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I reviewed Marshall’s mid-sized Bluetooth speaker and its stereo sound blew me away

6:00 pm | December 7, 2025

Marshall Middleton II: two-minute review

The Marshall Middleton II is a small-to-mid sized Bluetooth speaker that combines a classy amp-inspired look with expansive stereo sound and a rugged design. It carries a pretty premium price for a model in its weight class, coming in at $329.99 / £259.99 / AU$499, so is it really worth buying?

Well, let’s start by discussing the most important factor for any Bluetooth speaker: audio performance. And I have very few complaints here. The stereo separation on offer from such a small speaker is astounding, which results in a far more nuanced listen than most rivals in this size category can supply. You also get decent bass output, with the Middleton II able to reach down pretty low. Low-frequency sounds compress at the highest volumes, but that’s fairly common for smaller models like this.

On top of that, you get satisfyingly balanced mids and clear treble – it never feels like any elements are being overwhelmed, and there are EQ options to fine tune the Middleton II’s sound to your taste. You don’t get the top-tier instrument separation, higher-resolution Bluetooth streaming, or indeed, the raw power of some options in my guide to the best Bluetooth speakers, but on the whole, sound quality is very strong on the Middleton II.

Features-wise, there’s a lot of good stuff going on too. There’s a built-in microphone for hands-free calls, the aforementioned EQ settings, battery preservation options, and Auracast connectivity. I would’ve liked to see placement compensation and multi-speaker pairing, which is available on some other Marshall models, but all of the basic essentials are here.

One of the most impressive features, though, is the speaker’s phenomenal battery life. You get 30 hours of playtime from the Middleton II, which is considerably more than a lot of rivals supply.

Design-wise, I found the Middleton II to be an interesting one. I certainly appreciate its premium look and build. Sure, it isn’t quite as flashy as the larger Marshall Kilburn III, but its golden control button and logo, faux-leather exterior, and inclusion of frets ensure it's still a beauty to behold. It’s also IP67 dust and waterproof-rated, making it ideal for use in any environment – even in the shower or in a pool.

In spite of that, I find its size and weight to be just on the awkward side of things. It doesn’t have the one-handed portability or lightweight feel of the Marshall Emberton III, which is ideal to throw into a bag or carry around. And unlike its big brother, the Marshall Kilburn III, it doesn’t have a proper handle for transportation, just a small carry strap.

This ties into a wider theme for me – the Middleton II feels like a harder sell than the models on either side of it. It’s priced closer to the Kilburn III – a model that plates up superior sound and loudness, more luxurious looks, and a stronger set of features. And it doesn’t quite have that budget-friendly appeal of the Emberton III. This leaves the Middleton II feeling like the awkward middle child – it doesn’t quite feel like the best value-for-money speaker Marshall has made.

Is that to say that the Middleton II isn’t worth checking out? Absolutely not. If you want something smaller than the Kilburn III as a statement piece, or if the heaviness is no bother, it would still be a great pick. And when it inevitably goes on sale for less, I could definitely find it easier to pick it over other models in its class.

And of course, this is still a fantastic model in the audio department. Commendable balance and stereo sound make this an admirable creation from Marshall, which has had an exceptionally strong 2025 in the commercial audio sphere. It's also got that unmistakable Marshall look and build quality, so all in all, it’s still a hit.

Marshall Middleton II being picked up by carry strap — (Image credit: Future)

Marshall Middleton II review: price and release date

$329.99 / £259.99 / AU$499
Launched in July 2025

The Marshall Middleton II was released in July 2025, two and a half years after its predecessor. It has a list price of $329.99 / £259.99 / AU$499, which is $30 higher, £10 less, and the same amount of Australian dollars as the original model cost at launch.

It’s positioned as a middle point between the small and rugged Marshall Emberton III and the larger Marshall Kilburn III, both of which we rate very highly here at TechRadar. You can grab the Middleton II in either Black & Brass, or Cream.

Marshall Middleton II review: specs

Weight	3.9 lbs / 1.8kg
Dimensions	9.1 x 4.3 x 3.9 inches / 230 x 110 x 98mm
Connectivity	Bluetooth 5.3, Aux
Battery life	30 hours
Speaker drivers	2x 30W woofers; 2x 10W tweeters
Waterproofing	IP67

Man pressing button on the Marshall Middleton II — (Image credit: Future)

Marshall Middleton II review: features

Solid EQ options
Colossal battery life
No placement compensation or ‘M’ button

The Marshall Middleton II packs in a solid suite of features, with pleasing customization options and battery preservation settings.

This model is supported by the standard Marshall app – not the revamped one that the audio specialist’s home theater tech makes use of. Here, you’ll find a five-band equalizer and a small set of presets, all of which work well. You can also see the speaker’s remaining battery life, set a standby timeout, and tune into a live broadcast via Auracast.

Something that sets the Middleton II apart from a lot of the competition is its excellent battery life. You get a whopping 30 hours from this model, which is admirable considering the raw power and premium sound it supplies. Those aforementioned battery preservation options come in handy too, with maximum charge, temperature, and charging speed controls on offer.

You also get a built-in mic on the Middleton II, which is ideal if you want to take hands-free calls – this is a feature I don’t always see from speakers in this size-class, but I think it’s a most welcome one.

Having said that, the Middleton II does omit some useful features that I loved from its cousins. The first that pops to mind is placement compensation. On models like the Marshall Kilburn III, this optimizes the speaker’s audio output to the space that you’re listening to it in.

I also like the ‘M’ button that's on a lot of Marshall’s tech, and acts as a shortcut button – I use it on the Marshall Monitor III ANC to activate a bass boost, for example. But that’s not here either, and I would’ve appreciated it.

There’s also no multi-speaker pairing, and although you don’t need two Middleton II models to access stereo sound, the option to double up would be nice. Still, these gripes remain fairly minor, given that this speaker plates up plenty of playtime, an effective built-in mic, and good EQ options.

Features score: 4/5

Reverse side of the Marshall Middleton II — (Image credit: Future)

Marshall Middleton II review: sound quality

Impressive stereo sound
Impactful bass, clear mids, and controlled treble
Effective 360-degree stereophonic sound

Let’s get into the juicy stuff and chat about sound quality for a while. And I’ll put my cards right on the table: this speaker is a very strong performer, and surprised me with its sonic capabilities.

First of all, the Middleton II absolutely nails the basics. When tuning into Fascinator by Max Dean, the pumping bass was replicated with agility and serious impact. It never sounded bloated or overbearing. Vocal chops in the midrange also cut through with intent and clarity, while synths had fantastic tonal accuracy and character.

For me, I felt that higher-pitched drums – though well controlled – didn’t quite have the energy that I was looking for, but even this was easy to rectify with the on-board EQ controls. I simply ramped up the treble, and found that the track had that high-end sparkle I was looking for.

The Middleton II can even handle deep bass pretty effectively, reaching all the way down to 50Hz. In 15 Seconds of Fame by Kolter, I was instantly struck by weighty and immersive low-frequency performance. At top volumes, I did notice the bass compress a bit, but that’s very understandable for a smaller model. If you want loud, almighty low-end performance for outdoor use, say, it may be worth going for the larger Marshall Kilburn III.

All of this is great, but what really impressed me about the Middleton II was its stellar stereo sound. Yep, for such a small model, this thing whips up a phenomenal sense of stereo separation, something I found when listening to Foxey Lady by Jimi Hendrix. In this track, vocals on the left, and percussion on the right were both expertly positioned, creating an engrossingly expansive spatial impression.

360-degree ‘true’ stereophonic sound is here too, which means you get a beautiful listen, no matter where you are in the room. As Marshall says, “there’s nowhere to hide” with the Middleton II.

When listening to a collection of smooth jazz tracks, I was impressed with the levels of details the Middleton II could unveil. Subtle percussion and the breathy vocals came out to play, and I rarely felt as if the finer intricacies were lost in my favorite tracks. It’s worth noting, though, that this model doesn’t go beyond SBC and AAC, meaning you don’t get the higher-res codecs (think LDAC or aptX) for the most insightful listen over Bluetooth.

Finally, I did a comparison against the Bang & Olufsen Beosound A1 3rd Gen, a smaller-sized portable speaker at a similar price-point to the Middleton II. I thought that the Marshall more than held its own, providing a well-balanced, yet exciting performance.

For me, I felt that the B&O speaker gave individual instruments a touch more breathing space to work their magic, resulting in a beautifully layered listening experience. However, you need two B&O speakers to access stereo sound, which is downmixed to mono in a single unit, meaning you lose some of the nuance and expansiveness the Middleton II can offer.

And again, the fact that the quality of stereo sound is so high from the Middleton II really helps it to stand out in a highly convoluted market.

Sound quality score: 4.5/5

Marshall logo on the Marshall Middleton II

(Image credit: Future)

Marshall Middleton II review: design

Premium look and feel
Strong IP67 dust and waterproofing
Slightly awkward size and weight

As I’d always expect from Marshall, there’s a real sense of luxury on display with the Middleton II. This model has a fret-infused design, with a gorgeous golden multi-directional controller, and neat LED lights to indicate battery level. Its faux leather outer casing and iconic logo at the center also hammer home that feeling of quality.

This speaker is also heavy given its size, weighing in at 3.9 lbs / 1.8kg. Now on one hand, this feels indicative of its high standard of build and materials, as well as its inclusion of multiple quality speaker drivers. But on the other hand, it does feel a little too hefty, especially given the lack of a proper handle – there’s just a carry strap here.

I also had a similar feeling about the dimensions of the Middleton II. It feels too large to hold in one hand and throw in a bag, as you would with the Emberton III. But then again, it doesn’t supply the raw power and even stronger sound quality of the Kilburn III. I suppose the speaker’s name is fitting in this regard, as it does almost seem like the awkward middle child in Marshall’s speaker lineup.

Again, there is a lot to like about the Middleton II’s look. Although its control buttons aren’t all too flashy, they are easy to use and well-positioned on the top of the model. There are also some easily accessible USB-C and Aux ports on the reverse side – for charging and wired listening respectively. And perhaps best of all, this model is IP67 dust and waterproof, meaning it can survive being dunked under a meter of water for up to 30 minutes. Pretty neat!

Design score: 4/5

Marshall logo on the Marshall Kilburn III

(Image credit: Future)

Marshall Middleton II review: value

Quite expensive, although limited change from original Middleton’s pricing
Kilburn III only slightly more expensive, but a considerable upgrade
Still a very good speaker with premium build and excellent sound

The Middleton II sits between the Emberton III and Kilburn III in terms of size, but it’s far closer to the latter when it comes to price. It comes in at $329.99 / £259.99 / AU$499, which is similar to the list price of the first Middleton at launch.

I’d still argue that this model is on the slightly more expensive side of things. Sure, it offers excellent stereo sound, with fantastic soundstage performance and well-balanced audio. It also looks premium, and plates up plenty of playtime. But that’s a lot more than a lot of models in its size class, and now, you can even get the significantly mightier and great sounding JBL Xtreme 4 at a similar price.

In fact, for just $50 / £40 / AU$100, you can get your hands on the Kilburn III, which offers more power, better bass performance, an even more premium look, and a better feature-set. The Kilburn’s inclusion of a proper handle is also a big plus, and helps to cement it as a stronger value pick than the Middleton II.

As I’ve expressed throughout this review, this is still a very high quality model. And in the future, if you can snap it up on sale for closer to $250 / £200 / AU$400, it will undoubtedly prove to be well worth the investment. But it lacks the pure portability of the Emberton III, and it doesn’t quite provide the five-star sound and look of the Kilburn III. As a result, it feels like a slightly harder sell than those two models.

Value score: 3.5/5

Buttons on the Marshall Middleton II — (Image credit: Future)

Should I buy the Marshall Middleton II?

Attributes	Notes	Rating
Features	In-built mic, effective app, 30-hour playtime, but missing some options from other Marshall models.	4/5
Sound quality	Fantastic stereo sound, excellent soundstage, well-balanced audio, only some minor imperfections.	4.5/5
Design	A little heavy and awkwardly-sized, but premium and pretty.	4/5
Value	Kilburn III offers better bang for your buck, but overall quality is high.	3.5/5

Buy it if...

You want a smaller-sized speaker with excellent sound quality
For a speaker that sits on the smaller side of things, this model does sound pretty impressive. It packs fantastic stereo sound and never takes any half measures when it comes to soundstage. You won’t be blown away by gigantic bass, but what is here is clean, agile, and surprisingly deep. You also get detailed mids and clear treble, making for an engrossing listen, time after time.

You’re a fan of the classic Marshall aesthetic
I love the look of the Marshall Middleton II. It doesn’t quite have the same sex appeal of the Kilburn III, with its gorgeous control panel and red velvet handle, but it’s still very nice to look at. That’s thanks to a multi-directional metallic control button, attractive faux-leather casing, and eye-catching frets. If you appreciate the classic Marshall look, I expect you’ll appreciate the Middleton II.

