The PNY microSD Express Card is one of the fastest Nintendo Switch 2 cards that I’ve tested.
In my benchmarks, the 256GB model achieved a staggering 712.42MB/s write speed - blowing past the competition and coming impressively close to the manufacturer’s claimed 750MB/s performance.
It also excels when it comes to read speed, actually achieving above the claimed 890MB/s with 893.74MB/s in my testing. This difference is likely all down to different conditions and equipment, but it’s safe to say that this card is quick. Its read speed is practically neck and neck with the licensed SanDisk microSD Express Card for Nintendo Switch 2 - a model that’s officially endorsed by Nintendo.
What does this all mean in practical terms? Well, the PNY MicroSD Express Card is fantastic to use with a Nintendo Switch 2. Internet providing, games download quickly and everything runs smoothly while you play. I tested the likes of Cyberpunk 2077: Ultimate Editionand Hitman World of Assassination - Signature Edition, two very demanding Nintendo Switch 2 games, and didn’t observe any noticeable performance decrease in either - be that missed frames, slow-to-load models, or increased load times.
(Image credit: Future)
Best of all, the 256GB PNY MicroSD Express Card is practically the same price as its major competition. At $59.99 / £59.99 / around AU$100, the leading write speed is a good reason to pick this card over the alternatives. This is the case for the warranty too, with PNY offering a five year or “limited lifetime warranty” in some regions.
This refers to the lifetime of the card (not you) and doesn’t cover you if PNY stops making them, but should otherwise see you through the life of the Nintendo Switch 2 at least - just make sure that you hang on to your proof of purchase and retail packaging in case you need to claim it.
PNY is also one of the few manufacturers offering a cheaper 128GB model, which goes for $44.99 / £39.99 (or even less in sales), allowing players with very modest storage needs to avoid paying more for storage that they don’t need.
There is a catch when you start looking at variants above 256GB, though. There’s a recently released 512GB model on the market that comes in at $119.99 / around £150, but seems to be very hard to find outside of the US right now. There’s no 1TB model yet either, leaving those with massive libraries better off with the competing Lexar Play Pro microSD Express Card instead.
PNY microSD Express Card: Price and specs
Price
$59.99 / £59.99 / around AU$100 (256GB)
Capacity
128GB / 256GB
Quoted read speed
890MB/s
Quoted write speed
750MB/s
Benchmarked read speed
893.74MB/s
Benchmarked write speed
713.42MB/s
Should I buy the PNY microSD Express Card?
Buy it if...
You want high-end performance The PNY microSD Express Card has the fastest write speed of any Nintendo Switch 2 card that I’ve tested. This is backed up by an excellent read speed, making it a good choice for those after a high performance card.
You’re after peace of mind With its “lifetime” warranty, the PNY microSD Express Card should comfortably last you the entire life of the Nintendo Switch 2. This could be the first and last microSD Express Card that you buy.
Don't buy it if...
You need bigger storage capacities The 512GB model appears to be quite hard to find outside of the US, and there’s no 1TB version yet. With this in mind, there are better options for those with big game libraries.
Also consider
Here’s how the PNY microSD Express Card stacks up against two major competitors.
PNY microSD Express Card
Lexar Play Pro microSD Express Card
SanDisk microSD Express Card for Nintendo Switch 2
Price
$59.99 / £59.99 / around AU$100 (256GB)
$58.98 / £59.45 / AU$119.34 (256GB)
$59.99 / £49.99 / AU$79.95
Capacity
128GB / 256GB / 512GB
256GB / 512GB / 1TB
256GB
Quoted read speed
890MB/s
900MB/s
880MB/s
Quoted write speed
750MB/s
600MB/s
650MB/s
Benchmarked read speed
893.74MB/s
831.97MB/s
894.4MB/s
Benchmarked write speed
713.42MB/s
310.03MB/s
674.1MB/s
SanDisk microSD Express Card for Nintendo Switch 2 The SanDisk microSD Express Card is the model to choose if you want something that’s been officially endorsed by Nintendo. It has a slower write speed, but a marginally faster read speed to make up for it.
Lexar Play Pro microSD Express Card Lexar is the current king of you’re after a 1TB microSD Express Card. The brand was one of the first to bring a 1TB model to the market and should be at the top of your list if that’s what you’re after.
I tested the PNY microSD Express Card alongside multiple other microSD Express units over a period of multiple weeks. During that time I used the card with my personal Nintendo Switch 2, evaluating its performance across a range of the best Nintendo Switch 2 games.
To obtain comparison data, I benchmarked the card against the competition in a series of standardized tests. I measured the sequential read and write speed of each card using a standardized benchmark via CrystalDiskMark in its default flash memory settings.
To do this, I relied on the Lexar Play Pro MicroSD Express Card Reader, which has an active cooling fan.
I was specifically drawn towards the Philips Evnia 49M2C8900 in hopes that its Ambilight RGB feature would enhance my gaming experience, and I'm quite happy to report that it did, with color shifts that made my favorite games like Resident Evil 4 remake and Cyberpunk 2077 blossom even more – but not without some downsides. As I mentioned in a previous feature, my love for super-ultrawide monitors hasn't faded, but I've felt I needed a break from them.
Issues with desk space and games not supporting the 32:9 aspect ratio are one thing, but the 49-inch display size made the Auto Brightness Limiter (ABL) far more noticeable than it would be on a smaller display, as I realized when testing on other OLED ultrawide monitors like the Alienware AW3423DWF OLED ultrawide.
In my experience, I couldn't fully enjoy the Ambilight feature as much as I thought I would, considering the length of the display (which can serve as a compliment to how immersive it is), and yes, I tried it without another monitor mounted on top of it, and came to the same conclusion. It's also worth noting that the Ambilight feature can sometimes fail at representing accurate colors.
That doesn't mean it's bad by any means, but it made me realize that I likely would have enjoyed the feature far more on the 34-inch 1440p or 42-inch 4K Philips Evnia models. It just gets to a point where you wonder if the 32:9 aspect ratio is a little bit too much, but ultimately, if those aren't dealbreakers for you, you'll absolutely love this display.
(Image credit: Future / Isaiah Williams)
On a more positive note, though, gaming in titles like Call of Duty or Battlefield 6 on this display gives you an extra edge and lets you take advantage of a 240Hz refresh rate. If you have the hardware capable of pushing high frame rates, you'll reap the benefits with smooth gameplay and a 0.03ms Grey-to-Grey (GtG) response time, minimizing ghosting and blur as pixels transition.
It's not just multiplayer FPS shooters where this shines, as this is an exceptional display in narrative-driven action games, and truly makes you feel like you're at the center of the action. The increased point of view you get with super ultrawide displays, as such, should not be understated, providing a cinematic experience to get lost in, and I felt that across the numerous single-player games I tested on this display.
The 49M2C8900 is another display that highlights how much better OLED is when compared to regular LED or even mini-LED monitors. Sure, mini-LED displays can provide better, more consistent brightness levels, notably because there's no frustration with ABL. However, OLED is simply undefeated when it comes to deep black levels, and you can see that in my Wallpaper Engine screenshots below – truly fascinating.
Image 1 of 2
Now imagine that deep black level accuracy in a horror game... (Image credit: Future / Isaiah Williams)
Image 2 of 2
Now imagine that deep black level accuracy in a horror game... (Image credit: Future / Isaiah Williams)
Just to highlight, if you're a big fan of horror games that take full advantage of dark environments or even those with constant color changes like Cronos The New Dawn, then there's plenty of fun to be had with this display. The images don't do it enough justice, and some might even suggest there's major bloom or over exposure, but that isn't the case at all with this display.
It gets even better when Ambilight is working at its best, blending in perfectly with jumpscares or sequences in games where colors shift rapidly on screen, lending extra ammunition to an immersive visual experience. I can definitely see this being loved by those who aren't particularly enthused by Ambilight when buying this monitor, as opposed to me, who was underwhelmed with its inconsistencies.
How much does it cost? $1,500 (retail) /£799 / AU$1,799
When is it available? Available now (first released in 2023)
Where can you get it? Available in the US, UK, and Australia
The Philips Evnia 49M2C8900 is a pricey super ultrawide monitor, retailing at $1,500 and around £1,649.99 in the UK, which would have been an instant dealbreaker for me and many others. Still, it's been available since 2023, so pricing has inevitably plummeted, meaning you can find it at much lower prices – specifically £799 (around $1,050) – with more active sales seeing it drop even further.
Is it worth the retail price it was at previously? No, and that's no shade on the display's quality, because $1,500 is a tough ask for any gaming monitor. However, at its current pricing, I can easily recommend this for anyone who's adamant to dive into the QD-OLED super ultrawide gaming experience, with the added productivity benefits.
However, it's worth noting that if you do plan on getting this display, it's best to act fast, as it can be quite difficult to find it at various online stores. It doesn't appear to be discontinued yet, but new Philips Evnia monitors are likely on the horizon to take the limelight.
Again, on a more consistent basis, I was left happy using the Philips Evnia 49M2C8900, as it gave me what I needed for almost all of my games (excluding those that don't support the 32:9 aspect ratio).
It's simple, really: if immersion is your top priority and you've never used a display like this, I have no doubt this will be right up your alley. I must admit that I'm an ultrawide enthusiast, so I do have an element of bias towards these displays. Still, if anything, that ultimately makes me more critical of them with nitpicks – but aside from the issues with Ambilight and ABL, there are hardly any complaints from me with this display.
When ABL isn't an issue, you really notice just how great high brightness is for gaming, and thanks to the QD-OLED panel, I had no problems with any form of ghosting or smearing, which is something you might find with a VA mini-LED monitor, like the Mobile Pixels 34-inch ultrawide monitor I reviewed.
(Image credit: Future / Isaiah Williams)
It's also worth noting that while this monitor is FreeSync Premium Pro certified, it supports G-Sync, so both AMD and Nvidia GPU users will be able to enjoy screen-tearing-free gameplay.
Speaking of GPUs, it would be worth investing in a beefy GPU; to give you an idea, I was using the Asus TUF RTX 4080 Super OC GPU (the second GPU behind the RTX 4090), and the 5120x1440 display resolution gives it a run for its money, knocking Cyberpunk 2077's frame rate down to its knees around 50 to 60fps with ray tracing enabled and Frame Generation disabled.
In terms of design, there's a lot to love regarding the Ambilight feature when it's functioning without glitches, and, excusing my personal issues with the width of these super ultrawide monitors, I believe many others will appreciate color shifts and effects even more than I do.
I didn't get to use a monitor mount, and the stand that comes with it is serviceable, but I would recommend buying a desk mount as the stand's base takes up a decent amount of space on the desk – and the screen itself is already wide enough, taking up a majority of the room available.
It isn't just gaming where it shines, though, as productivity was a highlight while testing this display. If you thought that the 32:9 aspect ratio would serve as a detriment to your work-from-home duties, think again, because I was left very pleased with what the 49M2C8900 had to offer.
I tend to multitask a lot when working, with multiple browser tabs left open, and perhaps some videos playing in the background, and this is the monitor built just for that. Yes, there are readability issues, as you'll find with a wide variety of OLED displays with fringing around text, but this has never been a major issue for me, and it wasn't the case with this display either.
While my review unit didn't come with a remote control, the addition of one is a godsend, and another aspect I don't see nearly enough monitor manufacturers considering. I haven't got my hands on the remote control at all, but I don't need it, as I know that anything other than constantly reaching for the power button and OSD control behind the display is significantly more convenient.
The OSD itself is serviceable with numerous tabs on settings for Ambilight (in the Ambiglow tab), SmartImage, and other input and audio options. Besides the option of a remote control or the OSD control on the monitor rear, the Philips Evnia Precision Center software works wonders as a replacement, allowing you to change settings via mouse and keyboard.
Should you buy the Philips Evnia 49M2C8900 QD-OLED?
(Image credit: MMD)
Philips Evnia 49M2C8900 QD-OLED Scorecard
Value
While the initial retail price would have knocked some points off here, the price drop makes all the features across the board much better.
4 / 5
Design
The Ambilight (or Ambiglow) feature can be frustrating to use sometimes with a some glitches and inconsistencies in color accuracy, but for the most part, it gets the job done and is great for a boost in immersion
4 / 5
Performance
The 49M2C8900 is easily one of the best gaming monitors on the market, providing exceptional quality with its 240Hz refresh rate, 32:9 aspect ratio, and a 1,500,000:1 contrast ratio, thanks to the QD-OLED panel.
4.5 / 5
Productivity
With a 32:9 aspect ratio at 49 inches, there is so much that can be simultaneously with this monitor, despite any case of text smearing.
4 / 5
Final Score
It's not perfect, specifically due to issues with brightness limitations under certain conditions, and some Ambilight inconsistences, but there's hardly any major issues to be had, and it certainly provides an experience many will love.
4 / 5
Buy the Philips Evnia 49M2C8900 QD-OLED if...
Like many similar super ultrawide monitors, the Philips Evnia 49M2C8900 fits the bill for a widened, immersive gaming experience, and it excels with its QD-OLED panel.
There aren't many gaming monitors on the market that use this feature, but the Philips Evnia's Ambilight feature takes game entertainment a step up, by syncing RGB LEDs with colors on screen.
Don't buy it if...
If ABL was a reason you moved away from another OLED monitor, you're not going to find it any less frustrating here.
The 49M2C8900 will take up most of your desk space if your desk isn't big enough, so if you're unwilling to upgrade on desk space, you'll have trouble making room for other components alongside the display.
Philips Evnia 49M2C8900 QD-OLED: also consider
The LG Ultragear GX9 45GX950A-B is a very expensive gaming monitor, but its price is close to the 49M2C8900's retail price, and it is possibly the best gaming monitor you can buy right now. It's a 45-inch display with an 800R curve, running at 5120x2160 resolution, which many would label a '4K ultrawide'.
I used the Philips Evnia 49M2C8900 QD-OLED for just over a month, for both work and play, testing numerous games and movies to grasp the performance of the screen and the Ambilight color capabilities.
This is a 32:9 display, so multiplayer shooters like Call of Duty: Black Ops 6were tested to take full advantage of the screen estate and enhanced perspective of action on screen. It's incredibly ideal for games that rely on instant reactions and better views of peripherals, and it's one of the highlights that I noticed consistently.
After using a handful of displays now (particularly QD-OLED), I've been able to differentiate the pros and cons of these displays compared to regular LEDs or mini-LED, which is why I'm certain that this is among the best you'll ever find on the market.
The Gaggia Classic E24 Evo Pro is a manual espresso machine that allows you to channel your inner barista. Naturally won’t get automatic bean grinding or one-touch drinks brewing; this is a machine designed for those who like to get hands-on when crafting their coffee.
As espresso machines go, the E24 Evo Pro is a bit of a beast. This isn’t going to slip discreetly among your kitchen appliances; it'll dominate your worktop and, honestly, I’m not the biggest fan of its boxy, industrial design. On the flipside though, this bulky frame makes room for one of most capacious water tanks we’ve ever tested, at a whopping 2.2qt / 2.1 litres.
One element of its design I’m less forgiving of though is Gaggia’s stinginess when it comes to providing accessories. Packaged with the E24 Evo Pro you’ll get three filter baskets – a single-shot filter, a double shot filter, and a dual-walled filter – a steam wand with no elbow joint, and a pretty flimsy plastic tamp. That’s it: there’s no milk jug, no cleaning kit – none of the extras you might expect from an espresso machine that costs this much.
Given these design gripes, why have I rated the Gaggia Classic E24 Evo Pro so highly? Because it makes it possible to consistently pour quality shots of coffee like many of the best espresso machines without needing to fuss too much over the details. Once I’d finely ground some beans and tamped the puck with medium pressure, the Gaggia expressed a beautiful double espresso for me without having to endlessly tweak the variables to achieve the right pressure. And it wasn’t just beginner's luck: lightning struck twice with my second shot, which was just as rich and smooth as the first.
I also found the steam wand easy enough to use, although it perhaps isn’t quite as forgiving as the rest of the machine. Finding the right angle was harder than it tends to be with an elbow joint, but once I’d got the optimum orientation and depth, I was able to foam up a beautiful dairy cloud to add to my coffee. Watch your fingers though: the steam wand doesn’t have a cold-touch design, so it gets seriously hot during operation.
While the Gaggia Classic E24 Evo Pro isn’t exactly a budget banger – its list price of $549 / £549 / AU$999 puts it firmly in the mid-market category – its performance definitely makes it good value for money. Even without professional barista skills, I was able to pull shot after shot of consistently great coffee, and didn’t need to endlessly tweak variables to get the perfect espresso. Yes, I feel that at this price, Gaggia could afford to be less stingy with its accessories but, all in all you’ll get a very reliable coffee companion with the E24 Evo Pro.
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: price and availability
List price: $549 / £549 / AU$999
The Gaggia Classic E24 Evo Pro is available now and it has a list price of $549 / £549 / AU$999. For your spend, you get a wide variety of choice: the E24 Evo Pro comes in a wide range of colorways, whether it’s Polar White, Cherry Red or Sunshine Yellow. Unfortunately, what you don’t get is a lot of accessories: it’s missing a milk jug, backflush disc or any kind of cleaning kit, which all feels a bit stingy.
