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‘Looks far more expensive than it is’ — FiiO’s an automatic turntable has several bright ideas to light up your vinyl-loving life
4:15 pm | March 12, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Tags: | Comments: Off

FiiO TT13 review: two minute review

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

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

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

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

FiiO TT13 review: price and release date

FiiO TT13 turntable shot from above with green illumination

The integrated lighting is seamless, with a choice of 7 colors and 3 brightness levels (Image credit: Future)
  • Released October 2024
  • Priced $249 / £239 / AU$249

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

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

FiiO TT13 review: features

FiiO TT13 turntable rear view showing connections

Things are simple round the back: two line outs (but no phono outs) plus support for both AC and DC power. There's also a balance adjuster and a ground, as well as a record size switch. (Image credit: Future)
  • Fully automatic operation
  • Integrated preamp delivering up to 800mV at 1kHz
  • Two op-amps for warmth and low noise

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

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

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

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

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

Features score: 4 / 5

FiiO TT13 review: sound quality

close-up of the controls on the FiiO TT13 turntable

Controls are simple. The power button doubles as a toggle for the illumination system, and the status lights match your chosen color. (Image credit: Future)
  • Clear, warm and entertaining sound
  • A little light at the very low end
  • Bluetooth doesn't include AAC

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

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

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

Sound quality: 4 / 5

FiiO TT13 review: design

FiiO TT13 turntable illuminated logo close up in blue

The illuminated FiiO logo doubles as a Bluetooth status light and a repeat play indicator. (Image credit: Future)
  • Solid metal construction looks particularly good in silver
  • Integrated lighting is lots of fun
  • Some unusual decisions round the back

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

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

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

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

Design score: 4 / 5

FiiO TT13 review: ease of use and setup

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

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

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

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

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

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

Usability and setup score: 5 / 5

FiiO TT13 review: value

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

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

Value score: 4 / 5

Should I buy the FiiO TT13?

Attributes

Notes

Rating

Features

Fully automatic, good Bluetooth options and a useful remote control.

4/5

Design

Looks more expensive than it is and feels very solid. It's very easy to use.

5/5

Sound quality

Clear, warm and entertaining but slightly light at the low end.

4/5

Value

Competitively priced and the lighting is a big plus, but limited upgradeability.

4/5

Buy it if...

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

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

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

Don't buy it if...

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

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

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

FiiO TT13 review: Also consider

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

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

How I tested the FiiO TT13

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

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

‘Bass-heads need not apply’: I tested a polished-sounding wireless speaker with an impeccable sense of space — it’s just a shame that it flubs the sub
4:00 am | March 10, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Multi-Room Wireless & Bluetooth Speakers | Comments: Off

Bluesound Pulse Flex: two-minute review

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

A closeup of the buttons on the top of the Bluesound Pulse Flex, showing the skip forward, skip forward, play / pause, volume up and down and three shortcut buttons.

(Image credit: Future)

Bluesound Pulse Flex review: price and availability

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

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

A closeup of the Bluesound Pulse Flex's ports, showing its power and Ethernet ports.

(Image credit: Future)

Bluesound Pulse Flex review: specs

Speaker drivers

1 x 0.75-inch tweeter 1 x 4-inch woofer

Amplification

Smart DSP amplifier

Dimensions

5.15 x 7.73 x 4.37 inches / 131 x 196 x 111mm

Connectivity

Wi-Fi 5, Bluetooth 5.3 aptX HD, 3.5mm optical / analog combo, USB-C, USB-A, Ethernet

Streaming support

BluOS app, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, Roon Ready

Other features

Multi-room groups, loudness optimization, tone controls, replay gain, mono / left / right settings, volume limits

The Bluesound Pulse Flex from behind tipped up at an angle so you can see its ports.

(Image credit: Future)

Bluesound Pulse Flex review: features

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

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

A closeup of the Bluesound Pulse Flex's ports, showing its Ethernet, USB-A port, USB-C port and optical / analog in.

(Image credit: Future)

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

  • Features score: 3.5 / 5

The Bluesound Pulse Flex at a 3/4 angle on a stone effect counter in front of a pink background.