Don't buy it if...

You want the ultimate portable option
The Middleton II is heavy for its size, and it doesn’t come with a proper handle either, just a small carry strap. As a result, it’s not the best in terms of portability.

You’re looking to get the most bang for your buck
For the slight increase in cost, the Kilburn III offers more value for money, thanks to its superior sound quality, power, build, and feature-set. You can even get the larger JBL Xtreme 4 at a similar price right now, which makes the Middleton II feel like a slightly tough sell, in spite of its strong overall quality.

Marshall Middleton II review: also consider

	Marshall Middleton II	Bang & Olufsen Beosound A1 3rd Gen	JBL Charge 6
Price	$329.99 / £259.99 / AU$499	$349 / £299 / AU$639	$149 / £129 / AU$229.95
Weight	3.9 lbs / 1.8kg	1.3 lbs / 576g	3lbs / 1.37kg
Dimensions	9.1 x 4.3 x 3.9 inches / 230 x 110 x 98mm	5.2 x 1.8 x 5.2 inches / 133 x 46 H x 133mm	9 x 3.9 x 3.7 inches / 229 x 99 x 94mm
Connectivity	Bluetooth 5.3, AUX	Bluetooth 5.1, USB-C	Bluetooth 5.4
Battery life	30 hours	24 hours	28 hours (with PlayTime Boost)
Speaker drivers	2x 30W woofers; 2x 10W tweeters	1x 0.6-inch tweeter; 1 x 3.25-inch woofer, each with 1x 30W Class D amplification	53 x 93 mm mid/bass 'racetrack' driver, 20mm tweeter
Waterproofing	IP67	IP67	IP68

Bang & Olufsen Beosound A1 3rd Gen
This is a top-of-the range Bluetooth speaker that offers phenomenal sound quality, fantastic features, and one of the most luxurious designs around. It downmixes stereo content to mono, so some may appreciate the sound of the Middleton II more, but it still offers palpable bass, beautifully detailed mids, and exciting treble, with adept instrument separation and higher-res Bluetooth streaming. It’s similarly priced to the Middleton II, so if you want a real touch of class, I’d certainly consider this. Read our full Bang & Olufsen Beosound A1 3rd Gen review.

JBL Charge 6
This is a much cheaper, and not quite as powerful option, but the JBL Charge 6 is still a worthy rival to the Middleton II. It has class-leading dust and waterproofing, fantastic sound quality, top-tier portability, and a nice array of color options. It’s recently been on sale for less than $130 / £100 / AU$180, so it’s a great budget-friendly option. Read our full JBL Charge 6 review.

How I tested the Marshall Middleton II

Marshall Middleton II in man's hand — (Image credit: Future)

Tested across multiple weeks
Used in the Future Labs music testing space
Predominantly tested using Tidal

I spent multiple weeks with the Marshall Middleton II, during which time I exhausted every feature, listened to hours and hours of music, and carefully assessed its design. For the most part, I used the speaker in our music testing space at Future Labs, which we use to judge audio quality in an isolated, controlled environment.

When tuning into tracks, I mainly used Tidal over a Bluetooth connection, but I did dip into Spotify on occasion and tested out wired listening too. As always, I kicked off my review by playing tracks from our curated TechRadar reference playlist, but I also bumped a whole lot of tunes from my own personal library. As I mentioned in the review, I also compared the Middleton II with the Bang & Olufsen Beosound A1 3rd Gen, in order to assess aspects such as bass output, instrument separation, and detail.

More generally, I’ve tested all kinds of audio equipment during my time here at TechRadar, from flagship headphones such as the Sony WH-1000XM6, as well as home cinema products like the Marshall Heston 60. I’ve also reviewed a whole lot of Bluetooth speakers, from leading brands like Bose, JBL, and, of course, I’ve tested more than 30 models in total, and personally curated our guide to the best Bluetooth speakers, so I have a deep understanding of the Middleton II’s competition, and how it compares in a challenging market.

First reviewed: December 2025
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I’ve spent 20 years testing hi-fi and these bookshelf speakers are the gateway drug to passive perfection

1:30 pm | December 6, 2025

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Dali Kupid: Two-minute review

Dali may have been concentrating on the loftier parts of the audio market lately with its various loudspeaker and headphone product launches, but with the Kupid it wants you to know it hasn’t abandoned the entry level. The company has had plenty of success with its affordable speaker ranges before now, and it wants to bring those days back.

The Kupid is a small, neatly finished standmounting design that’s available in a couple of quite vibrant finishes (blue and yellow) along with the more usual black, white and walnut. Its compact nature means it should be easy to position, though its rear-facing bass reflex port means you can’t just plonk it anywhere. Rather unpromising impedance and sensitivity figures turn out to be no major real-world issue when it comes to pairing these speakers with appropriately affordable amplification, though.

And, in practice, the Kupid turns out to be a very successful proposition where performance, as well as appearance, are concerned. One of the best stereo speakers on the market? You bet...

A single Dali Kupid bookshelf speaker, mounted on a speaker stand. — (Image credit: Future / Simon Lucas)

Dali Kupid review: Price & release date

Released October, 2025
Priced $599 / £299 / AU$599

The DALI Kupid standmount loudspeakers launched in October 2025, and in the United Kingdom they cost £299 per pair. In Australia they’re a predictable AU$599, while in the United States they cost a slightly less predictable $599.

The American market is a law unto itself at the moment, I suppose, and DALI is almost certainly being pragmatic enough to factor in any whim-based fluctuations in tariffs and the like.

Bird's eye shot of the front panel of a Dali Kupid bookshelf speaker. — (Image credit: Future / Simon Lucas)

Dali Kupid review: Features

26mm soft dome tweeter
114mm wood-fiber/paper mid/bass driver
Rear-facing bass reflex port

These are affordable passive loudspeakers, so it won’t come as all that much of a surprise to learn they’re not exactly overburdened with features. Those features the Kupid do have, though, seem entirely fit for purpose.

At the front they have a 26mm soft dome tweeter sitting behind a mildly dished waveguide. Beneath this there’s a 114mm mid/bass driver made from the same mixture of paper and wood-fiber pulp the company has been refining for quite some time now. This duo is supported by a rear-firing bass reflex port that; a) contributes to an overall frequency response of 63Hz - 25kHz; and b) makes the Kupid slightly less appealing as a shelf-mounting proposition than they otherwise would be.

Crossover between the drivers is sensibly positioned at around 2.1kHz. Nominal impedance (4 ohms) and sensitivity (83dB) mean that the Kupid will be just a little trickier to drive than the majority of the size- and/or price-comparable rivals.

In theory, at least…

Features score: 5/5

Rear-firing bass reflex port of the Dali Kupid bookshelf speaker. — (Image credit: Future / Simon Lucas)

Dali Kupid review: Sound quality

Rapid, energetic sound
Impressive grasp of rhythm
Unlikely levels of dynamism and punch

You’re entitled to expect certain things from a loudspeaker, no matter how small and/or affordable it is. But there are some things that are not quite so easy to come by when you’re talking about compact, (relatively) inexpensive loudspeaker designs. What’s remarkable about the Dali Kupid is how they manage to deliver everything you expect and a fair bit of what you might only be hoping for.

A listen to a 24bit/96kHz FLAC file of ScubaZ The Vanishing American Family gives a strong flavor of both of these things. The tonal neutrality and even frequency response you are expecting is present and correct, but the dynamism, and low-frequency extension and solidity the Kupid are capable of falls squarely into the ‘unexpected’ category.

Detail levels are decently high, and if they’re sympathetically positioned the Dali are capable of creating a fairly large and quite carefully controlled soundstage. Control of low-frequency activity is good, so rhythmic expression is convincing, and despite the unpromising nature of most of the numbers here, there’s more than enough low-end energy available to ensure there’s weight and punch to the Kupid sound.

The midrange communicates quite freely. There’s plenty of space for the voice during King Hannah’s Big Swimmer to project ahead of the similarly close-mic’d guitar – these speakers can do ‘intimate’ just as readily as they can do ‘animated’. The top of the frequency range, while rounded off just slightly in the name of ‘good taste’, can nevertheless bite and crunch with the best any price-comparable rival can summon.

Momentum levels never dip (provided the recording doesn’t dictate it, of course), but the Dali never sound forced – they’re just pleasantly on the front foot. Yet despite the sort of attitude that begins at ‘exciting’, the Kupid retain the headroom to make big dynamic shifts in volume or intensity perfectly apparent.

Music is meant to be fun, isn’t it? Well, most of the time anyway – I guess we all like to pop on a bit of Elliott Smith or Joy Division every now and then. But if it’s ‘fun’ you’re predominantly after, along with the sort of authenticity that can only come from a well-sorted loudspeaker, the sound of the Dali Kupid is the perfect place for most of us to start.

Sound quality score: 5/5

Close of the driver on the Dali Kupid bookshelf speaker. — (Image credit: Future / Simon Lucas)

Dali Kupid review: Design

Extensive range of finishes
Very acceptable build quality
245 x 150 x 198mm (HxWxD)

There are a couple of immediately striking things about the Dali Kupid's design. The first is the size of the cabinets – at just 245 x 150 x 198mm (HxWxD) the speakers are almost small enough to perch on a windowsill, let alone a shelf or speaker stand.

The other, if you encounter one of the livelier finishes is, well, the finish. Sure, you can have your Kupid in black, white or the species of fake walnut that my review sample rather disappointingly showed up in, but why would you, when ‘chilly’ blue and ‘golden’ yellow are also available?

As the asking price strongly suggests, there’s nothing special about the materials used here, and at just 2.9kg per speaker they’re not what you might describe as ‘weighty’. But the standard of construction is perfectly sound, and the gently curved cabinet edges offer a slightly more upmarket appearance than the straight-edged alternative that’s more common at this sort of price.

The fact that the grilles attach magnetically, meaning there are no lug-holes in the front baffle of the speaker, only adds to the impression of thoughtful design.

Design score: 5/5

Magnetically attached grille of the Dali Kupid bookshelf speakers, placed on a speaker stand. — (Image credit: Future / Simon Lucas)

Dali Kupid review: Setup and usability

Wall-brackets and rubber feet are provided
Single-wire speaker terminalsS
Some running-in required

Where do you want to position your Dali Kupid?

If they’re going on speaker stands, you have plenty of choice from plenty of specialist brands. If you want to put them on a shelf, Dali provides eight little rubber feet in the box to help with decoupling. If you fancy hanging them on the wall, there are rudimentary wall-brackets supplied, too.

As regards setup, there’s really not a lot to it. You have a stereo amplifier, presumably – if not, you’ll need one. Each Kupid has a single pair of speaker cable terminals on the rear of the cabinet – try to keep the lengths of cable you use to connect each one roughly the same length.

And, like all loudspeakers, a period of running-in is required before you hear them at their best. Dali reckons you should expect to put 100 hours on the Kupid before they sound how they’re supposed to sound…

Setup and usability score: 5/5

Closeup of the rear cable terminations on the back panel of the Dali Kupid bookshelf speakers. — (Image credit: Future / Simon Lucas)

Dali Kupid review: Value

The Dali Kupid are by no means your only choice when you’re looking for compact and affordable passive loudspeakers. But they’re more compact than most, which many will find appealing, and the combination of some vibrant finishes and relatively good-looking cabinet-work doesn’t do any harm where perceived value is concerned either.

Best of all, though, and the real deal-sealer, is the energetic and engaging sound these speakers make. Pair them with an affordable streaming amplifier (like the similarly titchy WiiM Amp, for instance), and you can create a compact, high-achieving audio system for a relatively small amount of money. And that means ‘value for money’ all day long in my book.

Value score: 5/5

Closeup of the Dali logo on the magnetically attached grill of the Dali Kupid bookshelf speaker.

(Image credit: Future / Simon Lucas)

Should you buy the Dali Kupid?

Buy them if...

You’re after a taste of authentic hi-fi sound but don’t want to break the bank
For the performance that’s on offer, $599 / £299 / AU$599 seems like a bit of a bargain…

You want big sound, not big cabinets
The Kupid won’t fill an authentically large room with sound, but they nevertheless sound a lot bigger than they look.

You prefer your loudspeakers to be interestingly coloured
Ignore the pics of my review sample and check out the blue and yellow alternatives instead.

Don't buy them if...

Your amplifier is on the tentative side
They’re not as burdensome as the numbers suggest, but the Kupid still require a reasonably pokey amp if they’re going to work efficiently.

You’re expecting thumping bass presence
You know how this works, right? A speaker this size will never shift enough air to rattle your windows…

You think $599 / £299 / AU$599 should buy a luxurious standard of build and finish
It doesn’t.

