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I tested Bose’s smallest Bluetooth speaker and although I enjoyed its balanced audio, its high price feels hard to justify

4:30 pm | March 22, 2026

Bose SoundLink Micro Gen 2: review

The Bose SoundLink Micro Gen 2 is the sequel to the audio specialist’s 2017-issue mini Bluetooth speaker. And according to Bose, this palm-sized follow-up brings a fair few enhancements to the table: ‘improved audio performance’, ‘enhanced features’, and ‘extended battery life’. But is it actually worth buying? Here are my thoughts after several weeks of testing.

First of all, it has to be said that the Bose SoundLink Micro Gen 2 is a significant improvement over its predecessor — as you’d probably hope given that they were released eight years apart. Now, you get USB-C charging, and up to 12 hours of battery life, which is nothing special, but comparable to some similar-sized rivals from JBL and Ultimate Ears.

On top of that, its new and improved fabric strap is fantastic — it’s so easy to sling around shower heads, bikes, bags… you name it. Pair that with a still-great IP67 dust and waterproof rating — which enables the SoundLink Micro Gen 2 to survive being dunked under a meter of water for 30 minutes — and you’ve got a speaker that can go literally anywhere with you. Combine this with its small size and lightness of build, and Bose’s bijou audio companion is more practical than just about any model out there — even those listed in our best Bluetooth speakers guide.

Something else that has been improved is audio quality. And in fairness, the Bose SoundLink Micro Gen 2 is a pretty solid-sounding model given its small size — but that’s not to say it’s perfect.

Man holding the Bose SoundLink Micro Gen 2 — (Image credit: Future)

Bose has gone for a relatively balanced sound profile on the SoundLink Gen 2. Bass is pretty punchy, but never boomy or overstated. Mids are clean, but not the sole star. And treble is energetic, but not tinny — unless you’re listening at top volumes, but that’s something I’ll get onto later.

Anyway, when listening to Black Eye by Allie X, I was impressed by the tonality of vocals, and the way that the speaker replicated their almost breathy quality. The attack of violins in the intro wasn’t the most dynamic I’d heard, but it was certainly clean and distortion-free at mid volume levels. And after bumping bass up by a level on the Bose app, the pumping low end came through with decent impact too. Was I wowed by excellent instrument separation, pounding low-end performance, and top-tier detailing? No. But that’s to be expected on a speaker this small.

While we’re on this topic, it’s worth noting that the Bose SoundLink Micro Gen 2 has a fair few sonic limitations, as a direct result of its compact form. You won’t get the bass thump that larger models — like the Bose SoundLink Plus, or even the Bose SoundLink Flex Gen 2 — can muster. And if you push volume all the way to the maximum, you’re going to get pretty thin-sounding audio, with very noticeable compression and slightly shrill treble. But in this model’s defense, this is fairly standard for mini Bluetooth speakers — trust me, I’ve tested tons of them!

But still, this model did perform well, all things considered. In Felini by Venerus and Marco Castello, the precision of fingerpicking guitars and airy sound effects was commendable, and the two vocalists' harmonies intertwined neatly.

Deeper tracks, like M-High’s Never Would don’t sound amazing on the SoundLink Flex Gen 2, as it struggles to handle the darkest parts of the frequency range. Still, standing upright, the speaker managed decently agile bass, and matched the track’s aggressive treble to good effect. Rivals like the Ultimate Ears Wonderboom 4 can produce a more weighty performance, but if you’re not listening to the heaviest tunes, that shouldn’t be a problem for you.

I’ll finish talking about sound by mentioning that the Bose SoundLink Micro Gen 2 has strong codec support, with SBC, AAC, and even aptX Adaptive — if you’ve got a compatible device that is. There aren’t any wired playback options, though I suspect most users will be fine with using Bluetooth 5.4 connectivity.

So, the SoundLink Micro Gen 2 sounds pretty solid overall, but how does it perform elsewhere? Let’s step on over to the features domain.

This model isn’t doing anything out of the ordinary by Bose 's standards. It has multi-point connectivity, fast-pairing, and a shortcut button for Spotify or linking with another Bose speaker. And you can link with various other Bose speakers, luckily, including another SoundLink Micro Gen 2 for stereo, or models like the Bose SoundLink Max for generally bigger sound.

However, you can also rename the speaker in the Bose app (mine’s called Bite Size Party), enable or disable voice prompts, and alter EQ. As we’ve seen with many Bose products, the EQ settings are a little basic, with presets to boost or dampen bass or treble, and a three-band equalizer to adjust the bass, mids, and treble. However, this still works decently well.

I would’ve liked to have seen some more interesting features, like a personalized EQ test for more tailored audio, or hands-free calling, seen on the original SoundLink Micro (which had a built-in mic), but this model still has a good feature-set all in all.

Perhaps my favorite thing about this speaker, though, is its design. I’ve already mentioned its excellent fabric strap, which I’ve been using to attach the speaker to my shower, but there’s more. It has well-sized, responsive button controls, a rubber body that’s drop-resistant, and a classy range of color options. I used the Black version, but I’m partial to the Blue Dusk, Petal Pink, and Sandstone alternatives. Ultimately, this is a great-looking, compact, and waterproof speaker that really can go anywhere with you.

Man pressing play button on the Bose SoundLink Micro Gen 2 — (Image credit: Future)

Still, there’s one thing that holds me back from recommending the Bose SoundLink Micro Gen 2 outright: its price. This model comes in at $129 / £119.95 / AU$179.95, which is a lot for a speaker of this size. For reference, you can get our pick for the best Bluetooth speaker overall, the JBL Flip 7, for $149 / £129 / AU$179 at full price. And that model is considerably more powerful, offers far superior audio with awesome bass, and has more features to explore too. It’s also regularly discounted, and although it's a little larger, remains highly portable.

Even if you wanted something as small as the Micro Gen 2, you could go for the JBL Clip 5, which retails for $79.95 / £59.99 / AU$89.95, or the bass-heavy Ultimate Ears Wonderboom 4 for only $99.99 / £89.99 / AU$149. I’m not convinced that the Bose SoundLink Flex Gen 2 offers sound that’s good enough to warrant the extra cost. All of these other models are highly waterproof, sound strong, and look great to boot. So, even if Bose’s speaker performs fairly well across the board, it feels like a slightly tough sell.

And there you have it. The Bose SoundLink Micro Gen 2 is a very solid upgrade on its predecessor, and I was satisfied by its thoughtful design and improved sound quality. Ultimately, though, it doesn’t feel exceptional enough — either sonically or in terms of features — to earn its steep price-tag, meaning that I’d only recommend this above rivals — from the likes of JBL and UE — if you can get it on sale.

Bose SoundLink Micro Gen 2 sat on table — (Image credit: Future)

Bose SoundLink Micro Gen 2 review: price & release date

List price of $129 / £119.95 / AU$179.95
Released in August 2025

The Bose SoundLink Micro Gen 2 released in August 2025, eight years after its predecessor, the Bose SoundLink Micro. It comes in with a list price of $129 / £119.95 / AU$179.95, which represents a $10 / £20 / AU$30 increase over the original, at their respective launch points. However, there are a lot of improvements on this second model which make it the better pick over its ancestor. The SoundLink Micro Gen 2 is available in Black, Blue Dusk, Petal Pink, Sandstone, or Twilight Blue.

Bose SoundLink Micro Gen 2 review: specs

Weight	0.7lbs / 0.3kg
Dimensions	1.7 x 4.1 x 4.1 inches / 43 x 104 x 104mm
Connectivity	Bluetooth 5.4
Battery life	12 hours
Speaker drivers	1x dynamic driver, 2x passive radiators
Waterproofing	IP67

USB-C cable inserted into the Bose SoundLink Micro Gen 2 — (Image credit: Future)

Should I buy the Bose SoundLink Micro Gen 2?

Attribute	Notes	Score
Features	All the essentials are here, battery life is OK, but no mic and underwhelming EQ options.	3.5/5
Sound quality	Clear audio, with good codec support, but noticeable compression at higher volumes and size-related limitations hold it back.	4/5
Design	Durable yet stylish, with great waterproofing and a practical fabric strap.	4.5/5
Value	High price for its size, and rivals offer far better bang for your buck.	2.5/5

Buy it if…

You want a speaker that you can take absolutely anywhere
The Bose SoundLink Micro Gen 2 is small, lightweight, highly waterproof, and comes with a handy fabric strap. You really can take it anywhere with ease, and that’s one of its greatest qualities.

You’ve got more of Bose’s recently released models
If you have speakers like the Bose SoundLink Flex Gen 2, the Bose SoundLink Plus, and the Bose SoundLink Max, then you can easily pair this model with one of those. You can also pair the SoundLink Micro Gen 2 with an identical unit for stereo sound.

Don’t buy it if…

You want the best sound quality
Look, the Bose SoundLink Micro Gen 2 sounds good for a speaker of its size, but it didn’t blow me away. And if you want better sound quality, you could go for a similarly-priced model like the JBL Flip 7, which produces phenomenal all-round audio with far better bass.

You’re looking for the best value option
Off the back of that last point, I’d argue that the Bose SoundLink Micro Gen 2 isn’t a great value-for-money option. Small models like the JBL Clip 5 and UE Wonderboom 4, which I’ve listed below, would get my recommendation. I’d also say that the JBL Grip is worth checking out, if you want something with lighting and a super-sleek look.

Bose SoundLink Micro Gen 2 review: also consider

	Bose SoundLink Micro Gen 2	JBL Clip 5	Ultimate Ears Wonderboom 4
Price	$129 / £119.95 / AU$179.95	$79.95 / £59.99 / AU$89.95	$99.99 / £89.99 / AU$149
Weight	0.7lbs / 0.3kg	0.6lbs / 0.3kg	0.9lbs / 0.4kg
Dimensions	1.7 x 4.1 x 4.1 inches / 43 x 104 x 104mm	3.4 x 5.3 x 1.8 inches / 86 x 134.5 x 46 mm	4.1 x 3.8 x 3.8 inches / 104 x 95.3 x 95.3mm
Connectivity	Bluetooth 5.4	Bluetooth 5.3	Bluetooth 5.2
Battery life	12 hours	12 hours	14 hours
Speaker drivers	1x dynamic driver, 2x passive radiators	1x 45mm full-range driver, 1x passive radiator	2x 40mm active drivers, 2x passive radiators
Waterproofing	IP67	IP67	IP67

JBL Clip 5
The JBL Clip 5 is a cheap, small, yet great Bluetooth speaker. It has the same IP67 rating as Bose’s mini model, the same battery life, and similar dimensions. It sounds surprisingly good, has a few EQ modes, and can clip onto anything, from bikes through to hooks. Read our full JBL Clip 5 review.

Ultimate Ears Wonderboom 4
The UE Wonderboom 4 is easily one of my favorite small Bluetooth speakers, and one that punches well above its weight. You get far punchier bass than its Bose rival can muster, and generally clean audio all round. Pair that with a striking design, excellent waterproofing, and a solid 14-hour battery life, and you’re looking at a great option. Read our full Ultimate Ears Wonderboom 4 review.

How I tested the Bose SoundLink Micro Gen 2

Man adjusting strap on the reverse side of the Bose SoundLink Micro Gen 2 — (Image credit: Future)

Tested over the course of multiple weeks
Used in our music testing space and while showering
Mainly tested using Tidal

I spent multiple weeks testing the Bose SoundLink Micro Gen 2, and spent hours listening in our music testing space at Future Labs, at home, and in the shower.

Most of the time, I listened to tunes via Tidal, on either my Samsung phone or the Nothing Phone (4a). To begin with, I ran through the TechRadar testing playlist, which features tunes from a wide range of genres, but I also made sure to bump tracks from my personal library. I also tried using party mode, by connecting the speaker to my Bose SoundLink Flex Gen 2.

More generally, I’ve tested more than 40 Bluetooth speakers here at TechRadar, and personally curated our guide to the best Bluetooth speakers. I’ve reviewed all sorts of models, from premium Bose units, through to budget-friendly alternatives like the Tribit PocketGo. As a result, I have a strong understanding of the segment, and know exactly what it takes to stand out in a highly convoluted market.

Read TechRadar’s reviews guarantee
First reviewed: March 2026

Immersive sound, awesome battery life, and karaoke functionality for good measure — Marshall just scored a second hit with its latest party speaker

4:41 pm | March 17, 2026

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

Marshall Bromley 450: two-minute review

The Marshall Bromley 450 is the second party speaker that the audio specialist has released. It’s a smaller variant of its older sibling, but aims to condense everything we like about that model into a less costly, more mobile unit. But just how well can it do that?

Well, at first glance, the similarities between the Marshall Bromley 450 and its sibling are striking. It has a very similar amp-inspired build, it's got those classic tactical knobs for controlling volume, bass, and treble levels, and it's adorned with the golden Marshall logo. But the similarities don’t stop there.

Its older sibling sits in our guide to the best Bluetooth speakers around, so unsurprisingly, the sound signature here is actually quite similar. You get agile and punchy, yet warm bass, which really feels like the star of the show. But you also get controller, expressive highs, paired with decently-detailed mids. Like the Marshall Bromley 750 before it, this is a great-sounding speaker, and has the raw power required to offer awesome audio outdoors as well as indoors.

My criticisms of the Bromley 450’s sound are very few and far between. It doesn’t offer the most rippling sub-bass, and I needed to adjust EQ now and then to get vocals to sound their best in particular tracks. But these are pretty minor qualms, and this is still an impressive performer — especially when you account for this model’s excellent soundstage, stereo sound capabilities, and ‘true’ 360-degree stereophonic sound tech.

Something else I highly rate is the Bromley 450’s design. Its premium construction — with faux-leather casing, a metal grille, and golden details — is as stunning as it was before. Meanwhile, the included handle makes it relatively easy to transport, even if this is a hefty model overall. The Bromley 750's wheels and suitcase-esque handle are gone here though, which makes this a little tougher to carry over longer distances.

Still, you get better protection against the elements compared to the Bromley 750, with this smaller alternative packing an IP55 rating. This means that the speaker is dust-protected, and can withstand multi-directional water jets, making it a good fit for outdoor use.

You will make a few sacrifices when choosing the Bromley 450 over Marshall’s larger party speaker, though. You get less power, and thus slightly less omnipresence through the deep bass registers — understandable given that the Bromley 450 covers a little less of the frequency range. But you also lose the sound character control feature, which enables you to find the right balance between ‘dynamic’ or ‘loud’ audio output.

But still, you do get quite strong functionality from the Bromley 450, all things considered. It has a whole host of connectivity options, including XLR/6.35mm slots for karaoke and instruments. It supports Auracast for multi-speaker pairing with another Bromley unit or other Marshall speakers — like the Marshall Middleton II or Marshall Kilburn III. And it has a replaceable battery which packs an incredible 40 hours of playtime, and can be used as a portable charger.

And if all of this wasn’t enough, you also get classy stage-inspired lighting, with three dynamic options for different vibes. You can also turn these off if you want to conserve more battery life.

If there’s one flaw that sticks out to me, it's the Marshall app. It feels underbaked, lacking EQ controls or the ability to adjust effects like delay and reverb. I wish you had more ways to remotely control this unit, especially if you’re further away from it and want to make a quick adjustment to the bass, for instance.

But overall, there’s a whole lot to love about the Marshall Bromley 450. It does a great job at shrinking the 750’s talents down and replicating them, and it's a luxurious party speaker in just about every way imaginable.