(Image credit: Future)

Bluesound Pulse Flex review: sound quality

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

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

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

(Image credit: Future)

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

  • Sound quality score: 4 / 5

The Bluesound Pulse Flex from an overhead angle on a stone effect counter in front of a pink background.

(Image credit: Future)

Bluesound Pulse Flex review: design

  • Unique design
  • Chic colorways
  • Buttons not the most comfortable

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

A closeup of the buttons on the top of the Bluesound Pulse Flex, showing the skip forward, skip forward, play / pause, volume up and down and three shortcut buttons.

(Image credit: Future)

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

  • Design score: 4 / 5

The Bluesound Pulse Flex from behind on a stone effect counter in front of a pink background.

(Image credit: Future)

Should I buy the Bluesound Pulse Flex?

Attribute

Notes

Score

Features

Excellent connectivity like Bluetooth aptX HD, analog / optical in and USB-C. But EQ settings are very basic and there’s no room tuning.

3.5 / 5

Sound quality

Offers hi-res, dynamic sound with well-rounded mids. Bass is a little lacking though and it’s quieter than most speakers.

4 / 5

Design

Lightweight, attractive design with some gorgeous colorways on offer. Buttons work well, although feel less tactile than they could be.

4 / 5

Value

Fairly reasonable price for its quality, although it’s more expensive than the Sonos Era 100, while not offering substantially better sound.

3.5 / 5

Buy it if…

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

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

Don’t buy it if…

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

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

Bluesound Pulse Flex review: also consider

Bluesound Pulse Flex

Sonos Era 100

JBL Authentics 200

Speaker drivers

1 x 0.75-inch tweeter 1 x 4-inch woofer

2x tweeters, 1x midwoofer

2 x 25mm tweeters, 5-inch full-range woofer, 6-inch passive radiator

Amplification

Smart DSP amplifier

3x Class D amps

Dimensions

5.15 x 7.73 x 4.37 inches / 131 x 196 x 111mm

4.72 x 7.18 x 5.14 inches / 120 x 183 x 131mm

10.48 x 6.76 x 6.59 inches / 266.3 x 171.7 x 167.4mm

Connectivity

Wi-Fi 5, Bluetooth 5.3 aptX HD, 3.5mm optical / analog combo, USB-C, USB-A, Ethernet

Wi-Fi 6, Bluetooth 5.0, USB-C (3.5mm line-in and Ethernet via adapter)

Wi-Fi, Bluetooth 5.3, USB-C, Ethernet, aux-in

Streaming support

BluOS app, Apple AirPlay 2, Spotify Connect, Tidal Connect, Qobuz Connect, Roon Ready

Sonos app, Apple AirPlay 2

JBL One App

Other features

Multi-room groups, loudness optimization, tone controls, replay gain, mono / left / right settings, volume limits

Sonos multi-room control, Sonos home theater option, stereo pair option

Multi-room playback, auto self-tuning

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

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

A woman's hand presses the skip forward button on the Bluesound Pulse Flex.

(Image credit: Future)

How I tested the Bluesound Pulse Flex

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

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

I enjoyed testing this accomplished active stereo speaker system, until it threw in the towel too easily
2:00 pm | March 7, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Comments: Off

KEF Coda W: Two-minute review

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

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

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

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

Front panel of the KEF Coda W active speakers, showing the drivers.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Price & release date

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

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

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

Rear panel of the KEF Coda W active speaker system.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Features

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

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

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

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

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

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

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

  • Features score: 4.5 / 5

Closeup of the drivers of the KEF Coda W active speaker system.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Sound quality

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

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

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

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

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

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

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

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

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

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

  • Sound quality score: 4 / 5

Rear panel of the KEF Coda W active speakers, with wired connections and cables visible.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Design

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

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

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

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

  • Design score: 5

Trio of screenshots showing the KEF app connected to the Coda W active speaker system.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Usability & setup

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

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

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

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

  • Usability & setup score: 4.5 / 5

Top panel of the KEF Coda W active speaker system, with back-lit, recessed touch-control buttons for power on/off, volume control and Bluetooth connectivity.