Dali Kupid review: Also consider

Q Acoustics 3020c
The 3020c by Q Acoustics are down to Dali Kupid money these days, and they’re a great-sounding pair of speakers for the money. The cabinet is relatively deep, though, which means they’re very much a standmounting proposition rather than being suitable for a shelf or a windowsill.
Read our full Q Acoustics 3020c review here

Wharfedale Diamond 12.1
For even less money than the Kupid, Wharfedale will sell you a pair of its Diamond 12.1 loudspeakers. They’re not as decorative as the Dali, but in their own way they’re just as satisfying to listen to.

How I tested the Dali Kupid

Connected to a Naim Uniti Star and an A&R Cambridge Audio A60
Vinyl listening via Technics SL-1300G turntable
Playing a wide variety of music from a number of different sources

I connected the Dali Kupid to a Naim Uniti Star and also to a ‘vintage’ A&R Cambridge A60 for amplification purposes, and then used the Naim as a network streamer, a Rega Apollo for CD playback and a Technics SL-1300G (via a Leema Elements pre-amp) as a vinyl source.

This allowed me to listen to lots of different types of music from a variety of formats. And, let me tell you, doing so for well over a week, on and off, proved no kind of hardship whatsoever.

First reviewed: December 2025

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I tested the entry-level turntable that everyone raves about, and I totally get it

9:30 pm | November 24, 2025

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

Sony PS-LX310BT: Two-minute review

I'd heard of the Sony PS-LX310BT by reputation, before I'd heard it with my own ears: TechRadar’s own esteemed audio editor, consider it one of the best turntables for entry-level vinyl fans. And that’s how it ended up in the living room currently being lived in by me, a person who thought a ‘B-Side’ was just a track designed for insects.

Let's get something abundantly clear: the big selling point of the Sony PS-LX310BT is chiefly its price; this is an affordable turntable that may not offer the same sonic dexterity as pricier options, but also doesn’t cost you the same as a mid-level car to purchase it. And it's got a great rep – not just at TechRadar but among those who know about these things.

For me, the price isn’t the only factor that makes this a great entry-level position. Once you’ve set the thing up – which may take one or two missteps compared to the easiest options I’ve tested, but is still fairly simple – it’s a dream to use.

Press button to play. Press button to stop. If you love vinyl audio for its hands-on approach, you might feel redundant when it comes to this Sony deck, but turntable newbies will find it a lot less scary to operate because you'll never actually need to touch the tonearm, or lower a headshell and needle onto a delicate sliver of vinyl and potentially hear it scratch.

It’s easy to like the look of the PS-LX310BT too. Sure, it’s understated in the exact same way that almost every other turntable is, but a design like that screams ‘sonic excellence’ irrespective of price.

It goes without saying that deep-pocketed audiophiles should skip over this option; it doesn’t offer the audio nuance (or the five-figure price point) that top-end vinyl aficionados will be looking for. And some novice buyers will find that it doesn’t offer the connectivity options required for them, with Bluetooth and RCA but no simple 3.5mm out. But for most newbies, it’s a dream.

Sony PS-LX310BT review: Price and release date

Released in April 2019
Typically sells for $449 / £179 / AU$399
Now available for around $199 / £179 / AU$395

The Sony PS-LX310BT was released in April 2019, so it’s not exactly one of the newest turntables on the market – although six years in analog audio isn't a long time at all. And perhaps because of this, it’s still officially ranged by Sony, as one of only two turntables on its store.

The recommended retail price of the deck is $449 / £179 / AU$399 – that’s not a typo, it’s a lot pricier in the US – although at the time of writing, it’s hard to find it for full price. Instead, I’ve found the PX-LX310BT going for roughly $199 / £179 / AU$395 in sales, which seem to happen very frequently.

It goes without saying that you should try to pick this turntable up in said sales if you can. But either way, the price marks this as a fairly entry-level turntable; it’s not the cheapest I’ve ever seen, but it’s still a more affordable option for people who don’t need audiophile-grade kit, and it still looks the business.

The Sony PS-LX310BT on a table. — (Image credit: Future)

Sony PS-LX310BT review: Specs

Dimensions	43 x 36.7 x 10.8cm
Motor	Belt drive
Platter	Aluminum
Phono preamp	Yes
USB	NA
Bluetooth	4.2
Speeds	33, 45RPM
Stylus	Not specified
Extras	45RPM adapter, attached RCA cable, rubber mat

Sony PS-LX310BT review: Features

Not the easiest set-up (but also not the hardest)
Simple and easy to operate, though a tiny bit slow
Some connection options, but not 3.5mm

Newbies setting up the Sony PS-LX310BT might find it a little fiddly during the set-up process; you only have to attach the platter and mat and set the pulley belt, but I somehow managed to unknowingly twist the belt during placement which took a tiny amount of deconstruction to fix. I also religiously forget to remove the stylus cover every time I want to listen, but I can’t mark Sony down for that.

At least Sony doesn’t require you to do anything to the cartridge or counterweight or anything like that, and the entire set-up process took me under 15 minutes. And once you’ve done the initial set-up, it’s really easy to listen thanks to Sony's use of an automatic system in the PS-LX310BT. Press ‘play’ to play, or ‘stop’ to stop, and the tone arm will move all on its own.

I do find the turntable a little slow to react to these button presses, and if I wanted music on quickly I’d place the arm myself – because I'm experienced in such things. Thankfully this is a valid option too, with the platter spinning automatically if the tonearm is raised.

Connections wise, there are wired or wireless options. Wirelessly, you can connect devices such as headphones via Bluetooth, and I found it a quick and reliable connection. You can connect up to eight devices this way, but I don’t know anyone who isn’t a tech journalist who owns this many wireless gadgets. Wired, you can use the built-in RCA cable which plugs into the left and right jacks of an amplifier or stereo speaker. There’s no 3.5mm jack in the turntable for you to plug in your wired headphones. In this way, it slightly limits who can use the wired connection – you need compatible tech, or at least an adaptor.

Features score: 4/5

Sony PS-LX310BT review: Sound quality

Energetic audio
Some detail missing
Avoid Bluetooth if you can

Not wanting to upset audiophiles (and being indecisive), I tested the Sony PS-LX310BT alongside multiple devices, including wired and Bluetooth.

There’s a lot of energy in music played through the turntable; evidently the understated design contrasts the music played out. The Police’s Zenyatta Mondatta felt playful and fun, and Al Stevens’ ode to the feline annum reveals the singer’s vocal range and zest well, with glissandos and harmonies far more audible than if you just listened on Spotify.

You’re sadly not getting quite the level of clarity that you would on a… well, a non entry-level setup, with some detail lost, especially in the mids. But it’s still decent for the money, and there’s a reason that cut-price music-lovers have been turning to the PS-LX310BT for over half a decade.

Note to Bluetooth users: I did find that the speaker peaked Bluetooth-connected devices on occasion, which isn’t something I’ve found as much from other Bluetooth turntables I’ve tested.

Sound quality score: 4/5

Sony PS-LX310BT review: Design

Minimal, understated look
Buttons hidden on front edge
Dust cover could open further

The Sony PS-LX310BT has a minimalist look, going for the black on black (on silver) look, small unadorned dials and buttons and a businesslike tonearm. I like ornamentation as much as the next guy, but this product hits that ‘audio equipment’ serious aesthetic pretty square-on.

The turntable measures 43 x 36.7 x 10.8cm, and weighs 3.5kg; it wasn’t too heavy to stop me toting it around my apartment when I wanted to connect it to various speakers and devices dotted in different rooms. That height includes the dust cover, which you don’t have to use (TechRadar's audio editor never fits them, and removes them if they're pre-fitted), but I’d recommend. My ‘tiniest-violin-in-the-world’ opinion is that it would have been nice if the dust cover would open a little wider, to make getting vinyl records onto the mat a little easier.

The almost-straight, no-nonsense tonearm was light and easy to manipulate, though some audio purists might take chagrin at the lack of a counterweight.

Sony has hidden most of the PS-LX310BT’s buttons on the front edge. This is where you’ll find the buttons to play, to stop and to move the tone arm up and down. On the top there’s only the Bluetooth pairing button,, a dial to set the vinyl speed and the speed rotary knob. There is also a little hidey-hole on the right edge for the 45RPM adaptor, something I only noticed after 10 days of the adaptor being plonked awkwardly on the turntable’s body.

Design score: 4.5/5

Sony PS-LX310BT review: Value

While the Sony PS-LX310BT is priced as an entry-level device, and has a feature set to match, there are a few areas in which it stands out from the budget crowd.

The ease of use and svelte design are two such departments, but these are hardly small perks, with the aluminum platter, bespoke (though un-removable) cartridge and lightweight tonearm keeping better care of your records than some super-cheap options might.

My only small value concern is this: you either need to connect it to a Bluetooth device, or something which accepts RCA-in, so your wired headphones will need an adaptor to work. But that's hardly a deal-breaker.

Value score: 4/5

Should I buy the Sony PS-LX310BT?

Sony PS-LX310BT score card
Attributes	Notes	Rating
Features	It's easy to use and misses some of the complications of more premium alternatives.	4/5
Sound quality	The sound is energetic and zingy, though with some missing clarity.	4/5
Design	It's understated, with a smartly-thought-out design.	4.5/5
Value	Several aspects, including the price, make it a good entry-level pick.	4/5

Buy it if…

You want a first-steps turntable
If expensive turntables put you off, this cut-price alternative will be a great option instead – and it's Sony, with all of the gravitas that name carries.

You're scared of using turntables
It's simple when you get used to it, but if you'd rather an automated way to play vinyl, then this option is great.

You have compatible pieces of audio kit (or don't mind using Bluetooth)
Hey, I don't mind using Bluetooth, but some vinyl fans turn their nose up at it. If you insist on wired connections, then you'll need something that can take RCA.

Don’t buy it if…

You want to manually operate your turntable
I've seen a few people unhappy at the PS-LX310BT because its automated process cuts them out of the vinyl playing process. I understand.

You're building an audio empire
If you're an audiophile with cash to burn, then you should put something at the center of your sound system that's a little pricier.View Deal

Sony PS-LX310BT review: Also consider

	Sony PS-LX310BT	Majority Folio	Audio-Technica AT-LP70XBT
Dimensions	43 x 36.7 x 10.8cm	412 x 323 x 142mm	110 x 400 x 330mm
Motor	Belt drive	Belt drive	Belt drive
Platter	Aluminum	Die-cast metal	Aluminum
Phono preamp	Yes	Yes	Yes
USB	No	Die-cast metal	No
Bluetooth	4.2	Die-cast metal	5.2
Speeds	33 1/3, 45RPM	33 1/3, 45RPM	33 1/3, 45RPM
Cartridge	Not specified	AT3600L	AT3600L
Extras	45RPM adapter, attached RCA cable, rubber mat	Dust cover, rubber mat, 45 adapter, RCA cable.	33 1/3, 45RPM

Majority Folio
This more affordable turntable has a built-in speaker, and while it's good, it makes it a better pick for first-time turntable users who don't already have a Hi-Fi set-up in place.
Read our Majority Folio review here.

Audio-Technica AT-LP70XBT
Our favorite budget turntable, the AT-LP70XBT undercuts the Sony's MSRP in some countries, though costs more than its deal price. It's another solid beginner turntable with better Bluetooth transmission.
Read our Audio-Technica AT-LP70XBT review here.

How I tested the Sony PS-LX310BT

Tested for ten days
Inputs included a series of vinyl records
Outputs include headphones and a speaker via Bluetooth, and speakers via cable

The Sony PS-LX310BT review process covered ten days, not including the time it took to write the review itself. I have a decent-sized collection of vinyl which I used for this testing.

As mentioned, after running it in for 48 hours, I listened on multiple devices including a pair of speakers via the RCA connection, a smaller speaker via Bluetooth and a pair of headphones, also via Bluetooth.

I've been tested tech for TechRadar for nearly seven years, which has included many audio players and another turntable; I've also used turntables and other Hi-Fi kit outside of reviewing.

First reviewed November 2025

I tested the entry-level turntable that everyone raves about, and I totally get it

9:30 pm |

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

Sony PS-LX310BT: Two-minute review

Sony PS-LX310BT review: Price and release date

Released in April 2019
Typically sells for $449 / £179 / AU$399
Now available for around $199 / £179 / AU$395

Sony PS-LX310BT review: Specs

Dimensions	43 x 36.7 x 10.8cm
Motor	Belt drive
Platter	Aluminum
Phono preamp	Yes
USB	NA
Bluetooth	4.2
Speeds	33, 45RPM
Stylus	Not specified
Extras	45RPM adapter, attached RCA cable, rubber mat

Sony PS-LX310BT review: Features

Not the easiest set-up (but also not the hardest)
Simple and easy to operate, though a tiny bit slow
Some connection options, but not 3.5mm

Features score: 4/5

Sony PS-LX310BT review: Sound quality

Energetic audio
Some detail missing
Avoid Bluetooth if you can

Not wanting to upset audiophiles (and being indecisive), I tested the Sony PS-LX310BT alongside multiple devices, including wired and Bluetooth.