Still though, when it comes to value, the above pricing puts the Gaggia somewhere in the middle of the pack. It’s neither a budget brewer like the surprisingly capable De'Longhi Dedica Duo nor is it as ludicrously luxe as something like the Smeg Mini Pro Espresso Coffee Machine. But for what you’re paying, it’s a pretty sound investment, despite the dearth of accessories – I found it easy to create consistently delectable coffee in a way even many of its mid-market rivals struggle to manage.
Value score: 4 / 5
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: specs
Name
Gaggia Classic E24 Evo Pro
Type
Manual espresso machine
Dimensions (H x W x D)
9 x 15 x 9.4 inches / 230 x 380 x 240mm
Weight
17.6lbs / 8kg
Water tank capacity
2.2qt / 2.1 liters
Steam wand
Yes, manual
Max pressure
15 bar
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: design
Large-capacity water tank
Froths milk effectively
Missing some key accessories
The design of the Gaggia Classic E24 Evo Pro is a little brutalist for my taste. At 9 x 15 x 9.4 inches (230 x 380 x 240mm) it’s not the smallest machine, and I’d say I prefer the sleeker shape of Breville or De’Longhi machines personally. But I appreciate that for some people the solidity and presence of the Gaggia will be part of its charm, and at least it comes in a wide variety of colorways, from Lobster Red to Jungle Green.
At 2.2qt / 2.1 litres, the Gaggia’s water tank is substantial, offering a capacity that even outstrips many of the candidates on our list of the best espresso machines. Its drip tray is also pretty capacious, allowing it to catch quite a lot of spilled coffee, but its depth does cause some issues. It’s tall enough that it was genuinely difficult for me to squeeze even relatively squat mugs under the portafilter, and there’s no way to adjust its height, meaning a lot of the time you’re going to want to extract straight into espresso cups.
The range of accessories supplied with Gaggia Classic E24 Evo Pro is pretty weak, with a few items conspicuous by their absence. Three filter baskets cater to most eventualities, with single-shot and double shot filters, while the ‘perfect crema’ filter makes it easy to pull easy shots even with coffee pods or coarser grinds. There’s also a tamper included, but no milk jug, so this is something to factor into your budget.
(Image credit: Future)
Frankly, the tamper that comes with the Gaggia is pretty flimsy and plasticky. Personally, I want a tamper with some substance and heft behind it to make it easier to get an even tamp on your grounds. While it’s possible to get the job done with the tamper that comes in the box, I think you’ll likely want to upgrade to a better-quality option pretty soon after purchase.
The steam wand is a little better built, and its dual-steam-outlet design frothed the milk pretty effectively. It did take me a little while to find the right angle, as the arm merely swivels rather than using a ball-joint system, but once I did I was able to whip up a frothy cloud of foam fairly easily. One thing to watch out for though is that there’s no cool-touch design here. If you’re careless – which I am – it’s easy to catch your bare skin on the hot wand, which I did.
As an espresso machine, the Gaggia Classic E24 Evo Pro naturally doesn’t come with quite as many features as some of its bean-to-cup rivals. It’s focused on pulling spot-on shots and foaming consistently frothy milk, not automated drinks dispensing and custom profiles, so you won’t be getting those kinds of innovative capabilities here. Aimed squarely at caffeine addicts who like to tinker with their grind and tamping to achieve the perfect extraction, it also doesn’t offer an integrated grinder, so be prepared to pick one up if you don’t already have one to hand.
Design score: 3.5 / 5
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: performance
Easy to pour really consistent coffee
Pretty quiet running
Drips a little after pump switches off
I’d been forewarned about the Gaggia Classic E24 Evo Pro's leisurely warm up cycle, which is almost zen-like in its unhurriedness. But it’s not quite as long as some people make out. It took around 60 seconds to hit its target temperature when I first started using it – admittedly that’s slower than many machines, including my home machine, the Breville Bambino Plus, but not quite as bad as the five or 10 minutes I’d heard bandied around. And it takes less than 10 seconds on subsequent shots, which really isn’t that bad.
Once the Gaggia was up to temperature, I blitzed some beans to a fine espresso ground, tamped it with a medium firmness and stuck the filled portafilter in the machine. I honestly wondered if there might be some trial and error required to get used to the machine’s pressure and temperature. But right out the gate it expressed pretty evenly, with the espresso neither rushing out incontinently nor dribbling out in fits and starts.
I also tested how load its pump was using a sound level meter, clocking it at 66dB, which is seriously quiet. By way of context, the Smeg BCC13 is Quiet Mark certified and tops out at 67dB max. Admittedly our testing environment might not be quite as rigorous Smeg’s, but still the Gaggia Classic E24 Evo Pro is quieter when running than many competing espresso machines.
The espresso itself was spot-on. It came out with a sturdy, persistent crema that was the perfect buff tone with the odd hint of caramel running through it. And the taste was genuinely pretty impressive: even on that first pull, I was able to produce something rich and refined, with just the right balance of bitterness and acidity, while there was none of the astringency you’d get from an over-expressed shot.
(Image credit: Future)
Wanting to be sure that I hadn’t just lucked out on my first cup, I ran it again, using the same fineness of grind and trying to tamp and run the machine at the same temperature as I had the first time. The second espresso was identical to the first, meaning you should be able to achieve fairly consistent results with this machine.
This time I did notice there was a little dribbling from the machine after the pump clicked off. It wasn’t immediately clear if it was just dripping from a slightly overtamped, waterlogged puck, so I ran the Gaggia again without the portafilter in place and it still seemed to drool when switched off. This only lasted for a few seconds, so it isn't a huge issue, but it does imply the Gaggia doesn’t have perfect control over its pump.
Scrubbing down the machine after use was more straightforward than I was expecting. Cleaning the steam wand requires you to give it a firm wipe down with a cloth and unscrew the tip before washing it under running water. Meanwhile, to clean the mesh screen, all I had to do was run the machine without a portafilter then wipe it down. Once you’ve switched off the machine, you can then wash out the water tank and wipe down the rest of the machine. All in all, while it sounds like a lot of steps, getting the machine spotless doesn’t take much of an investment.
Performance score: 4.5 / 5
(Image credit: Future)
Should I buy the Gaggia Classic E24 Evo Pro?
Gaggia Classic E24 Evo Pro score card
Attribute
Notes
Score
Value
While it’s not exactly budget priced, having tasted the coffee it produces I’m surprised it doesn’t cost a fair bit more.
4/5
Design
It has a slightly utilitarian design and few automated features, but its steam wand works reasonably well and it has some useful accessories, although also it's missing a few.
3.5/5
Performance
Takes a while to warm up but once it does, you can pull consistently excellent shots without much tinkering required.
4.5/5
Buy it if…
You want rich, refined coffee every time Rather than having to tweak pressure, grind and tamping endlessly, it’s really easy to pull quality, consistent decent shots with the Gaggia without too much fuss.
You want a machine that’s nice and quiet Not every coffee machine has to sound like a diving compressor. If you want caffeine on the QT, the relatively quiet 66dB Gaggia has got your back.
Don’t buy it if..
You want loads of automatic features As this isn’t a bean-to-cup machine, you won’t get loads of fancy automatic drinks settings and customizable profiles. Instead it’s designed to help you craft your own coffee like a pro.
You want your caffeine hit quick Given it takes 60 seconds to heat up and you’ll need to grind your beans yourself, the Gaggia might not be the best choice if you don’t want your latte to be late.
Gaggia Classic E24 Evo Pro review: also consider
Gaggia Classic E24 Evo Pro
Breville Bambino Plus
Smeg BCC13
Type
Manual espresso machine
Manual espresso machine
Automatic espresso machine
Dimensions (H x W x D)
9 x 15 x 9.4 inches / 230 x 380 x 240mm
7.6 x 14.3 x 12 inches / 194 x 362 x 304mm
336 x 180 x 433mm
Weight
17.6lbs / 8kg
10.8lbs / 4.9kg
19.8lbs / 9kg
Water tank capacity
2.2qt / 2.1 liters
2qt / 1.9 liters
1.5qt / 1.4 liters
Steam wand
Yes, manual
Yes, hands free
No, automatic
Max pressure
15 bar
15 bar
19 bar
Breville Bambino Plus If you want an espresso machine that’s more economical in terms of both space and cash, yet offers just as sophisticated shot-pulling, Breville’s diminutive machine is a worthy alternative. Despite costing just $499.95 / £399.95 / AU$649, it makes great espresso while offering plenty of customization options with different milk temperature and textures. Read our full Breville Bambino Plus review.
Smeg BCC13 Should grinding beans, tamping grounds and frothing cow squeezings all feel like a little too much hassle, this bean-to-cup machine brews wonderfully consistent coffee and foams deliciously thick milk for cappuccinos and lattes. It’s not quite as adept at steaming non-dairy milks, and it does cost a fair bit more at $1,200 / £799.95 / AU$1,199. But as our full Smeg BCC13 review explains, it offers "perfectly brewed coffee and sweet, creamy foamed milk" every time.
How I tested the Gaggia Classic E24 Evo Pro
I spent several days testing it
I poured multiple coffees in a row to see how consistent it was
I used the steam wand to foam multiple batches of milk
I used the Gaggia Classic E24 Evo Pro regularly over a period of several days. To test the quality and consistency of its coffee, I poured multiple double espressos in succession, so I could assess how well the machine maintained its quality from drink to drink. I also used the steam wand to foam milk on several occasions, to test how well the boiler maintained its heat and how effectively the steam wand worked.
I also made sure I timed how long it took the Gaggia’s boiler to heat up initially and on subsequent runs, as well as using a sound-level meter to check how much noise it generated. Once I was done with testing, I also ran through the Gaggia Classic E24 Evo Pro’s daily and long-term cleaning routines, to see how easy it was to clean and maintain.
When it comes to my own personal experience, not only have I spent years testing and writing about gadgets, I’ve been making and drinking coffee from espresso machines daily for more than two decades. I'm really only a fan of drinking coffee made of freshly ground beans – I'm not a pod person.
The Gaggia Classic E24 Evo Pro is a manual espresso machine that allows you to channel your inner barista. Naturally won’t get automatic bean grinding or one-touch drinks brewing; this is a machine designed for those who like to get hands-on when crafting their coffee.
As espresso machines go, the E24 Evo Pro is a bit of a beast. This isn’t going to slip discreetly among your kitchen appliances; it'll dominate your worktop and, honestly, I’m not the biggest fan of its boxy, industrial design. On the flipside though, this bulky frame makes room for one of most capacious water tanks we’ve ever tested, at a whopping 2.2qt / 2.1 litres.
One element of its design I’m less forgiving of though is Gaggia’s stinginess when it comes to providing accessories. Packaged with the E24 Evo Pro you’ll get three filter baskets – a single-shot filter, a double shot filter, and a dual-walled filter – a steam wand with no elbow joint, and a pretty flimsy plastic tamp. That’s it: there’s no milk jug, no cleaning kit – none of the extras you might expect from an espresso machine that costs this much.
Given these design gripes, why have I rated the Gaggia Classic E24 Evo Pro so highly? Because it makes it possible to consistently pour quality shots of coffee like many of the best espresso machines without needing to fuss too much over the details. Once I’d finely ground some beans and tamped the puck with medium pressure, the Gaggia expressed a beautiful double espresso for me without having to endlessly tweak the variables to achieve the right pressure. And it wasn’t just beginner's luck: lightning struck twice with my second shot, which was just as rich and smooth as the first.
I also found the steam wand easy enough to use, although it perhaps isn’t quite as forgiving as the rest of the machine. Finding the right angle was harder than it tends to be with an elbow joint, but once I’d got the optimum orientation and depth, I was able to foam up a beautiful dairy cloud to add to my coffee. Watch your fingers though: the steam wand doesn’t have a cold-touch design, so it gets seriously hot during operation.
While the Gaggia Classic E24 Evo Pro isn’t exactly a budget banger – its list price of $549 / £549 / AU$999 puts it firmly in the mid-market category – its performance definitely makes it good value for money. Even without professional barista skills, I was able to pull shot after shot of consistently great coffee, and didn’t need to endlessly tweak variables to get the perfect espresso. Yes, I feel that at this price, Gaggia could afford to be less stingy with its accessories but, all in all you’ll get a very reliable coffee companion with the E24 Evo Pro.
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: price and availability
List price: $549 / £549 / AU$999
The Gaggia Classic E24 Evo Pro is available now and it has a list price of $549 / £549 / AU$999. For your spend, you get a wide variety of choice: the E24 Evo Pro comes in a wide range of colorways, whether it’s Polar White, Cherry Red or Sunshine Yellow. Unfortunately, what you don’t get is a lot of accessories: it’s missing a milk jug, backflush disc or any kind of cleaning kit, which all feels a bit stingy.
Still though, when it comes to value, the above pricing puts the Gaggia somewhere in the middle of the pack. It’s neither a budget brewer like the surprisingly capable De'Longhi Dedica Duo nor is it as ludicrously luxe as something like the Smeg Mini Pro Espresso Coffee Machine. But for what you’re paying, it’s a pretty sound investment, despite the dearth of accessories – I found it easy to create consistently delectable coffee in a way even many of its mid-market rivals struggle to manage.
Value score: 4 / 5
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: specs
Name
Gaggia Classic E24 Evo Pro
Type
Manual espresso machine
Dimensions (H x W x D)
9 x 15 x 9.4 inches / 230 x 380 x 240mm
Weight
17.6lbs / 8kg
Water tank capacity
2.2qt / 2.1 liters
Steam wand
Yes, manual
Max pressure
15 bar
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: design
Large-capacity water tank
Froths milk effectively
Missing some key accessories
The design of the Gaggia Classic E24 Evo Pro is a little brutalist for my taste. At 9 x 15 x 9.4 inches (230 x 380 x 240mm) it’s not the smallest machine, and I’d say I prefer the sleeker shape of Breville or De’Longhi machines personally. But I appreciate that for some people the solidity and presence of the Gaggia will be part of its charm, and at least it comes in a wide variety of colorways, from Lobster Red to Jungle Green.
At 2.2qt / 2.1 litres, the Gaggia’s water tank is substantial, offering a capacity that even outstrips many of the candidates on our list of the best espresso machines. Its drip tray is also pretty capacious, allowing it to catch quite a lot of spilled coffee, but its depth does cause some issues. It’s tall enough that it was genuinely difficult for me to squeeze even relatively squat mugs under the portafilter, and there’s no way to adjust its height, meaning a lot of the time you’re going to want to extract straight into espresso cups.
The range of accessories supplied with Gaggia Classic E24 Evo Pro is pretty weak, with a few items conspicuous by their absence. Three filter baskets cater to most eventualities, with single-shot and double shot filters, while the ‘perfect crema’ filter makes it easy to pull easy shots even with coffee pods or coarser grinds. There’s also a tamper included, but no milk jug, so this is something to factor into your budget.
(Image credit: Future)
Frankly, the tamper that comes with the Gaggia is pretty flimsy and plasticky. Personally, I want a tamper with some substance and heft behind it to make it easier to get an even tamp on your grounds. While it’s possible to get the job done with the tamper that comes in the box, I think you’ll likely want to upgrade to a better-quality option pretty soon after purchase.
The steam wand is a little better built, and its dual-steam-outlet design frothed the milk pretty effectively. It did take me a little while to find the right angle, as the arm merely swivels rather than using a ball-joint system, but once I did I was able to whip up a frothy cloud of foam fairly easily. One thing to watch out for though is that there’s no cool-touch design here. If you’re careless – which I am – it’s easy to catch your bare skin on the hot wand, which I did.
As an espresso machine, the Gaggia Classic E24 Evo Pro naturally doesn’t come with quite as many features as some of its bean-to-cup rivals. It’s focused on pulling spot-on shots and foaming consistently frothy milk, not automated drinks dispensing and custom profiles, so you won’t be getting those kinds of innovative capabilities here. Aimed squarely at caffeine addicts who like to tinker with their grind and tamping to achieve the perfect extraction, it also doesn’t offer an integrated grinder, so be prepared to pick one up if you don’t already have one to hand.
Design score: 3.5 / 5
(Image credit: Future)
Gaggia Classic E24 Evo Pro review: performance
Easy to pour really consistent coffee
Pretty quiet running
Drips a little after pump switches off
I’d been forewarned about the Gaggia Classic E24 Evo Pro's leisurely warm up cycle, which is almost zen-like in its unhurriedness. But it’s not quite as long as some people make out. It took around 60 seconds to hit its target temperature when I first started using it – admittedly that’s slower than many machines, including my home machine, the Breville Bambino Plus, but not quite as bad as the five or 10 minutes I’d heard bandied around. And it takes less than 10 seconds on subsequent shots, which really isn’t that bad.
Once the Gaggia was up to temperature, I blitzed some beans to a fine espresso ground, tamped it with a medium firmness and stuck the filled portafilter in the machine. I honestly wondered if there might be some trial and error required to get used to the machine’s pressure and temperature. But right out the gate it expressed pretty evenly, with the espresso neither rushing out incontinently nor dribbling out in fits and starts.
I also tested how load its pump was using a sound level meter, clocking it at 66dB, which is seriously quiet. By way of context, the Smeg BCC13 is Quiet Mark certified and tops out at 67dB max. Admittedly our testing environment might not be quite as rigorous Smeg’s, but still the Gaggia Classic E24 Evo Pro is quieter when running than many competing espresso machines.