(Image credit: Future / Simon Lucas)

KEF Coda W review: Value

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

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

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

  • Value score: 4 / 5

Top panel of the KEF Coda W active speaker system, with a remote control resting on top.

(Image credit: Future / Simon Lucas)

Should I buy KEF Coda W?

KEF Coda W scorecard

Attribute

Notes

Score

Features

Pretty well-equipped, with HDMI eARC socket, USB-C connectivity and Bluetooth 5.4 with aptX Lossless codec compatibility.

4.5 / 5

Sound quality

Energetic and confident but loses some animation at low volume levels; average phono stage.

4 / 5

Design

Choice of five finishes, and excellent build quality, make it a good fit for any room.

5 / 5

Setup & usability

Limited version of the KEF Connect app; touch controls; small remote control handset

4.5 / 5

Value

Solid value, but hampered by sound issues at low volume levels.

4 / 5

Buy them if…

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

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

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

Don’t buy them if…

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

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

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

KEF Coda W review: Also consider

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

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

How I tested the KEF Coda W

KEF Coda W active speakers, either side of an audio system and turntable, on top of a pair of speaker stands.

(Image credit: Future / Simon Lucas)

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

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

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

I spent two weeks with Cambridge’s all-new active bookshelf speakers and they’re an immediate pound-for-pound market-leader contender
12:34 pm | March 4, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Cambridge L/R S: Two-minute review

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

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

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

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

Front panel of the Cambridge L/R S active speaker system, in front of a plant, on white surface.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Price & release date

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

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

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

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

Rear panel of the Cambridge L/R S active speaker system, showing speaker link, USB-C input and sub out configurations.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Features

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

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

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

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

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

  • Features score: 5 / 5

Front panel of the Cambridge L/R S active speakers, showing a closeup of the tweeter.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Sound quality

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

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

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

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

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

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

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

  • Sound quality score: 5 / 5

Front and back panels of the Cambridge L/R S active speaker system, on a white surface.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Design

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

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

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

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

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

  • Design score: 4.5 / 5

Top panel of a Cambridge L/R S active speaker, next to a plant pot.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Usability & setup

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

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

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

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

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

  • Usability & setup score: 4.5 / 5

Remote control for the Cambridge L/R S active speaker system, on a white surface.

(Image credit: Future / Simon Lucas)

Cambridge L/R S review: Value

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

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

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

  • Value score: 5 / 5

Should I buy Cambridge L/R S?

Cambridge L/R S scorecard

Attribute

Notes

Score

Features

Active system, with USB-C, line-level stereo RCA and digital optical inputs; Bluetooth wireless (with aptX HD codec compatibility).

5 / 5

Sound quality

Expansive, detailed and upfront, but slightly overplays its low-end hand.

5 / 5

Design

Very solid build; six finishes, but walnut is a cost option; no grilles supplied.

4.5 / 5

Setup & usability

Bluetooth LE remote control; trio of EQ presets; no control app.

4.5 / 5

Value

Engineering excellence, plus superb sound, make it a pound-for-pound contender at the price.

5 / 5

Buy them if…

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

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

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

Don’t buy them if…

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

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

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

Cambridge Audio L/R S review: Also consider

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

How I tested the Cambridge L/R S

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

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

I reviewed this delightfully retro DAC dongle and at this price, it’s a punchy and talented no-brainer
1:00 am | February 25, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi | Tags: , , | Comments: Off

FiiO KA15: Two-minute review

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

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

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

FiiO KA15 review: Price and release date

FiiO KA15 portable DAC photo showing the buttons on the side

(Image credit: Future)
  • Released September 2024
  • Priced $99.99 / £99.99 / AU$189.99

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

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

FiiO KA15 review: Features

A photo of the front of the FiiO KA15 portable DAC playing PCM music

(Image credit: Future)
  • DSD256 and 768kHz/32-bit PCM support
  • Dual Cirrus CS43198 DACs and SGM8262 op-amps
  • Unbalanced 3.5mm and balanced 4.4mm outputs

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

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

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

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

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

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

Features score: 5 / 5

FiiO KA15 review: Sound quality

The web-based control panel for the FiiO KA15 portable DAC

iPhone users will need to turn to their computer to create personalized EQs. (Image credit: Future)
  • Excellent warmth, detail and clarity, especially in desktop mode
  • Customizable amplification and filtering
  • You may need a computer to customize the EQ

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

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

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

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

Sound quality: 5 / 5

FiiO KA15 review: Design

FiiO KA15 portable DAC photographed from the front to show the user interface

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

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

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

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

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

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

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

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

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

Usability and setup score: 4 / 5

FiiO KA15 review: Value

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

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

Value score: 5 / 5

Should I buy the FiiO KA15?