Yes, it comes at quite the cost, and those on a tighter budget may favor a rival from the JBL PartyBox line. But the Marshall Bromley 450 is almost a different proposition entirely — it’s masterfully constructed, built to be a true centerpiece, and brings an air of retro-style classiness that its RGB-laden contemporaries fail to deliver.

Knobs on the Marshall Bromley 450 — (Image credit: Future)

Marshall Bromley 450 review: price and release date

List price of $799.99 / £549.99 / AU$1,079
Available now via the Marshall website
And available from other select retailers from March 31, 2026

The Marshall Bromley 450 launched in March 2026 for $799.99 / £549.99 / AU$1,079. It’s available now via Marshall’s digital store, but select retailers will also begin to sell the speaker from March 31, 2026. It’s available in a single colorway — Black & Brass.

The Bromley 450 is the younger sibling of the Marshall Bromley 750 — Marshall’s first party speaker which is larger, more powerful, and in turn, a lot pricier. The Bromley 750 comes in at $1,299 / £899 / AU$1,799, placing it in competition with speakers such as the JBL PartyBox 720.

Marshall Bromley 450 review: specs

Weight	26.9lbs / 12.2kg
Dimensions	19.4 x 14.2 x 10.3 inches / 492 x 359.9 x 260.9mm
Connectivity	Bluetooth 5.3, 3.5mm, USB-C, RCA, 2x XLR/6.35mm combo jacks
Battery life	40 hours
Speaker drivers	2x 6.5-inch 40W woofers, 4x 2-inch 6W full-ranges
Waterproofing	IP55

Ports on the Marshall Bromley 450 — (Image credit: Future)

Marshall Bromley 450 review: features

Excellent connectivity options, including XLR/6.35mm slots for karaoke / instruments
Phenomenal 40-hour battery life
Sound character control left out, app is underwhelming

The Marshall Bromley 450 follows in its larger sibling’s footsteps with an incredibly similar feature suite. So that means you’re getting the basics, like multi-point connectivity, fast-pairing, and companion app support, although there’s a decent amount more to uncover.

First of all, this thing has a whole host of connectivity options. You’ve got Bluetooth 5.3, 3.5mm wired, USB-C, and even RCA inputs. If you’d like to use this unit as a karaoke machine, then no problem either. There are two XLR / 6.35mm combo jacks on the top side of the speaker, which you can use. Again, there are effects you can add, including reverb and delay if you wanna spice things up a bit.

Another thing I love about the Marshall Bromley 450 is its battery life. 40 hours of playtime is absolutely fantastic for a speaker of this size, blowing most of the competition out of the water. But there’s more. This is actually the same battery used on the Marshall Bromley 750, meaning you can interchange them if you own both units. This also highlights Marshall’s heightened efforts in the sustainability field again — it's issuing components that can be used across multiple units, and are fully replaceable.

The battery can also be used as a power bank to charge up external devices, such as the best wireless earbuds and best noise-cancelling headphones.

One more feature I appreciated on the Marshall Bromley 450 was its Auracast capabilities. Although more traditional multi-speaker pairing is not available, you can connect a bunch of compatible Marshall devices together using Auracast for even more powerful and immersive sound. I tried linking the Bromley 450 up with the Marshall Kilburn III and it worked without a hitch. I also tried linking it with a second Bromley 450 unit — something I’ll discuss at length in the ‘Sound quality’ section.

This is all great stuff so far, but I do have a few qualms with the Bromley 450’s feature-set. First of all, I have to say that the Marshall companion app feels a bit bare. Although there are some neat physical EQ options on the speaker itself — which let you adjust bass and treble levels — there’s no way of altering this remotely. The same goes for the reverb and delay effects.

Yes, the app provides a way to tap into Auracast broadcasts, and some simple customization options for the ‘M’ button, but that’s about it. Given that Marshall has rolled out a more complete app for its home theater tech — like the Marshall Heston 120 and Heston 60 — I’d expect a few more controls for the Bromley 450.

On top of this, it was a bit of a shame to see the sound character controls from the Bromley 750 get dropped on this new model. This worked really well on that model, and enabled listeners to tailor audio towards a ‘dynamic’ or ‘loud’ style. I get it, this is a smaller, cheaper model, but it would’ve been nice to see again here.

But I want to be clear: the Marshall Bromley 450 still has a very capable set of features. I haven’t even mentioned my favorite yet, the integrated stage lights. There are three presets: the first is ambient, suited to an occasion like a dinner party or solo listening session; the second is representative of actual stage lights, with bold and dynamic patterns that sync to your music; and the final preset is high-energy and flashy, intended to create more of a party atmosphere.

All of the presets work well, and the white lighting is tasteful and classy — something that I can’t say about the swathe of party speakers with loud RGB lighting. The second is my favorite, simply for its authenticity and dynamism, but I was glad to see an option to disable lights for the moments where you want to conserve battery life.

Features score: 4/5

Person taking battery out of the Marshall Bromley 450 — (Image credit: Future)

Marshall Bromley 450 review: sound quality

Energetic sound that rocks indoor and outdoor spaces
Excellent soundstage and no real sweet spot
Powerful bass overall, although the darkest depths could hit harder

I was a big fan of how the Marshall Bromley 750 sounded, so I had pretty high hopes for its lil’ bro. But did it deliver? Yes, yes it did.

Let me begin by stating the obvious: this is a seriously powerful model. The Bromley 450 harnesses the power of two 6.5-inch 40W woofers, four 2-inch 6W full-ranges, and a couple of passive radiators to make that bass feel even heftier. The result is powerful, regimented sound that travels brilliantly, no matter whether you’re listening indoors or outdoors.

When tuning into Timeless by Shinchiro Yokota, I was wowed by the impact of mid-bass, as well as the snappiness of higher-pitched percussion. The speaker’s sense of rhythm and handling of dynamics also remained impressive, whether I was listening at low volumes or cranking things up towards max loudness.

In Morning Wonders – Leo Pol Remix by Kolter, a track with pretty aggressive drums in the treble range, the Bromley 450 replicated highs with confidence. There was a snappy responsiveness and satisfying tone to percussion, even while the tune’s intent-filled bass consumed our music testing space.

As the Bromley 750’s smaller sibling, you are of course going to make a few sacrifices in terms of sound. Most noticeably, the Bromley 450 is less powerful — but it's also less adept at handling the darkest sounds in the frequency range. For instance, tracks with rippling low bass, like Max Dean’s Fascinator, didn’t quite have that full-sounding rumble that mightier models can muster. Sub-bass is audible in tracks, don't get me wrong, and the Bromley 450 can still reach down to a solid 42Hz, just don’t expect the most palpable deep bass ever.

One minor thing I noticed is that there’s also a bit of compression at absolute peak volumes. This is pretty common for Bluetooth speakers, but the Bromley 750 barely showed any hints of compression — in part thanks to its sound character control function, which helped the speaker sound ultra-clean in ‘Dynamic’ mode.

My complaints run out there though. Sure, vocals could sound a little subdued at times when I listened to voice-led tunes indoors. But two things: the onboard EQ options totally solved this issue — I just had to turn the bass down two notches; and this speaker is designed for parties rather than the most detailed, high-fidelity listening.

Overall, the Marshall Bromley 450 is a very strong performer in the audio department. Its punchy bass, direct-sound, and vibrant treble are great of course. But the inclusion of Marshall’s 360-degree ‘true stereophonic’ audio tech also helps this unit to stand out among the crowd.

This thing genuinely sounds awesome from every angle. It doesn’t matter if you’re in front, behind, near, or far away from the speaker, it doesn’t have any real acoustic sweet spot. This tech impressed me on smaller speakers like the Marshall Kilburn III, but it was even more striking on a hulking model like the Bromley 450.

In a product briefing, Marshall also explained how the speaker’s full-range drivers are mounted on the four sides of the speaker (two on the left, two on the right) which keeps stereo channels well separated for a more immersive listening experience.

One more note on sound: this thing can reach new heights if you pair it with a second unit via Auracast. I was lucky enough to be testing the Bromley 450 at the same time as my Future colleague, Nikita, and we decided to combine our two units outside, via an Auracast broadcast from my phone. And the results were exceptional.

In Felini by Venerus and Marco Castello, I was astonished by how absorbing the trickle of flowing waters and strumming of natural acoustic guitars sounded. It really felt as if I was standing front and center at a gig. And with deeper tracks like Chris Stussy’s Breather, I was enveloped in pumping, euphoric bass. Of course, you’ll get awesome power with multiple units as well — when positioning the speaker on the far side of a parking lot, I could still hear that rich bass from the other side. Impressive stuff.

Sound quality score: 4.5/5

Knobs being turned on the Marshall Bromley 450 — (Image credit: Future)

Marshall Bromley 450 review: design

Classy Marshall aesthetic is as satisfying as ever
Tasteful lights and premium physical controls
Very hefty, and the wheels are no more

Every time that I review a Marshall product, I feel like I’m repeating myself. But that’s simply because I’m always full of praise for the captivating retro-style design that the company brings to each and every product. And the Marshall Bromley 450 is no different.

Everything from the faux-leather casing, through to its metal grille and golden details is a joy to behold — just as it was on the Bromley 750. This is a pricey model, but you do feel like the luxurious looks, high quality materials, and tasteful stage lights help to make your investment feel worthwhile.

The golden control panel on top of the speaker is also laid out beautifully, and is incredibly easy to use. Red LEDs symbolize which connectivity option you’re using, and tactical knobs are available to alter volume, bass and treble levels, and more. The mic and instrument ports are also located on top of the speaker this time, making it even easier to get a guitar performance or karaoke session underway.

Something that Marshall Bromley 450 actually improves on compared to its pricier sibling is its protection against the elements. You’re getting an IP55 rating here, which means that the speaker is dust-protected, and can withstand multi-directional water jets. In practice, this essentially means that the Bromley 450 is perfect for taking into outdoor spaces, and will be able to handle a spot of rain without issue. As the Bromley 450 is smaller than its older sibling, and easier to take outdoors, this feels like a very smart design decision indeed.

But what else is different from the Bromley 750? Well, the most noticeable difference is the removal of wheels. Yep, this is a wheelless Party Speaker, and you’ll have to lug it around using the handle on the side of the unit. Now don’t get me wrong: the handle is well-made, but if you’re transporting this thing over long distances, a word of warning.

This speaker is honestly pretty hefty, coming in at 26.9lbs / 12.2kg. Sure, the 750 was essentially double the weight, but its suitcase-style handle and wheels made it fairly painless to lug about. If you’re keeping your speaker in one place, or only moving it over short distances, the handle will certainly suffice, but its weight is worth keeping in mind.

Design score: 4.5/5

Person holding handle on the Marshall Bromley 450 — (Image credit: Future)

Marshall Bromley 450 review: value

It’s by no means cheap
But quality is undeniably high, even compared to rivals
Repairability makes the speaker feel like a worthwhile investment

Let’s not beat around the bush here. The Marshall Bromley 450 is an expensive model, even when you consider its output power and sonic talents. But a high price doesn’t mean a speaker can’t be good value for money.

And I do think you get bang for your buck overall with this model. At $799.99 / £549.99 / AU$1,079, the Bromley 450 is costlier than similarly powered rivals, like the JBL PartyBox Stage 320, for instance. But, in turn, you’re getting considerably better battery life, improved dust and waterproofing, a more luxurious build, and a larger array of speaker drivers.

Is that going to be worth it? It depends. For some, the lower price and specs of the JBL speaker will be plenty good enough. But if you’re looking for a premium quality, long-lasting option, then the Marshall may be more attractive.

On top of this, the Bromley 450 is repairable, with Marshall offering maintenance and parts via its website. That helps the speaker to feel like a worthwhile investment for years to come rather than a short-term audio solution.

Value score: 4/5

Reverse side of the Marshall Bromley 450 — (Image credit: Future)

Should I buy the Marshall Bromley 450?

Attributes	Notes	Rating
Features	Brilliant battery life, connectivity options, and stage lights – but the companion app is underequipped.	4/5
Sound quality	Powerful, spacious sound, with no real drop off in listening angles, deep bass could be a little more full sounding.	4.5/5
Design	Stellar, luxurious looks with IP55 dust and waterproofing, but pretty hefty and no wheels this time.	4.5/5
Value	It’s pricey, but you get a luxury build and great sound, with top-tier battery life.	4/5

Buy it if...

You enjoy hosting parties
If you regularly host parties or gatherings, the Marshall Bromley 450 is the ideal speaker. It has great sound that can handle intimate indoor occasions or high-energy outdoor events, different light settings for different moods, ports if you want to hook up guitars or mics, and waterproofing for outdoor use.

You want a speaker that oozes style
The Bromley 450 is truly luxurious looking, and I love its combination of faux-leather casing, golden details, and a premium metal grille. It's far sleeker and sexier than the JBL PartyBox line, and makes your investment feel even more worthwhile.

Don't buy it if...

You’re on a budget
If you want the most cost-efficient option, the Marshall Bromley 450 isn’t going to be your best bet. Yes, it offers a good bang for your buck with great build quality and sound, but that doesn’t change the fact it’s pricey. The aforementioned JBL speakers can deliver powerful audio for less, and if you don’t need earth-shaking sound, you could even consider the LG option I’ve listed in the ‘Also consider’ section.

You want the most powerful sound around
Yes, the Bromley 450 is mighty, and it will have more than enough power for small-to-medium-sized parties and gatherings. But if you’re hosting a larger event, it might be worth checking out the larger Marshall Bromley 750, or a speaker with higher peak volume and stronger deep bass replication.

Marshall Bromley 450 review: also consider

	Marshall Bromley 450	JBL PartyBox Stage 320	LG xboom Stage 301
Price	$799.99 / £549.99 / AU$1,079	$629.95 / £449.99 / AU$749.95	$299.99 / £299.99 / AU$449
Weight	26.9lbs / 12.2kg	36.4lbs / 16.5kg	14.7lbs / 6.7kg
Dimensions	19.4 x 14.2 x 10.3 inches / 492 x 359.9 x 260.9mm	13.3 x 26.3 x 15.2 inches / 335 x 670 x 385mm	12.3 x 12.2 x 11.1 inches / 312 x 311 x 282mm
Connectivity	Bluetooth 5.3, 3.5mm, USB-C, RCA, 2x XLR / 6.35mm combo jacks	Bluetooth 5.4, 3.5mm, 2x XLR / 6.35mm combo jacks	Bluetooth 5.4, 3.5mm, 6.3mm (mic/guitar) USB (MP3 playback)
Battery life	40 hours	18 hours	12 hours
Speaker drivers	2x 6.5-inch 40W woofers, 4x 2-inch 6W full-ranges, 2x passive radiators	2 x 6.5-inch woofers, 2 x 1-inch dome tweeters	2x 2.5-inch mid-range drivers; 1x 6.5-inch woofer
Waterproofing	IP55	IPX4	IPX4

JBL PartyBox Stage 320
Marshall is gunning for JBL with its move into party speakers, and perhaps the most comparable model to the Bromley 450 is the PartyBox Stage 320. This unit is a little cheaper than its Marshall rival, but it isn’t as well-protected against the elements, has a shorter battery life, and has a less comprehensive set of drivers. I’m yet to test this one, so I can’t speak to its sound quality, but with flashy RGB lights and plenty of connectivity options, it’s certainly ready to party.