The espresso itself was spot-on. It came out with a sturdy, persistent crema that was the perfect buff tone with the odd hint of caramel running through it. And the taste was genuinely pretty impressive: even on that first pull, I was able to produce something rich and refined, with just the right balance of bitterness and acidity, while there was none of the astringency you’d get from an over-expressed shot.
(Image credit: Future)
Wanting to be sure that I hadn’t just lucked out on my first cup, I ran it again, using the same fineness of grind and trying to tamp and run the machine at the same temperature as I had the first time. The second espresso was identical to the first, meaning you should be able to achieve fairly consistent results with this machine.
This time I did notice there was a little dribbling from the machine after the pump clicked off. It wasn’t immediately clear if it was just dripping from a slightly overtamped, waterlogged puck, so I ran the Gaggia again without the portafilter in place and it still seemed to drool when switched off. This only lasted for a few seconds, so it isn't a huge issue, but it does imply the Gaggia doesn’t have perfect control over its pump.
Scrubbing down the machine after use was more straightforward than I was expecting. Cleaning the steam wand requires you to give it a firm wipe down with a cloth and unscrew the tip before washing it under running water. Meanwhile, to clean the mesh screen, all I had to do was run the machine without a portafilter then wipe it down. Once you’ve switched off the machine, you can then wash out the water tank and wipe down the rest of the machine. All in all, while it sounds like a lot of steps, getting the machine spotless doesn’t take much of an investment.
Performance score: 4.5 / 5
(Image credit: Future)
Should I buy the Gaggia Classic E24 Evo Pro?
Gaggia Classic E24 Evo Pro score card
Attribute
Notes
Score
Value
While it’s not exactly budget priced, having tasted the coffee it produces I’m surprised it doesn’t cost a fair bit more.
4/5
Design
It has a slightly utilitarian design and few automated features, but its steam wand works reasonably well and it has some useful accessories, although also it's missing a few.
3.5/5
Performance
Takes a while to warm up but once it does, you can pull consistently excellent shots without much tinkering required.
4.5/5
Buy it if…
You want rich, refined coffee every time Rather than having to tweak pressure, grind and tamping endlessly, it’s really easy to pull quality, consistent decent shots with the Gaggia without too much fuss.
You want a machine that’s nice and quiet Not every coffee machine has to sound like a diving compressor. If you want caffeine on the QT, the relatively quiet 66dB Gaggia has got your back.
Don’t buy it if..
You want loads of automatic features As this isn’t a bean-to-cup machine, you won’t get loads of fancy automatic drinks settings and customizable profiles. Instead it’s designed to help you craft your own coffee like a pro.
You want your caffeine hit quick Given it takes 60 seconds to heat up and you’ll need to grind your beans yourself, the Gaggia might not be the best choice if you don’t want your latte to be late.
Gaggia Classic E24 Evo Pro review: also consider
Gaggia Classic E24 Evo Pro
Breville Bambino Plus
Smeg BCC13
Type
Manual espresso machine
Manual espresso machine
Automatic espresso machine
Dimensions (H x W x D)
9 x 15 x 9.4 inches / 230 x 380 x 240mm
7.6 x 14.3 x 12 inches / 194 x 362 x 304mm
336 x 180 x 433mm
Weight
17.6lbs / 8kg
10.8lbs / 4.9kg
19.8lbs / 9kg
Water tank capacity
2.2qt / 2.1 liters
2qt / 1.9 liters
1.5qt / 1.4 liters
Steam wand
Yes, manual
Yes, hands free
No, automatic
Max pressure
15 bar
15 bar
19 bar
Breville Bambino Plus If you want an espresso machine that’s more economical in terms of both space and cash, yet offers just as sophisticated shot-pulling, Breville’s diminutive machine is a worthy alternative. Despite costing just $499.95 / £399.95 / AU$649, it makes great espresso while offering plenty of customization options with different milk temperature and textures. Read our full Breville Bambino Plus review.
Smeg BCC13 Should grinding beans, tamping grounds and frothing cow squeezings all feel like a little too much hassle, this bean-to-cup machine brews wonderfully consistent coffee and foams deliciously thick milk for cappuccinos and lattes. It’s not quite as adept at steaming non-dairy milks, and it does cost a fair bit more at $1,200 / £799.95 / AU$1,199. But as our full Smeg BCC13 review explains, it offers "perfectly brewed coffee and sweet, creamy foamed milk" every time.
How I tested the Gaggia Classic E24 Evo Pro
I spent several days testing it
I poured multiple coffees in a row to see how consistent it was
I used the steam wand to foam multiple batches of milk
I used the Gaggia Classic E24 Evo Pro regularly over a period of several days. To test the quality and consistency of its coffee, I poured multiple double espressos in succession, so I could assess how well the machine maintained its quality from drink to drink. I also used the steam wand to foam milk on several occasions, to test how well the boiler maintained its heat and how effectively the steam wand worked.
I also made sure I timed how long it took the Gaggia’s boiler to heat up initially and on subsequent runs, as well as using a sound-level meter to check how much noise it generated. Once I was done with testing, I also ran through the Gaggia Classic E24 Evo Pro’s daily and long-term cleaning routines, to see how easy it was to clean and maintain.
When it comes to my own personal experience, not only have I spent years testing and writing about gadgets, I’ve been making and drinking coffee from espresso machines daily for more than two decades. I'm really only a fan of drinking coffee made of freshly ground beans – I'm not a pod person.
The Hisense U75QG is a solid performer that packs a lot of features in for the price. Typically, flagship TVs are the ones that get the most attention, but people usually aren’t buying the best of the best from any brand. Instead, buying considerations usually fall to midrange TVs like this one.
The Hisense U75QG is a mini-LED display that delivers brightness we generally don’t see from TVs in this price range – I measured over 3,000 nits in HDR Filmmaker Mode, a level that exceeds many of the best TVs from most manufacturers. That makes the U7 an excellent choice for bright spaces where ambient light is difficult to control, such as a living room with large picture windows.
Accuracy with SDR sources is impressive, so while watching broadcast TV or non-HDR streamed shows, the U75QG will deliver nice, accurate colors. HDR has a few issues in color temperature and accuracy, but they’re not drastic enough to distract and pull you out of the viewing experience. They can also be mostly corrected with a professional calibration, if you’re up for spending extra for that.
The U75QG’s Google TV OS is, as expected, quick to use and easy to navigate. Google has been the top built-in smart TV platform for a few years now, and Hisense uses it well. Picture adjustments are easy to find and change, especially with a Settings button on the backlit remote, and the Google Store offers hundreds of apps for download, including all the major streamers and smaller ones as well. And for those that want over-the-air broadcasts, the U75QG includes a built-in ATSC 3.0 tuner.
The Hisense has great gaming support, with the ability for high refresh rate up to 165Hz on all four HDMI 2.1 ports, with VRR and AMD FreeSync Premium, Dolby Vision gaming, and a game bar to easily access gaming settings. There are some issues with image smearing when using VRR that can detract a little, but casual gamers should be more than happy with the features and performance.
Hisense TVs always see an almost immediate dip in pricing after release, and the same has happened with the U75QG. Those discounts make it an even better value, and it stacks up well against the TCL QM7K – its primary competitor. When everything is taken into account, the Hisense U75QG stands as one of the best value midrange TVs I’ve seen in 2025.
Hisense U75QG review: Price and release date
The Hisense U75QG's picture is bright enough to even watch in well-lit rooms (Image credit: Future)
Release date: May 2025
55-inch: $1,300
65-inch: $1,500
75-inch: $1,999
85-inch: $2,499
100-inch: $4,999
116-inch: $21,999
The U75QG is Hisense’s midrange mini-LED TV, falling between the Hisense U8QG and U65QF (a model that uses the Amazon Fire TV OS) in its lineup. The series ranges in size from a 55-inch to a massive 116-inch model – the largest Hisense mini-LED TV available. As is typical for Hisense TVs, prices for all models, apart from the 116-inch, have fallen significantly since the series was released in May. The 55-inch TV can now be found for as little as $698, with prices ranging to just under $3,000 for the 100-inch.
The U75QG pricing is similar to the TCL QM7K, the midrange competitor from that manufacturer. Although the Hisense is currently $100 to $700 more expensive than the TCL, depending on screen size.
The U75QG's ports are split between side-mounted and rear-mounted input sections (Image credit: Future)
Image 2 of 2
(Image credit: Future)
Dolby Vision and HDR10+ support
Hi-View AI Engine Pro processor
VA panel with good anti-reflection
The U75QG is a mini-LED TV with an anti-reflection VA panel, which does a great job handling ambient room light reflections. The VA panel does not provide it with wide viewing angles, however, with desaturated colors and raised black levels easily visible starting at around 30 degrees off-center.
Hisense upgraded last year’s Hi-View Engine Pro found in the U7N to the Hi-View AI Engine Pro, which is the same processor the company is using in its step-up U8QG model. Hisense claims improved performance over the previous chip with a 1.6x faster CPU, 2.2x faster GPU, and 1.5x faster NPU, all to deliver a better optimized image.
The Hisense U75QG includes wide-ranging HDR support, including both Dolby Vision and HDR10+ dynamic formats. Dolby Vision IQ and HDR10+ Adaptive modes use the TV’s processing power to automatically adjust the picture based on the ambient light viewing conditions in your room. Dolby Vision Gaming is included, and, of course, the TV supports HDR10 and HLG.
Console and PC gamers will be happy with the included features on the U75QG. All four HDMI 2.1 ports support a refresh rate up to 165Hz with a Game Booster 288Hz (at 1080p), VRR, AMD FreeSync Premium Pro, Hisense Game Bar, and the aforementioned HDR gaming modes. Although, as we’ll get into below, there are some minor clarity issues with gaming on the U75QG.
The U75QG runs the Google TV OS, which allows access to thousands of streaming apps. It also has an ATSC 3.0 tuner for those in areas that are broadcasting NextGen TV signals.
Features Score: 4/5
Hisense U75QG review: Picture quality
The U75QG's picture displays good color accuracy (Image credit: Future)
Incredibly bright for a midrange TV
Impressive SDR color accuracy
HDR benefits from a pro calibration
Hisense has been a leader over the past few years in pushing display brightness to its limits, so there’s no surprise that the U75QG gets nice and bright, especially for a midrange TV. With local dimming and peak brightness set to High, and using Portrait Displays’ Calman color calibration software, in Filmmaker Mode from a 10% window, the Hisense blasts out 3,126 nits. That’s more than double what its predecessor, the Hisense U7N, was capable of, and more than the flagship Sony Bravia 9 mini-LED TV. A fullscreen white measurement tops out at 780 nits.
With local dimming on, the Hisense also delivers deep blacks even when there are some bright images on screen. During starfield shots — the opening of Star Wars: The Last Jedi or many scenes in Gravity — there’s excellent separation between the stars, especially for a mid-tier mini-LED TV, and there isn’t a significant amount of blooming along the edges of the Shuttle Explorer against the darkness of space. When bright objects are moving, the blooming is exacerbated a little bit, but overall performance is still great for the price of the TV.
Measurements in Filmmaker Mode out of the box show the U75QG tracks the target EOTF (gamma for HDR) beautifully, so the TV isn’t overbrightening the midtones at all. HDR color accuracy also leaves a little to be desired, with things like grass being a little yellow and skin tones slightly undersaturated. None of this takes away from the overall enjoyment of a movie or TV show, though.
The U75QG excels with SDR content. Grayscale tracks D65 across the range incredibly well, with an average dE of 0.8 and 2.4 gamma. Colors are also impressively accurate for a midrange TV, with skin tones in particular looking exactly as they should.
It’s possible to get similar performance with HDR content. The U75QG has an autocal feature in Calman, the software TechRadar uses to measure TVs, so the TV can be easily calibrated within just a few minutes by a TV calibration professional. And after calibration, the TV’s accuracy is significantly better. Some color temperature issues remain in brighter grays, but if you’re able to make it happen, a calibration is worth it to get the most out of the U75QG.
Picture quality score: 4/5
Hisense U75QG review: Sound quality
A rear-mounted subwoofer adds some low-end heft to the U75QG's sound (Image credit: Future)
2.1.2-channel speaker system
Clear dialogue
Would benefit from a soundbar
The back of the U75QG features an oval subwoofer, part of the TV’s 2.1.2-channel speaker system. Along its edges are speakers to handle the left and right channels, as well as two up-firing speakers for height. In my room, I didn’t find that the up-firing speakers accomplished much, and there isn’t a room calibration system to make them work better.
Overall sound performance is above average for a TV. There’s a decent amount of bass and vocal clarity is good, but it’s still worth pairing the TV with one of the best soundbars for a more immersive experience.
Sound quality score: 3.5/5
Hisense U75QG review: Design
The U75QG's "pedestal stand" is actually two support feet with a plastic plate mounted on top (Image credit: Future)
Center pedestal is really two feet with a plastic plate
High enough lift for soundbar
Backlit remote control
The Hisense U75QG has a slightly redesigned stand over last year’s U7N. It still utilizes a center pedestal, but instead of a trapezoidal design, the U75QG consists of two feet that are covered by a rectangular plastic plate. The TV feels sturdy on its stand, although the plastic cover is a bit flimsy – which is honestly to be expected at this price point.
While the stand lifts the TV a little over three inches to accommodate a soundbar, the front sticks out a bit, so some extra space on your credenza or table will be needed to put the soundbar in front of it. The 100- and 116-inch models use two separated legs instead of the pedestal base.
The TV is a bit on the thick side, and more so than the comparable TCL QM7K by about half an inch. Connections are split between two panels. The majority are side-facing — including four 165Hz-capable HDMI 2.1 ports (one eARC), the ATSC 3.0 coax inputs, a USB 3.0 port, a 3.5 mm audio out, and an AV in (which requires an adapter). An additional USB 2.0 port, optical digital audio out, and Ethernet port are in a rear-facing cutout. If you plan to use wired Ethernet and wall-mount the TV, this could cause some mounting issues and require the TV to be slightly out from the wall to keep the Ethernet cable from bending and putting stress on the connection. The U75QG supports a Wi-Fi 6E wireless connection as well.
The remote is the same as the one that was introduced with 2024 Hisense TVs. It’s a long silver handset with backlit buttons, which include settings and input buttons (these are sadly absent from some competitors’ remotes). Because of its length, reaching all the buttons – at least for my average-sized hand – required some jostling of the remote, but overall the design is comfortable and easy to use.
Design score: 4/5
Hisense U75QG review: Smart TV and menus
The U75QG's Google TV smart interface (Image credit: Future)
Google TV OS
Loads of streaming apps available
Some ads on the home page
Google TV is the OS of choice for the U7 series, and it runs well on the TV. The OS is one of the best built-in options when it comes to the combination of usability and streaming app support. On the U75QG, home page navigation is quick, and menus are intuitive. There are thousands of apps available for download – including the major streaming ones such as Netflix, Prime Video, and Apple TV – as well as more niche options not included on all platforms, like F1 TV and Dropout.
The gear button on the remote pulls up the menus for adjusting any TV settings. There’s a selection of quick access menus for things like Picture and Sound, or you can call up the full settings menu. It’s pretty easy to navigate and find what you’re looking for — different settings are sensibly placed instead of hidden under a multitude of submenus.
Smart TV & menus score: 4/5
Hisense U75QG review: Gaming
Hisense's Game Bar onscreen menu (Image credit: Future)
Four HDMI 2.1 ports with 165Hz support
9.8ms input lag time
FreeSync Premium Pro
The TV has lots of features meant to satisfy gamers, and for the most part, gamers will be happy with the U75QG. The four HDMI 2.1 inputs accept high refresh rate signals up to 165Hz from a computer in 4K, and Game Booster allows for 1080p/288Hz gaming. Consoles will be able to play games at 120Hz with VRR (including HDMI Forum VRR, AMD FreeSync Premium Pro, and G-Sync compatibility) and Dolby Vision gaming.
The U75QG has the Hisense Game Bar, where adjustments can quickly be made to settings like Dark Detail, Brightness, the Game Genre, and for adding a crosshair for aiming. It also displays your current frame rate, HDR, VRR, and ALLM status.
When in Game/PC picture mode, the input lag on the U75QG with a 4K 60Hz signal is a very low 9.8ms. It’s excellent for gamers who regularly play against others, or for reaction-based games. I played a good amount of Clair Obscur: Expedition 33, which requires some button timing for dodges and parries, and didn’t feel any lag.
While I found gaming on the U75QG to be an overall good experience, there’s some smearing when VRR is on, particularly with bright objects across a darker background, that can be a bit distracting. I saw this more when using my PC (from an RTX 4070 Ti Super) than on console, so if you’re a PC gamer, you might also see this more.
Gaming score: 4/5
Hisense U75QG review: Value
The U75QG's backlit remote control (Image credit: Future)
Excellent picture quality for the price
Really needs a soundbar for best experience
Four HDMI 2.1 ports and backlit remote
Hisense has been delivering significant value from its televisions for years now, and that continues with the U75QG, which might deliver the best performance-to-price ratio of any Hisense TV. Hisense historically lowers its TV pricing after release by a good bit, and the TVs are always on sale during shopping events, so that increases its value proposition even further.
