Meze Audio Alba review

In Romanian, the word ‘Alba’ translates to ‘first light’. Instantly, this makes me think of new beginnings; of fresh experiences. And so, in come the Meze Audio Alba – an affordable pair of in-ear monitors aiming to be the first light for entry-level audiophiles, everywhere.

And I’m not going to beat around the bush here, Meze Audio absolutely nailed it with this model. These IEMs have a list price of $159 / £139 / AU$239, meaning they’re easily on the budget side of things. But very little about these in-ears feels or sounds budget to me.

First of all, these deliver fantastic sound quality – the most important quality needed to compete with the best wired earbuds around. If you’re new to the world of audiophile sound, you’ll be wowed with awesome attention to detail right across the frequency range, as well as clear, surprisingly expansive audio output.

Meze itself describes the Alba as having “a neutral sound profile with an added touch of warmth” – and that’s a largely accurate description in my view. Mids never sound recessed, treble is expressive, and bass is impressively weighty given these IEMs' small size. I certainly sensed that slight preference towards low-frequency sounds when listening to Overflow by Kolter, where the meaty, spacey bass hit with serious impact.

When tuning into Where Do We Go From Here by Jamiroquai, lead vocals were pleasingly clear in the overall mix, while rhythm guitar was effortlessly separated and afforded plenty of room to breathe. Groovy bass and percussion was also excellently defined, helping the track’s funk-infused character to flow, without compromise.

You’ll get a dynamic, detailed listen from the Alba too. I tried playing Rains again by Solji, and every breath came through clearly, while delicate vocals remained controlled and emotive throughout.

In fact, my only slight issue with these IEMs sonically speaking, is that higher-pitched treble sounds can get a little harsh at higher volumes. For instance, I listened to Straight From The Underground by Riordan, and snappy percussion sounded a little edgy as I ventured into the upper echelons of loudness. Again, though, these offer a great listen overall.

Beyond sound, these IEMs continue to plate up serious quality. They’re made up of zinc alloy and anodized aluminium parts, and the outer casing is intended to represent the appearance of a pearl. In hand, the Alba feel far more luxurious than their price would suggest. As much as I love the Sennheiser IE 200, their plastic casing doesn’t come close to the Alba’s more durable, flashy design.

In addition, the braided cable is elegant and even felt nice to run through my fingers. It is a little prone to tangling, especially after taking out of the satisfyingly compact carry case (included in the box). And if you want a volume controller for on-the-go use, you’re out of luck here – you’ll need to consider a third-party option.

Back to the good stuff: there are a couple of connectivity options here. You can either use the standard 3.5mm connector, or make use of the included custom-made USB-C adapter. This has a built-in DAC and AMP, ensuring you can access hi-res audio on the go, even with your smartphone. It also has an LED light that shines if you’re connected up properly – nice touch! It's worth noting, though, that there’s no 4.4mm adapter in the box.

I was also very pleased with the comfort and fit of the Meze Audio Alba. I typically use the Sony WH-1000XM6 to listen to my music, as I can often find in-ear options to feel a little tiresome after an hour or two. But not these. They fit snugly for me, and are lightweight enough to feel non-invasive. There are a range of different-sized eartips in the box, too, so you can find the perfect seal.

Of course, you don’t get the benefits of active noise cancellation with wired IEMs – something you’d expect from the best wireless earbuds. But that firm seal was all I needed to unearth the full benefits of the Alba’s passive noise isolation abilities. Even when listening at middling volumes, chatter around the office and passing by vehicles were dulled significantly, helping me to remain immersed in my music.

So, all in all, I think it’s clear. The Meze Audio Alba are a brilliant option for anyone looking to enter the audiophile world, with a low price, stunning looks, and detailed sound. They’ll help you see your favorite songs in a new light. And for that alone, they’re well deserving of my recommendation.

Meze Audio Alba review: price and release date

• $159 / £139 / AU$239
• Launched in June 2024

The Meze Audio Alba are a highly affordable pair of IEMs, coming in with a list price of $159 / £139 / AU$239. Interestingly, they appear to be regularly priced a little higher than this in both the UK and Australia, but only by a small margin. They were released in June 2024, and are available in a single colorway.

Meze Audio Alba review: specs

Should I buy the Meze Audio Alba?

Buy them if...

Don't buy them if...

Meze Audio Alba: also consider

How I tested the Meze Audio Alba

• Tested for two weeks
• Used in the office and while out and about
• Predominantly tested using Tidal

I tested the Meze Audio Alba in-ear monitors across the course of two weeks, after a thorough run-in. I predominantly used their 3.5mm connectivity option, while hooked up to my laptop – but I also tried the USB-C dongle with my phone when listening on the go.

Most of the time, I used the Alba while playing tracks via Tidal, in order to access higher-res music files. On Tidal, I ran through the TechRadar testing playlist, which features tracks from a wide range of genres. However, I also played a number of tracks from my own personal library, including some go-to tunes I use for testing audio gear.