LG xboom Stage 301
This one’s a little different, but it’s still great for smaller parties or gatherings. The LG xboom Stage 301 is a wedge-shaped stage-style speaker that’s packed with fun features, clean audio, and flashy lighting. It’s not as powerful or luxurious looking as Marshall’s speaker, sure, but it’s considerably cheaper, and still has a bunch of connectivity options — including support for mics and guitars. Read my full LG xboom Stage 301 review.

How I tested the Marshall Bromley 450

Battery of the Marshall Bromley 450 — (Image credit: Future)

Spent hours listening to music both indoors and outdoors
Used alone and while paired with a second unit via Auracast
Predominantly tested using Tidal

I spent hours listening to music on the Marshall Bromley 450, during which time I exhausted its various features and tried it both indoors and outdoors.

When listening to tunes, I made sure to try out a wide variety of genres, and run through tracks in the TechRadar testing playlist. For the most part, I used Tidal to blast my tunes, but I also dipped into Spotify now and then. I used the Bromley 450 on its own to begin with, but I also had the opportunity to pair it with a second unit, and connected the two together via Auracast.

More generally, I’m an experienced audio gear reviewer, and have spent the last two years testing everything from premium headphones — like the Sony WH-1000XM6 — through to some of the best Dolby Atmos soundbars, including the LG Sound Suite Immersive Suite 7 Pro. I also reviewed the Marshall Bromley 750 myself, so I’m intimately familiar with Marshall’s quality in the party speaker domain.

First reviewed: March 2026
Read more about how we test

It ain’t heavy, but Sony’s new budget Bluetooth turntable is still a winner eight days a week

7:30 pm | March 16, 2026

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

Sony PS-LX5BT: Two-minute review

The idea of a turntable that connects wirelessly via Bluetooth is not a new one — Sony itself has had a lot of success with products like this.

Its latest wireless record player, this PS-LX5BT, is exhaustively specified and priced aggressively — which, it would seem, is the very least that’s required to succeed in this area of the market. Sony obviously knows what’s required, though. The PS-LX5BT features Bluetooth transmission via the aptX Adaptive codec, so if your receiver is similarly specified then lossy 48kHz wireless streams are available.

The company has fitted a defeatable phono stage, too, so the turntable can hard-wire in to pretty much any system you care to mention — and if you’re using its phono stage, there are a trio of gain settings available. It’s pre-fitted and pre-adjusted a moving magnet cartridge. And then Sony's made the whole thing automatic where playback is concerned.

In practice, it all works splendidly. The PS-LX5BT is a flyweight (just 3.6kg with its dust cover in place), which doesn’t bode especially well, but as well as a stable wireless connection, the Sony delivers robust, energetic and thoroughly entertaining sound. It manages to do so without losing sight of detail or flattening dynamics either, and it has a proper facility with rhythmic expression.

It’s not the most robust at the top of the frequency range, and is slightly-but-noticeably tilted towards the low end when it comes to frequency response, but on the whole it’s reasonably well balanced and most certainly gives a good account of itself where low-frequency control and variation in particular are concerned. Which means the PS-LX5BT picks up where the PS-LX310BT left off — as one of the very best pound-for-pound turntables around with Bluetooth to boot.

Sony PS-LX510BT turntable on a brown wood hi-fi rack, with closeups — (Image credit: Future / Simon Lucas)

Sony PS-LX5BT review: Price & release date

Unveiled January 22, 2026
Priced $499 / £399 / AU$599

The Sony PS-LX5BT is on sale now, and in the United Kingdom it costs £399. In the United States it’s priced at $499, and in Australia it sells for AU$599.

And not only will the PS-LX5BT have to justify that premium fee over its more affordable (but equally new) PS-LX3BT sibling, it will also have to see off the challenge from brands like Audio Technica and TEAC (to name just a couple) too.

To clarify, the excellent older Sony PS-LX310BT regularly sells for $199 / £179 / AU$395 and while Sony has listed various gains over that 2019 model in this more expensive deck (of the two new models listed), cash-strapped vinyl fans might question how much better it can possibly be, to warrant the extra spend. So let's see, shall we…

Sony PS-LX5BT review: Features

Bluetooth wireless connectivity with aptX Adaptive compatibility
Integrated phono stage with three-stage gain control
Pre-fitted, pre-adjusted moving magnet cartridge

There’s just no arguing with the way Sony has specified the PS-LX5BT. By prevailing turntable standards, it’s about as thoroughly tricked out as these things ever get.

For instance, you get plenty of connectivity options. There are stereo RCA connections at the rear of the plinth for connecting the player to an amplifier — and next to them there’s a switch to turn the integrated phono stage on or off.

So as well as an amplifier with or without a phono stage of its own, the Sony can also connect to a powered speaker or what-have-you — anything at all, in fact, that has a line-level analogue input. The appearance of a three-stage gain control means you’ll always get a decent level of volume when connected with the player’s phono stage switched on. Or you may prefer to connect wirelessly using the PS-LX5BT’s abilities as a Bluetooth transmitter — it’s compatible with SBC, aptX and aptX Adaptive codecs, so as long as the receiver is also compatible it’s possible to stream wirelessly at a lossy 48kHz resolution.

This is a belt-drive design that can operate at either 33.3 or 45rpm, and its straight aluminium tonearm is pre-fitted with an unbranded moving magnet cartridge. It’s also pre-adjusted, although while Sony suggests it has been calibrated to provide a tracking weight of 2.0g (+/- 0.5g) my review sample tracks at a hefty-but-not-fatal 3.13g. Sony is adamant that my sample is an outlier in this respect, and is very keen to get its hands back on it to find out what’s going on — but given that there’s no counterweight for the end user to adjust, you very much get what you’re given in this respect.

Features score: 5 / 5

Sony PS-LX5BT review: Sound quality

Energy and drive to spare
Great facility with rhythmic and dynamic expression
Slightly tilted where tonality and frequency response are concerned

It’s nice to be able to report that the Sony PS-LX5BT doesn’t alter its fundamental sonic characteristics no matter if you’re connecting wirelessly or using its integrated phono stage. In either circumstance, this turntable is a vibrant, energetic and determinedly front-foot listen, one that puts ‘entertainment’ at the centre of everything it does.

Streaming a copy of Fusa Riot by Bobby Hughes Experience via aptX Adaptive-enabled Bluetooth, the vigorous and attacking nature of the Sony’s sound is obvious. Its low-frequency response is, ultimately, slightly overstated — but it’s neither musclebound nor unsubtle at the bottom of the frequency range. Bass sounds are nicely shaped, carefully controlled (so rhythmic expression is very decent) and carry plenty of detail regarding texture and timbre — so there’s plenty of variation to go along with the overt punch.

The transition into the midrange is smooth, and here too there’s plenty of information available — you’ll never be in any doubt as to what motivates a voice, nor be unaware of its character or technique. As with the lower frequencies, the tonal balance is quite carefully natural neutral, and it makes for a convincing listen.At the top end, the Sony changes its tune just a little. There’s a slight lack of substance to treble sounds, a mild skinniness that can make the top of the frequency range sound just fractionally splashy. There’s still plenty of detail and variation made apparent, you understand — it just lacks some of the robustness the PS-LX5BT is so capable of generating elsewhere.

Soundstaging is confidently approached, and the Sony creates quite a large and well-laid-out stage that has plenty of space on it even if a recording is notably complex or involved. It also has a very respectable amount of dynamic headroom available, so if a recording really kicks off the turntable is able to make the upshift in intensity readily apparent.

Switch to the Sony’s integrated phono stage, and with the gain control in the ‘mid’ position the wired sound of the PS-LX5BT is closely related to the wireless equivalent. If anything, the lack of substance at the top of the frequency range is even more pronounced, and the low frequencies gain a little extra confidence (like they needed any) — but on the most basic levels the Sony doesn’t shift its characteristics in the slightest. Which can really only be a good thing.

Sound quality score: 4.5 / 5

Sony PS-LX5BT review: Design

117 x 430 x 366mm (HxWxD)
Diecast aluminium platter
Supplied with a clear Perspex dust cover

For a turntable with a weighty specification, the Sony PS-LX5BT doesn’t weigh very much. With its clear Perspex dust cover fitted and diecast aluminium platter in place, it tips the scales at just 3.6kg — which, if you’re the one who lifts it from its packaging and positions it on its shelf, doesn’t inspire a huge amount of confidence. Especially where the rejection of resonance caused by its own operation is concerned.

Still, there’s no arguing with the standard of construction or finish here. It may be priced aggressively, but there have been no corners cut when it comes to the way Sony has put the PS-LX5BT together.

Design score: 4 / 5

Sony PS-LX5BT review: Usability & setup

Fully automatic operation
Swift and stable wireless pairing
Will play 7in or 12in discs at 33.3 or 45rpm

There’s really very little to it. If you want to connect wirelessly, press the ‘pairing’ button on the plinth — the Sony locates and connects to your waiting Bluetooth receiver quickly.

If you prefer a hard connection to your amp, speaker or what-have-you, plug in the supplied RCA cables and select output at either ‘line’ or ‘phono’ level — if it’s the latter, you’ll be able to decide which of the three gain settings is most appropriate as soon as you hear the turntable in action.

After that it’s just a question of using the dials on the plinth to tell the PS-LX5BT if you want to play a 7in or a 12in disc, and if it should turn at 33.3 or 45rpm. Some automatic turntables are dogmatic inasmuch as they insist ‘33.3rpm = 12in disc’ and ‘45rpm = 7in disc’, but the Sony has heard of 12-in singles and will happily play them without any intervention on your part. Then press ‘start’ and away you go — when it reaches the end of the side the PS-LX5BT will automatically return the tonearm to its rest and stop the platter turning, but there’s a ‘stop’ button if you want to take charge. A button marked ‘up/down’ lets you lift or lower the tonearm without causing the platter to stop turning.

Usability & setup score: 5 / 5

Sony PS-LX5BT review: Value

Doesn't feel physically weighty enough to deliver huge value
…but put that out of your mind, let the music play and there's plenty

No, it doesn’t feel like the weightiest or most robust record player this sort of money will buy you — but in every other respect the Sony PS-LX5BT represents prodigious value for money.

Not only does it have a stack of features, but each and every one of them is beautifully realised and effective — and on top of that it has an energetic and upfront sound that doesn’t forgo detail or subtlety while it’s entertaining you.

Value score: 4.5 / 5

Should I buy the Sony PS-LX5BT?

Sony PS-LX5BT scorecard
Attribute	Notes	Score
Features	There's no arguing with Sony's specifications here	5 / 5
Sound quality	Energy, rhythmic drive and entertainment to spare, only ever-so-marginally (and occasionally) marred by a tendency towards over-egging the bass	4.5 / 5
Design	Doesn't feel as robust as pricier players, but it's all here	4 / 5
Setup & usability	There's really very little to it — a top choice for those new to vinyl	5 / 5
Value	It ain't heavy, but it's still great value	4.5 / 5

Buy it if…

The idea of wireless connectivity for your vinyl appeals
And not any old wireless connectivity, either — aptX Adaptive, for a lossy 48kHz stream

You aren’t always ready to spring out of your seat
The turntable will take care of taking the stylus off the record when it’s finished - you relax yourself

You appreciate a vigorous and driving account of your music
‘Upfront’ is as good a word as any to describe the Sony’s fundamental sonic character

Don’t buy it if…

You’re after ultimate sonic fidelity
It’s difficult to come by for £399, to be honest — but you can get closer than this if you’re prepared to sacrifice most of the Sony’s functionality

You equate weight with quality
To be fair, there are solid acoustic reasons why a turntable should, ideally, be heavier than this

You’re not especially houseproud
The Sony has a clear Perpsex dust cover — and you’d be amazed at how much dust it keeps off your deck

Sony PS-LX5BT review: Also consider

TechRadar is a big fan of the Audio-Technica AT-LP70XBT — it’s a bit of a bargain when you consider its specification and the plus-points of its sonic performance.

The PS-LX5BT has put its shortcomings into quite sharp relief, though, even if it is a fair chunk more expensive.

Spend a little more money though and the just-add-speakers Pro-Ject Juke Box E1 can be yours — it’s slightly different to the Sony in its approach, and it’s slightly different where its sound-quality priorities are concerned, too. But it could be just the ticket…

How I tested the Sony PS-LX5BT

I connected the PS-LX5BT to an Eversolo DAC-Z10 pre-amp using its aptX Adaptive Bluetooth functionality, and also using its integrated pre-amp via the RCA cables Sony supplies. This allowed me to check the speed, solidity and effectiveness of the wireless connection, as well as the quality of the phono stage and the usefulness of its three-stage gain control.

The preamp was connected to a Cambridge Edge W power amp using QED XLR cables, and the power amp was connected to a pair of Bowers & Wilkins 705 Signature loudspeakers, using QED speaker cable.

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First reviewed: March 2026

‘Looks far more expensive than it is’ — FiiO’s an automatic turntable has several bright ideas to light up your vinyl-loving life

4:15 pm | March 12, 2026

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

FiiO TT13 review: two minute review

The FiiO TT13 is an impressive and attractive belt-driven turntable with fully automatic operation to take the fear out of playing your records. It's made from aluminium alloy, comes in a choice of black or silver, features integrated LED lighting, and comes with an Audio-Technica AT3600LA cartridge.

What else does the TT13 offer, to recommend it as one of the best turntables we've tested? It has Bluetooth with SBC/aptX/aptX LL/aptX HD but not AAC and it has its own integrated preamp — although unlike similar turntables the preamp can't be switched off. It supports both AC and DC power supplies.

This is a distinctly modern turntable with good clarity and warmth and a bright sonic signature; to my ears it was a little light at the very low end but bass was still clear and well defined.

One thing to note: FiiO's TT13 turntable is clearly aimed at vinyl beginners and is great value for money, but if you're a turntable tinkerer this isn't one for you: the tonearm is designed specifically for Audio-Technica cartridges and lacks balance adjustment to support alternatives.

FiiO TT13 review: price and release date

FiiO TT13 turntable shot from above with green illumination — The integrated lighting is seamless, with a choice of 7 colors and 3 brightness levels (Image credit: Future)

Released October 2024
Priced $249 / £239 / AU$249

The FiiO TT13 was announced in May 2024 and released in October 2024. The turntable's list price was $249.99 / £239.99 / AU$248, and in the US there was also a non-Bluetooth model for $239.99. The version sold in the UK and most US retailers is the Bluetooth model but make sure you check the specs when buying; I haven't seen any non-Bluetooth ones in the usual retailers but it's worth confirming that you're buying the Bluetooth one.

As usual with FiiO this is a very competitively priced product: it's coming in at slightly more than the Audio-Technica AT-LP3XBTBK and slightly less than the Sony PS-LX310BT, both of which are also automatic turntables with Bluetooth.

FiiO TT13 review: features

FiiO TT13 turntable rear view showing connections — Things are simple round the back: two line outs (but no phono outs) plus support for both AC and DC power. There's also a balance adjuster and a ground, as well as a record size switch. (Image credit: Future)

Fully automatic operation
Integrated preamp delivering up to 800mV at 1kHz
Two op-amps for warmth and low noise

The FiiO is fully automatic and electronically switchable between 33 and 1/3 and 45 RPM, and it comes with a Audio-Technica AT3600LA cartridge.