Attributes

Notes

Rating

Features

Lots of customization options and wide compatibility

5/5

Design

Solid and portable with tactile controls

5/5

Sound quality

Warm, detailed and crystal clear. Desktop mode is superb.

5/5

Value

A big upgrade with a relatively small price tag

5/5

Buy it if...

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

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

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

Don't buy it if...

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

FiiO KA15 review: Also consider

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

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

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

How I tested the FiiO KA15

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

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

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

I reviewed this delightfully retro DAC dongle and at this price, it’s a punchy and talented no-brainer
1:00 am |
Author: admin | Category: Audio Computers Gadgets Hi-Fi | Tags: , , | Comments: Off

FiiO KA15: Two-minute review

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

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

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

FiiO KA15 review: Price and release date

FiiO KA15 portable DAC photo showing the buttons on the side

(Image credit: Future)
  • Released September 2024
  • Priced $99.99 / £99.99 / AU$189.99

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

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

FiiO KA15 review: Features

A photo of the front of the FiiO KA15 portable DAC playing PCM music

(Image credit: Future)
  • DSD256 and 768kHz/32-bit PCM support
  • Dual Cirrus CS43198 DACs and SGM8262 op-amps
  • Unbalanced 3.5mm and balanced 4.4mm outputs

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

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

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

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

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

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

Features score: 5 / 5

FiiO KA15 review: Sound quality

The web-based control panel for the FiiO KA15 portable DAC

iPhone users will need to turn to their computer to create personalized EQs. (Image credit: Future)
  • Excellent warmth, detail and clarity, especially in desktop mode
  • Customizable amplification and filtering
  • You may need a computer to customize the EQ

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

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

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

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

Sound quality: 5 / 5

FiiO KA15 review: Design

FiiO KA15 portable DAC photographed from the front to show the user interface

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

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

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

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

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

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

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

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

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

Usability and setup score: 4 / 5

FiiO KA15 review: Value

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

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

Value score: 5 / 5

Should I buy the FiiO KA15?

Attributes

Notes

Rating

Features

Lots of customization options and wide compatibility

5/5

Design

Solid and portable with tactile controls

5/5

Sound quality

Warm, detailed and crystal clear. Desktop mode is superb.

5/5

Value

A big upgrade with a relatively small price tag

5/5

Buy it if...

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

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

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

Don't buy it if...

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

FiiO KA15 review: Also consider

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

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

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

How I tested the FiiO KA15

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

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

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

Hit the road, jack? Not at all, iFi’s tiny Go Blu Air DAC brings the headphone port back to your phone — and levels up the audio to boot
2:00 pm | February 22, 2026
Author: admin | Category: Audio Computers DACs Gadgets Hi-Fi | Comments: Off

iFi GO Blu Air: Two-minute review

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

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

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

iFi GO Blu Air review: Price and release date

The rear of the iFi GO Blu Air

That big oval is the magnet for the optional and surprisingly strong garment/bag clip. (Image credit: Future)
  • Released August 2025
  • Priced $129 / £129 / AU$229

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

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

iFi GO Blu Air review: Features

The top and bottom of the iFi GO Blu Air on a white background

Despite the small size, iFi has managed to pack a 3.5mm and 4.4mm balanced output into the top of the GO Blu Air. The USB port on the bottom is for charging only. (Image credit: iFi)
  • Up to 24-bit/96kHz over Bluetooth
  • Cirrus Logic Master Hi-Fi DAC
  • "S-balanced" 3.5mm and balanced 4.4mm outputs