Note to Bluetooth users: I did find that the speaker peaked Bluetooth-connected devices on occasion, which isn’t something I’ve found as much from other Bluetooth turntables I’ve tested.

Sound quality score: 4/5

Sony PS-LX310BT review: Design

Minimal, understated look
Buttons hidden on front edge
Dust cover could open further

The almost-straight, no-nonsense tonearm was light and easy to manipulate, though some audio purists might take chagrin at the lack of a counterweight.

Design score: 4.5/5

Sony PS-LX310BT review: Value

While the Sony PS-LX310BT is priced as an entry-level device, and has a feature set to match, there are a few areas in which it stands out from the budget crowd.

Value score: 4/5

Should I buy the Sony PS-LX310BT?

Sony PS-LX310BT score card
Attributes	Notes	Rating
Features	It's easy to use and misses some of the complications of more premium alternatives.	4/5
Sound quality	The sound is energetic and zingy, though with some missing clarity.	4/5
Design	It's understated, with a smartly-thought-out design.	4.5/5
Value	Several aspects, including the price, make it a good entry-level pick.	4/5

Buy it if…

You want a first-steps turntable
If expensive turntables put you off, this cut-price alternative will be a great option instead – and it's Sony, with all of the gravitas that name carries.

You're scared of using turntables
It's simple when you get used to it, but if you'd rather an automated way to play vinyl, then this option is great.

Don’t buy it if…

You want to manually operate your turntable
I've seen a few people unhappy at the PS-LX310BT because its automated process cuts them out of the vinyl playing process. I understand.

You're building an audio empire
If you're an audiophile with cash to burn, then you should put something at the center of your sound system that's a little pricier.View Deal

Sony PS-LX310BT review: Also consider

	Sony PS-LX310BT	Majority Folio	Audio-Technica AT-LP70XBT
Dimensions	43 x 36.7 x 10.8cm	412 x 323 x 142mm	110 x 400 x 330mm
Motor	Belt drive	Belt drive	Belt drive
Platter	Aluminum	Die-cast metal	Aluminum
Phono preamp	Yes	Yes	Yes
USB	No	Die-cast metal	No
Bluetooth	4.2	Die-cast metal	5.2
Speeds	33 1/3, 45RPM	33 1/3, 45RPM	33 1/3, 45RPM
Cartridge	Not specified	AT3600L	AT3600L
Extras	45RPM adapter, attached RCA cable, rubber mat	Dust cover, rubber mat, 45 adapter, RCA cable.	33 1/3, 45RPM

How I tested the Sony PS-LX310BT

Tested for ten days
Inputs included a series of vinyl records
Outputs include headphones and a speaker via Bluetooth, and speakers via cable

The Sony PS-LX310BT review process covered ten days, not including the time it took to write the review itself. I have a decent-sized collection of vinyl which I used for this testing.

I've been tested tech for TechRadar for nearly seven years, which has included many audio players and another turntable; I've also used turntables and other Hi-Fi kit outside of reviewing.

First reviewed November 2025

Fluance’s chic powered bookshelf speakers offer impressively detailed, almost neutral sound – with very few drawbacks

1:30 pm | November 15, 2025

Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Tags: AAC, HDMI, TV, USB | Comments: Off

Fluance Ri71: Two-minute review

If you’ve looked into mid-range speakers from Fluance like the Fluance Ri71 powered speakers reviewed here, you’ll see people talk about how they’re good for the price. There have been plenty of caveats and plenty of hedging since, after all, the speakers are manufactured in Taiwan. Never mind that they’re designed in Canada or the fact that, regardless of where they’re from, they’re just good speakers.

Having reviewed these speakers, I can honestly say that the Fluance Ri71 sound great and not just for the price. Yes, they may not quite reach the heights of something from Dali or KEF, but they still have a fairly neutral, detailed sound that works for all genres. The price tag is an added bonus as they’re among the best stereo speakers out there for anyone not wanting to spend over $500.

I do wish there were also USB or USB-C port to connect to a computer and the placement of the volume wheel is not ideal. Though I like the look of a naked speaker (and therefore don’t count it as a negative), they don’t come with a grille for those who care. There’s really not much to complain about here.

Really, the Fluance Ri71 speakers are an easy recommendation for anyone looking for powered bookshelf speakers. And though there’s no spatial audio or surround sound, they work pretty well for TV, too.

Fluance Ri71 powered bookshelf speakers on a windowsill, with trees outside the window. — (Image credit: Future / James Holland)

Fluance Ri71 review: Price & release date

Released March, 2025
Priced $399.99 / £333.32 / AU$620 (approx.)

With a price tag of $399.99 / £333.32 / AU$620 (approx.), the Fluance Ri71 sits right in mid-range territory.

You can certainly find some powered bookshelf speakers for triple the price (and not necessarily triple the performance) – you can also spend quite a bit less. Fluance’s own Ai41 powered speakers come in at $249 (£255, AU$471), but those are smaller with less power and a less refined sound.

The Fluance Ri71 are available in the US and in the UK (via Amazon). Though Fluance maintains a presence on Amazon AUS (for Australia), the Ri71 don’t seem to be available Down Under at this time.

Fluance Ri71 review: Specs

Weight	6.4 kg (active speaker); 5 kg (passive speaker)
Dimensions	310 x 185 x 199 mm
Subwoofer	No (has sub out)
Frequency response	46 Hz - 30 kHz
Dolby Atmos / DTS:X enabled?	No
Maximum output	120 watts

Fluance Ri71 review: Features

Bluetooth 5.3 with aptX HD and AAC codecs capable of almost lossless streaming
Included HDMI is ARC-enabled for use with a TV
No spatial audio or Wi-Fi streaming

Powered bookshelf speakers such as the Fluance Ri7 bridge the gap between a traditional speaker setup and what people want out of a modern sound system. That means there are some great quality-of-life features on hand, while some things a casual listener might expect or hope for are just not here. So, neither spatial audio, surround sound nor Wi-Fi streaming are part of the package, but that’s generally the case with this type of speaker setup and not really a knock against them in my opinion.

What is on hand, however, is a decent amount of connectivity including Bluetooth 5.3 with aptX HD and AAC codecs for close-to lossless streaming. In the past, there’s been a noticeable difference in quality between Bluetooth audio and that sent through a wired signal because the latter doesn’t have to compress the sound. But that’s no longer the case. There’s a small difference but, in my opinion, it’s very hard to notice.

There’s also an HDMI port on hand, meaning these speakers can be used with a TV. The built-in offerings on most TVs generally suck, so having a good pair of speakers is always a welcome upgrade. And while they might not be as feature-filled as some of the best soundbars around the same price tag, they still offer a better stereo soundstage. And (usually) better sound. Since the HDMI connection is ARC-supported, you can control the volume with one remote.

Features score: 4.5/5

Front panel of the Fluance Ri71 powered bookshelf speaker, placed on its back on a matt, on a wooden surface. — (Image credit: Future / James Holland)

Fluance Ri71 review: Sound quality

Decent low end without subwoofer
Impressively detailed high end
Immersive, if polite-sounding

While you shouldn’t rely too much on a speaker’s frequency range as a gauge of sound quality, the range of 46 Hz - 30 kHz does tell us a few things. At 46Hz, the low end is not all that low, but is comparable to other powered bookshelf speakers, with many having a higher cutoff.

The Fluance Ri71 also has bass ports at the bottom of the speaker cabinet to accentuate what it can reproduce. That means that, while you don’t quite have that very low rumble you might hear in electronic dance music or an action scene in a movie, you still get a well-balanced if slightly restrained bass response. Listening to anything with heavy 808 usage (that deep bass you hear in hip-hop and EDM) is going to lack a little oomph.

On the high end of that aforementioned range, 30kHz is pretty impressive, with that extended high end potentially coming from the AMT tweeters. Either way, that’s much better than the 20kHz range around which many speakers sit. Now, many of us probably can’t hear up to 30kHz but what this extended range, plus the fast response of those tweeters, mean is that there’s not only an immediacy to higher-end sound but a clarity to themtoo.

It’s almost as if someone pulled a blanket off the band I’m listening to and all of sudden I can hear intricacies of the ride and the sweetness of the strings. Or, if you prefer the more boring way of saying it, the music feels less compressed and less filtered.

The midrange feels a little pulled back, which makes everything sound more polite. It can make rock music sound just a little aggressive, for instance. Unfortunately, you can only boost or cut the high or low end.

As far as soundstage goes, the Fluance Ri71 sound good wherever you place them but really benefit from spending the time to actually adjust them to your ears. You’ll know it’s right when you can hear the “center channel” in the middle as if there were a speaker there.

They also do a good job with sound imaging. I feel that I have a solid grasp of where an aural element is in the mix beyond just left, right, and center, which makes the listening experience all the more immersive.

Sound quality score: 4.5/5

Fluance Ri71 speaker on a windowsill, with the 'power on' button illuminated green. — (Image credit: Future / James Holland)

Fluance Ri71 review: Design

New AMT tweeter is the most unique design choice here
Unusual placement of controls
No digital connectivity beyond HDMI

The Fluance Ri71 have a look and general design much like any other active bookshelf speakers. There are two of them standing at about 12 inches (310mm) in height. Each speaker cabinet is fairly rectangular in shape, though they do taper near the back.

And they come in the kind of “looks good in an office” colorways one would expect. Specifically, they’re available in white, walnut, and black. One thing I do appreciate is the fact that the white and black (reviewed here) still have noticeable wood grain. Of course, these are made of MDF wood, but that’s most bookshelf speakers these days for you.

As far as the actual drivers go, each speaker cabinet comes with a 5.25-inch (133.3 mm) woven glass fiber driver and an AMT (air motion transformer) tweeter, along with a long, thin bass port beneath to emphasize the low end. Besides any upgraded internal bracing, the AMT tweeter is the new star of the show. These tweeters are different than the regular tweeters insofar as they offer a faster response and more detail, though placement is a bit more precise.

Since these are powered bookshelf speakers with 120 watts coursing through them via a Class D amp, there are some on-unit controls on the right speaker. There’s a volume wheel on the back at the top, a strange place considering these dials are usually more accessible on the front. You can press the volume wheel to change inputs (an LED indicator on the front changes color depending on the input). Then, there’s a treble and bass wheel on the back along with the power and a Bluetooth pairing button.

Port-wise, I was disappointed to not see any digital connectivity such as USB or USB-C, since I do a lot of my listening through streaming services via my laptop, but it does at least have that aforementioned ARC-supported HDMI, allowing me to change the volume using the TV remote. There’s also the typical RCA inputs as well as a sub-out port.

Because of the placement of the various wheels, the remote is quite handy. Besides power and volume, you can change input, adjust the treble and bass, mute, and turn off the LED on the speaker.

Design score: 4/5

Rear panel of the Fluance Ri71 powered bookshelf speaker, placed facing upwards and showing hte ports and controls on the back, on a matt on a wooden surface. — (Image credit: Future / James Holland)

Q Acoustics 3020c review: Setup and usability

Basically plug and play
Bluetooth will automatically look to pair
Placement is important, like any bookshelf speakers

Since the Fluance Ri71 are powered bookshelf speakers, they’re very easy to set up. The active speaker with all the ports goes on the right and the passive one goes on the left. Then you just have to connect the passive speaker to the active with the included speaker wire that’s helpfully color-coded red and white. The tips on each side are soldered solid so you don’t have to worry about little pieces of speaker wire splintering off.

While it would have been even more convenient for the tips to have banana plugs, you just have to insert the appropriate tip in the exposed hole and screw down the top. Keep the colors the same on both sides and it will take less than a minute to connect the two speakers. Then plug in the power cord and turn it on.

From there, you just need to plug in the desired source or connect via Bluetooth – pairing is simple as the speaker will automatically start the process if it’s not already done so – and you’re good to go.

Of course, remember that bookshelf speakers do require a little bit of finesse in their placement for the best sound, but that goes for all bookshelf speakers and is something I’ve covered in another article in greater detail. You want a précis? Basically, just have them an equal distance from each other, and you, with them pointed at you. You're welcome.