The TT13 features a built-in phono preamp that can put out up to 800mV at 1kHz, which is more than double the output of some rivals, and that enables you to connect your turntable directly to a pair of active speakers without requiring a separate phono stage. The pre-amp is built around two JRC5532 op-amps that deliver warmth and low noise.

The Bluetooth module here is more advanced than many affordable Bluetooth turntables that stick to the familiar SBC/AAC codecs. The TT13 uses Qualcomm's Bluetooth module for SBC plus aptX, aptX Low Latency and aptX HD.

While this is primarily an entry-level turntable, the TT13 can also use an external power supply for more audiophile setups. It supports both AC (100-240V) and DC (12V-1A). If both are connected, AC takes precedence.

The platter can be illuminated in a choice of 7 colors and in a nice touch the status lights and FiiO logo take the same color.

Features score: 4 / 5

FiiO TT13 review: sound quality

close-up of the controls on the FiiO TT13 turntable — Controls are simple. The power button doubles as a toggle for the illumination system, and the status lights match your chosen color. (Image credit: Future)

Clear, warm and entertaining sound
A little light at the very low end
Bluetooth doesn't include AAC

The TT13 is an excellent-sounding turntable that delivers the kind of sound we've come to expect from FiiO: clear, detailed and entertaining. It's perhaps a little light at the very low end, especially with older rock and indie LPs, and if you're going to be listening over Bluetooth you'll probably want to boost the bass a little bit.

As with other turntables using the same Audio-Technica cartridge it's a good all-rounder balancing clarity with entertainment. While the AT cartridge isn't the brightest in the high frequencies the TT13 is still airy at the top end, and it's particularly entertaining on acoustic and sparsely arranged instruments: while I listened to various artists and genres I had the most fun listening to Talk Talk, mandolin-era REM and Taylor Swift's folky albums. With more rocky and electronic material I found the low end slightly lacking, although nothing a brief EQ tweak couldn't fix and definitely not a deal-breaker.

The Bluetooth module here doesn't support AAC, so you won't get the best sound quality on Apple headphones or earbuds. For other headphones, earbuds and active speakers the TT13 will try to use the best codec available, but that choice isn't controllable from the turntable itself and there's no indication of what codec you're using.

Sound quality: 4 / 5

FiiO TT13 review: design

FiiO TT13 turntable illuminated logo close up in blue

The illuminated FiiO logo doubles as a Bluetooth status light and a repeat play indicator. (Image credit: Future)

Solid metal construction looks particularly good in silver
Integrated lighting is lots of fun
Some unusual decisions round the back

As someone who grew up in a house of silver separates, I love the look of this turntable in its silver variant (black is also available). FiiO loves a bit of aluminium, and here it's used to great effect with flush-mounted buttons on the top surface and polished metal everywhere. The use of metal means it's a solid device — it weighs a hefty 4kg — and it helps reduce vibration and unwanted noise too.

The most dramatic bit of design is the integrated lighting that illuminates the platter with a choice of 7 different lighting colours. You can adjust the brightness via the supplied remote control and turn it off altogether if you wish. The FiiO logo at the top left of the unit lights up too, doubling as a status light for your Bluetooth connection and for when repeat play is enabled.

There are six buttons on the front top of the plinth: power, speed and pairing on the left, and start/stop, repeat and up/down on the right.

Round the back you'll find a switch to select between 7 and 12-inch records; RCA line outputs; a ground connector; and both DC and AC power sockets. There's also an adjustable potentiometer to adjust the left-right channel balance if it's not quite right — an odd thing to have in a turntable seemingly aimed at vinyl beginners.

Design score: 4 / 5

FiiO TT13 review: ease of use and setup

Don't connect it to your phono inputs
"Plug and go" design; easy to get started
Fully automatic but don't forget the record size switch

Setting up the turntable is simple, and in a nice touch the belt is already wrapped around the platter and has a little paper pull tag that you use to drag the belt over the spindle. The only irritation I encountered was too-strong adhesive on the two "remove this before use" stickers, which required getting the Goo Gone out to remove the sticker residue.

The TT13 comes with a power cable, an RCA cable and a remote control, and the RCA cable also includes a ground wire for your amp. Unusually for a turntable with an integrated phono stage there isn't a bypass switch so you can't turn the preamp off and connect the TT13 to the phono inputs on your amplifier: you'll need to use line level inputs instead. Don't connect it to your amplifier's phono inputs, which are designed for much lower voltages.

Automatic turntables are the easiest turntables to use as they move the tonearm into position and gently lower it into place. The buttons to do that are clear, easy to identify and nicely tactile, and the remote control is simple. Bluetooth pairing is easy too: just press and hold the Pairing button, set your headphones or earbuds to pair and that's all you need to do.

Changing the lighting is simple too. You can cycle through the colours by pressing the power button, and the remote has a brightness button that steps through the three brightness stages and also turns the illumination off. In addition to the lighting under the platter there's an illuminated FiiO logo that doubles as a pairing status indicator, flashing while it seeks your headphones or active speakers.

Although there's an electronic speed toggle on the front to switch between 33 and 45 RPM, there's also a record size selector switch. That's round the back.

Usability and setup score: 5 / 5

FiiO TT13 review: value

Competitively priced and solidly made
Limited upgradability
Lighting makes a nice talking point

This is a really tempting buy for vinyl beginners: it looks great, the red illumination option is a perfect match for IKEA's Kallax fabric boxes and it works nicely with Bluetooth headphones and speakers. It's not the cheapest turntable featuring this Audio-Technica cartridge by any means but it's competitively priced, solidly built and very enjoyable.

Value score: 4 / 5

Should I buy the FiiO TT13?

Attributes	Notes	Rating
Features	Fully automatic, good Bluetooth options and a useful remote control.	4/5
Design	Looks more expensive than it is and feels very solid. It's very easy to use.	5/5
Sound quality	Clear, warm and entertaining but slightly light at the low end.	4/5
Value	Competitively priced and the lighting is a big plus, but limited upgradeability.	4/5

Buy it if...

You love a bit of metal
The TT13 looks and feels much more expensive thanks to the extensive use of metal.

You want to light up your life
The integrated LED lighting is entertaining without being garishly over the top.

You like to take it easy
This is a fully automatic turntable and its remote control means you don't even need to get up from the sofa.

Don't buy it if...

You have an amazing preamp
The preamp in the FiiO TT13 isn't switchable: it's FiiO's way or the highway. It's a nice-sounding pre-amp, but if you've already got something better this probably isn't the turntable for you.

You want to change things
This is a plug-in-and-go turntable without adjustable tonearm balance, anti-skate or tracking adjustment.View Deal

You've got a stack of 78s
Like many modern turntables the TT13 is for 45 and 33 and 1/3 records only.View Deal

FiiO TT13 review: Also consider

The $179 / £149 / AU$289 Audio-Technica AT-LP60XUSB is even more affordable than the TT13, but it doesn't look as premium or offer integrated lighting. It's fully automatic with Bluetooth 5.0, and when we reviewed the AT-LP60BT variant we liked it a lot: it's a great starter turntable.

Another key rival here is Sony's $199 / £199 / AU$399 PS-LX310BT, which is another fine starter turntable. The Bluetooth module is quite old, though, with Bluetooth 4.2 rather than the TT13's 5.2.

How I tested the FiiO TT13

Onkyo amp with wired open and closed back headphones and B&W bookshelf speakers
Bluetooth via iFi GO Blu Air

I tested the FiiO TT13 over three weeks across a range of genres and eras. On headphones I used an iFi GO Blu Air Bluetooth adapter and Sennheiser DT 990 Pro open-back / DT 770 closed-back headphones; on speakers I listened via my Onkyo A-9010 amplifier and Bowers & Wilkins 607 S2 speakers.

First reviewed: March 2026
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‘Bass-heads need not apply’: I tested a polished-sounding wireless speaker with an impeccable sense of space — it’s just a shame that it flubs the sub

4:00 am | March 10, 2026

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

Bluesound Pulse Flex: two-minute review

The Bluesound Pulse Flex is a reboot of the brand’s 2018 wireless speaker. Capable of hi-res playback and being part of a multi-room setup, its most obvious rival is the Sonos Era 100. But is it capable of squaring up to Sonos’s entry level option?First off, it deftly handles the separation of various elements in the mix. Listening to Nervous Tics by Maribou State, I was impressed with how judiciously it balanced each instrument, with the guitar and the arpeggiated synth given plenty of room. Vocals especially always felt like they were given their due deference, sounding fantastically clear and soaring above the rest of the mix.A big part of this is that the Pulse Flex dedicates plenty of space in the mix for the mids to express themselves, rather than boosting bass and treble as a cheap way of adding punch. Playing Cirrus by Bonobo, I was immediately struck by how energetic the Kalimba sounded and the satisfying resonance and reverb to the chimes. Honestly, its performance in this frequency range is as good as I’ve heard from any of the best wireless speakers in this price range.That’s not to say it doesn’t have any sonic shortcomings though. For example, as it doesn’t have stereo drivers, it’s only capable of mono playback unless you pair it with another Bluesound speaker, meaning you’re not going to get as satisfying a soundstage as you might otherwise. The speaker’s also surprisingly quiet – I rarely need to run most speakers at more than 50% volume, whereas I had to crank the Pulse Flex at around 65% just to get a similar level of loudness out of it.There are also some areas of the mix it handles less well than the mids. For example, when playing Us (Pola & Bryson Remix) by Alchemist, I was immediately struck by how subdued the sub felt, particularly compared to a more bass-heavy wireless speaker like the Sonos Era 100. On occasion, transients like hi-hats can also feel like they’re lacking in crispness and bite, suggesting the treble is a little muted.Of course, this is where many speakers would fall back on their EQ settings as a defence, reasoning that at least you can compensate for their audio weaknesses here, should you wish. Unfortunately for the Pulse Flex, its EQ settings are seriously limited, only allowing you to boost or reduce bass or treble. It also doesn’t have any form of built-in room calibration, meaning it won’t compensate for unfavorable placement.But while it’s a little lacking in audio features, it makes up for it in terms of connectivity options. Wireless options are impressive enough, with integrated streaming apps, AirPlay 2 and Bluetooth aptX HD. However, it’s the variety of wired inputs that really impressed me – it offers a staggering range for a speaker of this price, including a 3.5mm analog jack, optical in, USB for connecting external drives and USB-C for running a digital input from your PC or laptop.This smart physical design is echoed elsewhere throughout the Pulse Flex’s build. I’m a big fan of its styling, with its flattened front face and attractive colorways helping it to stand out from the crowd of interchangeable wireless speakers. Meanwhile, the acoustically transparent fabric of its grille and matte plastic of its body feel wonderfully tactile. I only wish that its buttons were slightly less fine, as they’re not as pleasant to press as circular buttons would be.All things considered, the Bluesound Pulse Flex is an effective speaker for its $349 / £279 price. It offers excellent resolution and handles crowded mixes pretty deftly, as well as making vocals and other mid-range elements shine. Unfortunately, it does lack where sub is concerned and offers too few sound-tweaking features though, so if you’re into a bassier sound or just like tailoring audio to suit your preferences, you might be better off with one of the best wireless speakers instead.

A closeup of the buttons on the top of the Bluesound Pulse Flex, showing the skip forward, skip forward, play / pause, volume up and down and three shortcut buttons. — (Image credit: Future)

Bluesound Pulse Flex review: price and availability

Launched on December 16, 2025
List price: $349 / £279

Having launched on December 16, 2025, the Bluesound Pulse Flex is available direct from Bluesound, as well as from third-party sellers such as Amazon. Its list price is $349 / £279, making it a shade more expensive than the Sonos Era 100, which originally had a list price of $249 / £249 before dropping down to $219 / £199.For that price, you get your choice of three colorways: Black / Charcoal, White / Pebble Grey and the stunning looking White / Tan finish. Each speaker is mono though, so if you’re dead set on having a stereo, you’ll want to budget for two units, not just one.

A closeup of the Bluesound Pulse Flex's ports, showing its power and Ethernet ports. — (Image credit: Future)

Bluesound Pulse Flex review: specs

Speaker drivers	1 x 0.75-inch tweeter 1 x 4-inch woofer
Amplification	Smart DSP amplifier
Dimensions	5.15 x 7.73 x 4.37 inches / 131 x 196 x 111mm
Connectivity	Wi-Fi 5, Bluetooth 5.3 aptX HD, 3.5mm optical / analog combo, USB-C, USB-A, Ethernet
Streaming support	BluOS app, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, Roon Ready
Other features	Multi-room groups, loudness optimization, tone controls, replay gain, mono / left / right settings, volume limits

The Bluesound Pulse Flex from behind tipped up at an angle so you can see its ports. — (Image credit: Future)

Bluesound Pulse Flex review: features

Great range of connectivity options
Basic EQ settings
No room calibration tools

Setting up the Bluesound Pulse Flex is pretty simple. Like many other wireless speakers, you simply need to connect to its built-in Wi-Fi using your device’s settings, then authorize it to use your chosen Wi-Fi network. Admittedly, this process failed the first time I tried it but the second time it connected with minimal drama, so I’ll give it a pass here.The Bluesound app is easy to use overall and offers decent functionality. It allows you to manage your streaming services – including Amazon Music, Deezer, Spotify and Tidal – and group or ungroup all of your Bluesound speakers into a multi-room system. Additionally, it allows you to create presets for its three preset buttons, for example triggering your fave playlist on Tidal at a single tap.Unfortunately, there are some areas that are much more limited, particularly when it comes to sound-tweaking features. The EQ settings are the most rudimentary you’re likely to get in a wireless speaker, literally only allowing you to boost or duck treble or bass by 6dB either way. There’s no six- or nine-band EQ available here, let alone the innovative parametric EQ offered by Wiim’s speakers, which really limits how much you can rebalance and refine its sound profile. There’s also no room calibration here. The "flexible placement options" I originally hoped would refer to algorithmic calibration just mean it can be placed on a table, wall or stand-mount. Meanwhile, Bluesound says that its Front Row feature "shares several traits with the equalization principle of loudness compensation". I’m assuming this milquetoast statement means that it is essentially loudness compensation, but your guess is as good as mine here.

A closeup of the Bluesound Pulse Flex's ports, showing its Ethernet, USB-A port, USB-C port and optical / analog in. — (Image credit: Future)

One area I will absolutely give the Pulse Flex its dues though is when it comes to connectivity. For a speaker at this price point, it offers an absolutely chasmic range of connectivity options. Not only do you get multiroom connectivity and hi-res audio at up to 24-bit/192kHz over Wi-Fi but it also offers Bluetooth aptX HD, meaning you can still stream in near lossless quality from devices that don’t offer AirPlay 2. But, perhaps even more impressive, it offers a whole load of physical ports. Its optical and 3.5mm inputs allow you to hook up digital and analog sources with ease, while its USB-A port lets you play content from an external drive and its USB-C connection means you can stream digital audio straight from your laptop or PC. In comparison, the slightly cheaper Sonos Era 100 only offers a single USB-C port and even then you’ll need the sold-separately Sonos Line-In Adapter to plug anything into it.All in all, the Pulse Flex has some strong features for its price. But it really is far behind the competition when it comes to sound polishing functionality – these days, I’d expect more granular options than just bass or treble boost and reduction.

