spotify and Bandcamp mostly, via my Samsung Galaxy S23; I occasionally used them at home, too, using my HP Pavilion laptop and the same services.

First reviewed August 2025

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