Black Fluance Ri71 bookshelf speakers on a windowsill, with supplied cables and remote control. — (Image credit: Future / James Holland)

Setup and usability score: 5/5

Fluance Ri71 review: Value

More than a few alternatives have USB
HDMI is a bit rarer on bookshelf speakers
Well-priced, but not a steal

Since the Fluance Ri71 are firmly in mid-range territory, you’ll probably end up comparing them to models from Q Acoustics, Audioengine, and Kanto. Take the Q Acoustics M20 HD for instance, which at $499 is a little pricier yet is considered one of the better affordable powered bookshelf speakers here at TechRadar. It has full, uncompressed sound and has the ability to flip which speaker is left or right. It also comes with a USB port, though lacks an HDMI.

A step up from that, at least financially, is the Kanto Ren, another excellent alternative. It goes for $599 / £599 / €719 and comes with all the connectivity one could want, whether it’s Bluetooth 5.3, HDMI, or USB-C. It also sounds great, with excellent clarity, though its bass can get a little flabby.

The point in comparing the Fluance Ri71 to these other speakers that these are excellent speakers and you’ll be happy with them, if you’re looking to stay under a certain price point. But the ones that are just a little pricier are justifiably so, even if it’s mostly on account of having a special feature or extra port. The Fluance Ri71 are a good price, but they’re not a steal.

Black Fluance Ri71 powered bookshelf speaker facing up and placed on its back on a windowsill. — (Image credit: Future / James Holland)

Value score: 4/5

Should you buy the Fluance Ri71?

Fluance Ri71 Score Card
Attributes	Notes	Rating
Features	With HDMI ARC and Bluetooth aptx HD, there’s not much more one could ask for, outside of Wi-Fi streaming.	4.5/5
Sound quality	Neutral sound, plenty of detail and still a surprising amount of low-end, the Fluance Ri71 sound a treat.	4.5/5
Design	Awkward controls, and no USB connectivity; the AMT tweeter is a nice design upgrade.	4/5
Setup and usability	Despite the control placement, very easy, especially with the remote.	5/5
Value	Despite the connectivity quirks, a wonderful-sounding speaker for a reasonable price. Has competition at the price.	4/5

Buy them if...

You want detailed, almost neutral audio
The Fluance Ri71 have a clarity that feels almost polite, but is always a pleasure to listen to. These are the kind of speakers that make you feel like you can hear every detail.

You need HDMI
If you also want to use your bookshelf speakers for TV, having an HDMI port is critical, especially one that supports ARC, meaning you can use your TV remote to control the volume.

You want to stay under $500
Appropriately but well priced, the Fluance Ri71 don’t quite offer what more expensive speakers do, but they sound good enough that you won’t care. And you can put that extra cash back in your pocket.

Don't buy them if...

You need USB-C connectivity
If your main way of listening to music is connecting your laptop directly to powered speakers, then you’ll be disappointed having to use an old school RCA adapter. A lot of laptops don’t have an HDMI out (and some don’t even have an AUX port).

You want easy on-unit access to the volume
The volume wheel is awkwardly placed. That’s mostly a non-issue with the remote, but if you care or happen to lose all your remotes, you won’t like the fact that the volume wheel is at the back of the speaker.

Fluance Ri71 review: Also consider

Q Acoustics M20 HD
The Q Acoustics M20 HD are excellent bookshelf speakers at a slightly higher price point. They offer USB connectivity, but not HDMI. The left and right speaker configuration can also be reversed. They also have a detailed, uncompressed sound.
Read our full Q Acoustics M20 HD review

Kanto Ren
The Kanto Ren has it all in terms of connectivity – USB-C, HDMI, Bluetooth 5.3 – and it comes in interesting colors, though it will pick up every fingerprint. It’s lovely with a full, robust sound but the bass can get a little flabby.
Read our full Kanto Ren review

How I tested the Fluance Ri71

Used regularly for a few weeks
Listened to all sorts of audio
Used the various controls and ports

I used the Fluance Ri71 for a few weeks, listening to all sorts of genres of music like hip-hop, EDM, Top 40 pop, rock, and folk to get a better feel for these speakers. They were also tested with some TV shows and computer games. I tested the various controls and ports as well.

I’ve tested a lot of tech gear over the years from laptops to keyboards and speakers, and so have been able to use my expertise towards giving an honest and fair opinion, not to mention a critical eye, to any product I test.

First reviewed: November 2025

Read more about how we test at TechRadar

Fluance’s chic powered bookshelf speakers offer impressively detailed, almost neutral sound – with very few drawbacks

1:30 pm |

Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Tags: AAC, HDMI, TV, USB | Comments: Off

Fluance Ri71: Two-minute review

Fluance Ri71 review: Price & release date

Released March, 2025
Priced $399.99 / £333.32 / AU$620 (approx.)

With a price tag of $399.99 / £333.32 / AU$620 (approx.), the Fluance Ri71 sits right in mid-range territory.

The Fluance Ri71 are available in the US and in the UK (via Amazon). Though Fluance maintains a presence on Amazon AUS (for Australia), the Ri71 don’t seem to be available Down Under at this time.

Fluance Ri71 review: Specs

Weight	6.4 kg (active speaker); 5 kg (passive speaker)
Dimensions	310 x 185 x 199 mm
Subwoofer	No (has sub out)
Frequency response	46 Hz - 30 kHz
Dolby Atmos / DTS:X enabled?	No
Maximum output	120 watts

Fluance Ri71 review: Features

Bluetooth 5.3 with aptX HD and AAC codecs capable of almost lossless streaming
Included HDMI is ARC-enabled for use with a TV
No spatial audio or Wi-Fi streaming

Features score: 4.5/5

Fluance Ri71 review: Sound quality

Decent low end without subwoofer
Impressively detailed high end
Immersive, if polite-sounding

Sound quality score: 4.5/5

Fluance Ri71 review: Design

New AMT tweeter is the most unique design choice here
Unusual placement of controls
No digital connectivity beyond HDMI

Because of the placement of the various wheels, the remote is quite handy. Besides power and volume, you can change input, adjust the treble and bass, mute, and turn off the LED on the speaker.

Design score: 4/5

Q Acoustics 3020c review: Setup and usability

Basically plug and play
Bluetooth will automatically look to pair
Placement is important, like any bookshelf speakers

Setup and usability score: 5/5

Fluance Ri71 review: Value

More than a few alternatives have USB
HDMI is a bit rarer on bookshelf speakers
Well-priced, but not a steal

Value score: 4/5

Should you buy the Fluance Ri71?

Fluance Ri71 Score Card
Attributes	Notes	Rating
Features	With HDMI ARC and Bluetooth aptx HD, there’s not much more one could ask for, outside of Wi-Fi streaming.	4.5/5
Sound quality	Neutral sound, plenty of detail and still a surprising amount of low-end, the Fluance Ri71 sound a treat.	4.5/5
Design	Awkward controls, and no USB connectivity; the AMT tweeter is a nice design upgrade.	4/5
Setup and usability	Despite the control placement, very easy, especially with the remote.	5/5
Value	Despite the connectivity quirks, a wonderful-sounding speaker for a reasonable price. Has competition at the price.	4/5

Buy them if...

You need HDMI
If you also want to use your bookshelf speakers for TV, having an HDMI port is critical, especially one that supports ARC, meaning you can use your TV remote to control the volume.

Don't buy them if...

Fluance Ri71 review: Also consider

How I tested the Fluance Ri71

Used regularly for a few weeks
Listened to all sorts of audio
Used the various controls and ports

First reviewed: November 2025

Read more about how we test at TechRadar

This superb turntable is so poised and revealing, but its hefty price and lack of a basic ingredient won’t please everyone

1:30 am | November 13, 2025

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

Technics SL-1300G turntable: two-minute review

Technics has a new direct-drive turntable, and because it’s part of the company’s upmarket ‘Grand Class’, it’s engineered to within an inch of its life and has a price-tag that will make you swallow hard.

Mind you, it’s not as if the company doesn’t feel like it’s offering value for money with the Technics SL-1300G. Between the twin-rotor ‘cogless’ motor, transformerless power supply, elaborate tonearm arrangement and overall sensation of bank-vault build quality (the platter alone weighs almost 4kg), the SL-1300G is a substantial proposition in every respect. Apart from the small matter of a cartridge, that is – Technics doesn’t provide one and you should probably budget another $500 or so on one of the many reputable brands who will sell you something appropriate.

Once you’ve swallowed this particular pill, there’s a great deal to enjoy about the SL-1300G. It sounds an absolute treat in the right system – its ability to analyze, contextualize and generally peer deep into the grooves of your records in a hunt for information is remarkable. And it balances this attitude with a sort of thrillingly musical, thoroughly absorbing and effortless naturalistic stance that makes every listen as entertaining and engrossing as can be.

In fact, as long as you take a moment to ensure your system isn’t going to goad the Technics into overdoing the high frequencies – it’s right on the edge where treble sounds are concerned, and won’t take much of a push to tip it over – there’s really nothing of any significance to complain about.

One of the best turntables on the market? It's definitely in the conversation.

Technics SL-1300G turntable, with the dust cover closed, on a wooden platform. — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: price and release date

$3,299 / £2,799 / AU$4,999
Launched in September 2024

The Technics SL-1300G direct-drive turntable is on sale now, and in the United States it's priced at $3,299. In the United Kingdom it’s more like £2,799, while in Australia it costs AU$4,999.

Not cheap, is it? And it’s not the end of your spending, either – Technics doesn’t supply a cartridge. So what is it offering for what is quite a lot of money (with the need to spend a fair bit more)?

After all, it’s not as if you’re short of high-quality alternatives…

Technics SL-1300G turntable review: features

230mm S-shaped aluminum tonearm
Twin-rotor ‘coreless’ direct drive motor
Low-noise, high-speed switching power supply

For the feature-set of the SL-1300G, Technics has allowed itself to be influenced by a couple of the more widely acclaimed turntables of the last couple of years: its own SL-1200G and SL-1200GR2. After all, if it ain’t broke etc and so on…

The motor that turns the SL-1300G’s platter is a variation on the one fitted to the SL-1200G, a model that launched in 2018 with a $4,000-plus price-tag attached. It’s based on the ‘coreless’ direct drive principles Technics first introduced in 2016: by removing the motor’s iron core, rotational instability (‘cogging’, as it’s colloquially known) can be reduced to vanishing point. In this implementation, a twin-rotor design reduces rotational vibration and minimizes the load on the bearings too.

The SL-1300G uses the Delta Sigma (ΔΣ) motor control software and drive system from last year’s SL-1200GR2, finessed and optimized for this application. The company’s prowess where PWM (pulse width modulation) is brought to bear in an effort to minimize even minor rotational inaccuracies along with errors in the drive signal. Because if you can deliver smooth, consistent rotation, argues Technics, you deliver smooth, consistent sound.

Further measures have been taken to ensure mechanical and, by extension, sonic accuracy. The SL-1300G uses a low-noise switching circuit that makes the more common transformer power supply redundant, which in turns makes the requirement for vibration-suppressing technologies that transformers tend to require redundant, too. Any residual noise in this transformerless power supply is identified by ‘current injection’ technology that applies inverse phase current to eliminate it. This, suggests Technics, is more effective than the common or garden ‘regulator’ alternative.

On the outside, the SL-1300G uses a rigid and lightweight aluminum pipe tonearm – it’s your classic static-balance S-shape and is 230mm long before the headshell is fitted. Technics supplies a headshell, of course, but what is conspicuous by its absence is a cartridge. The company is prepared to go on, at length, about how this omission allows you to select your preferred cartridge free from its interference, but it seems to me that a sum of money like this spent on a turntable ought to buy you the cartridge the manufacturer thinks is most appropriate. And, what’s more, to find it pre-fitted to the headshell.

The tonearm is connected to the surface of the turntable via gimbal suspension with a high-precision bearing. There’s anti-skate adjustment, a multi-part counterweight, tonearm lock and tonearm lift all incorporated. Getting the signal from the tonearm and out to an amplifier occurs via a pair of gold-plated stereo RCA outputs recessed deep beneath the main body of the SL-1300G. Technics supplies a pair of absolutely bog-standard RCA cables more commonly associated with turntables costing about 10 per cent of the price of this one.

Features score: 5/5

Tonearm of the Technics SL-1300G turnable — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: Sound quality

Notable clarity, detail and low-frequency presence
Energetic and dynamic attitude
As confident at the top end as it dares to be

Some record players have a very specific character or attitude, or a comfort zone out of which they are unwilling to tread. The Technics SL-1300G, it’s safe to say, is not one of those record players. There isn’t a style of music it sounds uncomfortable with – as far as attitude is concerned, “it’s all good” seems to cover it.

During the course of this review I listen to everything from a heavyweight reissue of Ladies and Gentlemen We are Floating in Space by Spiritualized to a ‘pre-loved’ (for which read ‘second-hand’) copy of The Strip Goes On by Orchester Werner Müller and many points in between, and at every turn the Technics covers every base. It’s a vibrant, energetic and engrossing performer, but it’s capable of forensic levels of analysis and insight at the same time.