The midrange TV market is fierce, though. The U75QG’s primary competitor is the TCL QM7K, another solid performer with high value. It’s not nearly as bright as the Hisense, and it also has some HDR inaccuracies (overly blue grayscale and some color issues) out of the box. Only two of the TCL’s HDMI ports are version 2.1, as well, although I prefer its overall design.
It gets interesting when we compare against the next tier up. The TCL QM8K has had some deep discounts recently, putting it within a couple of hundred dollars of the Hisense. At that price, the TCL is an absolute steal. Not only is it a much better TV than both the U75QG and QM7K, I think it's one of the best TCL TVs ever made – although the TCL QM9K likely takes that title.
Value score: 4.5/5
Should I buy the Hisense U75QG?
(Image credit: Future)
Hisense U75QG
Attributes
Notes
Rating
Features
Good HDR support and gaming features
4/5
Picture quality
Excellent brightness and great overall picture quality for the price
4/5
Sound quality
2.1.2-channel speakers deliver clear dialogue but limited height effects with Atmos soundtracks
3.5/5
Design
Good overall design with backlit remote and plentiful connections
4/5
Smart TV and menus
Google TV is a solid smart interface with plenty of apps
4/5
Gaming
Four HDMI 2.1 ports with 4K 165Hz support but some picture smearing with VRR, particularly with PCs
4/5
Value
A great overall value given the TV's picture quality and features
4.5/5
Buy it if...
You want a good all-around TV While the U75QG isn’t without flaws, its overall performance is impressive for the price.
Your TV room is bathed in ambient light Brightness output from the Hisense is more than other comparable TVs and stands up well against uncontrollable ambient light.
You have multiple gaming consoles/PCs The Hisense U75QG has four HDMI 2.1 165Hz-compatible inputs, while its main competitor, the TCL QM7K, only has two. If you have multiple consoles and a PC to connect, the U75QG is the pick.
Don't buy it if…
You’re looking for top-tier gaming performance The U75QG has decent gaming performance and a nice game bar option, but its VRR performance doesn’t match competitors.
You want amazing sound from a TV The sound performance is okay, but you’ll really want to add a soundbar for a better sonic experience.
You watch events with big groups Picture quality degrades pretty quickly as you move from off from center screen, so any friends that are over and have to sit to the side will see a lower-quality image.
Also consider...
Hisense U75QG
TCL QM7K
Hisense U8QG
Samsung QN90F
Price (65-inch)
$1,500
$1,499
$2,199
$2,499
Screen type
mini-LED w/ QLED
mini-LED w/ QLED
mini-LED w/ QLED
mini-LED w/ QLED
Refresh rate
Up to 165Hz
Up to 144Hz
Up to 165Hz
165Hz
HDR support
Dolby Vision IQ//HDR10+ Adaptive/HLG
Dolby Vision IQ/HDR10+/HDR10/HLG
Dolby Vision IQ/HDR10+/HDR10/HLG
HDR10+/HDR10/HLG
Smart TV
Google TV
Google TV
Google TV
Tizen
HDMI ports
4 HDMI 2.1
4 (2x HDMI 2.1)
3x HDMI 2.1
4x HDMI 2.1
TCL QM7K The TCL QM7K is another great mid-range mini-LED TV with an affordable price tag. It has a better design than the Hisense, but its picture isn't as powerfully bright and its gaming flexibility is limited by having only two HDMI 2.1 ports.
Hisense U8QG The Hisense U8QG has a similar feature set to the U75QG but a better overall design with a sturdy aluminum pedestal stand. Its picture brightness is about the same, although the U8QG's 4.1.2-channel speaker array provides more immersive sound. It's a bit more expensive than the U75QG but not by much.
Samsung QN90F The Samsung QN90F is the best mini-LED TV on the market when you take into account picture quality, design, and gaming features and performance. It's notably more expensive than the Hisense U75QG but has much better off-axis picture uniformity and is also available in a wide range of sizes, including 43- and 98-inch models.
Used a variety of test material from streaming and discs
I watched a wide range of content on the Hisense U75QG, including movies and TV shows streaming from the built-in Google TV OS on Disney+, HBO Max, and Hulu. I also used a Kaleidescape Strato V for high-quality movies, along with 4K UHD Blu-ray discs played on an Oppo UDP-203 disc player. Games were played on an Xbox Series X.
For grayscale and color accuracy testing, I used a Portrait Displays C6 HDR5000 colorimeter profiled to an X-rite i1 Pro 3 spectrophotometer, Murideo Seven-G 8K pattern generator, Konica Minolta LS-100 luminance meter, and Calman calibration software by Portrait Displays. I used a Leo Bodnar 4K lag tester to check input lag.
I’ve been testing TVs, monitors, and projectors for a few decades, and am an ISF Level III certified calibrator.
The Hisense U75QG is a solid performer that packs a lot of features in for the price. Typically, flagship TVs are the ones that get the most attention, but people usually aren’t buying the best of the best from any brand. Instead, buying considerations usually fall to midrange TVs like this one.
The Hisense U75QG is a mini-LED display that delivers brightness we generally don’t see from TVs in this price range – I measured over 3,000 nits in HDR Filmmaker Mode, a level that exceeds many of the best TVs from most manufacturers. That makes the U7 an excellent choice for bright spaces where ambient light is difficult to control, such as a living room with large picture windows.
Accuracy with SDR sources is impressive, so while watching broadcast TV or non-HDR streamed shows, the U75QG will deliver nice, accurate colors. HDR has a few issues in color temperature and accuracy, but they’re not drastic enough to distract and pull you out of the viewing experience. They can also be mostly corrected with a professional calibration, if you’re up for spending extra for that.
The U75QG’s Google TV OS is, as expected, quick to use and easy to navigate. Google has been the top built-in smart TV platform for a few years now, and Hisense uses it well. Picture adjustments are easy to find and change, especially with a Settings button on the backlit remote, and the Google Store offers hundreds of apps for download, including all the major streamers and smaller ones as well. And for those that want over-the-air broadcasts, the U75QG includes a built-in ATSC 3.0 tuner.
The Hisense has great gaming support, with the ability for high refresh rate up to 165Hz on all four HDMI 2.1 ports, with VRR and AMD FreeSync Premium, Dolby Vision gaming, and a game bar to easily access gaming settings. There are some issues with image smearing when using VRR that can detract a little, but casual gamers should be more than happy with the features and performance.
Hisense TVs always see an almost immediate dip in pricing after release, and the same has happened with the U75QG. Those discounts make it an even better value, and it stacks up well against the TCL QM7K – its primary competitor. When everything is taken into account, the Hisense U75QG stands as one of the best value midrange TVs I’ve seen in 2025.
Hisense U75QG review: Price and release date
The Hisense U75QG's picture is bright enough to even watch in well-lit rooms (Image credit: Future)
Release date: May 2025
55-inch: $1,300
65-inch: $1,500
75-inch: $1,999
85-inch: $2,499
100-inch: $4,999
116-inch: $21,999
The U75QG is Hisense’s midrange mini-LED TV, falling between the Hisense U8QG and U65QF (a model that uses the Amazon Fire TV OS) in its lineup. The series ranges in size from a 55-inch to a massive 116-inch model – the largest Hisense mini-LED TV available. As is typical for Hisense TVs, prices for all models, apart from the 116-inch, have fallen significantly since the series was released in May. The 55-inch TV can now be found for as little as $698, with prices ranging to just under $3,000 for the 100-inch.
The U75QG pricing is similar to the TCL QM7K, the midrange competitor from that manufacturer. Although the Hisense is currently $100 to $700 more expensive than the TCL, depending on screen size.
The U75QG's ports are split between side-mounted and rear-mounted input sections (Image credit: Future)
Image 2 of 2
(Image credit: Future)
Dolby Vision and HDR10+ support
Hi-View AI Engine Pro processor
VA panel with good anti-reflection
The U75QG is a mini-LED TV with an anti-reflection VA panel, which does a great job handling ambient room light reflections. The VA panel does not provide it with wide viewing angles, however, with desaturated colors and raised black levels easily visible starting at around 30 degrees off-center.
Hisense upgraded last year’s Hi-View Engine Pro found in the U7N to the Hi-View AI Engine Pro, which is the same processor the company is using in its step-up U8QG model. Hisense claims improved performance over the previous chip with a 1.6x faster CPU, 2.2x faster GPU, and 1.5x faster NPU, all to deliver a better optimized image.
The Hisense U75QG includes wide-ranging HDR support, including both Dolby Vision and HDR10+ dynamic formats. Dolby Vision IQ and HDR10+ Adaptive modes use the TV’s processing power to automatically adjust the picture based on the ambient light viewing conditions in your room. Dolby Vision Gaming is included, and, of course, the TV supports HDR10 and HLG.
Console and PC gamers will be happy with the included features on the U75QG. All four HDMI 2.1 ports support a refresh rate up to 165Hz with a Game Booster 288Hz (at 1080p), VRR, AMD FreeSync Premium Pro, Hisense Game Bar, and the aforementioned HDR gaming modes. Although, as we’ll get into below, there are some minor clarity issues with gaming on the U75QG.
The U75QG runs the Google TV OS, which allows access to thousands of streaming apps. It also has an ATSC 3.0 tuner for those in areas that are broadcasting NextGen TV signals.
Features Score: 4/5
Hisense U75QG review: Picture quality
The U75QG's picture displays good color accuracy (Image credit: Future)
Incredibly bright for a midrange TV
Impressive SDR color accuracy
HDR benefits from a pro calibration
Hisense has been a leader over the past few years in pushing display brightness to its limits, so there’s no surprise that the U75QG gets nice and bright, especially for a midrange TV. With local dimming and peak brightness set to High, and using Portrait Displays’ Calman color calibration software, in Filmmaker Mode from a 10% window, the Hisense blasts out 3,126 nits. That’s more than double what its predecessor, the Hisense U7N, was capable of, and more than the flagship Sony Bravia 9 mini-LED TV. A fullscreen white measurement tops out at 780 nits.
With local dimming on, the Hisense also delivers deep blacks even when there are some bright images on screen. During starfield shots — the opening of Star Wars: The Last Jedi or many scenes in Gravity — there’s excellent separation between the stars, especially for a mid-tier mini-LED TV, and there isn’t a significant amount of blooming along the edges of the Shuttle Explorer against the darkness of space. When bright objects are moving, the blooming is exacerbated a little bit, but overall performance is still great for the price of the TV.
Measurements in Filmmaker Mode out of the box show the U75QG tracks the target EOTF (gamma for HDR) beautifully, so the TV isn’t overbrightening the midtones at all. HDR color accuracy also leaves a little to be desired, with things like grass being a little yellow and skin tones slightly undersaturated. None of this takes away from the overall enjoyment of a movie or TV show, though.
The U75QG excels with SDR content. Grayscale tracks D65 across the range incredibly well, with an average dE of 0.8 and 2.4 gamma. Colors are also impressively accurate for a midrange TV, with skin tones in particular looking exactly as they should.
It’s possible to get similar performance with HDR content. The U75QG has an autocal feature in Calman, the software TechRadar uses to measure TVs, so the TV can be easily calibrated within just a few minutes by a TV calibration professional. And after calibration, the TV’s accuracy is significantly better. Some color temperature issues remain in brighter grays, but if you’re able to make it happen, a calibration is worth it to get the most out of the U75QG.
Picture quality score: 4/5
Hisense U75QG review: Sound quality
A rear-mounted subwoofer adds some low-end heft to the U75QG's sound (Image credit: Future)
2.1.2-channel speaker system
Clear dialogue
Would benefit from a soundbar
The back of the U75QG features an oval subwoofer, part of the TV’s 2.1.2-channel speaker system. Along its edges are speakers to handle the left and right channels, as well as two up-firing speakers for height. In my room, I didn’t find that the up-firing speakers accomplished much, and there isn’t a room calibration system to make them work better.
Overall sound performance is above average for a TV. There’s a decent amount of bass and vocal clarity is good, but it’s still worth pairing the TV with one of the best soundbars for a more immersive experience.
Sound quality score: 3.5/5
Hisense U75QG review: Design
The U75QG's "pedestal stand" is actually two support feet with a plastic plate mounted on top (Image credit: Future)
Center pedestal is really two feet with a plastic plate
High enough lift for soundbar
Backlit remote control
The Hisense U75QG has a slightly redesigned stand over last year’s U7N. It still utilizes a center pedestal, but instead of a trapezoidal design, the U75QG consists of two feet that are covered by a rectangular plastic plate. The TV feels sturdy on its stand, although the plastic cover is a bit flimsy – which is honestly to be expected at this price point.
While the stand lifts the TV a little over three inches to accommodate a soundbar, the front sticks out a bit, so some extra space on your credenza or table will be needed to put the soundbar in front of it. The 100- and 116-inch models use two separated legs instead of the pedestal base.
The TV is a bit on the thick side, and more so than the comparable TCL QM7K by about half an inch. Connections are split between two panels. The majority are side-facing — including four 165Hz-capable HDMI 2.1 ports (one eARC), the ATSC 3.0 coax inputs, a USB 3.0 port, a 3.5 mm audio out, and an AV in (which requires an adapter). An additional USB 2.0 port, optical digital audio out, and Ethernet port are in a rear-facing cutout. If you plan to use wired Ethernet and wall-mount the TV, this could cause some mounting issues and require the TV to be slightly out from the wall to keep the Ethernet cable from bending and putting stress on the connection. The U75QG supports a Wi-Fi 6E wireless connection as well.
The remote is the same as the one that was introduced with 2024 Hisense TVs. It’s a long silver handset with backlit buttons, which include settings and input buttons (these are sadly absent from some competitors’ remotes). Because of its length, reaching all the buttons – at least for my average-sized hand – required some jostling of the remote, but overall the design is comfortable and easy to use.
Design score: 4/5
Hisense U75QG review: Smart TV and menus
The U75QG's Google TV smart interface (Image credit: Future)
Google TV OS
Loads of streaming apps available
Some ads on the home page
Google TV is the OS of choice for the U7 series, and it runs well on the TV. The OS is one of the best built-in options when it comes to the combination of usability and streaming app support. On the U75QG, home page navigation is quick, and menus are intuitive. There are thousands of apps available for download – including the major streaming ones such as Netflix, Prime Video, and Apple TV – as well as more niche options not included on all platforms, like F1 TV and Dropout.
The gear button on the remote pulls up the menus for adjusting any TV settings. There’s a selection of quick access menus for things like Picture and Sound, or you can call up the full settings menu. It’s pretty easy to navigate and find what you’re looking for — different settings are sensibly placed instead of hidden under a multitude of submenus.
Smart TV & menus score: 4/5
Hisense U75QG review: Gaming
Hisense's Game Bar onscreen menu (Image credit: Future)
Four HDMI 2.1 ports with 165Hz support
9.8ms input lag time
FreeSync Premium Pro
The TV has lots of features meant to satisfy gamers, and for the most part, gamers will be happy with the U75QG. The four HDMI 2.1 inputs accept high refresh rate signals up to 165Hz from a computer in 4K, and Game Booster allows for 1080p/288Hz gaming. Consoles will be able to play games at 120Hz with VRR (including HDMI Forum VRR, AMD FreeSync Premium Pro, and G-Sync compatibility) and Dolby Vision gaming.
The U75QG has the Hisense Game Bar, where adjustments can quickly be made to settings like Dark Detail, Brightness, the Game Genre, and for adding a crosshair for aiming. It also displays your current frame rate, HDR, VRR, and ALLM status.
When in Game/PC picture mode, the input lag on the U75QG with a 4K 60Hz signal is a very low 9.8ms. It’s excellent for gamers who regularly play against others, or for reaction-based games. I played a good amount of Clair Obscur: Expedition 33, which requires some button timing for dodges and parries, and didn’t feel any lag.
While I found gaming on the U75QG to be an overall good experience, there’s some smearing when VRR is on, particularly with bright objects across a darker background, that can be a bit distracting. I saw this more when using my PC (from an RTX 4070 Ti Super) than on console, so if you’re a PC gamer, you might also see this more.
Gaming score: 4/5
Hisense U75QG review: Value
The U75QG's backlit remote control (Image credit: Future)
Excellent picture quality for the price
Really needs a soundbar for best experience
Four HDMI 2.1 ports and backlit remote
Hisense has been delivering significant value from its televisions for years now, and that continues with the U75QG, which might deliver the best performance-to-price ratio of any Hisense TV. Hisense historically lowers its TV pricing after release by a good bit, and the TVs are always on sale during shopping events, so that increases its value proposition even further.
The midrange TV market is fierce, though. The U75QG’s primary competitor is the TCL QM7K, another solid performer with high value. It’s not nearly as bright as the Hisense, and it also has some HDR inaccuracies (overly blue grayscale and some color issues) out of the box. Only two of the TCL’s HDMI ports are version 2.1, as well, although I prefer its overall design.
It gets interesting when we compare against the next tier up. The TCL QM8K has had some deep discounts recently, putting it within a couple of hundred dollars of the Hisense. At that price, the TCL is an absolute steal. Not only is it a much better TV than both the U75QG and QM7K, I think it's one of the best TCL TVs ever made – although the TCL QM9K likely takes that title.
Value score: 4.5/5
Should I buy the Hisense U75QG?