Features score: 3.5 / 5

The Bluesound Pulse Flex at a 3/4 angle on a stone effect counter in front of a pink background. — (Image credit: Future)

Bluesound Pulse Flex review: sound quality

Well-rounded mids and decent treble
Effective instrument separation
Lacking in the low-end
Quite quiet compared to other speakers

Of course, lackingcomprehensive EQ settings is less of an issue if a speaker nails its sound in the first place. The Bluesound Pulse Flex performs reasonably well on this front, although it is lacking in one or two significant areas.On first playing the Bluesound Pulse Flex, I was impressed with how gorgeously well-rounded the mid-range frequencies were. Playing No Skin by Frameworks, I loved how clearly expressed and resonant those mallet noises were, while the vocals soared clear of the mix. There’s a real warmth and presence to these frequencies that suggest the Pulse Flex doesn’t scrimp in the lower-mid range, a real pet peeve of mine.When it comes to bass though, it’s immediately apparent that something is lacking. Spinning Us (Pola & Bryson Remix) by Alchemist, I was pleased to hear that the torn edges of its distorted bassline had a real sense of definition when they ripped right up into the lower mids. But there’s often a palpable void where the sub would be, making you keenly aware you’re hearing a reproduction of the recording, rather than a perfect facsimile. A little more emphasis on the low end here would just help ground everything a little better and place it on a firmer footing.The treble is much less problematic, at least on first impression. Few songs are as good at diagnosing a flaky high end as Go Your Own Way by Fleetwood Mac and certainly it didn’t betray any unnecessary sharpness or limiting. Again the vocals sounded fantastically well-defined, although this did come slightly at the expense of the guitars – these usually sound as taut as piano wire, so it does feel like the treble is occasionally sacrificed on the altar of that expressive mid-range.Generally, I found the Bluesound Pulse Flex was pretty tolerant of lower quality recordings, which is a real plus if you’re likely to use it in Bluetooth mode – especially if your device doesn’t have Bluetooth aptX HD. Yes, I could detect a bit of downsampling on elements like hats and cymbals and it could be a little less dynamic than I’d like but it honestly wasn’t that different to some of the Bluetooth speakers I’ve tested.

A closeup of the Bluesound logo on the front of the Bluesound Pulse Flex; its LED indicator is lit up in green.

(Image credit: Future)

Give it a slice of hi-res audio and it really shines though. Playing Wasting My Young Years by London Grammar on Tidal’s hi-res tier, it really communicated the gorgeously honeyed timbre of the vocals and yet didn’t crush the piano or guitar too much, allowing both elements to interplay with the long reverberant tail of the vocals. It’s a spacious sound that really allows instruments plenty of room to express themselves.It is worth noting though that this speaker is mono, unlike rivals like the Sonos Era 100 – as a result, its soundstage is naturally very one dimensional. That’s a shame as the extra width could really help carve out a distinct space for each element. And yes, you could pair two into a stereo pair but that means spending twice the price, which really changes the value you’re getting out of the speaker.One other minor criticism I have of the Pulse Flex is it’s a bit of a shrinking violet. While some affordable wireless speakers can be overconfident in terms of their output levels, the Pulse Flex seemed a little on the quiet side to me. While I rarely ever play the Sonos Era 100 louder than about 50% volume, I had to boost the Bluesound’s speaker up to 65% - 70% just to get the same subjective volume. Yet if I cranked it up a few more notches to 80% volume, it quickly started to sound harsh and a bit squeezed, even if it wasn’t quite actively limiting yet.All in all, the Pulse Flex’s sound quality is good. Don’t get me wrong: my socks remained unblown when it came to either bass or volume but it’s performance in the mid-range is surprisingly capable and I liked how deftly it handled the dynamic separation of different instruments. Vocals in particular sound fantastic for a mid-price speaker, so if you’re not as bass-obsessed as I am, you’ll likely find it serves you well.

Sound quality score: 4 / 5

The Bluesound Pulse Flex from an overhead angle on a stone effect counter in front of a pink background. — (Image credit: Future)

Bluesound Pulse Flex review: design

Unique design
Chic colorways
Buttons not the most comfortable

Unboxing the Bluesound Pulse Flex, I found its look to be pretty refreshing. In the main part, I think that’s because it eschews the basic cylinder shape that’s become almost ubiquitous in wireless speakers at this price point. Instead, it has a flattened front face – from above, its cross-section gave me gumdrop vibes – making it perfect for nestling into a corner and projecting its sound into the room.And this flexibility is supported by its Lilliputian size. At 5.15 x 7.73 x 4.37 inches / 131 x 196 x 111 mm, it’s more the size of the Sonos Era 100 than a beast like the Wiim Sound. And weighing in at just 3.55lbs / 1.61kg, it’s not particularly heavy either – not only is that less than the Era 100 at 4.45 lbs / 2.02kg, it was light enough I could easily pick it up and reposition it with one hand.Elsewhere, its design is a little less adventurous, but still appealing. Both its top and bottom are fashioned out of tactile matt plastic, while its drivers are covered with a fine, acoustically transparent fabric grille – Bluesound’s data sheet alleges this is removable but honestly I couldn’t work out how and felt like I was going to break it every time I tried.

I’m a big fan of the colorways on offer though. Black / Charcoal looks a little basic to me but the White / Pebble Grey version I tested here is stylish enough. And I flat out love the White / Tan finish, as it would be easy to match with a warm decor.Along the top surface, the Bluesound Pulse Flex has the standard array of buttons, covering increasing and decreasing volume, skipping forward and backward and play / pause. There are also three shortcut buttons, which work nicely – using the app, I set one to launch our testing playlist in Tidal and it worked pretty seamlessly. But while the buttons themselves are pretty responsive, giving nice clicky feedback, I’m not totally sold on the shape of them, with their slim lines feeling a little too angular under your fingertips.The good news is those buttons aren’t your only option for controlling the Pulse Flex. It’s also compatible with the Bluesound RC1 Remote Control, meaning you can operate it from the comfort of your couch. The bad news? It’s sold separately so you’ll have to spend an additional $69 / £49 if you want to get your mitts on it.

Design score: 4 / 5

The Bluesound Pulse Flex from behind on a stone effect counter in front of a pink background. — (Image credit: Future)

Should I buy the Bluesound Pulse Flex?

Attribute	Notes	Score
Features	Excellent connectivity like Bluetooth aptX HD, analog / optical in and USB-C. But EQ settings are very basic and there’s no room tuning.	3.5 / 5
Sound quality	Offers hi-res, dynamic sound with well-rounded mids. Bass is a little lacking though and it’s quieter than most speakers.	4 / 5
Design	Lightweight, attractive design with some gorgeous colorways on offer. Buttons work well, although feel less tactile than they could be.	4 / 5
Value	Fairly reasonable price for its quality, although it’s more expensive than the Sonos Era 100, while not offering substantially better sound.	3.5 / 5

Buy it if…

You want polished sound
Not only is the Pulse Flex capable of hi-res playback but it has a pretty polished mid-range, making many instruments and vocals in particular shine.

You want to connect a lot of sources
The Pulse Flex offers a seriously broad range of connectivity options on top of its wireless connectivity, including a 3.5mm jack, optical in, and USB-A and USB-C ports.

Don’t buy it if…

You’re a bass fanatic
The Pulse Flex is a little lacking in the low end. So if you’ve got a soft spot for sub-bass frequencies, it’s probably not going to scratch that itch.

You want advanced sound features
Not only does the Pulse Flex swerve any room calibration tech, but its EQ settings are really quite basic, only allowing you to boost or reduce bass or treble.

Bluesound Pulse Flex review: also consider

	Bluesound Pulse Flex	Sonos Era 100	JBL Authentics 200
Speaker drivers	1 x 0.75-inch tweeter 1 x 4-inch woofer	2x tweeters, 1x midwoofer	2 x 25mm tweeters, 5-inch full-range woofer, 6-inch passive radiator
Amplification	Smart DSP amplifier	3x Class D amps
Dimensions	5.15 x 7.73 x 4.37 inches / 131 x 196 x 111mm	4.72 x 7.18 x 5.14 inches / 120 x 183 x 131mm	10.48 x 6.76 x 6.59 inches / 266.3 x 171.7 x 167.4mm
Connectivity	Wi-Fi 5, Bluetooth 5.3 aptX HD, 3.5mm optical / analog combo, USB-C, USB-A, Ethernet	Wi-Fi 6, Bluetooth 5.0, USB-C (3.5mm line-in and Ethernet via adapter)	Wi-Fi, Bluetooth 5.3, USB-C, Ethernet, aux-in
Streaming support	BluOS app, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, Roon Ready	Sonos app, Apple AirPlay 2	JBL One App
Other features	Multi-room groups, loudness optimization, tone controls, replay gain, mono / left / right settings, volume limits	Sonos multi-room control, Sonos home theater option, stereo pair option	Multi-room playback, auto self-tuning

Sonos Era 100
Not only is the Sonos Era 100 marginally more affordable than the Pulse Flex, it also serves up substantial bass and a lively, dynamic sound. While not quite as spacious-sounding as the Flex, it does offer more presence, not to mention stereo sound, making it a good choice if your priority is hefty sounding music with a substantial soundstage. Read our full Sonos Era 100 review.

JBL Authentics 200
There’s a reason we’ve rated the JBL Authentics 200 as our best wireless speaker overall. Not only is it pretty keenly priced but it offers rich detailed sound that’s sure to impress. It also has fun, retro styling like physical knobs – remember those? – and vintage detailing. Read our full JBL Authentics 200 review.

A woman's hand presses the skip forward button on the Bluesound Pulse Flex. — (Image credit: Future)

How I tested the Bluesound Pulse Flex

Tested over a week
Played a wide variety of genres
Tried out a range of connectivity options

I tested the Bluesound Pulse Flex over the course of a week. To put it through its paces, I played a diverse range of music across many genres, including pop, classic rock, melodic techno and drum and bass. This helped me assess its performance in different frequency bands and ascertain how well it conveyed sparser and busier mixes.To really get a picture of how it handled different quality recordings, I played music at a range of qualities, from Tidal's hi-res tier to basic AAC files. I also made sure to try out a range of connectivity options, whether that was integrated streaming apps, AirPlay 2 or via Bluetooth.In terms of my experience, I've been testing speakers for around six years. On top of this, I use a wide range audio gadgets on a daily basis at home. I also produce music as a hobby, giving me a keen understanding for assessing the balance of frequencies and weighing up the expression of various elements of a recording.

First reviewed: March 2026
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I enjoyed testing this accomplished active stereo speaker system, until it threw in the towel too easily

2:00 pm | March 7, 2026

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

KEF Coda W: Two-minute review

KEF, it seems, has identified a customer for whom its existing lineup of wireless stereo speaker systems is not absolutely perfect. This customer can live without network streaming, but would like to be able to listen to a turntable. They don’t need their system to work on a desktop, but they would like it to be available in a fairly wide choice of finishes. And so here’s the Coda W.

As well as the network streaming/phono stage trade-off and the ‘regular’ size of the cabinets compared to the dinky dimensions of some predecessors, the Coda W has cutting-edge Bluetooth connectivity (the aptX Lossless codec is supported), an HDMI eARC input and properly hi-res functionality via its digital optical and USB-C inputs. Four discreet modules of Class D amplification power the 12th generation of the company’s Uni-Q driver array – 30 watts goes to each 25mm aluminium dome tweeter, 70 watts to each 130mm magnesium/aluminum mid/bass driver. And if that all sounds a bit tentative, there’s a pre-out for a subwoofer too.

In practice, it works either ‘pretty well’ or ‘very well indeed’, albeit maybe not quite well enough to sit among the best stereo speakers on the market. The phono stage is probably the least effective of the input options, which is a pity, when you consider it’s one of the real differentiators between this system and the slightly more expensive KEF LSX II LT, its most obvious stablemate. If, however, you switch to one of the digital inputs (either wired or wireless) and the Coda W has plenty going for it. There’s detail and drive, plenty of well-behaved low-frequency presence, a really even-handed attitude towards tonality and frequency response, and a level of energy and engagement that’s a match for the best that any even remotely price-comparable rival can muster.

Turn the volume down to the sort of level that conversation can easily be heard over, though, and quite a lot of this attitude is replaced by a more pedestrian, less energetic character that sucks some of the animation out of recordings. Mind you, if you want to listen at low levels in order to engage in conversation, it could be argued that this isn’t all that much of an issue.

Front panel of the KEF Coda W active speakers, showing the drivers. — (Image credit: Future / Simon Lucas)

KEF Coda W review: Price & release date

$999 / £799 / AU$1449
Released in October 2025

The KEF Coda W wireless active stereo speaker system is on sale now, and in the United States it costs $999. The asking price in the United Kingdom is £799, while in Australia it goes for AU$1449.

There are a few very credible alternatives around, of course, not least from KEF itself in the shape of its slightly smaller, slightly pricier, slightly differently specified LSX II LT wireless stereo speaker system. So does the Coda W have what it takes to, um, undermine its sibling and cannibalize its sales?

Rear panel of the KEF Coda W active speaker system. — (Image credit: Future / Simon Lucas)

KEF Coda W review: Features

200 watts of Class D power
Wireless and wired connection options
12th-gen Uni-Q driver array

In most respects, the Coda W is specified as extensively as seems reasonable, given the asking price. Then you consider the way its (admittedly more expensive) LSX II LT sibling is specified, and you realize you’re engaged in a game of ‘swings and roundabouts’.

Still, the gain outweighs the pain here more than a little. The Coda W is an active stereo speaker with 200 watts of Class D power available – naturally enough it’s divided half-and-half between the two speakers. Slightly unusually for an active – rather than a powered – system, is that only one speaker requires mains power. This ‘primary’ speaker connects to its ‘secondary’ partner via a supplied length of USB-C-terminated cable which transfers power as well as digital audio information.

The secondary speaker has just a USB-C input on its rear panel – it’s positioned beneath a bass reflex port that vents from higher up. The primary speaker, by way of contrast, is all action. It has a USB-C output for connection to its partner and a matching bass reflex port, of course, but in addition, the rear panel features (in no particular order): a connection for mains power and an ‘on/off’ switch, an HDMI eARC socket, a digital optical input, a USB-C slot for data transfer, a line-level stereo RCA input, a moving magnet phono input (also on stereo RCAs) with a ground post, and a pre-out for a subwoofer. There are also buttons to initiate Bluetooth pairing (the KEF uses Bluetooth 5.4 with aptX Lossless codec compatibility) and to reset the whole shebang. There’s a switch to turn the ground lift circuit on or off, too.

What’s missing? Well, there’s no Ethernet socket, and no Wi-Fi connectivity either. So network streaming is unavailable, which puts the Coda W at a disadvantage compared to the LSX II LT, although it hits back with its integrated phono stage. No network capability means no Spotify Connect, Tidal Connect etc, so if you’re using Bluetooth to enjoy some wireless tunes, it means your smartphone (or what-have-you) will be fully occupied.

The input resolution of the USB-C is 24bit/192kHz, while the digital optical is 24bit/96kHz and the HDMI eARC operates at 16bit/44.1kHz – analog signals are digitized on entry to 24bit/96kHz. All these wired sources are (re)sampled to 24bit/96kHz before being decoded to the analog domain the driver arrays can understand.

Unlike the LSX II LT, which features a compact version of the 11th generation of KEF’s instantly recognizable Uni-Q driver arrangement, the Coda W is packing the 12th version. There’s a 25mm aluminum dome tweeter behind an elaborate waveguide and positioned in the throat of a 130mm magnesium/aluminum mid/bass driver. Each tweeter is in receipt of 30 watts of power, while each mid/bass driver gets 70 watts. This arrangement, reckons KEF, is good for a frequency response of 41Hz - 20kHz.