Its frequency response, from the top of the range to the bottom, is smooth and even. Its overall tonality (with the mild exception of the top of the frequency range, which I’ll come to shortly) is neutral and natural. And its ability to allow music to just flow in the most confident and convincing manner is, even by the vaunted standards of the vinyl format, impressive in the extreme.

It digs deep and hits hard at the bottom of the frequency range, but both where control and insight are concerned it’s a spectacular performer. Bass sounds are solid and varied, with ample detail regarding tone and texture made available, while the SL-1300G controls the attack or decay of individual notes or hits with such purpose that rhythms are expressed in compelling fashion. It’s similarly accomplished in the midrange; there’s no fleeting detail that evades it, no secret of a singer’s technique or emotional state to which it’s not party. It communicates in absolute torrents, and in the most unforced and vivid manner – the balance it strikes between ‘analysis’ and ‘entertainment’ is outstanding.

Despite the significant levels of drive and attack it can summon, it never sounds stressed or uncontrolled. Though it can create a large and spacious soundstage, it presents music as a tightly unified whole, a singular event – the impression of performers operating in symphony, as opposed to a collection of individuals, is palpable.

Really, it’s only at the top of the frequency range that there are any noteworthy issues, and they can be mitigated without too much difficulty. The SL-1300G is a forthright and assertive performer where treble response is concerned, demonstrating as much confidence as is practical. Unlike the rest of the frequency range, though, the top end here is provokable – inserted into a system that’s similarly uninhibited where treble sounds are concerned, it’s possible that high frequencies could become a little edgy or strident.

So, a degree of system-matching is in order. The Technics won’t thank you for pairing it with speakers and/or amplification that share its high-end enthusiasm. Once you get over that particular hurdle, though, there’s nothing much else you need to do except sit back and revel in the sound this turntable produces.

Sound quality score: 4.5/5

Technics SL-1300G turntable on top of a three-storey listening setup, with floor-standing speakers either side. — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: Design

Black or silver finish
173 x 453 x 372mm (HxWxD)
13kg

Broadly speaking, the SL-1300G looks like a record player. More specifically, it looks like a Technics turntable. Whether or not you think that’s a good thing is a matter of taste, but there’s no denying that the company’s turntables have a reasonably strong visual identity.

From top to bottom, there’s no mistaking the SL-1300G as the product of any other company. Its 173 x 453 x 372mm (HxWxD) includes a sturdy Perspex dust cover, and its two-part chassis stands on four equally sturdy, extremely pliant and frankly over-engineered silicone rubber insulators – because Technics deals in nothing as straightforward as ‘feet’, of course.

The chassis itself is a rigid and profoundly vibration-resistant construction. The base is made of bulk molding compound and is topped by a die-cast aluminum plate, and further vibration damping is achieved by reinforcing ribs deployed between the tonearm assembly and the motor.

As is usual with Technics turntables, the SL-1300G features a ‘power on/off’ button above a ‘start/stop’ button on the bottom left of the top plate. There are also a pair of speed-selection buttons for ‘33.3’ or ‘45’ – press them at the same time and your turntable will be able to turn at 78rpm.

All in, the SL-1300G weighs a chunky 13kg - and a full 3.6kg of this is accounted for by the platter. It’s a three-layer item, with an aluminum main body, a 2mm layer of brass across the top and a hefty quantity of deadening rubber covering the whole of the rear surface. It offers considerable vibration damping, impressive resonance rejection, smooth rotational stability and significant inertial mass. In essence, it’s the same as the platter fitted to the (appreciably more expensive) SL-1200G.

Every SL-1300G is balanced after it’s assembled – because if the weight distribution of the turntable is uneven, the rotation of the platter can cause noise and vibration. How do you know your SL-1300G has been balanced in the Technics factory before it’s packaged up? By the little ‘BALANCED’ sticker on the underside of the platter.

Design score: 5/5

Technics SL-1300G turntable buttons showing 'start/stop' and and '33' and '45' functionality. — (Image credit: Future / Simon Lucas)

Technics SL-1300G turntable review: usability and set-up

Source and fit a cartridge
Bin the supplied RCA cables in favor of something more appropriate
Do the usual stuff regarding counterweight, anti-skate and so on

Unusually for the ‘usability and setup’ section, I’m going to have to talk about the need for you to spend yet more money. Because if you don’t, the SL-1300G is nothing more than an elaborate (and good-looking) doorstop.

If you want to get a sound out of your SL-1300G, you’ll need to research, source, purchase and fit an appropriate cartridge. I’d suggest something in the region of $500 will buy you something that will do this record player some justice. Cartridge fitting and setup are among the most fiddly things you can do (in life, let alone in the context of your audio system), so try to be patient. And then when you’ve done that, you really should consider binning the freebie RCA interconnects Technics so graciously supplies in favor of something that’s actually up to the job.

Once that’s done, though, usability is a doddle. The direct drive motor gets the platter up to speed in well under a second, and the tonearm lift operates with precision. ‘Putting a record on’ has never been any less painful than it is here.

Usability and setup score: 4/5

Tonearm and platter of the Technics SL-1300G turntable. — (Image credit: Future / Simon Lucas)

Technics SL-1300G review: Value

Superb build quality and materials
Real longevity
But you have to spend even more money to get it working

It depends how you look at it, I suppose. In terms of engineering prowess, the quality of materials and the way they’re put together, in terms of longevity and simple pride of ownership, the Technics SL-1300G represents very good value indeed. And that’s before you factor in the many admirable aspects of the way it sounds.

But given that this record player doesn’t actually function until you’ve spent quite a lot more money on a cartridge, plus a fair few bucks upgrading the cables connecting it to your amplifier, it’s perhaps not the cast-iron value for money it at first appears…

Value score: 4/5

Adjustable feet of the Technics SL-1300G turntable on a wooden surface. — (Image credit: Future / Simon Lucas)

Should I buy the Technics SL-1300G?

Attributes	Notes	Rating
Features	Twin-rotor ‘coreless’ direct drive motor reduces rotational vibration and minimizes load; high-precision aluminum tonearm.	5/5
Sound quality	Notably clear and detailed; energetic and dynamic; confident at the top end.	4/5
Design	Gorgeous styling and perfectly balanced out of the factory. What's not to like?	5/5
Usability and setup	No cartridge supplied is a problem; RCA cables could also do with changing.	4/5
Value	High-quality materials and finish, but having to pay even more on top of a hefty price tag grates.	4/5

Buy it if...

You admire uncompromizing engineering
The engineering rigor that’s been brought to bear here is almost enough to make you want an SL-1300G before you hear what it can do.

You’re in any way careless
It’s not difficult to damage a stylus, of course, but you’ll have to go some if you want to damage any other part of this Technics.

You like sound quality that’s big on both insight and entertainment
The SL-1300G’s ability to pore over your records in the hunt for information at the same time as sounding uncomplicatedly musical never gets old.

Don't buy it if...

You’d like Technics to select (and fit) the most appropriate cartridge
I really don’t think it’s unreasonable to expect your $3,299 turntable to come with an optimized cartridge pre-fitted to the headshell.

Your system is treble-happy to start with
As part of an unsympathetically toppy system, the SL-1300G will only exacerbate things where treble response is concerned.

Technics SL-1300G review: also consider

Cambridge Audio Alva TT v2
For approximately half the price of the Technics SL-1300G you can buy a direct drive turntable with a switchable pre-amp and pre-fitted cartridge, and that can wireless transmit an aptX HD Bluetooth signal to any wireless receiver – yep, it’s the Cambridge Audio Alva TT v2, and these days it represents corking value for money.
Read the full Cambridge Audio Alva TT v2 review.

Rega Planar 10
Or you could go to the other extreme and drop $5,999 on a Rega Planar 10 with Alpheta 3 cartridge. It’s a fully manual belt-driven design that makes almost as big a deal of what it leaves out as it does the stuff it includes but, when it comes to sonic fidelity and veracity, nothing else at anything like the price can touch it.

How I tested the Technics SL-1300G

Tonearm of the Technics SL-1300G turntable. — (Image credit: Future / Simon Lucas)

Tested over the course of one week
Listening to various types of music

I connected the Technics SL-1300G up to my home system using the supplied RGA cables. Then, I spent well over a working week listening to as many different types of music as I could, of many different genres, and varying qualities of pressing to give the SL-1300G as much of a workout as I could. And, to be honest, I enjoyed doing it.

First reviewed: November 2025
Read more about how we test

This Bluetooth speaker’s battery life impressed me in testing, but it’s irredeemably bad in one vital respect

6:30 pm | November 10, 2025

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

AO mini portable wireless speaker: two-minute review

If you don’t live in the UK, you’ve probably never heard of AO, so allow us a brief explainer. AO is a Bolton-based online electrical retailer that sells white goods – fridges, dishwashers, ovens, TVs, hi-fi equipment and the like – for a fraction of their store price. For an annual membership of £39.99, you get discounted prices when buying from its website because it cuts out the middle man and sells direct to the customer. It also has a natty advertising campaign that features the soundalike “Hey, hoh – let’s go!” refrain from The Ramones’ Blitzkrieg Bop. Got it? Good.

What AO has never done is make the audio gear it also sells. Until now. In the summer of 2025, the AO mini portable wireless speaker (yes, this really is its does-what-it-says-on-the-tin name) was part of a suite of releases to change that and try to provide an inexpensive entry to the best portable Bluetooth speakers on the market.

So, how does it fair? Well, the £29 price – $40 / AU$59, but only available in the UK (and only direct from AO) at the time of writing – is a strong start for a portable speaker with Bluetooth 5.3 connectivity. Indeed, for AO members in the UK, it's cheaper still at £19. Better still, a 25-hour battery life dominates some of the biggest competition in the budget market such as the JBL Go 4 (seven hours), the five-star Tribit Stormbox Micro 2 (12, already four more than the first-gen model) or the Edifier ES20 (15 hours).

The AO mini portable wireless speaker is also nicely built, with sturdy buttons plus appreciated answer/end/reject call options (with decent accompanying call quality) that is increasingly absent from the competition. Plus, its IP67 waterproofing means it more than does the job in the shower or down at the beach.

Unfortunately, though, there’s the biggest of elephants in the room – the way the AO sounds. It’s not good. In fact, I’d rather listen to tunes coming out of my iPhone 15’s speakers or even my retro MacBook Air's pretty limited sound-producing alternative. For a bit of tech whose primary purpose is to elevate sound, add depth and make it louder – nope, it doesn’t do that, either – this is quite a big problem.

Is it going to be your primary Bluetooth speaker to while away hour upon hour? Definitely not, but that’s not to say it doesn’t warrant a place in your lineup of listening apparatus. The AO mini portable wireless speaker’s flexibility, solid build and near-peerless battery life make it a decent bet to accompany a long weekend away or just be left in the shower so you can sing along to Wham! to help wake you up, before you go-go. After all, that aggressive price is pretty hard to ignore…

Black AO mini portable wireless speaker on a rock, with a beach and the sea in the background — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: price and release date

£29 (not on sale in US or AUS)
Launched in summer 2025

The AO mini portable wireless speaker was launched in the summer of 2025 as part of the retailer’s debut line of self-made audio products and costs £29 (£19 for AO members) in the UK. It isn't available in the US or Australia, but that equates to $40 / AU$59. Just to confirm, you haven’t misread that price – it really is that cheap.

TechRadar's review sample is black, but it also comes in white, which was the only color available to purchase on the AO website at the time of writing. It’s an opposite Model T Ford, then.

AO mini portable wireless speaker review: specs

Drivers	1x 20mm
Dimensions	82 x 47 x 98mm
Connectivity	Bluetooth 5.3
Battery life	25 hours
Waterproofing	IP67

Top panel of the black AO mini portable wireless speaker, on a craggy rock — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: features

Excellent 25-hour battery life
Shower-tested IP67 waterproofing
Easy setup but no multi-point connectivity

For what is a pretty small bit of kit, the AO mini portable wireless speaker undeniably packs plenty in. Bluetooth 5.3 connectivity isn’t industry-leading – and a 3.5mm line-in for wired listening would’ve been nice – but it’s decent for a speaker as emphatically entry-level as this, while at no stage in testing did I encounter any drop outs.

It’s solid and reliable, the only minor gripe being its lack of multi-point connectivity option. At one point I needed to switch from music listening via Tidal on my iPhone to Match of the Day football watching on my laptop – technically, that’s still work, but only just – and discovered that I’d need to disconnect from the former to be able to connect to the latter. Sure, it’s not the greatest of impositions, but it’s nevertheless unwieldy.