(Image credit: Future)
Hisense U75QG
Attributes
Notes
Rating
Features
Good HDR support and gaming features
4/5
Picture quality
Excellent brightness and great overall picture quality for the price
4/5
Sound quality
2.1.2-channel speakers deliver clear dialogue but limited height effects with Atmos soundtracks
3.5/5
Design
Good overall design with backlit remote and plentiful connections
4/5
Smart TV and menus
Google TV is a solid smart interface with plenty of apps
4/5
Gaming
Four HDMI 2.1 ports with 4K 165Hz support but some picture smearing with VRR, particularly with PCs
4/5
Value
A great overall value given the TV's picture quality and features
4.5/5
Buy it if...
You want a good all-around TV While the U75QG isn’t without flaws, its overall performance is impressive for the price.
Your TV room is bathed in ambient light Brightness output from the Hisense is more than other comparable TVs and stands up well against uncontrollable ambient light.
You have multiple gaming consoles/PCs The Hisense U75QG has four HDMI 2.1 165Hz-compatible inputs, while its main competitor, the TCL QM7K, only has two. If you have multiple consoles and a PC to connect, the U75QG is the pick.
Don't buy it if…
You’re looking for top-tier gaming performance The U75QG has decent gaming performance and a nice game bar option, but its VRR performance doesn’t match competitors.
You want amazing sound from a TV The sound performance is okay, but you’ll really want to add a soundbar for a better sonic experience.
You watch events with big groups Picture quality degrades pretty quickly as you move from off from center screen, so any friends that are over and have to sit to the side will see a lower-quality image.
Also consider...
Hisense U75QG
TCL QM7K
Hisense U8QG
Samsung QN90F
Price (65-inch)
$1,500
$1,499
$2,199
$2,499
Screen type
mini-LED w/ QLED
mini-LED w/ QLED
mini-LED w/ QLED
mini-LED w/ QLED
Refresh rate
Up to 165Hz
Up to 144Hz
Up to 165Hz
165Hz
HDR support
Dolby Vision IQ//HDR10+ Adaptive/HLG
Dolby Vision IQ/HDR10+/HDR10/HLG
Dolby Vision IQ/HDR10+/HDR10/HLG
HDR10+/HDR10/HLG
Smart TV
Google TV
Google TV
Google TV
Tizen
HDMI ports
4 HDMI 2.1
4 (2x HDMI 2.1)
3x HDMI 2.1
4x HDMI 2.1
TCL QM7K The TCL QM7K is another great mid-range mini-LED TV with an affordable price tag. It has a better design than the Hisense, but its picture isn't as powerfully bright and its gaming flexibility is limited by having only two HDMI 2.1 ports.
Hisense U8QG The Hisense U8QG has a similar feature set to the U75QG but a better overall design with a sturdy aluminum pedestal stand. Its picture brightness is about the same, although the U8QG's 4.1.2-channel speaker array provides more immersive sound. It's a bit more expensive than the U75QG but not by much.
Samsung QN90F The Samsung QN90F is the best mini-LED TV on the market when you take into account picture quality, design, and gaming features and performance. It's notably more expensive than the Hisense U75QG but has much better off-axis picture uniformity and is also available in a wide range of sizes, including 43- and 98-inch models.
Used a variety of test material from streaming and discs
I watched a wide range of content on the Hisense U75QG, including movies and TV shows streaming from the built-in Google TV OS on Disney+, HBO Max, and Hulu. I also used a Kaleidescape Strato V for high-quality movies, along with 4K UHD Blu-ray discs played on an Oppo UDP-203 disc player. Games were played on an Xbox Series X.
For grayscale and color accuracy testing, I used a Portrait Displays C6 HDR5000 colorimeter profiled to an X-rite i1 Pro 3 spectrophotometer, Murideo Seven-G 8K pattern generator, Konica Minolta LS-100 luminance meter, and Calman calibration software by Portrait Displays. I used a Leo Bodnar 4K lag tester to check input lag.
I’ve been testing TVs, monitors, and projectors for a few decades, and am an ISF Level III certified calibrator.
The DX5 II is the product that Chinese specialist Topping hopes is going to force its name into the ‘affordable desktop audio’ conversation – and so it’s specified it accordingly and then priced it in the most aggressive manner imaginable.
A selection of digital inputs and a wider selection of balanced and unbalanced outputs mean the DX5 II can function as a DAC and headphone amp, like many of the best portable DACs we recommend can, but it can also become a preamp for use with a traditional stereo system or a pair of powered speakers – which your average portable DAC definitely can't do. So, this is new ground for many a headphone amp-owner.
ESS Sabre digital-to-analogue conversion with a native resolution of 32bit/768kHz and DSD512 means the DX5 II is as high-resolution a device as these things ever get. A variety of finishes, each one tidily realised and each one complementing an impeccable standard of build and finish, means the DX5 II won’t lower the visual tone of your system or your desktop. A selection of desktop Topping technologies designed to maximise sonic performance act as the cherry on top.
And no matter if you use it as a DAC, a preamp or a headphone amp, the DX5 II has an awful lot to recommend it where sound quality is concerned. It creates a big, open soundstage and organises it carefully. It’s detailed and dynamic in equal measure, and it controls low-frequency information to the point that rhythms are delivered with real positivity. It’s eloquent through the midrange, and its top-to-bottom frequency response is smooth too. In fact, there’s only a suggestion of overly bright treble response that represents a tiny fly in a great big vat of sonic ointment.
Topping DX5 II review: Price and release date
(Image credit: Future)
Launched on June 10, 2025
Priced $299 / £299 / AU$499
The Topping DX5 II is on sale now, and in the UK it goes for £299. Those numbers apply in the United States too, where it sells for $299 (subject to tariff fluctuations) while in Australia it will set you back AU$499.
A quick comparison then: it's a fair amount of product for the money. FiiO's pocketable BTR17 portable Bluetooth DAC/headphone amplifier sells for just a little less, at around $219 / £179 / AU$329 – but it's a portable little beast rather than a 'desktop' option.
The USB DAC iFi GO Bar Kensei is more, at $499 / £449 / AU$769, while the five-star iFi hip-dac 3 is less, at $199 / £199 / AU$349. All of which is a roundabout way of saying, there's certainly a market for the Topping DX5 II at this price, if it can take care of business.
(Image credit: Future)
Topping DX5 II review: Features
ESS Sabre 32bit/768kHz and DSD512 DACs
Bluetooth 5.1 with aptX Adaptive and LDAC compatibility
Balanced and unbalanced outputs
If Topping has attempted to build the DX5 II down to a price, it’s in no way obvious from the way the device is specified. There are similar products costing a fair bit more than Topping is asking that don’t tick as many spec boxes.
Consider the array of inputs and outputs, for instance. The DX5 II can accept digital audio information via coaxial or optical (which both top out at 24bit/192kHz), USB-B (a giddy 32bit/768kHz and DSD512), or Bluetooth 5.1 with SBC, AAC, several aptX standards (up to and including Adaptive) and LDAC. It’s worth mentioning that Windows PC users will need to install a driver to make use of that USB-B socket. Once the digital audio information been converted to the analog equivalent (which I’ll get to in a moment) it can come out again via single-ended stereo RCAs or balanced stereo XLRs (for connection to powered speakers or the amplifier of a traditional stereo system), or via a trio of headphone outputs – balanced XLR, balanced 4.4mm and single-ended 6.3mm.
Conversion to analog from digital is handled by a couple of ESS Sabre ES9038Q2M two-channel DAC chips – one attends to the left channel, the other to the right. They include ESS Sabre’s latest ‘Hyperstream IV’ architecture that’s intended to suppress noise and deliver optimal dynamic range – and their native 32bit/768kHz and DSD512 resolution is about as hi-res as hi-res ever gets out in the real world. To further suppress noise and distortion, Topping has developed a bespoke current-to-voltage conversion module that should also make the DX5 II compatible with a very wide selection of headphones and powered speakers.
And on top of this, Topping has included its own ‘X-Hybrid’ headphone amplification technology. It’s a fully balanced four-channel design with three stages (discrete input, op-amp -based gain stage, discrete output). This optimised circuit topology is designed to offer extended dynamic range, optimum efficiency and low distortion – and it should mean the DX5 II has no problem driving even the most uncooperative and power-hungry headphones.
Now, the free ‘Topping Tune’ software: it was only available for Windows PC at the time of testing, but it’s now also available for Mac OS users and provides access to Topping’s new ‘PEQ’ (parametric equaliser) algorithm that allows control of bandwidth, frequency and gain across ten definable bands. It means multiple audio profiles can be created, saved and uploaded to the DX5 II, target curves can be defined and imported – and different profiles can be applied to specific inputs, so the ultimate sound of headphones or speakers can be individually tuned by the Topping.
Features score: 5 / 5
(Image credit: Future)
Topping DX5 II review: Sound quality
Great sense of space and detail
Dynamic and punchy when required
A hint of top-end brightness
In virtually every respect, the Topping DX5 II does straightforwardly impressive work. So much so, in fact, that I might as well deal with the one aspect where it doesn’t outright excel – which should leave plenty of space for me to explain just what’s so likeable about it.
The top of the frequency range is just a little flimsy and bright when compared to everything else that’s going on underneath it. There’s an overly bright quality to the treble reproduction here, a sort of latent edginess that means the DX5 II is just slightly pickier about partnering equipment than it otherwise would be.
And with that out of the way, let’s get to all the good stuff.
The DX5 II is an open, detailed and considered listen, with the sort of soundstaging ability that makes even a complex recording like The Birth and Death of the Day by Explosions in the Sky easy to follow on a granular level. This recording also allows the DX5 II to demonstrate its considerable dynamic headroom – the distance between the moments of greatest intensity and attack, compared to the quietest and most contemplative moments, is significant.
The Topping is also alert to the dynamics of harmonic variation, too – and, in fact, shows a great facility for detail retrieval in every circumstance. It can identify, reveal and quite carefully contextualise even transient or minor details in a mix. And this goes a long way towards creating the sensation that you’re in full receipt of everything a recording has to offer.
The tonality of the low frequencies and the midrange is tidy and naturalistic, and the frequency response from the very bottom to the very top is smooth and even. Low frequencies are deep and textured, and carry a huge amount of information along with very pleasing tonal variation – and they’re controlled at the point of attack, too, so rhythmic expression is assured. The DX5 II punches into bass sounds, rather than slurring, and it observes the decay of those same sounds very carefully too.
The midrange is equally well-realised. The voice during a 24bit/96kHz FLAC file of Ghostpoet’s Off Peak Dreams is characterful and attitudinal, and there’s a tremendous amount of fine detail regarding technique and tone revealed at the same time as information about intention and emotion. The Topping communicates through the midrange in the most articulate manner, and as a result voices always sound direct and positive.
All of the above is true no matter what you’re asking the DX5 II to do. As long as you take a moment’s care with your choice of headphones, as long as the system you’re introducing it into doesn’t share the same latent treble tendencies, it’s a deft and remarkably accomplished performer.
Sound quality: 4.5 / 5
(Image credit: Future)
Topping DX5 II review: Design
44 x 190 x 155mm (HxWxD)
Black, silver or white finishes
Properly built and finished
It’s become apparent lately that ‘desktop’ is a relative term – but Topping really means it when it describes the DX5 II as a desktop device. At a neat 44 x 190 x 155mm (HxWxD) it isn’t going to get in the way, even if your desktop is as untidy as mine.
The standard of build and finish is exemplary, and the DX5 II even feels good in a matte-finish, square-edged kind of way. The little indent around the rear of the fascia adds a tiny hint of visual interest, and the Topping looks very presentable in any of the black, silver or white finishes that are available.
Design score: 5 / 5
(Image credit: Future)
Topping DX5 II review: Usability and setup
2-in full-colour display
Remote control handset
Legible and sensible on-screen menus
There are some physical controls on the fascia of the DX5 II – they’re grouped to the right of the crisp, full-colour screen that occupies the centre. Three rectangular buttons take care of input selection, accessing set-up menus, and cycling through the various display options for that screen, while a larger turn/press dial takes care of volume and menu navigation.
Options for the screen consist of a ‘spectrum analyser’ (which is sure to remind readers of a certain age of a graphic equaliser from back in the day), a readout of volume level, file format and file resolution, or a virtual VU meter (which is one for readers of an even more certain age). There’s a choice of colour and adjustable brightness, but in every circumstance the display is legible and crisply rendered, so navigating menus is always straightforward.
The Topping is also supplied with a little remote control handset that is, predictably, a lot less visually interesting and a lot less tactile than the control interface on the device itself. And unlike the DX5 II itself, there’s no choice of finish available – it comes in traditional black.
Usability and setup score: 4.5 / 5
Topping DX5 II review: Value
Judge it on the physical size of the product and the DX5 II can seem quite expensive. Consider it in terms of its specification and it suddenly seems much more realistically priced. And then think about its functionality, its flexibility and the highlights of its performance and the Topping starts to look like a bit of a bargain.
Value score: 4.5 / 5
Should I buy the Topping DX5 II?
Attributes
Notes
Rating
Features
Comprehensively specified – it'll even work as a preamp
5/5
Design
Small, svelte and useful enough to slip onto even the untidiest of desks
5/5
Sound quality
Dynamic, punchy and detailed, if just a tad bright on occasion
4.5/5
Value
It would be wrong to argue with the sound-per-pound value here
4.5/5
(Image credit: Future)
Buy it if...
You want to up your desktop audio game The difference the DX5 II can make to the sound of your laptop really needs to be heard
You have a traditional audio system that could do with some digital smarts High-quality Bluetooth streaming can be yours, no matter how old-school your stereo system
You have some nice headphones that need the best bringing from them The Topping is ready and able to drive the most demand and/or most high-achieving headphones around
Don't buy it if...
You have headphones that are lively at the top of the frequency range The resulting sound could easily be interpreted as ‘too much of a good thing’
Topping DX5 II review: Also consider
It’s pretty plain that the iFi Zen DAC 3 is the product the DX5 II needs to topple – or, at the very least, compete hard with if it’s going to be a viable option.
The iFi is a nice-looking, properly built and handily specified device, and it’s capable of extremely clean, confident and full-bodied sound. Which, of course, are all things that equally apply to the Topping machine…
How I tested the Topping DX5 II
I tried a bit of everything, basically – I used the DX5 II on my desktop, connected it to my laptop via USB, and plugged in a pair of high-end IEMs via the balanced 4.4mm headphone output.
I connected it to my reference stereo system using its single-ended RCAs and its balanced XLR outputs – this way I was able to use it as a DAC for my CD player and, with it wirelessly connected to my smartphone, as a Bluetooth receiver. And I tried out these various roles and functions for a working week or more.
The DX5 II is the product that Chinese specialist Topping hopes is going to force its name into the ‘affordable desktop audio’ conversation – and so it’s specified it accordingly and then priced it in the most aggressive manner imaginable.
A selection of digital inputs and a wider selection of balanced and unbalanced outputs mean the DX5 II can function as a DAC and headphone amp, like many of the best portable DACs we recommend can, but it can also become a preamp for use with a traditional stereo system or a pair of powered speakers – which your average portable DAC definitely can't do. So, this is new ground for many a headphone amp-owner.
ESS Sabre digital-to-analogue conversion with a native resolution of 32bit/768kHz and DSD512 means the DX5 II is as high-resolution a device as these things ever get. A variety of finishes, each one tidily realised and each one complementing an impeccable standard of build and finish, means the DX5 II won’t lower the visual tone of your system or your desktop. A selection of desktop Topping technologies designed to maximise sonic performance act as the cherry on top.
And no matter if you use it as a DAC, a preamp or a headphone amp, the DX5 II has an awful lot to recommend it where sound quality is concerned. It creates a big, open soundstage and organises it carefully. It’s detailed and dynamic in equal measure, and it controls low-frequency information to the point that rhythms are delivered with real positivity. It’s eloquent through the midrange, and its top-to-bottom frequency response is smooth too. In fact, there’s only a suggestion of overly bright treble response that represents a tiny fly in a great big vat of sonic ointment.
Topping DX5 II review: Price and release date
(Image credit: Future)
Launched on June 10, 2025
Priced $299 / £299 / AU$499
The Topping DX5 II is on sale now, and in the UK it goes for £299. Those numbers apply in the United States too, where it sells for $299 (subject to tariff fluctuations) while in Australia it will set you back AU$499.
A quick comparison then: it's a fair amount of product for the money. FiiO's pocketable BTR17 portable Bluetooth DAC/headphone amplifier sells for just a little less, at around $219 / £179 / AU$329 – but it's a portable little beast rather than a 'desktop' option.
The USB DAC iFi GO Bar Kensei is more, at $499 / £449 / AU$769, while the five-star iFi hip-dac 3 is less, at $199 / £199 / AU$349. All of which is a roundabout way of saying, there's certainly a market for the Topping DX5 II at this price, if it can take care of business.
(Image credit: Future)
Topping DX5 II review: Features
ESS Sabre 32bit/768kHz and DSD512 DACs
Bluetooth 5.1 with aptX Adaptive and LDAC compatibility
Balanced and unbalanced outputs
If Topping has attempted to build the DX5 II down to a price, it’s in no way obvious from the way the device is specified. There are similar products costing a fair bit more than Topping is asking that don’t tick as many spec boxes.