Features score: 4.5 / 5

Closeup of the drivers of the KEF Coda W active speaker system. — (Image credit: Future / Simon Lucas)

KEF Coda W review: Sound quality

Energetic and confident sound with detail to spare
Loses some animation at low volume levels
Phono stage is nothing special

At its best, the KEF Coda W sounds very, very good indeed. Unlike some of its most obvious rivals, though, getting away from ‘its best’ is not especially difficult to do.

With a genuinely hi-res (24bit/96kHz) FLAC file of Prince’s U Got the Look incoming via the USB-C socket, there’s plenty to enjoy about the way the system performs. It maintains a strictly neutral tonality, adding no discernible heat to any part of the frequency range and not cooling any part of it down either. The top end attacks with crisp determination, but despite what you might have read about metal tweeters, there’s no suggestion of hardness or glassiness to the treble sounds the Coda W delivers.

The transition into the midrange is smooth to the point of inaudibility, and once there the amount of detail the KEF is able to extract and contextualize allows both the voices in the recording to come across with all their attitude (horny, mostly) and character intact. Beneath here, the lowest frequencies hit hard but control their attack well, so the four-square rhythm is expressed confidently. As with the rest of the frequency range, detail levels down here are high, with plenty of subtlety and variation to go along with the straightforward punch available.

The frequency response is even-handed, with no area underplayed or overrepresented, and the soundstage the KEF creates is big and plausible. Like all the best Prince songs, U Got the Look sounds like an expensive demo, with great big spaces and silences playing their part. The Coda W has no problem laying the stage out coherently, and it gives just as much emphasis to the absences as it does the actual occurrences. Dynamic headroom is significant, and the lower-key dynamics of harmonic variation are also paid close attention. The KEF sounds keen to entertain, and it preserves all the energy the recording wants to communicate.

All of this is true, to a lesser or greater extent, when listening to the same song wirelessly via a FiiO digital audio player running the Tidal app or to a CD-borne copy of the song delivered into the system’s digital audio input. The Coda W remains a lively, informative and quite vibrant listen that seems to revel in the vivid and upfront nature of the recording.

It’s possible to move away from this best-case scenario, though, either by turning the volume down to a modest ‘background’ sort of level or by listening to a vinyl copy of the song through the integrated moving magnet phono stage.

The differences are probably less pronounced when playing the record, so I may as well start here. The phono stage fitted to the Coda W just isn’t anything special – for all of the cliches regarding the vinyl format and its facility with rhythm and tempo-management, the song sounds just fractionally lumpy and leaden-footed when heard this way. It’s from the 80s, sure, when every rhythm was mechanical and regimented, but there was always more swing to Price than the Coda W is willing to reveal via its phono stage. The knock-on effect is a minor dialling down of the energy in the recording, and a mild loss of engagement as a result.

Turning down the volume results in a slightly more fundamental shift in emphasis. I know it’s quite easy to argue that ‘background’ levels would tend to imply that not all that much attention is being paid to the music, and certainly no critical listening is likely to be happening, but there are more than enough systems around that don’t change their sonic character at lower volumes to understand that the changes that the Coda W goes through aren’t inevitable or, to a lesser extent, excusable.

Turning the wick down means a lot of the system’s previously vivid and energetic attitude towards music goes astray, replaced by a slightly matter-of-fact and unengaged alternative that’s not especially welcome. Particularly not when you know what the system is capable of if only it were playing a little louder.

Sound quality score: 4 / 5

Rear panel of the KEF Coda W active speakers, with wired connections and cables visible. — (Image credit: Future / Simon Lucas)

KEF Coda W review: Design

285 x 168 x 268mm (HxWxD)
Choice of five finishes
Optional SQ1 stand

The Coda W may cost less than the LSX II LT, but there’s more of them. At 285 x 168 x 268mm they’re bigger than their siblings in every direction – if you were hoping to position these on a desktop, think again. Unless you have a mahoosive desk, anyway.

A pair of speaker stands is the way to go. Any decent product will do, of course, but KEF will happily sell you a pair of its SQ1 stands that have been developed with the Coda W (and a few other KEF models) in mind.

The standard of build and finish is well up to standard. The Coda W may lack the exciting curves of their LS and LSX stablemates, but they look and feel good. And the choice of five finishes – my review sample's dark titanium, midnight blue, moss green, nickel gray and a vintage burgundy version that’s only available from very select outlets – means there really ought to be something to suit your mood and/or decor here.

Design score: 5

Trio of screenshots showing the KEF app connected to the Coda W active speaker system. — (Image credit: Future / Simon Lucas)

KEF Coda W review: Usability & setup

Truncated version of the KEF Connect control app
Physical controls on the primary speaker
Small remote control handset

KEF supplies a little remote control handset to operate the Coda W. It deals with ‘power on/off’, ‘volume up/down/mute’, allows you to cycle through the inputs and, if you’re streaming via Bluetooth, to access ‘play/pause’ and ‘skip forwards/backwards’.

The controls, with the exception of the Bluetooth stuff, are duplicated as touch-controls on the top of the primary speaker - although you can only scroll through your inputs in one direction, which is a (very) mild irritation.

There’s also a very brief version of the KEF Connect app available too. It connects via Bluetooth, offers input selection and volume control, allows you to check for updates, and also features a balance control and rudimentary EQ adjustment in the shape of ‘treble cut/boost’ and ‘bass cut/boost’ controls. It’s also where you can let the Coda W know if it has a subwoofer attached.

Usability & setup score: 4.5 / 5

Top panel of the KEF Coda W active speaker system, with back-lit, recessed touch-control buttons for power on/off, volume control and Bluetooth connectivity. — (Image credit: Future / Simon Lucas)

KEF Coda W review: Value

Very high standard of build and finish
Enjoyable sound quality...
But it's variable depending on the output used

It’s difficult in the extreme to suggest the KEF Coda W is anything other than very decent value for money. It has some real highlights where specification is concerned, is built and finished to a very high standard, and is capable of uncomplicatedly enjoyable sound quality too.

The fact that it lacks some features available in a very similarly priced product from the same manufacturer is, ultimately, less concerning than the fact that its sound is quite variable depending on the input you’re using.

Value score: 4 / 5

Top panel of the KEF Coda W active speaker system, with a remote control resting on top. — (Image credit: Future / Simon Lucas)

Should I buy KEF Coda W?

KEF Coda W scorecard
Attribute	Notes	Score
Features	Pretty well-equipped, with HDMI eARC socket, USB-C connectivity and Bluetooth 5.4 with aptX Lossless codec compatibility.	4.5 / 5
Sound quality	Energetic and confident but loses some animation at low volume levels; average phono stage.	4 / 5
Design	Choice of five finishes, and excellent build quality, make it a good fit for any room.	5 / 5
Setup & usability	Limited version of the KEF Connect app; touch controls; small remote control handset	4.5 / 5
Value	Solid value, but hampered by sound issues at low volume levels.	4 / 5

Buy them if…

You want an all-in-one system that can support more than one source
There are plenty of input possibilities here, up to and including the option of including your TV.

You’re sick to death of the ‘black/white/wood veneer’ options that hold sway where speakers are concerned
The Coda W is available is a range of quite sophisticated finishes – and ‘walnut’ is nowhere in sight.

You’re just as likely to listen to vinyl as to a music streaming service
From aptX Lossless Bluetooth to a moving magnet phono stage, this KEF system has you covered.

Don’t buy them if…

You don’t want your smartphone tied up with music playback
There’s no networking functionality here, so wireless streaming means your smartphone won’t be available for anything else.

Your listening is likely to be mostly via vinyl
The moving magnet phono input here is probably the least impressive of the lot.

You have designs on a desktop system
This system is too big for your desktop, so get that idea out of your head.

KEF Coda W review: Also consider

KEF LSX II LT
I don’t wish to labor the point, but I do find it odd that KEF has released the Coda W in what seems like fairly direct competition with its own LSX II LT. No, the LSX II LT doesn’t have a phono stage or top-of-the-shop Bluetooth connectivity, but it’s got network smarts, a smaller form factor and is, in its own way, just as decorative as the Coda W. Oh, and it’s no slouch when it comes to sound quality.
Here's our full KEF LSX II LT review.

Acoustic Energy AE1 Active
You could also break free of the KEF hegemony and consider the Acoustic Energy AE1 Active system. Yes, it’s pricier than either of the KEF pairs, not as interesting to look at, and only supports physical connections, but despite all this it’s prodigious value for money thanks to its absolutely fulminating sound quality.

How I tested the KEF Coda W

KEF Coda W active speakers, either side of an audio system and turntable, on top of a pair of speaker stands. — (Image credit: Future / Simon Lucas)

I positioned the speakers on a pair of Custom Design speaker stands, connected them together using the supplied USB-C cable and plugged the primary speaker into the mains.

Then I connected a Technics SL1300G fitted with a Goldring 1042 cartridge to the phono input (and also to the line-level input, having positioned a Cambridge Alva Duo phono stage between the two), and plugged a Rega Apollo CD player into the digital optical input.

I used an Apple iPhone 14 Pro and a FiiO M15S digital audio player as Bluetooth sources, and connected an Apple MacBook Pro (running Colibri software) to the USB-C input. After this, I put the speakers either side of my Philips 48OLED806 TV and connected them via HDMI. Lots of sources, meaning lots of content – and for quite a length of time.

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First reviewed: March 2026

I spent two weeks with Cambridge’s all-new active bookshelf speakers and they’re an immediate pound-for-pound market-leader contender

12:34 pm | March 4, 2026

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

Cambridge L/R S: Two-minute review

The Cambridge L/R S is the first out of the gate of the British audio brand's new ‘L/R’ wireless range to attack the best stereo speaker systems market. It's also the most affordable: this L/R S sells for Ruark MR1 Mk3-adjacent money, which seems less than accidental.

The money buys a crisply accomplished standard of build and finish, as well as some proper specification highlights — not least of which is that this is an active, rather than a powered, speaker system with a dedicated block of amplification for each of its drivers and an active DSP crossover. A choice of five quite fetching colors doesn’t do any harm, and neither does the option of a real walnut veneer alternative — even if the latter comes at additional cost. Support for aptX HD Bluetooth connectivity, along with line-level analog, USB-C and digital optical inputs, means the L/R S can support a reasonably diverse and expansive set of sources. The provision of a pre-out for a subwoofer is a nice touch, too, although (as we shall directly see) not super-necessary.

No matter the source of the music it’s playing, the L/R S is a big, bold and quite assertive listen; but that’s not the same as saying it’s unsubtle. There’s plenty of detail retrieved to go along with the attack, good insight to complement the dynamism, and a fairly natural and neutral way with frequency response and tonality. Or, at least, there is until you reach the bottom of the frequency range — here the L/R S is rather too confident, and gives a little too much weighting to bass information. This isn’t at the expense of rhythmic expression or forward drive, though.

All of which means the Cambridge L/R S is immediately one of the very best pound-for-pound desktop stereo systems around, and one that demands very careful consideration indeed.

Front panel of the Cambridge L/R S active speaker system, in front of a plant, on white surface. — (Image credit: Future / Simon Lucas)

Cambridge L/R S review: Price & release date

$549 / £399 / AU$949
Released April 1, 2026 (in US/Europe)
Originally announced in January 2026

The Cambridge L/R S wireless active stereo speaker system is on sale from April 1, 2026 in Europe and the USA — in APAC (Asia-Pacific) countries it’s already available.

In the United States it will cost $549. Or, at least, it will in any of the five colors in which it will be available — if you fancy the real walnut veneer you're looking at $599. In the United Kingdom it's going to go for £399/£449, while in Australia it is already selling for AU$949/AU$1049.

So the price, as well as the basic configuration, is very close indeed to Ruark’s class-leading MR1 Mk3. Coincidence? Hmm…

Rear panel of the Cambridge L/R S active speaker system, showing speaker link, USB-C input and sub out configurations. — (Image credit: Future / Simon Lucas)

Cambridge L/R S review: Features

100 watts of Class D amplification
21mm tweeter, 76mm mid/bass driver
Wired and wireless input options

First things first: this is a genuinely active, rather than a powered, stereo speaker system. Any rival product at this sort of money uses one powered speaker to deal with inputs, outputs, amplification, decoding and all the rest of it, and then sends amplified analog information to a passive partner.

With the L/R S, though, Cambridge has gone another, more complex and inevitably more expensive way: although only the primary speaker receives mains power, there are two channels of amplification for each speaker, and a full DSP crossover which serves a PWM (pulse-width modulation) signal to each of the amplifiers. A bespoke four-conductor cable connects the primary speaker to the secondary, along which all power and digital audio signals travel. I don’t think I can be criticized if I use the word ‘over-engineered’ here, so I will – but I am also quite happy to use the word ‘admirable’.

The rear of the secondary speaker features a screw-down socket for connecting that inter-speaker cable, and a bass-reflex slot along the top. The primary speaker has these features too, but it also includes USB-C, line-level stereo RCA and digital optical inputs, plus a pre-out for a subwoofer, and Bluetooth wireless reception (with aptX HD codec compatibility). The optical and USB-C inputs support resolutions of up to 24bit/96kHz PCM – every incoming signal is resampled to 24bit/48kHz in the DSP before its delivery in PWM form to the amplifiers.

Power, incidentally, is of the Class D variety, and there’s 100 watts of it. Each driver gets 25 watts to play with — there’s a 21mm hard-dome tweeter behind a waveguide and phase cap above a 76mm mid/bass driver in each speaker. Cambridge suggests this layout results in a frequency response of 55Hz - 24kHz. The rear of the primary speaker also includes a button that operates as both a power on/off switch and as an input selector. It also features three toggle switches: one to let the speaker know if it’s the left or the right channel, one to tell it if the system is being used on a desktop or not, and one to let it know if it’s in free space or near a wall. And there’s a figure-of-eight socket for mains power, too.

Features score: 5 / 5

Front panel of the Cambridge L/R S active speakers, showing a closeup of the tweeter. — (Image credit: Future / Simon Lucas)

Cambridge L/R S review: Sound quality

Expansive, detailed and upfront sound
Direct and positive sonic attitude
Slightly overplays its low-end hand

Yes, the L/R S is on the larger side for a desktop system but the sound it delivers is appreciably larger than that. Connected via USB-C and with a 24bit/44.1kHz FLAC file of Cate Le Bon’s Are You With Me Now? incoming, the scale and spaciousness of the presentation is initially quite startling.

The overall sense of scale is complemented nicely by the Cambridge’s ability to generate an organized, convincing soundstage and to focus well. There’s a fair amount of separation to the overall presentation, but at the same time a decent sense of singularity that prevents even complex recordings from sounding disjointed or untogether. Add in sufficient dynamic headroom for when the going gets especially loud or intense, and the Cambridge system sounds both bigger and more confident than its physical dimensions might suggest.

The tonal balance is fairly neutral despite a suggestion of heat at the bottom end, and frequency response once you get above the lowest of the low frequencies is smooth and even – the crossover between the two drive units is all-but imperceptible. The top of the frequency range balances attack against substance nicely, while the midrange communicates in a manner easily described as ‘lavish’. The system’s ability to reveal detail of any significance and give it appropriate weighting means voices are delivered with plenty of character and attitude.