At least the AO is quick and easy to set up. Within minutes of turning on the AO for the first time, my partner and I were dancing around the front room to Going Places by Teenage Fanclub – she effortlessly magnificent, me shufflingly dreadful, thanks for asking. Gerard Love’s lilting vocal complemented his erstwhile bandmates’ harmonies well enough but without a clarity or depth to be expected even at this low price point. More on which later, and the fault certainly doesn't lie with the Scottish group Kurt Cobain once called “the best band in the world”.

Black AO mini portable wireless speaker as part of a knitted autumnal post box cover — (Image credit: Future / Andy Murray)

Better still, the AO’s IP67 waterproof rating makes it borderline impervious to dust and water ingress. Short of trying to bury it at the bottom of the Atlantic, or subjecting it to extended periods in your teenager’s never-cleaned dust box of a bedroom, you’ll do very well to stop it from working. I used the AO constantly in the shower for over a week and (much like me) it got absolutely soaked, but at no stage did the superb improv podcast Three Bean Salad featuring Taskmaster alumnus Mike Wozniak cut out or the speaker lose connection from my phone in the adjoining bedroom. A trip to my local beach also presented no issue for water ingress either from Portland Harbor or the heavens as an unexpected Dorset shower passed overhead.

No less sturdy is the battery life, which is nothing short of relentless. In testing, the AO’s claimed 25 hours proved plenty accurate – I used the speaker throughout three full seven-hour working days, plus aforementioned trips to the beach and in the shower, and it still had half its juice remaining according to the battery indicator on my phone.

Compare those figures with the as the JBL Go 3’s notorious five-hour lifespan, the updated Go 4’s seven and even the recent Edifier ES20’s 15 hours and the AO dominates the competition for half the (already pretty insignificant) price in some cases. Stuff it in your rucksack on a camping trip and it’ll neither take up much space, nor will it fail you across a week’s medium use before its next charge, a vital consideration when living off-grid in a field. Just 1.5 hours’ charging from the included USB-C cable gets it back to full power, too.

My only other issue is the lack of accompanying app, so there’s no option to tweak EQs or come up with your own presets to get the sound just how you like it. But at this price point what did you expect? This little box is packed with plenty.

Features score: 4/5

Black AO mini portable wireless speaker on a rock, surrounded by a sandy beach — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: sound quality

Almost no bass
Lacks clarity
Limited top volume

Sadly, though, we can ignore the obvious no longer. The AO sounds dreadful, and you don’t need me to tell that this is a bit of a problem for a speaker. No separation, very little bass, a tinny sound and generally just not loud enough. This is regardless of the quality of source device music, too – I tried streaming hi-res FLAC content on Tidal but still to no avail.

A level of compression for a portable Bluetooth speaker this size is to be expected – it measures 82 x 47 x 98mm and though no weight is quoted, it feels lighter than the Tribit Stormbox Micro 2 I used as a comparison – but it is definitely possible to make a better sound than this within the dimensions. The AO’s 20mm driver soon hits a ceiling that others glide beyond and, though its timing is OK and it doesn’t feel too jumbled, the lack of definition and depth are immediately obvious.

Rich by Yeah Yeah Yeahs comes across as one-dimensional – something bordering a war crime – with no separation between Nick Zinner’s synth promptings, lead singer Karen O’s exultant, imploring vocal and Brian Chase’s percussive beat. Switching between the AO and the Tribit mid-song only serves to highlight the difference further – the latter delivers a clearer, punchier vocal and the frequencies are more faithful to the original.

The bass, hardly the thing you most associate with Yeah Yeah Yeahs, is broader, deeper and much more noticeable with the Tribit, so I switch to a band known for allowing its four-string to drive tracks. New Order’s All the Way features arguably Peter Hook’s most melodic and rhythmic high-fretted bassline – thanks in part to the band’s increasing use of sequenced synthesizers and Hooky still wanting to be heard – but the AO strips all that away and it sounds tinny. Even the notoriously lo-fi band Guided By Voices, and the stellar Game Of Pricks, lacks oomph.

More infuriating still, the ‘power-down’ sound the AO makes when you turn the speaker off features a demonstrably bassy effect that is completely absent when listening to music. If the AO is capable of making that noise, why do we only hear it when turning it off? Here’s what you could’ve won.

Keen to find out what the AO could do in the open air, I took the speaker on a 10-minute walk to my local beach. Sadly, it’s no different. The gradual 40-second jangle-guitar intro of Star Sign by Teenage Fanclub from 1991 classic album Bandwagonesque is barely audible, then Brendan O’Hare’s driving bass drum lacks attack. The AO is quiet, too – I fire it up to maximum volume and it hits another ceiling all too quickly. Whack the Tribit up to a Spinal Tap-approved 11 on the same song, and two nearby seagulls take their immediate. It feels instructive.

Weirdly, the spoken word is better. The Elis James and John Robins podcast on BBC Sounds, featuring the two titular comedians and producer Dave, comes through impressively and sounds true-to-life. Even the choral theme tune to regular feature Cymru Connection, in which Elis has to find a mutual acquaintance with a fellow Welsh person inside 60 seconds, sounds well-rounded.

It's just a shame about, well, everything else.

Sound quality score: 2.5/5

Side panel, with the blue light showing Bluetooth connection, of the black AO mini portable wireless speaker on a jagged rock. — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: design

Small enough to fit in a hoody pouch, but not a jeans pocket
Tactile buttons
Loop is small and not very versatile

The AO mini portable wireless speaker certainly lives up to its name. Its 82 x 47 x 98mm dimensions make it smaller than the Edifier ES20 (90.4 x 93.7 x 49.7mm) or the Tribit Stormbox Micro 2 (104 x 99 x 41mm) – it's perfect to pop in a bag to enjoy on the move. You could just about fit it in a hoody pouch, but a jeans pocket is probably a stretch too far, unlike the squarer Tribit which can squeeze into a back pocket with a bit of encouragement.

Simple to use, the AO has four buttons that sit on top of the speaker – 'on/off', 'volume up/skip track', 'volume down/skip back track' and 'play/pause'. Unlike some headphones' on-ear controls, where a double tap skips a track instead of increasing the volume by two, there’s no danger of an errant press, either. It’s a single press for each volume increment you want (no matter how quickly you push), and press and hold for three seconds to skip forward and backward – never once did I err, a minor miracle in itself.

A much-appreciated feature was the 'answer/reject call' option, something sorely lacking from similar products such as the JBL Flip 7 and Go 4. A quick press of the 'play/pause' button answers the call, a three-second hold rejects it – once on a call, the quality is good and stable.

It’s pretty well built, too. The AO’s unobtrusive rubber feet mean it isn’t going to go sliding off tables with an accidental knock, and even if you are on the clumsy side – guilty as charged, your honor – then it’s still plenty sturdy enough to cope with a few knocks on the floor.

There are, though, some flaws. If you’re planning on using the green plastic-covered coiled loop to hang the AO from something – a pole in the roof of your tent, or from a strap on a backpack, for instance – you’re going to need a carabiner of some kind to attach it because there’s almost no space in the loop itself. No rucksack release buckle is small enough to slide through.

There’s also good reason why you wouldn’t want to leave the AO suspended in midair. And, yep, it comes back to the sound. Though AO claims ‘multi-directional audio’ for its mini portable wireless speaker, in testing I didn’t encounter anything so aurally 360. Put the speaker next to your ear and it’s immediately obvious out of which side the sound emits, and it sure doesn’t come out of both sides, despite the impression given from a fabric jacket that covers 80 per cent of the product.

On a desk in front of you that isn’t much of an issue – just turn the AO to face you and you’re sorted – but if you’re taking advantage of the speaker’s brilliant battery life and it’s accompanying your outdoorsy endeavors then the situation is different. Assuming you’ve got the aforementioned carabiner, the AO’s sound pings off in whatever direction it happens to be hanging from a rucksack or your tent roof. Essentially, you’ve got three options: deal with it, try to balance the AO in an adequate position or adjust the gradient of the field in which you’ve pitched your tent.

Design score: 4/5

Top panel of the black AO mini portable wireless speaker, showing its four button and hanging loop. — (Image credit: Future / Andy Murray)

AO mini portable wireless speaker review: value

Astonishing price point…
... at which you shouldn’t expect too much

You might argue it’s a bit unfair to rag on something that costs as little as £29 (£19 if you’re an AO member in the UK, the only territory it's currently on sale) but I’ve done so anyway.

That being said, if you can look past the AO mini portable wireless speaker’s shortcomings in sound representation and volume, and aren’t going to use it for anything other than to listen to some tunes or a podcast on-the-go, then the price makes it an attractive option nevertheless.

The AO sits squarely in the gray area where ‘cheap’ and ‘good value’ merge.

Value score: 4.5/5

A hand holding the black AO mini portable wireless speaker on a raised promontory, with an island in the background. — (Image credit: Future / Andy Murray)

Should I buy the AO mini portable wireless speaker?

Attributes	Notes	Rating
Features	Unbelievable 25-hour battery life; IP67 waterproofing; Bluetooth 5.3 but no 3.5mm line-in.	4/5
Sound quality	Severely lacking bass; limited top volume; compressed and tinny sound.	2.5/5
Design	Well built, compact with tactile buttons; small hanging loop and no multi-directional sound.	4/5
Value	Astonishing price point but in a gray area as to whether 'cheap' equates to 'value'.	4.5/5

Buy it if...

You like camping
The battery life is beyond excellent. Even with moderate-to-extensive use, the AO will survive a week on just one charge, especially useful if you regularly spend vacations in a field with next-to-no plug sockets.

You get lots of calls
I’m not popular enough, but if your phone is ringing off the hook then you can answer, talk and hang up with seamless efficiency using the integrated buttons on top of the AO. And that’s rarer than you think in many recent Bluetooth speakers.

You like singing in the shower
The AO’s IP67 waterproofing makes it the perfect morning accompaniment. You can even drop it in the bath and it’ll survive.

Don't buy it if...

You appreciate sound quality
The small 20mm driver can only deliver so much. There’s almost no bass (apart from the 'on/off' wake-up noise), limited separation and a general lack of attack.

You want to turn it up to 11
The top volume just isn’t loud enough, especially when you consider the AO will be most often listened to outdoors.

You want to hang it
The loop hole is too small to be used without a carabiner, and even if you do, there’s no omni-directional functionality.

AO mini portable wireless speaker review: also consider

	AO mini portable wireless speaker	JBL Go 4	Edifier ES20
Price	£29.99 (£19 for AO members, not available in other territories)	$49.95 / £39.99 / AU$59.95	$89.99 / £49.99 / AU$99.99
Drivers	20mm	45mm driver, integrated class D digital amplifier	43mm full-range driver
Dimensions	82 x 47 x 98mm	94 x 78 x 42mm	90.4 x 93.7 x 49.7mm
Weight	Not supplied	190g	326g
Connectivity	Bluetooth 5.3	Bluetooth 5.3 / USB-C (charging)	Bluetooth 5.4
Battery life	25 hours	7 hours	15 hours
Waterproofing	IP67	IP67	IP67

JBL Go 4
If it’s an ultra-cheap Bluetooth speaker for under $50 / £50 you’re after, the JBL is the one to go for. Punchy, clear audio in a tiny form, even if the aforementioned battery life could do with improvement.
Read our full JBL Go 4 review.

Edifier ES20
The Edifier offers punchy sound, ambient lighting and sturdy waterproofing in a perfectly styled box, all for the $50 bracket. EQ options are lacking, but it represents excellent value for money.
Read our full Edifier ES20.

How I tested the AO mini portable wireless speaker

Black AO mini portable wireless speaker perched on the side of a wet rock on a beach. — (Image credit: Future / Andy Murray)

Over two weeks as my primary Bluetooth speaker
On my office table, in the shower, at the beach
With a variety of music styles, sources and podcasts

I had just over two weeks with the AO mini portable wireless speaker, listening to various different music styles and resolutions via streaming service Tidal. I also listened to podcasts downloaded from Apple Podcasts and BBC Sounds onto my iPhone 15, plus music from my Apple MacBook Air.

I tested the AO indoors while writing and editing words about everything from audio to football, in the shower and at the beach. In short, in most everyday conditions possible (if you’re lucky enough to live by the sea, that is).

First reviewed: November 2025
Read more about how we test

Topping’s new DAC, headphone amp and preamp just toppled a few key players to sit with the top of the class

1:30 pm | November 8, 2025

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

Topping DX5 II: Two-minute review

The DX5 II is the product that Chinese specialist Topping hopes is going to force its name into the ‘affordable desktop audio’ conversation – and so it’s specified it accordingly and then priced it in the most aggressive manner imaginable.

A selection of digital inputs and a wider selection of balanced and unbalanced outputs mean the DX5 II can function as a DAC and headphone amp, like many of the best portable DACs we recommend can, but it can also become a preamp for use with a traditional stereo system or a pair of powered speakers – which your average portable DAC definitely can't do. So, this is new ground for many a headphone amp-owner.