Consider the array of inputs and outputs, for instance. The DX5 II can accept digital audio information via coaxial or optical (which both top out at 24bit/192kHz), USB-B (a giddy 32bit/768kHz and DSD512), or Bluetooth 5.1 with SBC, AAC, several aptX standards (up to and including Adaptive) and LDAC. It’s worth mentioning that Windows PC users will need to install a driver to make use of that USB-B socket. Once the digital audio information been converted to the analog equivalent (which I’ll get to in a moment) it can come out again via single-ended stereo RCAs or balanced stereo XLRs (for connection to powered speakers or the amplifier of a traditional stereo system), or via a trio of headphone outputs – balanced XLR, balanced 4.4mm and single-ended 6.3mm.
Conversion to analog from digital is handled by a couple of ESS Sabre ES9038Q2M two-channel DAC chips – one attends to the left channel, the other to the right. They include ESS Sabre’s latest ‘Hyperstream IV’ architecture that’s intended to suppress noise and deliver optimal dynamic range – and their native 32bit/768kHz and DSD512 resolution is about as hi-res as hi-res ever gets out in the real world. To further suppress noise and distortion, Topping has developed a bespoke current-to-voltage conversion module that should also make the DX5 II compatible with a very wide selection of headphones and powered speakers.
And on top of this, Topping has included its own ‘X-Hybrid’ headphone amplification technology. It’s a fully balanced four-channel design with three stages (discrete input, op-amp -based gain stage, discrete output). This optimised circuit topology is designed to offer extended dynamic range, optimum efficiency and low distortion – and it should mean the DX5 II has no problem driving even the most uncooperative and power-hungry headphones.
Now, the free ‘Topping Tune’ software: it was only available for Windows PC at the time of testing, but it’s now also available for Mac OS users and provides access to Topping’s new ‘PEQ’ (parametric equaliser) algorithm that allows control of bandwidth, frequency and gain across ten definable bands. It means multiple audio profiles can be created, saved and uploaded to the DX5 II, target curves can be defined and imported – and different profiles can be applied to specific inputs, so the ultimate sound of headphones or speakers can be individually tuned by the Topping.
Features score: 5 / 5
(Image credit: Future)
Topping DX5 II review: Sound quality
Great sense of space and detail
Dynamic and punchy when required
A hint of top-end brightness
In virtually every respect, the Topping DX5 II does straightforwardly impressive work. So much so, in fact, that I might as well deal with the one aspect where it doesn’t outright excel – which should leave plenty of space for me to explain just what’s so likeable about it.
The top of the frequency range is just a little flimsy and bright when compared to everything else that’s going on underneath it. There’s an overly bright quality to the treble reproduction here, a sort of latent edginess that means the DX5 II is just slightly pickier about partnering equipment than it otherwise would be.
And with that out of the way, let’s get to all the good stuff.
The DX5 II is an open, detailed and considered listen, with the sort of soundstaging ability that makes even a complex recording like The Birth and Death of the Day by Explosions in the Sky easy to follow on a granular level. This recording also allows the DX5 II to demonstrate its considerable dynamic headroom – the distance between the moments of greatest intensity and attack, compared to the quietest and most contemplative moments, is significant.
The Topping is also alert to the dynamics of harmonic variation, too – and, in fact, shows a great facility for detail retrieval in every circumstance. It can identify, reveal and quite carefully contextualise even transient or minor details in a mix. And this goes a long way towards creating the sensation that you’re in full receipt of everything a recording has to offer.
The tonality of the low frequencies and the midrange is tidy and naturalistic, and the frequency response from the very bottom to the very top is smooth and even. Low frequencies are deep and textured, and carry a huge amount of information along with very pleasing tonal variation – and they’re controlled at the point of attack, too, so rhythmic expression is assured. The DX5 II punches into bass sounds, rather than slurring, and it observes the decay of those same sounds very carefully too.
The midrange is equally well-realised. The voice during a 24bit/96kHz FLAC file of Ghostpoet’s Off Peak Dreams is characterful and attitudinal, and there’s a tremendous amount of fine detail regarding technique and tone revealed at the same time as information about intention and emotion. The Topping communicates through the midrange in the most articulate manner, and as a result voices always sound direct and positive.
All of the above is true no matter what you’re asking the DX5 II to do. As long as you take a moment’s care with your choice of headphones, as long as the system you’re introducing it into doesn’t share the same latent treble tendencies, it’s a deft and remarkably accomplished performer.
Sound quality: 4.5 / 5
(Image credit: Future)
Topping DX5 II review: Design
44 x 190 x 155mm (HxWxD)
Black, silver or white finishes
Properly built and finished
It’s become apparent lately that ‘desktop’ is a relative term – but Topping really means it when it describes the DX5 II as a desktop device. At a neat 44 x 190 x 155mm (HxWxD) it isn’t going to get in the way, even if your desktop is as untidy as mine.
The standard of build and finish is exemplary, and the DX5 II even feels good in a matte-finish, square-edged kind of way. The little indent around the rear of the fascia adds a tiny hint of visual interest, and the Topping looks very presentable in any of the black, silver or white finishes that are available.
Design score: 5 / 5
(Image credit: Future)
Topping DX5 II review: Usability and setup
2-in full-colour display
Remote control handset
Legible and sensible on-screen menus
There are some physical controls on the fascia of the DX5 II – they’re grouped to the right of the crisp, full-colour screen that occupies the centre. Three rectangular buttons take care of input selection, accessing set-up menus, and cycling through the various display options for that screen, while a larger turn/press dial takes care of volume and menu navigation.
Options for the screen consist of a ‘spectrum analyser’ (which is sure to remind readers of a certain age of a graphic equaliser from back in the day), a readout of volume level, file format and file resolution, or a virtual VU meter (which is one for readers of an even more certain age). There’s a choice of colour and adjustable brightness, but in every circumstance the display is legible and crisply rendered, so navigating menus is always straightforward.
The Topping is also supplied with a little remote control handset that is, predictably, a lot less visually interesting and a lot less tactile than the control interface on the device itself. And unlike the DX5 II itself, there’s no choice of finish available – it comes in traditional black.
Usability and setup score: 4.5 / 5
Topping DX5 II review: Value
Judge it on the physical size of the product and the DX5 II can seem quite expensive. Consider it in terms of its specification and it suddenly seems much more realistically priced. And then think about its functionality, its flexibility and the highlights of its performance and the Topping starts to look like a bit of a bargain.
Value score: 4.5 / 5
Should I buy the Topping DX5 II?
Attributes
Notes
Rating
Features
Comprehensively specified – it'll even work as a preamp
5/5
Design
Small, svelte and useful enough to slip onto even the untidiest of desks
5/5
Sound quality
Dynamic, punchy and detailed, if just a tad bright on occasion
4.5/5
Value
It would be wrong to argue with the sound-per-pound value here
4.5/5
(Image credit: Future)
Buy it if...
You want to up your desktop audio game The difference the DX5 II can make to the sound of your laptop really needs to be heard
You have a traditional audio system that could do with some digital smarts High-quality Bluetooth streaming can be yours, no matter how old-school your stereo system
You have some nice headphones that need the best bringing from them The Topping is ready and able to drive the most demand and/or most high-achieving headphones around
Don't buy it if...
You have headphones that are lively at the top of the frequency range The resulting sound could easily be interpreted as ‘too much of a good thing’
Topping DX5 II review: Also consider
It’s pretty plain that the iFi Zen DAC 3 is the product the DX5 II needs to topple – or, at the very least, compete hard with if it’s going to be a viable option.
The iFi is a nice-looking, properly built and handily specified device, and it’s capable of extremely clean, confident and full-bodied sound. Which, of course, are all things that equally apply to the Topping machine…
How I tested the Topping DX5 II
I tried a bit of everything, basically – I used the DX5 II on my desktop, connected it to my laptop via USB, and plugged in a pair of high-end IEMs via the balanced 4.4mm headphone output.
I connected it to my reference stereo system using its single-ended RCAs and its balanced XLR outputs – this way I was able to use it as a DAC for my CD player and, with it wirelessly connected to my smartphone, as a Bluetooth receiver. And I tried out these various roles and functions for a working week or more.
The Dwarflabs Dwarf III smart telescope is a mini marvel. My first astrophotography set-up 10 years ago weighed more than 20kg / 44lbs – but this excellent little self-contained device comes in at a mere 1.3kg / 2.8lbs and is small enough to fit in airline carry-on luggage.
In fact, that's exactly what I did with it a few months ago, taking it with me on vacation to Greece. I've also used it extensively in my garden in the UK and compared it thoroughly to another smart telescope, the ZWO Seestar S50. And as you can see from my verdict and score above, I love it.
But I'm getting ahead of myself, so let's start with the basics.
The Dwarf III is one of the new breed of smart telescopes which simplify and automate the process of astrophotography to bring it to within easy reach of those without the time or money needed for a 'proper' set-up of mount, telescope and camera.
As with smart telescopes from rivals ZWO, Vaonis and Unistellar, the Dwarf III doesn't have an eyepiece you look through, and doesn't in any way resemble a classic telescope such as a reflector or refractor. Instead, it tracks objects in the night sky then takes photos of them and 'stacks' them.
This process increases the faint signal being captured in order to bring out details – because if you just looked at a single shot, you'd see very little beyond a few stars. The resulting image can be viewed in real-time as it develops on your phone's screen, which is essentially your eyepiece.
You can see it in action below, with the fuzzy object that's barely visible after five frames eventually becoming the recognizable Crescent Nebula after about 60 frames:
The Crescent nebula appearing in real time on my phone (Image credit: Future/TechRadar)
The Dwarf III has two lenses to capture its targets, one 35mm telephoto and one 3.4mm wide-angle – although the latter is mainly used for finding objects rather than shooting them.
The telephoto has a 2.9x1.7-degree field of view, which can fit the moon in it about six times and which has space for almost every galaxy and nebula you might want to capture. I go into this in more detail below, but this wide FOV is one of my favorite things about it.
Inside, there's a 4K IMX678 Starvis 2 sensor, which is on the budget end compared to that found within dedicated cooled astronomy cameras but which delivers excellent results, helped also by the fast f/4.3 f-ratio; this captures light more quickly than some rival smart scopes.
It's all controlled by the DwarfLab app, which gives you everything you need to take photos of the night skies without the need for you to do much more than choose your target and set it going. Even if you've never used a smart telescope – or any kind of telescope – before, you should be up and running within a few minutes.
In fact, roughly 20 minutes after taking it out of the box you could be viewing your first shot of wonderfully named objects such as the Elephant's Trunk nebula or Sombrero galaxy – the Dwarf III really is that easy to set up and use.
And when you do so, I'm pretty sure you'll be impressed, because the Dwarf III takes excellent photos given its small stature and low-ish price. It's truly one of the best ways into this fascinating hobby.
DwarfLab Dwarf III: price and availability
The Dwarf III is competitively priced for what it does – note you'll need to buy a tripod separately (Image credit: Future/TechRadar)
The DwarfLabs Dwarf III was released in May 2025 and is competitively priced, coming in at $549 / £459 / AU$849. Depending on where you are in the world, that's either slightly cheaper or the same price as one of its main rivals, the ZWO Seestar S50, which costs $549 / £539 / AU$949. Compared to the Seestar S30, which is a comparable size to the Dwarf III, it's more expensive though; that model comes in at $399 / £419 / AU$699.
It's also worth noting that unlike the two Seestar models, the Dwarf III doesn't come with a tripod. Many keen photographers and stargazers will already own one, but if not you can buy one with the telescope for an additional $89 / £73 / AU$149. Or, of course, you can add your own; we have plenty of good options in our list of the best travel tripods. Either way, that might bump up the price a little.
The included carrying case is a nice addition (Image credit: Future/TechRadar)
Image 2 of 3
Small but mighty (Image credit: Future/TechRadar)
Image 3 of 3
The Dwarf III weighs only 1.3kg (Image credit: Future/TechRadar)
Looks-wise, the Dwarf III is about as far from a traditional telescope as you could get. Powered off, it resembles a beefy external hard drive from about 2010, but turn it on to reveal the twin lenses and it's more like some kind of futuristic security-camera-robot hybrid.
It's actually pretty cute, with a certain Wall-E charm about it (or maybe that's just me). Either way, it's well built: solid, with a smooth plastic finish and an IP54 rating that keeps it safe from dust, moisture and dew.
It's also impressively small – like, how-did-they-fit-all-that-in-there small, a feeling that only grows after you see what it's capable of. It's relatively light, too, at 1.3kg / 2.87lbs; that's almost half the 2.5kg of the Seestar S50 and a little less than the S30.
There's not a lot to look at, externally. Beyond those two lenses and the DwarfLab logo, there's the main power button – a big circular affair that's very easy to find in the dark and which has a glowing green ring around it – plus a battery status indicator of four green dots, and a single USB-C charging port. On the bottom, meanwhile, there's a 1/4-inch tripod thread.
Image 1 of 4
The Dwarf III's twin lenses (Image credit: Future/TechRadar)
Image 2 of 4
The power button is easy to find at night (Image credit: Future/TechRadar)
Image 3 of 4
Battery life is not the best (Image credit: Future/TechRadar)
Image 4 of 4
Charging is via USB-C (Image credit: Future/TechRadar)
It comes with an excellent carrying case, plus a couple of accessories: a USB-C charging cable, lens wipe cloth, plus a solar filter. The latter snaps on magnetically in a pleasing fashion, and comes with a pouch to keep it safe.
Design is all very well thought out and though it's a shame it doesn't come with a tripod, that's the only minus point in this regard. It's not a massive problem, either, because many of the telescope's intended customers will already have one, and it helps keep the price low.
I've been using either the Seestar S50's tripod or a K&F Concept 64in/163cm model which costs $49 in the US, £45 in the UK and AU$150 in Australia. This is light, sturdy and has a 360-degree ballhead which makes it very easy to angle the Dwarf III for EQ mode (of which more later).
DwarfLab Dwarf III: Features and performance
The included solar filter snaps on magnetically (Image credit: Future/TechRadar)
The Dwarf III is a feature-rich device, with a multitude of abilities and use cases.
Obviously the first of those is to take photos of the night skies, and it does that very well thanks to its 4K Sony IMX678 Starvis 2 sensor – the same type as used in some of the best dash cams, including the Thinkware U3000 Pro. Starvis 2 is particularly strong in low light, while the IMX678's 4K resolution gives you more pixels to work with when cropping in on small and distant objects.
The twin lenses are very helpful. The telephoto is what you'll take most of your images with, while the wide-angle one is mainly for locating objects in the first place; you can take photos with it too, but it has a much lower resolution.
I've got a full gallery of astro images taken with the telescope below, but for now here's just one, my favorite that I've shot with the device. It shows the Eagle Nebula, Messier 16, and if you zoom in on the middle you'll see the famous 'Pillars of Creation', the swirling clouds of dust and gas that wowed the world when the Hubble telescope shot them two decades ago.
The Eagle Nebula, processed in Pixinsight, and showing the Eagles of Creation in the center (Image credit: Future/TechRadar)
The Dwarf III has three internal filters. The most important is the dual-band filter, which targets the OIII (sulphur) and H⍺ (hydrogen) wavelengths – in layman's terms, this means it can capture more of the faint details in nebulae and reduce the impact of light pollution. There's also an astro filter, which extends into the infra-red range and which works best on galaxies and star clusters, and a 'VIS' filter which is used for daytime photography. All are easily selected within the Dwarf III's app; you don't need to physically attach anything.
Speaking of daytime photography, DwarfLabs make a big pitch around the telescope's usefulness around bird watching, and theoretically you could use it instead of a mirrorless camera and telephoto lens for any subject – just don't expect it to rival an expensive chunk of glass from Canon, Nikon or Sony.
The daytime photography ('General') mode includes burst and timelapse options, plus object tracking which I found to be a little hit and miss. 4K video can be recorded at up to 30fps, or 60fps if you switch to 1080p.
There's also a solar system mode for snapping the sun, moon and (theoretically) planets, plus a panorama mode. In Astro mode, meanwhile, you can shoot in either alt-azimuth or equatorial mode.
Performance-wise, the Dwarf III is pretty snappy to turn on and off, and slews to targets quickly and reasonably quietly; it makes less noise than the Seestar S50, for instance, although neither would be likely to wake even the lightest of sleepers next door.
In use, it's unerringly accurate in finding targets, zipping about the sky when you tell it where to go via the built-in star atlas.
It's also incredibly reliable when shooting. If the tracking on a motorized telescope is even a tiny bit off, you'll get star trails and the individual frame will be rejected and not included in the 'stack', potentially reducing detail in the final stacked image. With the Dwarf III, this almost never happened – I generally got around an 80-90% success rate, so if I shot a target for an hour, I'd get around 50 minutes' worth of photos. This is way better than my experience than shooting with the Seestar S50, where it can be more like 50% at times.
Plus, that's when shooting with 15-second exposures in alt-az mode; put it in EQ mode and you can get 30s shots with a similar success rate. This all makes it very easy to capture a lot of data on a target in a short time.
One of the few downsides is that the battery is not the biggest – only 10,000mAh, which is good for about 5 hours in astro mode when tracking and shooting a target, according to DwarfLab, and which was about right in my experience. You almost certainly won't get through a full night's shooting with it.