There’s a little issue at the bottom of the frequency range. Basically, the Cambridge is slightly too pleased with the amount of low-frequency presence it’s able to liberate from recordings and just fractionally overplays its hand. There’s a little too much emphasis on the bottom end in the context of the overall frequency response available here, a minor bloom at the very bottom of the extension that can make bass sound just a touch too prominent and therefore slightly too remote from everything that’s going on above it.

Despite this, the L/R S controls its low-end activity carefully enough to ensure rhythms are expressed convincingly and momentum levels never dip below where they should be. And besides, I know perfectly well that if it comes to a straight choice, there are plenty of listeners who would choose ‘a little too much bass’ over ‘not quite enough bass’ every time.

All of the above applies if you choose to listen at volume levels somewhere between ‘background’ and ‘really quite loud’. Go beyond that and the L/R S loses a little of its admirable composure and its previously nicely open stage starts to sound a little flat and two-dimensional. It’s hardly a fatal flaw, though, and besides… it’s easily fixed. Just turn it down a touch.

Sound quality score: 5 / 5

Front and back panels of the Cambridge L/R S active speaker system, on a white surface. — (Image credit: Future / Simon Lucas)

Cambridge L/R S review: Design

226 x 134 x 180mm (HxWxD)
Choice of six finishes, including a (cost-option) real wood veneer
No grilles supplied

It is, admittedly, a little larger than the Ruark MR1 Mk3 that would appear its primary target, but the Cambridge L/R S is nonetheless compact enough at 226 x 134 x 180mm (HxWxD) to sit happily on even a modestly sized desk (as long as it’s reasonably tidy). At the same time, it’s just about big enough to not look too lost on a pair of regular speaker stands.

No matter where you want to position it, though, there are lightly rubberized little feet integrated into the bottom of the recessed plinth on which the main body of the speaker sits (which is why, from some angles, it seems to float), and there will be the option of a pair of angled ‘tilt’ stands to help aim the tweeters more overtly at your ears if the system is on your desk. These stands, of course, are a cost option.

There’s not even the option of any grilles, though. Having said that, there’s a hint of visual interest thanks to the identically sized black circles on the front baffle inside which the drivers are positioned which wouldn’t be available if grilles were fitted. Nor is there much to be gained in aesthetic terms by hiding away the orange tweeter or its waveguide, either.

The standard of construction is beyond reproach. The cabinet edges and corners are crisp rather than pointy, the recently updated brand logo at the rear of the top surface looks confident, and the sort-of kind-of matte finish feels as good as it looks in any of the five colors that are available. Take your pick from the white of my review sample, black, a bright orange, a fairly dark green or an unarguably dark blue — or if you don’t object to some extra expenditure, you can choose a real walnut veneer that tackles the L/R S even further into Ruark MR1 Mk3 territory.

Design score: 4.5 / 5

Top panel of a Cambridge L/R S active speaker, next to a plant pot. — (Image credit: Future / Simon Lucas)

Cambridge L/R S review: Usability & setup

Bluetooth LE remote control
Selection of EQ presets
‘DynamEQ’ technology included

First of all, of course, the primary speaker must be plugged into the mains. Then use the supplied 2m length of cable to join the two speakers together (Cambridge is readying a 5m alternative, for which it will naturally want some more money). After that, it’s just a question of establishing the physical or wireless connections you need to make.

There is no control app here, of course — this is not a networked system, after all. Nor are there any physical controls on either of the speakers (except that trio of toggle switches that help orientate the system before it’s running, the on/off power button or to cycle through the inputs), which could be considered an oversight. The only way to control the L/R S is by using the remote control handset that’s supplied in the packaging.

The handset itself is small, made of quite hard plastic and is not backlit but it covers off every function, and because it’s a Bluetooth rather than an RF device it’s far less reliant on having line of sight to the ‘primary’ speaker. It also gives access to a trio of EQ presets: they’re designated ‘normal’, ‘movie’ and ‘voice’.

Cambridge has included its ‘DynamEQ’ technology here, which is a gesture towards automated usability. It’s described as ‘intelligent optimization’, and makes bass and treble adjustments in response to any changes in volume you might indulge in.

Usability & setup score: 4.5 / 5

Remote control for the Cambridge L/R S active speaker system, on a white surface. — (Image credit: Future / Simon Lucas)

Cambridge L/R S review: Value

Excellent sound for the price
Lots of colorways, even if you have to pay extra for the walnut finish
Expansive specification

Judge it in terms of engineering excellence, obvious competence where construction and finish are concerned, and the useful and reasonably expansive nature of its specification, and it’s hard to suggest the Cambridge L/R S doesn’t represent decent value for money.

And when you factor in the sound it’s capable of producing, well, it then starts to put it squarely in the 'market leaders' bracket for active speaker systems.

Value score: 5 / 5

Should I buy Cambridge L/R S?

Cambridge L/R S scorecard
Attribute	Notes	Score
Features	Active system, with USB-C, line-level stereo RCA and digital optical inputs; Bluetooth wireless (with aptX HD codec compatibility).	5 / 5
Sound quality	Expansive, detailed and upfront, but slightly overplays its low-end hand.	5 / 5
Design	Very solid build; six finishes, but walnut is a cost option; no grilles supplied.	4.5 / 5
Setup & usability	Bluetooth LE remote control; trio of EQ presets; no control app.	4.5 / 5
Value	Engineering excellence, plus superb sound, make it a pound-for-pound contender at the price.	5 / 5

Buy them if…

You want a desktop system that can nevertheless fill a room with sound
The L/R S sounds significantly larger than it looks.

You want a full-on system that can sit on a desktop if needs be
See above, but in reverse: despite the scale of its presentation, the physical dimensions of the L/R S make it fine for desktop use.

You’re (almost) all ‘bout that bass
The L/R S is no one-trick pony, but it does like a bit of low-frequency action.

Don’t buy them if…

There are inquisitive people in your home
A lack of grilles can sometimes be an invitation to prying fingers.

You like to turn it up to ‘11’
The Cambridge will play loud, but it’s not at its best this way.

You prefer your speakers in a wood finish
Real walnut is available, but it will cost you.

Cambridge Audio L/R S review: Also consider

Ruark MR1 Mk3
The most obvious alternative to the Cambridge L/R S, it features a phono stage for use with a turntable, it’s available in a real wood veneer at no extra cost, it’s even more compact and desktop-friendly and, most importantly of all, it’s got loads to recommend it where sound quality is concerned. As a powered speaker system of the more common type it’s not quite the Cambridge's technological tour de force, though, and the fixed-grille design could conceivably look a little frumpy next to the crisp minimalism of the L/R S. Here's our full Ruark MR1 Mk3 review.View Deal

How I tested the Cambridge L/R S

I tested the L/R S on a desktop, where it was wired via USB-C to an Apple MacBook Pro running Colibri software.

It was also connected wirelessly to an Apple iPhone 14 Pro (via the AAC codec) and a FiiO M15S (using aptX). It was also tested when positioned on a pair of Custom Design speaker stands and with a (pre-amplified) Technics SL-1300G turntable and Rega Apollo CD player connected to the analog RCAs and the digital optical socket respectively.

Read TechRadar's Reviews Guarantee
First reviewed: March 2026

I reviewed this delightfully retro DAC dongle and at this price, it’s a punchy and talented no-brainer

1:00 am | February 25, 2026

Author: admin | Category: Audio Computers Gadgets Hi-Fi | Tags: DAC, EQ, LCD | Comments: Off

FiiO KA15: Two-minute review

Is this little teal DAC one of the best headphone DACs around? You bet it is. The FiiO KA15 is the successor to the popular FiiO KA13, and it adds a small color display with a fun audio cassette-style animation during playback. It has high power output in desktop mode that enables it to drive even fairly demanding headphones, and it has both 4.4mm balanced and 3.5mm headphone outputs. The 3.5mm can also be used as an audio output.

One of the big pluses here is wide compatibility with smartphones, tablets, laptops, desktop PCs and handheld games consoles. For some devices such as iPhones you'll need to borrow a computer to configure the 10-band equalizer as FiiO's iPhone app doesn't connect to the KA15, but this is a relatively minor snafu.

I really, thoroughly enjoyed listening to all kinds of music with the KA15. It has a wide soundstage and delivers plenty of detail; it's warm without overly coloring the sound and there are tons of options to sink your teeth (read: ears) into, including switchable amplification modes and digital filtering.

FiiO KA15 review: Price and release date

FiiO KA15 portable DAC photo showing the buttons on the side — (Image credit: Future)

Released September 2024
Priced $99.99 / £99.99 / AU$189.99

The FiiO KA15 was released in September 2024 with a retail price of $99.99 / £99.99 / AU$189.99. It sits just below the flagship KA17 in FiiO's portable DAC line-up.

This is an exceptionally competitive part of the market: it's where iFi has its also five-star GO Link Max DAC, for example. But the combination of low cost and high power output makes the FiiO KA15 very attractive. (As does the fact that it looks like a tiny cassette Walkman. And I stand by that.)

FiiO KA15 review: Features

A photo of the front of the FiiO KA15 portable DAC playing PCM music — (Image credit: Future)

DSD256 and 768kHz/32-bit PCM support
Dual Cirrus CS43198 DACs and SGM8262 op-amps
Unbalanced 3.5mm and balanced 4.4mm outputs

The KA15 features dual Cirrus CS43198 DACS and dual SG Micro SGM8262 op-amps. It supports decoding of PCM audio up to 768kHz/32bit and DSD256 and has both 3.5mm and 4.4mm balanced outputs designed for headphones with impedances of up to 150 ohms and 300 ohms respectively.

You can toggle key settings such as EQ presets and amp modes via the display and physical buttons, but EQ is best left to the Android app or web control panel where you can also set a 10-band parametric EQ. I've written more about that in the "ease of use and setup" section.

The USB-C audio is switchable between UAC 1.0 and 2.0 for the widest possible compatibility, enabling the KA15 to work not just with smartphones, tablets and laptops but also handheld games consoles and older hardware.

The KA15 runs in two modes: normal and desktop mode. Desktop mode enables it to deliver considerably more power but, as the KA15 takes all of its power from the device it’s connected to, that mode is best suited to mains-powered devices such as desktop PCs and laptops that aren’t running on battery.

In normal mode the KA15 can deliver 50mW per channel into 32 ohms on the 3.5mm output and 170mW on the balanced output. In desktop mode both increase to 180mW per channel and 560mW respectively.

There are a lot of control options to choose from, including: ten EQ presets (three of which are for FiiO IEMs); Class H / Class A/B switching; channel balance; display brightness; display themes; display rotation; and five filters. The filters are non-OS (non-oversampling), Fast-LL (low latency), Fast-PC (phase compensated), Slow-LL, and Slow-PC. The fast filters are recommended for dynamic music and gaming and the slow ones for more complex listening.

Features score: 5 / 5

FiiO KA15 review: Sound quality

The web-based control panel for the FiiO KA15 portable DAC — iPhone users will need to turn to their computer to create personalized EQs. (Image credit: Future)

Excellent warmth, detail and clarity, especially in desktop mode
Customizable amplification and filtering
You may need a computer to customize the EQ

If you're currently listening to your computer's headphone output or have a simple headphone dongle on your phone or tablet, the FiiO KA15 is a significant audio upgrade – especially if you use it on a computer and have it set to desktop mode, which massively increases the output power.

The FiiO KA15 has a neutral sound signature with clean, punchy but not overly exaggerated bass, and you can adjust both the amplification mode and the audio filter settings to suit your preferences. I liked it best in Class A/B mode with filtering set to Slow-PC and the EQ off, which I felt was warmer and slightly more spacious than Class H, fast filtering and any of the preset EQs. However, the lack of an iPhone app or on-board EQ customization was an irritant on IEMs, where many vocals were too sibilant as I turned the volume level up.

Despite listening across multiple genres and decades of music I didn't feel the need to change the EQ or filters with my closed- or open-back over-ears: whether it was U2's 30th anniversary remaster of Achtung Baby, Stevie Wonder's Superstition, Little Simz' Point and Kill, Talk Talk's New Grass or Robyn's Dopamine I had tremendous fun listening loud, hearing previously buried elements in every mix and only encountering distortion around the low end at unsafe listening levels.

The FiiO delivered excellent clarity and detail across genres. The aforementioned Little Simz track was a great example, a thrilling mix of snaking bassline and beautifully close voices; when the backing vocals came in in the second verse my goosebumps got goosebumps.

Sound quality: 5 / 5

FiiO KA15 review: Design

FiiO KA15 portable DAC photographed from the front to show the user interface — (Image credit: Future)

Brushed aluminum with small color LCD
152 x 25 x 11mm (HxWxD)
21g and in case I didn't mention, it looks like a tiny cassette Walkman

The KA15 is slightly smaller than its more powerful sibling, the KA17, and it is a little bit smaller than a standard 9V rectangular battery. Its dimensions are 152mm x 25mm x 11mm and it weighs a titchy 21g, and it comes in a choice of two brushed aluminium finishes: black and a silver/turquoise mix.

Both versions have a large black lozenge on the front with a small 0.96-inch rectangular color LCD display embedded in the centre, and both feature a delightful animation that makes the display mimic a cassette tape complete with moving reels. You can change its colours in the KA15's theme menu. It comes with an extremely short USB-C to USB-C cable designed for use with a phone, and there's an optional MagSafe clip that can snap it to the back of one.

The KA15 looks and feels well-made, and its design is very minimal. There are three tactile buttons on top for navigating the screen and a toggle switch for desktop mode that feels solid. The USB port is on the bottom and the 3.5mm single-ended and balanced 4.4mm outputs are on top. The single-ended output is also switchable to S/PDIF.

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

Plug it in and you're good to go
Interface can be a little fiddly
No iPhone app

The stripped-back design does mean the KA15 is a little fiddly to configure: there are just three buttons taking care of everything. If you hold the KA15 upright, the topmost button is volume up, the middle button is volume down and the lower button is play/pause. Tap that button twice to turn the display on and off, and long-press it to go into the KA15's settings. In that mode the volume buttons move you left and right through menu items and the lower button cycles through each section and confirms your selections.

There is one big problem with the KA15 if you're using it with an iPhone or iPad: you can't customize its 10-band equalizer from the on-board menus, and FiiO's companion iOS app doesn't work with the KA15. That means for iPhone/iPad users you'll need to plug your device into a Mac or PC and use the FiiO Control webpage in a browser such as Opera (Safari on Mac doesn't support the necessary hardware control). This web page enables you to create personal EQs and if you wish, to share your creations with others and vice-versa. It also enables you to download any firmware updates in a process that took me less than one minute.

If you're using a Mac and intend to listen to Hi-Res Audio you'll need to enable higher quality USB output via the Audio MIDI Setup app in your Applications > Utilities folder or your KA15 will be limited to 48kHz audio.

Usability and setup score: 4 / 5

FiiO KA15 review: Value

It's cheap and it'll make you cheerful
A significant audio upgrade for smartphones and computers

If like me you have big audio ambitions and a very small budget, the KA15 is excellent value for money. It's a significant upgrade in sound quality for smartphones and computers, and while it's not as powerful as a desktop headphone amp it has more than enough oomph for a wide range of headphones and IEMs so it's fairly future-proof.

Value score: 5 / 5

Should I buy the FiiO KA15?