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

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

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

Features score: 4 / 5

iFi GO Blu Air review: Sound quality

The iFi GO Blu Air laid on a grey desk mat with headphones/IEMs connected to its 3.5mm output

(Image credit: Future)
  • Tons of fun on IEMs and over-ear headphones
  • No on-board EQ to tame high-end harshness
  • Audio enhancers are subtle but effective

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

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

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

Sound quality: 5 / 5

iFi GO Blu Air review: Design

Close up of the iFi GO Blu Air with its optional magnetic clip attached

The magnetically attached garment/bag clip is very strong, and you can pretend that it's a crocodile (Image credit: Future)
  • Similar to GO Blu but more plasticky
  • 3.5 x 33.7 x 19.5mm (WxHxD) and just 30g
  • Magnetically attached clip is surprisingly strong

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

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

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

Design score: 4 / 5

iFi GO Blu Air Review: Usability and setup

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

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

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

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

Usability and setup score: 4 / 5

iFi GO Blu Air review: Value

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

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

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

Value score: 4 / 5

Should I buy the iFi GO Blu Air?

Attributes

Notes

Rating

Features

Bluetooth-only with all the key aptX options plus LDAC too. 3.5mm and 4.4mm balanced outputs.

4/5

Design

A little plasticky-looking and too small to have a screen, but it's exceptionally small and light with a great magnetic clip

4/5

Sound quality

Tons of fun with a spacious soundstage and useful enhancers

5/5

Value

Competitively priced but up against very strong rivals

4/5

Buy it if...

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

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

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

Don't buy it if...

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

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

iFi GO Blu Air review: Also consider

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

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

How I tested the iFi GO Link Max

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

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

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

I reviewed Philips’ affordable Fidelio stereo speakers that look ‘too good to be true’ on the spec sheet — and they nearly pull it off
4:00 pm | February 21, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Philips Fidelio FA3: Two-minute review

I don’t often think ‘this is too good to be true’ when confronted with the details of an audio product’s make-up, but a glance at the spec sheet accompanying the Philips Fidelio FA3 made me double-take.

The Fidelio FA3 is an active wireless speaker system that can connect its speakers together either wirelessly or via a cable, that has high-end Bluetooth connectivity along with a fistful of physical inputs to handle hi-res content, that is controllable by an extremely extensive app, has Auracast functionality in order to become part of a multi-speaker set-up, and uses a lot of recycled material in its construction, with full-range frequency response. For $399 / £349 / AU$499? Really?

Then the system comes out of its packaging and the price still seems like it might be a misprint compared to most of the best wireless speakers. It’s nicely made and finished, looks and feels good, and arrives with a physical remote control to augment the app functionality – it even has grilles that attach magnetically to its high-gloss cabinets.

No, the slight ‘wedge’ shape that angles the speaker’s drivers upwards rather than straight ahead isn’t as useful in all circumstances as Philips obviously thinks it is – but still, the FA3 seems to have an awful lot going for it.

And that’s the case where sound is concerned, too. The Philips is a positive and quite forthright listen, with plenty of detail available in most areas of the frequency range and a very enjoyable facility with soundstaging and dynamic response. It allows itself to get carried away where low-frequency response is concerned, though, and its over-egged bass presence makes for a rather lop-sided, bottom-heavy presentation.

If that low-end enthusiasm could be dialled back a little, perhaps to be replaced with a more subtle and detailed low-frequency attitude instead, the FA3 could really go places. As it is, the Ruark MR1 Mk3 remains our favorite option in this kind of price range, even it's not quite as impressively specced.

The Philips Fidelio FA3 on a white surface

(Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Price & release date

  • $399 / £349 / AU$499
  • Released in January 2026
  • Originally announced in September 2025

The Philips Fidelio FA3 wireless active speaker system is on sale now, and in the United Kingdom it costs £349. In the United States it sells for $399 or thereabouts, while in Australia it goes for something like AU$499.

This puts it in line with a lot of single-box wireless speakers, such as the JBL Authentics 200 – and a bit cheaper than the Sonos Era 300. But these are stereo speakers, and when it comes to the best stereo speakers in this price range, they're usually passive or not as quite well-equipped as this when it comes to features and options.