That said, I didn't put it to the test often, preferring instead to leave a much bigger power bank connected to it to ensure I got a full night's shooting. I tend to use Iniu power banks, which I've found to be very reliable and extremely well priced; the model below is well worth checking out and will triple the Dwarf III's capacity.
DwarfLab Dwarf III: Software
Scheduling on the Dwarf III is very simple (Image credit: Future/TechRadar)
The nature of a smart telescope means that all of your interactions with it will be via an app – it's not like you can look through as you can with an old-school reflector or refractor.
That puts a lot of pressure on the device's software to be slick and simple to use, and fortunately the Dwarf III's is just that – with a few caveats.
I began using the Dwarf III several months ago, and on my first few nights shooting with it found the interface to be a little confusing. It wasn't a horror show by any means, but it wasn't as intuitive as ZWO's Seestar app. For instance, I'd click on the big 'Photo' button front and center to start shooting a galaxy or nebula, then would realize that I'd have to go back in and select the 'Atlas' option to actually choose my target.
Settings for options such as exposure time, meanwhile, were hidden within a menu called 'Function' – which really didn't (to me) suggest 'Settings'. I got used to it all after a few nights, but it was a little more confusing than it could have been.
The good news is that DwarfLabs is continually updating the platform, and a recent update has massively improved the experience. Those settings are now within a menu named 'Parameter, which is far more sensible, and the Atlas is available from within the shooting screen. There's a simple toggle between the wide and telephoto cameras, whereas before you tapped the small one to change between them, but again without labelling. It's all much more slick and easy to use.
(Note that most of my images in this review are using the old version of the software, because there's not been a clear night in the UK for me to take further screenshots for what feels like about 15 years now. I'll update them soon.)
There's a scheduling feature within the app, which works as you'd want it to and which is better than the one in ZWO's app. This is a vital inclusion, because most people won't want to stay up all night – they'll want to set the Dwarf III running with a list of targets, then wake refreshed in the morning to a lovely collection of images.
It's very easy to get polar alignment in EQ mode via the Dwarf III app (Image credit: Future/TechRadar)
Switching to EQ mode is also pretty trouble-free. For the uninitiated, this lets the Dwarf III rotate fully in sync with the skies, meaning you can take longer exposures than in standard alt-az mode. Anything longer than 30 seconds will need to be in EQ mode (the maximum exposure is two minutes) and in my experience it's best for 30 seconds too; alt-az mode is fine for 15s exposures.
The Dwarf III app guides you through the process of setting the telescope into EQ mode, telling you exactly which direction and what amount to adjust the tripod head by, and the whole thing only takes about five minutes, less if you haven't moved the tripod since the previous session.
The Stellar Studio processing suite can get great results with very little effort (Image credit: Future/TechRadar)
The included Stellar Studio software is also great. This lets you carry out basic processing actions on photos via the cloud, rather than needing to download them to your computer.
It's not exactly stacked with options, but does a really good job of reducing noise, sharpening stars and bringing out details. You can also remove stars entirely if you want that lovely clean view of a galaxy or nebula.
The Dwarf III's wide-angle and telephoto cameras work well in General/Daytime mode (Image credit: Future/TechRadar)
Finally, in 'General' mode the app works pretty well to let you zoom in on a target. You can use the wide-angle view to get an overall view of your surroundings, then click on the screen to adjust where the telephoto lens is pointing. Another click switches to the telephoto view and you can start snapping away.
DwarfLab Dwarf III: Image quality
Image 1 of 38
The Eagle nebula, unprocessed (Image credit: Future/TechRadar)
Image 2 of 38
The Eagle nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 3 of 38
The East Veil nebula, unprocessed (Image credit: Future/TechRadar)
Image 4 of 38
The East Veil nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 5 of 38
The Bubble nebula, unprocessed (Image credit: Future/TechRadar)
Image 6 of 38
The Bubble nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 7 of 38
The West Veil nebula, unprocessed (Image credit: Future/TechRadar)
Image 8 of 38
The West Veil nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 9 of 38
The Andromeda Galaxy, M33, unprocessed (Image credit: Future/TechRadar)
Image 10 of 38
The Andromeda Galaxy, M33, processed in Pixinsight (Image credit: Future/TechRadar)
Image 11 of 38
The Heart nebula, unprocessed (Image credit: Future/TechRadar)
Image 12 of 38
The Heart nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 13 of 38
The Soul nebula, unprocessed (Image credit: Future/TechRadar)
Image 14 of 38
The Soul nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 15 of 38
The M33 galaxy in Triangulum, unprocessed (Image credit: Future/TechRadar)
Image 16 of 38
The M33 galaxy in Triangulum, processed in Pixinsight (Image credit: Future/TechRadar)
Image 17 of 38
The Omega nebula, unprocessed (Image credit: Future/TechRadar)
Image 18 of 38
The Omega nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 19 of 38
The Pacman nebula, unprocessed (Image credit: Future/TechRadar)
Image 20 of 38
The Pacman nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 21 of 38
M24, the small Sagittarius star cloud, unprocessed (Image credit: Future/TechRadar)
Image 22 of 38
M24, the small Sagittarius star cloud, processed in Pixinsight (Image credit: Future/TechRadar)
Image 23 of 38
The Iris nebula, unprocessed (Image credit: Future/TechRadar)
Image 24 of 38
The Iris nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 25 of 38
The Elephant's Trunk nebula, unprocessed (Image credit: Future/TechRadar)
Image 26 of 38
The Elephant's Trunk nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 27 of 38
The Crescent nebula, unprocessed (Image credit: Future/TechRadar)
Image 28 of 38
The Crescent nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 29 of 38
The Pelican nebula, unprocessed (Image credit: Future/TechRadar)
Image 30 of 38
The Pelican nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 31 of 38
The Double Cluster, unprocessed (Image credit: Future/TechRadar)
Image 32 of 38
The Double Cluster, processed in Pixinsight (Image credit: Future/TechRadar)
Image 33 of 38
The Wizard nebula, unprocessed (Image credit: Future/TechRadar)
Image 34 of 38
The Wizard nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 35 of 38
The Dumbbell nebula, unprocessed (Image credit: Future/TechRadar)
Image 36 of 38
The Dumbbell nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 37 of 38
The M39 cluster, unprocessed (Image credit: Future/TechRadar)
Image 38 of 38
The M39 cluster, processed in Pixinsight (Image credit: Future/TechRadar)
There's one very important thing that anyone using a smart telescope for the first time needs to understand: you won't be getting Hubble-challenging images straight out of the camera. Well, obviously, you won't be getting Hubble-challenging images at all; this is a $500 smart telescope, not a rig that costs 10 times that.
But even with that in mind, there's a big difference between the photos that the Dwarf III creates for you, and the results that you can achieve with some proper processing.
The easiest way to demonstrate that is with some before and after photos – so check out the gallery above. In every case, you'll see the unprocessed image produced by the Dwarf III first, followed by the version I processed in Pixinsight, the specialist astrophotography software I use.
Image 1 of 3
The unprocessed image of the East Veil nebula (Image credit: Future/TechRadar)
Image 2 of 3
The East Veil nebula processed in DwarfLab's Stellar Studio (Image credit: Future/TechRadar)
Image 3 of 3
And my version processed in Pixinsight (Image credit: Future/TechRadar)
Now, let's get one thing straight: I'm not an expert when it comes to astro image processing. It's an incredibly complex hobby, with sometimes arcane software to master and a surprisingly large amount of technical knowledge needed to really get the best results. In fact, I think I prefer some of the Dwarf III's images, at least when it comes to color – which is one of the toughest things to get right.
Regardless of what you think of my images (I won't be offended, promise), you can see that processing reduces noise and brings out more detail and color. To really get the best from the Dwarf III, you will still want to do some processing.
Fortunately, as mentioned above, it's pretty easy to considerably improve things within the Dwarf III's Stellar Studio on your phone, with no need to shell out for or learn anything more complicated.
For instance, try the above image of the glorious East Veil nebula – the original, unprocessed image is pretty good, but Stellar Studio turns it into something epic, and my Pixinsight version is only a slight improvement (if anything).
The Dwarf III's wide field of view really shines with this shot of the awesome Bubble Nebula (Image credit: Future/TechRadar)
One of the things I really love about the Dwarf III is its wide 2.9x1.7-degree field of view, even when using the telephoto camera. The Seestar S50 has a much narrower 0.7x1.2-degree FOV, while the S30 is close to the Dwarf at 1.22x2.13-degree.
The net effect of this is that you get a real sense of drama with the Dwarf III. I love the Seestar S50, but with many targets you end up with a close-up of the object. You can get around this by using mosaic mode (the Dwarf also has one of these), but in my experience mosaics take longer to shoot and are harder to process.
The Dwarf, meanwhile, almost always captures the object and its surroundings. Its field of view is wide enough to cover the whole of Andromeda, for instance, whereas the S50 gets only the central section.
Of course you may prefer a closer view of targets, but the Dwarf's 4K resolution means you can crop in anyway and still have a decent-sized image. It's possible that the Seestar S30 will give me the FOV I love from the Dwarf with some of ZWO's advantages too, but I've not used that device yet, so that comparison will have to wait.
Image 1 of 3
The Dwarf III takes decent nature photos, but they're not what you'd buy it for (Image credit: Future/TechRadar)
Image 2 of 3
The ability to easily find and then zoom in on targets is one of the Dwarf III's strengths (Image credit: Future/TechRadar)
Image 3 of 3
Solar photography on the Dwarf III is easy and produces good results (Image credit: Future/TechRadar)
In general mode, image quality is fine. That's a pretty nice shot of a pigeon on my lawn above, but view the full-size image and you'll see the feathers lack definition. My Fujifilm X-T5 mirrorless camera would do a better job with a good zoom lens.
Solar photography, meanwhile, is easy to do – you simply snap on the filter then move to the target. Admittedly, for some reason the Dwarf finds it much harder to locate the sun than it does a tiny object many millions of light years away, but the Seestar S50 is no different in this regard.
I've only taken a few solar shots with the Dwarf III and was relatively impressed by them, but it's not an area of photography I'm particularly interested in.
Should I buy the DwarfLabs Dwarf III?
Buy it if…
You're a beginner The Dwarf III is one of the easiest, most hassle-free ways to give astrophotography a whirl. Beginners will be taking photos of galaxies in no time.View Deal
You don't have much time You can pick up the Dwarf III and have it shooting within minutes – which is great if you either have a busy life or are afflicted by cloudy skies. View Deal
You want to travel light The Dwarf III is small enough to chuck in a bag and take away for a trip – and light enough that it won't break your back.View Deal
Don't buy it if…
You're an upgrader The Dwarf III is unashamedly a beginner scope. Sure, it can take amazing photos, but after a year or two you may find yourself wanting to upgrade – and as this is an all-in-one device, that means buying a new model. View Deal
You want a tighter field of view The Dwarf III's wide view is great for big targets, but you'll get a closer vision of small objects such as planetary nebulae with the Seestar S50.View Deal
You want to take photos of planets As above, the Dwarf III's field of view makes it entirely unsuited to imaging Mars, Jupiter and the rest of the gang. You might see a small Saturn-shaped dot, but not much more. View Deal
Also consider
ZWO Seestar S50
The S50 has a longer focal length and bigger aperture than the Dwarf III, meaning you get a much closer view and a bit more detail. I own the S50 and have taken some wonderful photos with it – choosing between them is tough. Really it depends on which field of view you prefer. View Deal
ZWO Seestar S30
The S30 has the same focal length and a similar field of view to the Dwarf, but a smaller aperture. I've not used it, but I expect it to deliver similar – but probably slightly inferior – results to the Dwarf.View Deal
Unistellar Odyssey Pro
The Unistellar Odyssey Pro is in a different class of smart telescope entirely, with a price tag of $4,500 / £3,500 and far better specs in almost every regard. At this price you could get an impressive mount+telescope+camera set-up, though – so it's probably best suited to those who have more money than time.View Deal
How I tested the DwarfLabs Dwarf III
The Dwarf III smart telescope on a roof terrace in Crete (Image credit: Future/TechRadar)
I took the Dwarf III with me on vacation to Crete, Greece, where I was lucky enough to be staying in an apartment with a roof terrace – and in a country with clear skies every night. I used the smart telescope extensively over the next week or so, taking photos of multiple targets including the Eagle nebula, Omega nebula and Andromeda galaxy.
When I returned to the UK, I used it whenever I could, which unfortunately was not that often due to the clouds which blanket the nation for about three-quarters of every month. Here, I set it up alongside my ZWO Seestar S50, taking photos of the same subjects for the same amount of time so I could directly compare results.
I also tried it in EQ mode, in Solar mode, in General mode for a bit of nature photography and spent many hours processing the photos it produced in all modes.
The Dwarflabs Dwarf III smart telescope is a mini marvel. My first astrophotography set-up 10 years ago weighed more than 20kg / 44lbs – but this excellent little self-contained device comes in at a mere 1.3kg / 2.8lbs and is small enough to fit in airline carry-on luggage.
In fact, that's exactly what I did with it a few months ago, taking it with me on vacation to Greece. I've also used it extensively in my garden in the UK and compared it thoroughly to another smart telescope, the ZWO Seestar S50. And as you can see from my verdict and score above, I love it.
But I'm getting ahead of myself, so let's start with the basics.
The Dwarf III is one of the new breed of smart telescopes which simplify and automate the process of astrophotography to bring it to within easy reach of those without the time or money needed for a 'proper' set-up of mount, telescope and camera.
As with smart telescopes from rivals ZWO, Vaonis and Unistellar, the Dwarf III doesn't have an eyepiece you look through, and doesn't in any way resemble a classic telescope such as a reflector or refractor. Instead, it tracks objects in the night sky then takes photos of them and 'stacks' them.
This process increases the faint signal being captured in order to bring out details – because if you just looked at a single shot, you'd see very little beyond a few stars. The resulting image can be viewed in real-time as it develops on your phone's screen, which is essentially your eyepiece.
You can see it in action below, with the fuzzy object that's barely visible after five frames eventually becoming the recognizable Crescent Nebula after about 60 frames:
The Crescent nebula appearing in real time on my phone (Image credit: Future/TechRadar)
The Dwarf III has two lenses to capture its targets, one 35mm telephoto and one 3.4mm wide-angle – although the latter is mainly used for finding objects rather than shooting them.
The telephoto has a 2.9x1.7-degree field of view, which can fit the moon in it about six times and which has space for almost every galaxy and nebula you might want to capture. I go into this in more detail below, but this wide FOV is one of my favorite things about it.
Inside, there's a 4K IMX678 Starvis 2 sensor, which is on the budget end compared to that found within dedicated cooled astronomy cameras but which delivers excellent results, helped also by the fast f/4.3 f-ratio; this captures light more quickly than some rival smart scopes.
It's all controlled by the DwarfLab app, which gives you everything you need to take photos of the night skies without the need for you to do much more than choose your target and set it going. Even if you've never used a smart telescope – or any kind of telescope – before, you should be up and running within a few minutes.
In fact, roughly 20 minutes after taking it out of the box you could be viewing your first shot of wonderfully named objects such as the Elephant's Trunk nebula or Sombrero galaxy – the Dwarf III really is that easy to set up and use.
And when you do so, I'm pretty sure you'll be impressed, because the Dwarf III takes excellent photos given its small stature and low-ish price. It's truly one of the best ways into this fascinating hobby.
DwarfLab Dwarf III: price and availability
The Dwarf III is competitively priced for what it does – note you'll need to buy a tripod separately (Image credit: Future/TechRadar)
The DwarfLabs Dwarf III was released in May 2025 and is competitively priced, coming in at $549 / £459 / AU$849. Depending on where you are in the world, that's either slightly cheaper or the same price as one of its main rivals, the ZWO Seestar S50, which costs $549 / £539 / AU$949. Compared to the Seestar S30, which is a comparable size to the Dwarf III, it's more expensive though; that model comes in at $399 / £419 / AU$699.
It's also worth noting that unlike the two Seestar models, the Dwarf III doesn't come with a tripod. Many keen photographers and stargazers will already own one, but if not you can buy one with the telescope for an additional $89 / £73 / AU$149. Or, of course, you can add your own; we have plenty of good options in our list of the best travel tripods. Either way, that might bump up the price a little.
The included carrying case is a nice addition (Image credit: Future/TechRadar)
Image 2 of 3
Small but mighty (Image credit: Future/TechRadar)
Image 3 of 3
The Dwarf III weighs only 1.3kg (Image credit: Future/TechRadar)
Looks-wise, the Dwarf III is about as far from a traditional telescope as you could get. Powered off, it resembles a beefy external hard drive from about 2010, but turn it on to reveal the twin lenses and it's more like some kind of futuristic security-camera-robot hybrid.
It's actually pretty cute, with a certain Wall-E charm about it (or maybe that's just me). Either way, it's well built: solid, with a smooth plastic finish and an IP54 rating that keeps it safe from dust, moisture and dew.
It's also impressively small – like, how-did-they-fit-all-that-in-there small, a feeling that only grows after you see what it's capable of. It's relatively light, too, at 1.3kg / 2.87lbs; that's almost half the 2.5kg of the Seestar S50 and a little less than the S30.
There's not a lot to look at, externally. Beyond those two lenses and the DwarfLab logo, there's the main power button – a big circular affair that's very easy to find in the dark and which has a glowing green ring around it – plus a battery status indicator of four green dots, and a single USB-C charging port. On the bottom, meanwhile, there's a 1/4-inch tripod thread.