Where appropriate, I compared the Meze Audio Alba side-by-side with the Sennheiser IE 200 on aspects such as sound quality, design, and features.

More generally, I’ve tested tons of products here at TechRadar, where I largely focus on the audio-visual segment. I’ve reviewed everything from all-action party speakers, such as the LG xboom Stage 301, through to premium IEMs, like the Sennheiser IE 600. As a result, I have a strong understanding of what is required for audio gear to stand out in a highly competitive market, and what makes a product great, rather than good.

• First reviewed: September 2025
• Read more about how we test

Sony LinkBuds Open: two-minute review

The Sony LinkBuds Open are yet another contender in the trendy and ever-expanding world of open earbuds – but they still stand out from the crowd.

This model succeeds Sony’s first attempt at open earbuds, which launched three years ago now, and combines a slightly unorthodox design with a broad feature-set, tuneable audio, and modern controls. With a price of $199 / £149 / AU$249.95, though, there’s a lot of expectation on Sony’s latest open buds – so, can they hit all of the right notes?

Well, I’ll start by talking about my first impressions out of the box. As soon as I unboxed the Sony LinkBuds Open, I was struck by their unusual yet enticing looks. Unlike a lot of the best open earbuds, these adopt neither the clip-on nor the hooked designs that most of their competitors adopt. Instead, each bud has a ring-shaped driver, which lets ambient sound in easily. The batteries are housed in an orb-shaped casing, and wings are attached to these for a more secure in-ear fit.

I’m a fan of the ring-shaped in-ear components – these fit nicely and let in ambient noises without a hitch. Admittedly though, the spherical exterior looks a bit clunky, and although the wings ensure a pretty secure fit, they felt a little peculiar in my ear, which took comfort levels down a bit for me personally. Overall, these should still feel fine in-ear for a few hours, but there are comfier alternatives out there, like the Apple AirPods 4 with ANC, for instance.

Something I loved was the charging case. The white color variant has a glossy, marble-like appearance and I appreciate the attention to detail here. It’s worth noting that you can also grab these buds in Black or Violet – the latter being a special edition produced in collaboration with singer Olivia Rodrigo.

Another thing that really impresses me about these buds is their feature-set, which is bursting at the seams with user-friendly goodness. There’s multi-point connectivity, 360 Reality Audio support, voice assistant integration, and services such as Spotify Tap – all accessible via Sony’s Sound Connect app.

But there’s more! There’s customizable, and surprisingly effective touch controls, DSEE upscaling for lower-quality music files (still looking at you, Spotify), and depth-filled EQ options. There’s Find Your Equalizer – a gamified way to uncover the best tuning for you – as well as presets and a five-band custom option. Combine that with Scene-based listening, head gesture controls, and a wearing condition check-up, and you’re looking at a highly talented pair of buds.

Still, it’s worth flagging that some competitors offer features that have been omitted here. There’s no active noise cancellation – something you’ll spot on a model like the Edifier LolliClip or Honor Earbuds Open – though you probably want to hear your surroundings clearly if you’re buying open-style earbuds. There’s also no LDAC, Sony’s ‘hi-res’ Bluetooth audio codec, but again, the open design here does limit audio capabilities.

Finally, there aren’t any health monitoring options – think a heart rate or blood oxygen tracker (you'd need to look to the Beats Powerbeats Pro 2 for that). But still, you have plenty to play with on the LinkBuds Open, and the companion app is super easy to use.

By now, then, you must be wondering how the LinkBuds Open sound. Well, I have mixed feelings about this model. Firstly, it’s worth pre-empting this by emphasizing that an open design means a likely hit to audio fidelity, and typically weaker bass response than you’d expect from earbuds with a seal or over-ear headphones, for example.

Still, I was relatively impressed with the low-end performance of the LinkBuds Open. I tried listening to AAAAA by Kiefer with EQ set to ‘Off’ (flat), and found that the bass rippling through the track was meatier than what the impressive SoundCore AeroClip could offer with default tuning. Was it the cleanest low-end replication I’ve heard? Well no.

In Stepping Out (feat. $Ha Hef) by Jay Worthy and LNDN DRGS, the funky bassline clashed slightly with vocals, which didn’t have quite enough space to breathe. Meanwhile, the palpable sub-bass is pretty understated in The Boys Are Back In Town by Yung Gravy – though that’s almost to be expected from a pair of open-ears given their technical limitations.

Elsewhere, highs sounded pretty prominent out of the box – but perhaps a little too prominent at times. On occasion, sounds in the treble-frequency edged towards the harsh side of things – though this can be remedied with EQ adjustment in the Sound Connect app.