Attributes	Notes	Rating
Features	Lots of customization options and wide compatibility	5/5
Design	Solid and portable with tactile controls	5/5
Sound quality	Warm, detailed and crystal clear. Desktop mode is superb.	5/5
Value	A big upgrade with a relatively small price tag	5/5

Buy it if...

You want to power up your phone
If your main music player is your phone then this is an enormous upgrade over Bluetooth or a USB-to-headphone dongle: it puts out more power to drive your headphones and it sounds much more inviting.

You prize portability
The KA15 is exceptionally small and virtually weightless, so it's not an effort to take it traveling.

You don't need a desktop amp
The KA15 is considerably cheaper than FiiO's K11 entry-level desktop DAC/amp, and comes close to the same power output: 560mW to the K11's 660mW.

Don't buy it if...

You've got heavy-duty headphones
While the KA15 is powerful for such a portable device, very demanding headphones will be better paired with a dedicated desktop amp such as the 2,400mW K13 R2R.

FiiO KA15 review: Also consider

If you don't need a screen or high power output, the iFi GO Link Max is even more compact than the KA15, and it's cheaper too. It puts out up to 241mW of power and features dual Sabre DACs.

FiiO makes plenty of other DACs, and if you need something with a higher spec than the KA15 the next step up is the FiiO KA17. That's roughly 30% more expensive and boasts dual ESS ES9069 DACs, maximum output of 650mW per channel and support for DSD512.

Want something just as small and almost as retro-cute, but wireless? Look to the matchbox-sized iFi Go Blu Air.

How I tested the FiiO KA15

Hi-Res FLAC and multitrack Logic Pro projects
Lossless and lossy streaming
Beyerdynamic and Philips over-ears, Soundmagic IEMS

I tested the iFi KA15 over two weeks with a variety of headphones and IEMs including BeyerDynamic DT990 Pro and Philips Fidelio X2HR open-back headphones, DT770 closed-back headphones, and SoundMagic E11C IEMs.

I tested the DAC with music from multiple audio sources including hi-res FLAC files via the Vox music player on Mac; lossy and lossless streaming on desktop, iPhones and iPad; and my own multitrack Logic Pro X music projects.

First reviewed: February 2026
Read TechRadar's reviews guarantee

I reviewed this delightfully retro DAC dongle and at this price, it’s a punchy and talented no-brainer

1:00 am |

Author: admin | Category: Audio Computers Gadgets Hi-Fi | Tags: DAC, EQ, LCD | Comments: Off

FiiO KA15: Two-minute review

FiiO KA15 review: Price and release date

Released September 2024
Priced $99.99 / £99.99 / AU$189.99

The FiiO KA15 was released in September 2024 with a retail price of $99.99 / £99.99 / AU$189.99. It sits just below the flagship KA17 in FiiO's portable DAC line-up.

FiiO KA15 review: Features

DSD256 and 768kHz/32-bit PCM support
Dual Cirrus CS43198 DACs and SGM8262 op-amps
Unbalanced 3.5mm and balanced 4.4mm outputs

In normal mode the KA15 can deliver 50mW per channel into 32 ohms on the 3.5mm output and 170mW on the balanced output. In desktop mode both increase to 180mW per channel and 560mW respectively.

Features score: 5 / 5

FiiO KA15 review: Sound quality

Excellent warmth, detail and clarity, especially in desktop mode
Customizable amplification and filtering
You may need a computer to customize the EQ

Sound quality: 5 / 5

FiiO KA15 review: Design

Brushed aluminum with small color LCD
152 x 25 x 11mm (HxWxD)
21g and in case I didn't mention, it looks like a tiny cassette Walkman

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

Plug it in and you're good to go
Interface can be a little fiddly
No iPhone app

Usability and setup score: 4 / 5

FiiO KA15 review: Value

It's cheap and it'll make you cheerful
A significant audio upgrade for smartphones and computers

Value score: 5 / 5

Should I buy the FiiO KA15?

Attributes	Notes	Rating
Features	Lots of customization options and wide compatibility	5/5
Design	Solid and portable with tactile controls	5/5
Sound quality	Warm, detailed and crystal clear. Desktop mode is superb.	5/5
Value	A big upgrade with a relatively small price tag	5/5

Buy it if...

You prize portability
The KA15 is exceptionally small and virtually weightless, so it's not an effort to take it traveling.

You don't need a desktop amp
The KA15 is considerably cheaper than FiiO's K11 entry-level desktop DAC/amp, and comes close to the same power output: 560mW to the K11's 660mW.

Don't buy it if...

You've got heavy-duty headphones
While the KA15 is powerful for such a portable device, very demanding headphones will be better paired with a dedicated desktop amp such as the 2,400mW K13 R2R.

FiiO KA15 review: Also consider

If you don't need a screen or high power output, the iFi GO Link Max is even more compact than the KA15, and it's cheaper too. It puts out up to 241mW of power and features dual Sabre DACs.

Want something just as small and almost as retro-cute, but wireless? Look to the matchbox-sized iFi Go Blu Air.

How I tested the FiiO KA15

Hi-Res FLAC and multitrack Logic Pro projects
Lossless and lossy streaming
Beyerdynamic and Philips over-ears, Soundmagic IEMS

First reviewed: February 2026
Read TechRadar's reviews guarantee

Hit the road, jack? Not at all, iFi’s tiny Go Blu Air DAC brings the headphone port back to your phone — and levels up the audio to boot

2:00 pm | February 22, 2026

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

iFi GO Blu Air: Two-minute review

The iFi GO Blu Air is a solution to tech firms taking away headphone jacks: it enables you to connect your wired headphones to Bluetooth streaming sources, and it features a 4.4mm balanced and a 3.5mm standard headphone output. It's impressively powerful and runs for up to 10 hours between charges, delivering excellent bass and a spacious sound stage that's particularly enjoyable on well produced music.

The GO Blu Air is exceptionally small and light and that means features have been kept to a minimum: there's no USB DAC functionality and you don't get on-board EQ, although there are switches for iFi's subtle but effective XBass and XSpace audio enhancers.

As we've come to expect from iFi, the GO Blu Air is well made, does exactly what it sets out to do and won't break the bank. It sounds great and is surprisingly powerful for such a small device, but its small size and low price means it lacks some features of rivals such as a display, on-board EQ and USB DAC functionality. It's emphatically one of the best portable DACs provided you don't need that wired connectivity.

iFi GO Blu Air review: Price and release date

The rear of the iFi GO Blu Air — That big oval is the magnet for the optional and surprisingly strong garment/bag clip. (Image credit: Future)

Released August 2025
Priced $129 / £129 / AU$229

The iFi GO Blu Air Bluetooth DAC was launched in August 2025 and is available now. In the UK its recommended retail price is £129; in the US it's $129; and in Australia it's AU$229.

The GO Blu Air is cheaper than its predecessor, the iFi GO Blu: that model was $199 / £199 / AU$399. A lower-priced model is a smart move in a sector that's becoming increasingly competitive.

iFi GO Blu Air review: Features

The top and bottom of the iFi GO Blu Air on a white background — Despite the small size, iFi has managed to pack a 3.5mm and 4.4mm balanced output into the top of the GO Blu Air. The USB port on the bottom is for charging only. (Image credit: iFi)

Up to 24-bit/96kHz over Bluetooth
Cirrus Logic Master Hi-Fi DAC
"S-balanced" 3.5mm and balanced 4.4mm outputs

The iFi GO Blu Air is based around a Cirrus Logic Master Hi-Fi DAC and features iFi's own XBass bass expansion and XSpace audio expander. There are also standard and minimum phase digital filter options to shape the sound further.

The headphone outputs deliver up to 165mW into 32 ohms on the 3.5mm out and up to 262mW into 32 ohms on the balanced output. iFi calls the 3.5mm output "S-balanced", with dual-mono headphone amplification all the way to the output socket. You can read iFi's tech note about it, but essentially the company says it's particularly useful for ultra-sensitive IEMs. SNR (or signal-to-noise ratio) on both outputs is a highly respectable ≥110dBA and battery life is up to 10 hours via the internal 450mAh battery, dropping to about 7.5 hours if you're using the LDAC codec. Recharging takes less than an hour.

The iFi GO Blu Air has Bluetooth 5.2 (up from the 5.1 of the GO Blu) with LDAC, LDHC and aptX Classic, aptX HD and aptX Adaptive as well as the obligatory AAC and SBC codecs. It supports resolutions of up to 24-bit/96kHz. Unlike the previous GO Blu the USB-C port is purely for charging; this model doesn't double as a wired DAC.

Features score: 4 / 5

iFi GO Blu Air review: Sound quality

The iFi GO Blu Air laid on a grey desk mat with headphones/IEMs connected to its 3.5mm output — (Image credit: Future)

Tons of fun on IEMs and over-ear headphones
No on-board EQ to tame high-end harshness
Audio enhancers are subtle but effective

The iFi GO Blu Air is a lot of fun with both headphones and IEMs, delivering an inviting soundstage and excellent clarity from a range of audio sources. It's particularly good on well-produced, spacious tracks such as Bob Marley's Could You Be Loved, Peter Gabriel's Shaking The Tree, Christine and the Queens' Tilted or The Blue Nile's Tinseltown in the Rain, delivering a consistently enjoyable, revealing and dynamic listen.

The GO Blu Air doesn't have its own equaliser, and I did find myself reaching for software EQ when I listened to fairly trebly recordings such as Junior Varsity's Cross The Street, Sugar's Changes and Kygo & Selena Gomez's It Ain't Me: getting the bass to smile-inducing levels in my IEMs made their high frequencies a little too prominent for my taste, although that was less of an issue in my less excitable over-ear headphones.

I'm wary of bass and space enhancement options as they often color the sound in too-noticeable ways, but I was pleasantly surprised by both XBass and XSpace here. Their effects are subtle, with the former adding a little more low end that gave my open-back headphones more of a closed-back punch without introducing distortion at sensible listening levels, overpowering the other frequencies or overly changing the sound. XSpace impressed me too, making the likes of Talk Talk and acoustic music more subtly spacious.

Sound quality: 5 / 5

iFi GO Blu Air review: Design

Close up of the iFi GO Blu Air with its optional magnetic clip attached — The magnetically attached garment/bag clip is very strong, and you can pretend that it's a crocodile (Image credit: Future)

Similar to GO Blu but more plasticky
3.5 x 33.7 x 19.5mm (WxHxD) and just 30g
Magnetically attached clip is surprisingly strong

I'd suggest that the Air looks a little less premium than the GO Blu, but I'm not a fan of that model's rather 1970s-cigarette-lighter appearance – and if a slightly more plastic appearance is part of the reason why the new model is cheaper, I'm all in favor.

The GO Blu Air is very compact at 3.5 x 33.7 x 19.5mm (2.11 x 1.33 x 0.77”) and it weighs 30g. There is a single rotary volume/transport controller, which iFi calls the ChronoDial, on the right. The dial is multi-mode: turn it to adjust the volume, press to play, pause or skip, and long-press to activate your phone's voice assistant. Below the dial is a button for enabling or disabling Xbass and Xspace, for setting the digital filter and for Bluetooth pairing; on the other side there's a single button for power on/off and Bluetooth format announcement. Up top you'll find a 4.4mm balanced headphone output and a 3.5mm output plus the status light for Xbass, Xspace and Bluetooth.

One of the design features I like is the detachable magnetic clip, which saves you having to buy a clip-on case: you can use the clip to attach the GO Blu Air to your clothing, bag or belt. I'd like it even more if I could use the magnet to clip the GO Blu Air to the back of my phone; I did try, but while it does attach it's not strong enough to clamp through my phone's case.

Design score: 4 / 5

iFi GO Blu Air Review: Usability and setup

Effortless Bluetooth pairing
No display: color status lights instead
Remembering what buttons do is hard at first

It's very easy to set up the GO Blu Air: simply switch it on and it enters pairing mode the first time you use it. You can then connect it in your device's Bluetooth settings and you're good to go.

The lack of a display is understandable in such a small device, but it does mean trying to remember what the status light colors mean and which button does what can be tricky. It doesn't take long to learn but the inclusion of a pocket-sized quick start guide comes in very handy.

Whether you're working from the guide or from memory it's all straightforward: single button presses take you from no enhancement to XBass only, to XSpace only, and to both XBass and XSpace; a spin of the ChronoDial adjusts the volume while a short click takes care of play/pause and a longer click skips to the next track.

Usability and setup score: 4 / 5

iFi GO Blu Air review: Value

Competitively priced but some rivals have higher spec
Previous model is now discounted so price gap is smaller
A good buy if you don't need a USB DAC

If the lack of a USB DAC isn't a deal-breaker this is a very good Bluetooth dongle for a very good price. But it's a very competitive market, and I'd suggest looking at some alternatives too – including the GO Blu Air's predecessor.

The GO Blu Air is effectively a GO Blu without the USB DAC and as a result it has a significantly lower price tag, but at the time of writing I found the original GO Blu discounted to just under £169 so there's less of a price gap than the two devices' MSRPs suggest.

Value score: 4 / 5

Should I buy the iFi GO Blu Air?

Attributes	Notes	Rating
Features	Bluetooth-only with all the key aptX options plus LDAC too. 3.5mm and 4.4mm balanced outputs.	4/5
Design	A little plasticky-looking and too small to have a screen, but it's exceptionally small and light with a great magnetic clip	4/5
Sound quality	Tons of fun with a spacious soundstage and useful enhancers	5/5
Value	Competitively priced but up against very strong rivals	4/5

Buy it if...

You like to keep it light
The GO Blu Air is exceptionally small and exceptionally lightweight, making it ideal for commuting and travel.

You've got quality IEMs or headphones
Don't let the small size fool you: this is capable of driving quite demanding headphones, delivering 262mW into 32 ohms via the balanced output.

You don't need wired listening
Unlike the GO Blu, the GO Blu Air is Bluetooth-only. The USB is just for charging.

Don't buy it if...

You want maximum flexibility
Bluetooth-only keeps everything simple and straightforward, but it does mean you can't get the same hi-res resolutions that a wired DAC can deliver.

You've got very big hands
I'm not advising those with larger mitts steer clear entirely, I just want you to know that this is a very little 30g piece of kit and its various dials and buttons are therefore bijou by design. View Deal

iFi GO Blu Air review: Also consider

The iFi GO Link USB DAC is an excellent and affordable wired headphone DAC, and if you want USB and Bluetooth capabilities the GO Blu is still available and often discounted.

The key rivals here include FiiO’s KA13 and BTR15. The former is a screen-free wired USB DAC and the latter is both USB and Bluetooth. It's marginally cheaper than the iFi: at the time of writing the BTR15 is £114 in the UK, $119 in the US and $219 in Australia.

How I tested the iFi GO Link Max

TIDAL, hi-res music files, vinyl and Logic Pro projects
Beyerdynamic and Philips over-ears and SoundMagic IEMs

I tested the GO Blu Air over two weeks with a variety of headphones and IEMs including Beyerdynamic DT990 Pro and Philips Fidelio X2HR open-back headphones, Beyerdynamic DT770 closed-back headphones, and SoundMagic E11C IEMs.

I connected the GO Blu Air to a Samsung Galaxy S25 for hi-res streaming services over LDAC and listened to locally stored lossless audio and my own multitrack Logic Pro X projects via AAC from my MacBook Pro. I also connected my Audio-Technica turntable, which transmits aptX.

First reviewed: February 2026
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