ESS Sabre digital-to-analogue conversion with a native resolution of 32bit/768kHz and DSD512 means the DX5 II is as high-resolution a device as these things ever get. A variety of finishes, each one tidily realised and each one complementing an impeccable standard of build and finish, means the DX5 II won’t lower the visual tone of your system or your desktop. A selection of desktop Topping technologies designed to maximise sonic performance act as the cherry on top.

And no matter if you use it as a DAC, a preamp or a headphone amp, the DX5 II has an awful lot to recommend it where sound quality is concerned. It creates a big, open soundstage and organises it carefully. It’s detailed and dynamic in equal measure, and it controls low-frequency information to the point that rhythms are delivered with real positivity. It’s eloquent through the midrange, and its top-to-bottom frequency response is smooth too. In fact, there’s only a suggestion of overly bright treble response that represents a tiny fly in a great big vat of sonic ointment.

Topping DX5 II review: Price and release date

The Topping DX5 II on a light-wood table, showing the VU meter, ports and just-seen remote — (Image credit: Future)

Launched on June 10, 2025
Priced $299 / £299 / AU$499

The Topping DX5 II is on sale now, and in the UK it goes for £299. Those numbers apply in the United States too, where it sells for $299 (subject to tariff fluctuations) while in Australia it will set you back AU$499.

A quick comparison then: it's a fair amount of product for the money. FiiO's pocketable BTR17 portable Bluetooth DAC/headphone amplifier sells for just a little less, at around $219 / £179 / AU$329 – but it's a portable little beast rather than a 'desktop' option.

The USB DAC iFi GO Bar Kensei is more, at $499 / £449 / AU$769, while the five-star iFi hip-dac 3 is less, at $199 / £199 / AU$349. All of which is a roundabout way of saying, there's certainly a market for the Topping DX5 II at this price, if it can take care of business.

Topping DX5 II review: Features

ESS Sabre 32bit/768kHz and DSD512 DACs
Bluetooth 5.1 with aptX Adaptive and LDAC compatibility
Balanced and unbalanced outputs

If Topping has attempted to build the DX5 II down to a price, it’s in no way obvious from the way the device is specified. There are similar products costing a fair bit more than Topping is asking that don’t tick as many spec boxes.

Consider the array of inputs and outputs, for instance. The DX5 II can accept digital audio information via coaxial or optical (which both top out at 24bit/192kHz), USB-B (a giddy 32bit/768kHz and DSD512), or Bluetooth 5.1 with SBC, AAC, several aptX standards (up to and including Adaptive) and LDAC. It’s worth mentioning that Windows PC users will need to install a driver to make use of that USB-B socket. Once the digital audio information been converted to the analog equivalent (which I’ll get to in a moment) it can come out again via single-ended stereo RCAs or balanced stereo XLRs (for connection to powered speakers or the amplifier of a traditional stereo system), or via a trio of headphone outputs – balanced XLR, balanced 4.4mm and single-ended 6.3mm.

Conversion to analog from digital is handled by a couple of ESS Sabre ES9038Q2M two-channel DAC chips – one attends to the left channel, the other to the right. They include ESS Sabre’s latest ‘Hyperstream IV’ architecture that’s intended to suppress noise and deliver optimal dynamic range – and their native 32bit/768kHz and DSD512 resolution is about as hi-res as hi-res ever gets out in the real world. To further suppress noise and distortion, Topping has developed a bespoke current-to-voltage conversion module that should also make the DX5 II compatible with a very wide selection of headphones and powered speakers.

And on top of this, Topping has included its own ‘X-Hybrid’ headphone amplification technology. It’s a fully balanced four-channel design with three stages (discrete input, op-amp -based gain stage, discrete output). This optimised circuit topology is designed to offer extended dynamic range, optimum efficiency and low distortion – and it should mean the DX5 II has no problem driving even the most uncooperative and power-hungry headphones.

Now, the free ‘Topping Tune’ software: it was only available for Windows PC at the time of testing, but it’s now also available for Mac OS users and provides access to Topping’s new ‘PEQ’ (parametric equaliser) algorithm that allows control of bandwidth, frequency and gain across ten definable bands. It means multiple audio profiles can be created, saved and uploaded to the DX5 II, target curves can be defined and imported – and different profiles can be applied to specific inputs, so the ultimate sound of headphones or speakers can be individually tuned by the Topping.

Features score: 5 / 5

Topping DX5 II review: Sound quality

Great sense of space and detail
Dynamic and punchy when required
A hint of top-end brightness

In virtually every respect, the Topping DX5 II does straightforwardly impressive work. So much so, in fact, that I might as well deal with the one aspect where it doesn’t outright excel – which should leave plenty of space for me to explain just what’s so likeable about it.

The top of the frequency range is just a little flimsy and bright when compared to everything else that’s going on underneath it. There’s an overly bright quality to the treble reproduction here, a sort of latent edginess that means the DX5 II is just slightly pickier about partnering equipment than it otherwise would be.

And with that out of the way, let’s get to all the good stuff.

The DX5 II is an open, detailed and considered listen, with the sort of soundstaging ability that makes even a complex recording like The Birth and Death of the Day by Explosions in the Sky easy to follow on a granular level. This recording also allows the DX5 II to demonstrate its considerable dynamic headroom – the distance between the moments of greatest intensity and attack, compared to the quietest and most contemplative moments, is significant.

The Topping is also alert to the dynamics of harmonic variation, too – and, in fact, shows a great facility for detail retrieval in every circumstance. It can identify, reveal and quite carefully contextualise even transient or minor details in a mix. And this goes a long way towards creating the sensation that you’re in full receipt of everything a recording has to offer.

The tonality of the low frequencies and the midrange is tidy and naturalistic, and the frequency response from the very bottom to the very top is smooth and even. Low frequencies are deep and textured, and carry a huge amount of information along with very pleasing tonal variation – and they’re controlled at the point of attack, too, so rhythmic expression is assured. The DX5 II punches into bass sounds, rather than slurring, and it observes the decay of those same sounds very carefully too.

The midrange is equally well-realised. The voice during a 24bit/96kHz FLAC file of Ghostpoet’s Off Peak Dreams is characterful and attitudinal, and there’s a tremendous amount of fine detail regarding technique and tone revealed at the same time as information about intention and emotion. The Topping communicates through the midrange in the most articulate manner, and as a result voices always sound direct and positive.

All of the above is true no matter what you’re asking the DX5 II to do. As long as you take a moment’s care with your choice of headphones, as long as the system you’re introducing it into doesn’t share the same latent treble tendencies, it’s a deft and remarkably accomplished performer.

Sound quality: 4.5 / 5

Topping DX5 II review: Design

44 x 190 x 155mm (HxWxD)
Black, silver or white finishes
Properly built and finished

It’s become apparent lately that ‘desktop’ is a relative term – but Topping really means it when it describes the DX5 II as a desktop device. At a neat 44 x 190 x 155mm (HxWxD) it isn’t going to get in the way, even if your desktop is as untidy as mine.

The standard of build and finish is exemplary, and the DX5 II even feels good in a matte-finish, square-edged kind of way. The little indent around the rear of the fascia adds a tiny hint of visual interest, and the Topping looks very presentable in any of the black, silver or white finishes that are available.

Design score: 5 / 5

Topping DX5 II review: Usability and setup

2-in full-colour display
Remote control handset
Legible and sensible on-screen menus

There are some physical controls on the fascia of the DX5 II – they’re grouped to the right of the crisp, full-colour screen that occupies the centre. Three rectangular buttons take care of input selection, accessing set-up menus, and cycling through the various display options for that screen, while a larger turn/press dial takes care of volume and menu navigation.

Options for the screen consist of a ‘spectrum analyser’ (which is sure to remind readers of a certain age of a graphic equaliser from back in the day), a readout of volume level, file format and file resolution, or a virtual VU meter (which is one for readers of an even more certain age). There’s a choice of colour and adjustable brightness, but in every circumstance the display is legible and crisply rendered, so navigating menus is always straightforward.

The Topping is also supplied with a little remote control handset that is, predictably, a lot less visually interesting and a lot less tactile than the control interface on the device itself. And unlike the DX5 II itself, there’s no choice of finish available – it comes in traditional black.

Usability and setup score: 4.5 / 5

Topping DX5 II review: Value

Judge it on the physical size of the product and the DX5 II can seem quite expensive. Consider it in terms of its specification and it suddenly seems much more realistically priced. And then think about its functionality, its flexibility and the highlights of its performance and the Topping starts to look like a bit of a bargain.

Value score: 4.5 / 5

Should I buy the Topping DX5 II?

Attributes	Notes	Rating
Features	Comprehensively specified – it'll even work as a preamp	5/5
Design	Small, svelte and useful enough to slip onto even the untidiest of desks	5/5
Sound quality	Dynamic, punchy and detailed, if just a tad bright on occasion	4.5/5
Value	It would be wrong to argue with the sound-per-pound value here	4.5/5

Buy it if...

You want to up your desktop audio game
The difference the DX5 II can make to the sound of your laptop really needs to be heard

You have a traditional audio system that could do with some digital smarts
High-quality Bluetooth streaming can be yours, no matter how old-school your stereo system

You have some nice headphones that need the best bringing from them
The Topping is ready and able to drive the most demand and/or most high-achieving headphones around

Don't buy it if...

You have headphones that are lively at the top of the frequency range
The resulting sound could easily be interpreted as ‘too much of a good thing’

Topping DX5 II review: Also consider

It’s pretty plain that the iFi Zen DAC 3 is the product the DX5 II needs to topple – or, at the very least, compete hard with if it’s going to be a viable option.

The iFi is a nice-looking, properly built and handily specified device, and it’s capable of extremely clean, confident and full-bodied sound. Which, of course, are all things that equally apply to the Topping machine…

How I tested the Topping DX5 II

I tried a bit of everything, basically – I used the DX5 II on my desktop, connected it to my laptop via USB, and plugged in a pair of high-end IEMs via the balanced 4.4mm headphone output.

I connected it to my reference stereo system using its single-ended RCAs and its balanced XLR outputs – this way I was able to use it as a DAC for my CD player and, with it wirelessly connected to my smartphone, as a Bluetooth receiver. And I tried out these various roles and functions for a working week or more.

First reviewed: November 2025
Read TechRadar's reviews guarantee

Topping’s new DAC, headphone amp and preamp just toppled a few key players to sit with the top of the class

1:30 pm |

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

Topping DX5 II: Two-minute review

Topping DX5 II review: Price and release date

Launched on June 10, 2025
Priced $299 / £299 / AU$499

Topping DX5 II review: Features

ESS Sabre 32bit/768kHz and DSD512 DACs
Bluetooth 5.1 with aptX Adaptive and LDAC compatibility
Balanced and unbalanced outputs

Features score: 5 / 5

Topping DX5 II review: Sound quality

Great sense of space and detail
Dynamic and punchy when required
A hint of top-end brightness

And with that out of the way, let’s get to all the good stuff.

Sound quality: 4.5 / 5

Topping DX5 II review: Design

44 x 190 x 155mm (HxWxD)
Black, silver or white finishes
Properly built and finished

Design score: 5 / 5

Topping DX5 II review: Usability and setup

2-in full-colour display
Remote control handset
Legible and sensible on-screen menus

Usability and setup score: 4.5 / 5

Topping DX5 II review: Value

Value score: 4.5 / 5

Should I buy the Topping DX5 II?

Attributes	Notes	Rating
Features	Comprehensively specified – it'll even work as a preamp	5/5
Design	Small, svelte and useful enough to slip onto even the untidiest of desks	5/5
Sound quality	Dynamic, punchy and detailed, if just a tad bright on occasion	4.5/5
Value	It would be wrong to argue with the sound-per-pound value here	4.5/5

Buy it if...

You want to up your desktop audio game
The difference the DX5 II can make to the sound of your laptop really needs to be heard

You have a traditional audio system that could do with some digital smarts
High-quality Bluetooth streaming can be yours, no matter how old-school your stereo system

You have some nice headphones that need the best bringing from them
The Topping is ready and able to drive the most demand and/or most high-achieving headphones around

Don't buy it if...

You have headphones that are lively at the top of the frequency range
The resulting sound could easily be interpreted as ‘too much of a good thing’

Topping DX5 II review: Also consider

It’s pretty plain that the iFi Zen DAC 3 is the product the DX5 II needs to topple – or, at the very least, compete hard with if it’s going to be a viable option.

How I tested the Topping DX5 II

I tried a bit of everything, basically – I used the DX5 II on my desktop, connected it to my laptop via USB, and plugged in a pair of high-end IEMs via the balanced 4.4mm headphone output.

First reviewed: November 2025
Read TechRadar's reviews guarantee