It’s in tracks more focused around vocal performances, then, where the LinkBuds Open truly shine. For instance, when tuning into Déchire la Toile by Lorien Testard and Alice Duport-Percier, gliding keys and emotive vocals sounded clear and controlled, with a pleasing openness to the sound creating a decently immersive listen. Even at higher volumes, there was a solid level of detail on display, though my colleague did note significant sound leakage – not ideal if you’re in the office or on public transport.

All in all, you won’t get that perfectly balanced, beautifully layered audio – and you might want to tinker with that out-of-the-box sound profile. But for a pair of open earbuds, the LinkBuds Open are certainly solid in the audio department, with generally clear, weighty sound.

A few final notes on this open-ear option from Sony. Firstly, you get a pretty standard serving of playtime. You should get around 8 hours from the buds alone, plus an additional 14 with the charging case. During my testing, I found this to be about right – putting them about on-par with modes like the aforementioned Soundcore AeroClip.

And one more thing: there are optional fittings that you can purchase to customize the LinkBuds Open to your liking. These include multi-colored covers for both the buds themselves and the charging case, if you really wanna jazz things up. This level of customizability is admirable, but you’ll have to spend extra to access it.

In the end, then, can we say that the LinkBuds open hit all of the right notes? Not quite – but they still put on a good show. I’m not totally sold on their design and sonically, they’re not as strong as some wireless buds in the same price-range. But still, commendable mid-range performance, fairly meaty bass given the design and lots of EQ options kept me satisfied overall.

Unfortunately, there's one area where these buds fall down for me: their cost. They're very pricey for open ears, which already come with some compromises in terms of audio. So, even though they have a deep feature-set and secure in-ear fit, this model's not quite a slam dunk. If you've got a good amount of cash to splash on some open earbuds, these may well be worth checking out, but otherwise, I'd suggest taking a peek at my other recommendations in the ‘Also consider’ section.

Sony LinkBuds Open review: specs

Sony LinkBuds Open review: price and release date

• $199 / £149 / AU$249.95
• Launched in October 2024

The Sony LinkBuds Open – or Sony LinkBuds Open WF-L910 as they’re sometimes listed – released at the end of 2024. They have a list price of $199 / £149 / AU$249, which is by no means cheap for a pair of open-ears, though nowhere near as steep as the Bose Ultra Open Earbuds, which launched at $299 / £299 / AU$449.95.

On top of that, I’ve already spotted these on sale in some territories. For instance, they’ve dropped to under £130 / AU$250 on Amazon at the time of writing. You can pick the LinkBuds Open up in a variety of colors, including Black, White, or Violet. The latter is a collaboration with singer Olivia Rodrigo, and includes custom EQ options which were tuned by the artist and her producer.

Should you buy the Sony LinkBuds Open?

Buy them if...

Don't buy them if...

Sony LinkBuds Open: also consider

How I tested the Sony LinkBuds Open

• Tested across the course of multiple weeks
• Used in the office and while out and about
• Predominantly tested using Tidal

I tested the Sony LinkBuds Open over the course of multiple weeks while in the office, at home, and out on walks.

For the most part, I listened to music with the buds via Tidal, though I occasionally dipped into a few tracks on Spotify. During testing, I made sure to run through the TechRadar testing playlist, which features tracks from a range of genres. I also listened to songs from my personal library.

Where appropriate, I compared the LinkBuds Open against rival models, such as the Anker Soundcore AeroClip, which helped me to assess aspects like audio performance and comfort.

• First reviewed: September 2025
• Read more about how we test

Beyerdynamic DT 72 IE: Two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

Beyerdynamic DT 72 IE review: Price and release date

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

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

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

Beyerdynamic DT 72 IE review: Specs

Should you buy the Beyerdynamic DT 72 IE review?

Buy them if...

Don't buy them if...

Beyerdynamic DT 72 IE review: Also consider

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

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

Beyerdynamic DT 72 IE review: How I tested

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

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

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

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

Read more about how we test

• First reviewed: August 2025

Beyerdynamic DT 72 IE: Two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

Beyerdynamic DT 72 IE review: Price and release date

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

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

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

Beyerdynamic DT 72 IE review: Specs

Should you buy the Beyerdynamic DT 72 IE review?

Buy them if...

Don't buy them if...

Beyerdynamic DT 72 IE review: Also consider

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

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

Beyerdynamic DT 72 IE review: How I tested

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

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

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

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

Read more about how we test

• First reviewed: August 2025

Beyerdynamic DT 72 IE: Two-minute review

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

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

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

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

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

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

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

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

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

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

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

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

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

Beyerdynamic DT 72 IE review: Price and release date

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

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

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

Beyerdynamic DT 72 IE review: Specs

Should you buy the Beyerdynamic DT 72 IE review?

Buy them if...

Don't buy them if...

Beyerdynamic DT 72 IE review: Also consider

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

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

Beyerdynamic DT 72 IE review: How I tested

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

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

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

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

Read more about how we test

• First reviewed: August 2025