Image 1 of 4
The Dwarf III's twin lenses (Image credit: Future/TechRadar)
Image 2 of 4
The power button is easy to find at night (Image credit: Future/TechRadar)
Image 3 of 4
Battery life is not the best (Image credit: Future/TechRadar)
Image 4 of 4
Charging is via USB-C (Image credit: Future/TechRadar)
It comes with an excellent carrying case, plus a couple of accessories: a USB-C charging cable, lens wipe cloth, plus a solar filter. The latter snaps on magnetically in a pleasing fashion, and comes with a pouch to keep it safe.
Design is all very well thought out and though it's a shame it doesn't come with a tripod, that's the only minus point in this regard. It's not a massive problem, either, because many of the telescope's intended customers will already have one, and it helps keep the price low.
I've been using either the Seestar S50's tripod or a K&F Concept 64in/163cm model which costs $49 in the US, £45 in the UK and AU$150 in Australia. This is light, sturdy and has a 360-degree ballhead which makes it very easy to angle the Dwarf III for EQ mode (of which more later).
DwarfLab Dwarf III: Features and performance
The included solar filter snaps on magnetically (Image credit: Future/TechRadar)
The Dwarf III is a feature-rich device, with a multitude of abilities and use cases.
Obviously the first of those is to take photos of the night skies, and it does that very well thanks to its 4K Sony IMX678 Starvis 2 sensor – the same type as used in some of the best dash cams, including the Thinkware U3000 Pro. Starvis 2 is particularly strong in low light, while the IMX678's 4K resolution gives you more pixels to work with when cropping in on small and distant objects.
The twin lenses are very helpful. The telephoto is what you'll take most of your images with, while the wide-angle one is mainly for locating objects in the first place; you can take photos with it too, but it has a much lower resolution.
I've got a full gallery of astro images taken with the telescope below, but for now here's just one, my favorite that I've shot with the device. It shows the Eagle Nebula, Messier 16, and if you zoom in on the middle you'll see the famous 'Pillars of Creation', the swirling clouds of dust and gas that wowed the world when the Hubble telescope shot them two decades ago.
The Eagle Nebula, processed in Pixinsight, and showing the Eagles of Creation in the center (Image credit: Future/TechRadar)
The Dwarf III has three internal filters. The most important is the dual-band filter, which targets the OIII (sulphur) and H⍺ (hydrogen) wavelengths – in layman's terms, this means it can capture more of the faint details in nebulae and reduce the impact of light pollution. There's also an astro filter, which extends into the infra-red range and which works best on galaxies and star clusters, and a 'VIS' filter which is used for daytime photography. All are easily selected within the Dwarf III's app; you don't need to physically attach anything.
Speaking of daytime photography, DwarfLabs make a big pitch around the telescope's usefulness around bird watching, and theoretically you could use it instead of a mirrorless camera and telephoto lens for any subject – just don't expect it to rival an expensive chunk of glass from Canon, Nikon or Sony.
The daytime photography ('General') mode includes burst and timelapse options, plus object tracking which I found to be a little hit and miss. 4K video can be recorded at up to 30fps, or 60fps if you switch to 1080p.
There's also a solar system mode for snapping the sun, moon and (theoretically) planets, plus a panorama mode. In Astro mode, meanwhile, you can shoot in either alt-azimuth or equatorial mode.
Performance-wise, the Dwarf III is pretty snappy to turn on and off, and slews to targets quickly and reasonably quietly; it makes less noise than the Seestar S50, for instance, although neither would be likely to wake even the lightest of sleepers next door.
In use, it's unerringly accurate in finding targets, zipping about the sky when you tell it where to go via the built-in star atlas.
It's also incredibly reliable when shooting. If the tracking on a motorized telescope is even a tiny bit off, you'll get star trails and the individual frame will be rejected and not included in the 'stack', potentially reducing detail in the final stacked image. With the Dwarf III, this almost never happened – I generally got around an 80-90% success rate, so if I shot a target for an hour, I'd get around 50 minutes' worth of photos. This is way better than my experience than shooting with the Seestar S50, where it can be more like 50% at times.
Plus, that's when shooting with 15-second exposures in alt-az mode; put it in EQ mode and you can get 30s shots with a similar success rate. This all makes it very easy to capture a lot of data on a target in a short time.
One of the few downsides is that the battery is not the biggest – only 10,000mAh, which is good for about 5 hours in astro mode when tracking and shooting a target, according to DwarfLab, and which was about right in my experience. You almost certainly won't get through a full night's shooting with it.
That said, I didn't put it to the test often, preferring instead to leave a much bigger power bank connected to it to ensure I got a full night's shooting. I tend to use Iniu power banks, which I've found to be very reliable and extremely well priced; the model below is well worth checking out and will triple the Dwarf III's capacity.
DwarfLab Dwarf III: Software
Scheduling on the Dwarf III is very simple (Image credit: Future/TechRadar)
The nature of a smart telescope means that all of your interactions with it will be via an app – it's not like you can look through as you can with an old-school reflector or refractor.
That puts a lot of pressure on the device's software to be slick and simple to use, and fortunately the Dwarf III's is just that – with a few caveats.
I began using the Dwarf III several months ago, and on my first few nights shooting with it found the interface to be a little confusing. It wasn't a horror show by any means, but it wasn't as intuitive as ZWO's Seestar app. For instance, I'd click on the big 'Photo' button front and center to start shooting a galaxy or nebula, then would realize that I'd have to go back in and select the 'Atlas' option to actually choose my target.
Settings for options such as exposure time, meanwhile, were hidden within a menu called 'Function' – which really didn't (to me) suggest 'Settings'. I got used to it all after a few nights, but it was a little more confusing than it could have been.
The good news is that DwarfLabs is continually updating the platform, and a recent update has massively improved the experience. Those settings are now within a menu named 'Parameter, which is far more sensible, and the Atlas is available from within the shooting screen. There's a simple toggle between the wide and telephoto cameras, whereas before you tapped the small one to change between them, but again without labelling. It's all much more slick and easy to use.
(Note that most of my images in this review are using the old version of the software, because there's not been a clear night in the UK for me to take further screenshots for what feels like about 15 years now. I'll update them soon.)
There's a scheduling feature within the app, which works as you'd want it to and which is better than the one in ZWO's app. This is a vital inclusion, because most people won't want to stay up all night – they'll want to set the Dwarf III running with a list of targets, then wake refreshed in the morning to a lovely collection of images.
It's very easy to get polar alignment in EQ mode via the Dwarf III app (Image credit: Future/TechRadar)
Switching to EQ mode is also pretty trouble-free. For the uninitiated, this lets the Dwarf III rotate fully in sync with the skies, meaning you can take longer exposures than in standard alt-az mode. Anything longer than 30 seconds will need to be in EQ mode (the maximum exposure is two minutes) and in my experience it's best for 30 seconds too; alt-az mode is fine for 15s exposures.
The Dwarf III app guides you through the process of setting the telescope into EQ mode, telling you exactly which direction and what amount to adjust the tripod head by, and the whole thing only takes about five minutes, less if you haven't moved the tripod since the previous session.
The Stellar Studio processing suite can get great results with very little effort (Image credit: Future/TechRadar)
The included Stellar Studio software is also great. This lets you carry out basic processing actions on photos via the cloud, rather than needing to download them to your computer.
It's not exactly stacked with options, but does a really good job of reducing noise, sharpening stars and bringing out details. You can also remove stars entirely if you want that lovely clean view of a galaxy or nebula.
The Dwarf III's wide-angle and telephoto cameras work well in General/Daytime mode (Image credit: Future/TechRadar)
Finally, in 'General' mode the app works pretty well to let you zoom in on a target. You can use the wide-angle view to get an overall view of your surroundings, then click on the screen to adjust where the telephoto lens is pointing. Another click switches to the telephoto view and you can start snapping away.
DwarfLab Dwarf III: Image quality
Image 1 of 38
The Eagle nebula, unprocessed (Image credit: Future/TechRadar)
Image 2 of 38
The Eagle nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 3 of 38
The East Veil nebula, unprocessed (Image credit: Future/TechRadar)
Image 4 of 38
The East Veil nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 5 of 38
The Bubble nebula, unprocessed (Image credit: Future/TechRadar)
Image 6 of 38
The Bubble nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 7 of 38
The West Veil nebula, unprocessed (Image credit: Future/TechRadar)
Image 8 of 38
The West Veil nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 9 of 38
The Andromeda Galaxy, M33, unprocessed (Image credit: Future/TechRadar)
Image 10 of 38
The Andromeda Galaxy, M33, processed in Pixinsight (Image credit: Future/TechRadar)
Image 11 of 38
The Heart nebula, unprocessed (Image credit: Future/TechRadar)
Image 12 of 38
The Heart nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 13 of 38
The Soul nebula, unprocessed (Image credit: Future/TechRadar)
Image 14 of 38
The Soul nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 15 of 38
The M33 galaxy in Triangulum, unprocessed (Image credit: Future/TechRadar)
Image 16 of 38
The M33 galaxy in Triangulum, processed in Pixinsight (Image credit: Future/TechRadar)
Image 17 of 38
The Omega nebula, unprocessed (Image credit: Future/TechRadar)
Image 18 of 38
The Omega nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 19 of 38
The Pacman nebula, unprocessed (Image credit: Future/TechRadar)
Image 20 of 38
The Pacman nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 21 of 38
M24, the small Sagittarius star cloud, unprocessed (Image credit: Future/TechRadar)
Image 22 of 38
M24, the small Sagittarius star cloud, processed in Pixinsight (Image credit: Future/TechRadar)
Image 23 of 38
The Iris nebula, unprocessed (Image credit: Future/TechRadar)
Image 24 of 38
The Iris nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 25 of 38
The Elephant's Trunk nebula, unprocessed (Image credit: Future/TechRadar)
Image 26 of 38
The Elephant's Trunk nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 27 of 38
The Crescent nebula, unprocessed (Image credit: Future/TechRadar)
Image 28 of 38
The Crescent nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 29 of 38
The Pelican nebula, unprocessed (Image credit: Future/TechRadar)
Image 30 of 38
The Pelican nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 31 of 38
The Double Cluster, unprocessed (Image credit: Future/TechRadar)
Image 32 of 38
The Double Cluster, processed in Pixinsight (Image credit: Future/TechRadar)
Image 33 of 38
The Wizard nebula, unprocessed (Image credit: Future/TechRadar)
Image 34 of 38
The Wizard nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 35 of 38
The Dumbbell nebula, unprocessed (Image credit: Future/TechRadar)
Image 36 of 38
The Dumbbell nebula, processed in Pixinsight (Image credit: Future/TechRadar)
Image 37 of 38
The M39 cluster, unprocessed (Image credit: Future/TechRadar)
Image 38 of 38
The M39 cluster, processed in Pixinsight (Image credit: Future/TechRadar)
There's one very important thing that anyone using a smart telescope for the first time needs to understand: you won't be getting Hubble-challenging images straight out of the camera. Well, obviously, you won't be getting Hubble-challenging images at all; this is a $500 smart telescope, not a rig that costs 10 times that.
But even with that in mind, there's a big difference between the photos that the Dwarf III creates for you, and the results that you can achieve with some proper processing.
The easiest way to demonstrate that is with some before and after photos – so check out the gallery above. In every case, you'll see the unprocessed image produced by the Dwarf III first, followed by the version I processed in Pixinsight, the specialist astrophotography software I use.
Image 1 of 3
The unprocessed image of the East Veil nebula (Image credit: Future/TechRadar)
Image 2 of 3
The East Veil nebula processed in DwarfLab's Stellar Studio (Image credit: Future/TechRadar)
Image 3 of 3
And my version processed in Pixinsight (Image credit: Future/TechRadar)
Now, let's get one thing straight: I'm not an expert when it comes to astro image processing. It's an incredibly complex hobby, with sometimes arcane software to master and a surprisingly large amount of technical knowledge needed to really get the best results. In fact, I think I prefer some of the Dwarf III's images, at least when it comes to color – which is one of the toughest things to get right.
Regardless of what you think of my images (I won't be offended, promise), you can see that processing reduces noise and brings out more detail and color. To really get the best from the Dwarf III, you will still want to do some processing.
Fortunately, as mentioned above, it's pretty easy to considerably improve things within the Dwarf III's Stellar Studio on your phone, with no need to shell out for or learn anything more complicated.
For instance, try the above image of the glorious East Veil nebula – the original, unprocessed image is pretty good, but Stellar Studio turns it into something epic, and my Pixinsight version is only a slight improvement (if anything).
The Dwarf III's wide field of view really shines with this shot of the awesome Bubble Nebula (Image credit: Future/TechRadar)
One of the things I really love about the Dwarf III is its wide 2.9x1.7-degree field of view, even when using the telephoto camera. The Seestar S50 has a much narrower 0.7x1.2-degree FOV, while the S30 is close to the Dwarf at 1.22x2.13-degree.
The net effect of this is that you get a real sense of drama with the Dwarf III. I love the Seestar S50, but with many targets you end up with a close-up of the object. You can get around this by using mosaic mode (the Dwarf also has one of these), but in my experience mosaics take longer to shoot and are harder to process.
The Dwarf, meanwhile, almost always captures the object and its surroundings. Its field of view is wide enough to cover the whole of Andromeda, for instance, whereas the S50 gets only the central section.
Of course you may prefer a closer view of targets, but the Dwarf's 4K resolution means you can crop in anyway and still have a decent-sized image. It's possible that the Seestar S30 will give me the FOV I love from the Dwarf with some of ZWO's advantages too, but I've not used that device yet, so that comparison will have to wait.
Image 1 of 3
The Dwarf III takes decent nature photos, but they're not what you'd buy it for (Image credit: Future/TechRadar)
Image 2 of 3
The ability to easily find and then zoom in on targets is one of the Dwarf III's strengths (Image credit: Future/TechRadar)
Image 3 of 3
Solar photography on the Dwarf III is easy and produces good results (Image credit: Future/TechRadar)
In general mode, image quality is fine. That's a pretty nice shot of a pigeon on my lawn above, but view the full-size image and you'll see the feathers lack definition. My Fujifilm X-T5 mirrorless camera would do a better job with a good zoom lens.
Solar photography, meanwhile, is easy to do – you simply snap on the filter then move to the target. Admittedly, for some reason the Dwarf finds it much harder to locate the sun than it does a tiny object many millions of light years away, but the Seestar S50 is no different in this regard.
I've only taken a few solar shots with the Dwarf III and was relatively impressed by them, but it's not an area of photography I'm particularly interested in.
Should I buy the DwarfLabs Dwarf III?
Buy it if…
You're a beginner The Dwarf III is one of the easiest, most hassle-free ways to give astrophotography a whirl. Beginners will be taking photos of galaxies in no time.View Deal
You don't have much time You can pick up the Dwarf III and have it shooting within minutes – which is great if you either have a busy life or are afflicted by cloudy skies. View Deal
You want to travel light The Dwarf III is small enough to chuck in a bag and take away for a trip – and light enough that it won't break your back.View Deal
Don't buy it if…
You're an upgrader The Dwarf III is unashamedly a beginner scope. Sure, it can take amazing photos, but after a year or two you may find yourself wanting to upgrade – and as this is an all-in-one device, that means buying a new model. View Deal
You want a tighter field of view The Dwarf III's wide view is great for big targets, but you'll get a closer vision of small objects such as planetary nebulae with the Seestar S50.View Deal
You want to take photos of planets As above, the Dwarf III's field of view makes it entirely unsuited to imaging Mars, Jupiter and the rest of the gang. You might see a small Saturn-shaped dot, but not much more. View Deal
Also consider
ZWO Seestar S50
The S50 has a longer focal length and bigger aperture than the Dwarf III, meaning you get a much closer view and a bit more detail. I own the S50 and have taken some wonderful photos with it – choosing between them is tough. Really it depends on which field of view you prefer. View Deal
ZWO Seestar S30
The S30 has the same focal length and a similar field of view to the Dwarf, but a smaller aperture. I've not used it, but I expect it to deliver similar – but probably slightly inferior – results to the Dwarf.View Deal
Unistellar Odyssey Pro
The Unistellar Odyssey Pro is in a different class of smart telescope entirely, with a price tag of $4,500 / £3,500 and far better specs in almost every regard. At this price you could get an impressive mount+telescope+camera set-up, though – so it's probably best suited to those who have more money than time.View Deal
How I tested the DwarfLabs Dwarf III
The Dwarf III smart telescope on a roof terrace in Crete (Image credit: Future/TechRadar)
I took the Dwarf III with me on vacation to Crete, Greece, where I was lucky enough to be staying in an apartment with a roof terrace – and in a country with clear skies every night. I used the smart telescope extensively over the next week or so, taking photos of multiple targets including the Eagle nebula, Omega nebula and Andromeda galaxy.
When I returned to the UK, I used it whenever I could, which unfortunately was not that often due to the clouds which blanket the nation for about three-quarters of every month. Here, I set it up alongside my ZWO Seestar S50, taking photos of the same subjects for the same amount of time so I could directly compare results.
I also tried it in EQ mode, in Solar mode, in General mode for a bit of nature photography and spent many hours processing the photos it produced in all modes.