The two Philips Fidelio FA3 speakers viewed from the back, showing connections and bass reflex ports

(Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Features

  • Bluetooth 5.4 LE Audio with LC3 and LDAC codec support
  • Auracast-enabled for multi-speaker connectivity
  • 24bit/96kHz via HDMI ARC and digital optical inputs

The specification of the Fidelio FA3 would be perfectly acceptable in a product costing a great deal more than this. To understand what Philips has included for the asking price is to be properly impressed.

The FA3 speakers are a two-way design, with a 25mm titanium dome tweeter above a 127mm glass-fiber mid/bass driver at the front, and a small reflex port venting towards the top of the rear of the cabinet.

Philips says this arrangement is good for a frequency response of 40Hz - 40 kHz — which, if it’s anything like accurate, is very impressive from such a relatively modest arrangement.

This is an active system, which means both speakers require power. After that, it’s very much a ‘primary’ and ‘secondary’ speaker arrangement — the rear of the secondary speaker features just a coaxial input for a wired connection to its partner in addition to the reflex port and its power socket.

The primary speaker, though, adds a USB-C slot (which can be used for playback and for servicing), a digital optical input, an HDMI ARC connection, and a line-level analog input on stereo RCA sockets.

In addition, the primary speaker is where Bluetooth pairing takes place — the FA3 features Bluetooth 5.4 LE Audio connectivity and is compatible with SBC, AAC, LC3 and LDAC codecs. The system also features Auracast technology, which means it can easily become part of a multi-speaker system if given appropriate partners to work with.

As well as via a coaxial cable, the speakers can also be connected to each other wirelessly using a 2.4GHz wireless connection. Regardless of the method of connection between the speakers, though, the digital-to-analog conversion circuitry operates at a native 24bit/96kHz resolution, and anything that’s coming in via HDMI ARC, digital optical or USB-C that’s of higher resolution will be downsampled to 24bit/96kHz.

The ability to wirelessly connect a pair of speakers and still enjoy authentically high-resolution sound is not all that common, and rarer still in this area of the market. Streams coming in via Bluetooth using the LDAC codec will be served up at its maximum 990kbps resolution.

No matter the resolution of the stuff you’re listening to, it’s given the benefit of 50 watts of Class D amplification per channel. Philips is claiming a THD (total harmonic distortion) figure of less than 1%.

  • Features score: 5 / 5

The mid/bass speaker driver of the Philips Fidelio FA3

(Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Sound quality

  • Direct and full-scale presentation
  • Low-frequency response is a blunt and oversized instrument
  • Somehow able to sound loud even when playing quietly

If you’ve come for an assertive, positive sound that’s delivered at significant scale, stick around. The Philips Fidelio FA3 has you covered in quite some style.

No matter if you’re listening to something that sounds like a glorified demo (Boys Don’t Cry by The Cure, for example) or that’s dressed up to the nines (Nuits Sonores by Floating Points, say), the FA3 take it by the scruff of the neck and serve it up in the most direct and unequivocal manner.

Their fundamental character is confident, and they are capable of generating a large and quite nicely defined soundstage on which the action can occur. The Philips seem to genuinely revel in big dynamic shifts in attack or intensity, and are more than capable of summoning the sort of energy and momentum that makes for a lively and positive presentation.

The tweeter does fine work in delivering bright, crisp and detailed high frequencies that carry enough substance to balance out their undoubted bite. There’s plenty of variation in treble sounds and, even though the FA3 somehow contrive to sound loud even if they’re playing at quite low levels, the brilliance of the top end here is never problematic.

There’s scant suggestion of hardness or glassiness, even if you choose to listen at quite oppressive volume levels (and don’t for a moment doubt the Philips are capable of quite significant volume).

The handover to the bigger mid/bass driver is smooth, and the midrange is served up with a similarly careful attitude towards detail and variation as the top end demonstrates. There’s a stack of information made available regarding the tone and timbre of voices, and the FA3 are just as capable of teasing out the attitude and character in a voice as they are the minutiae of technique or texture.

Those more minor (but no less significant) dynamics of harmonic variation, those over- and undertones that exist either side of the fundamental, are put into quite convincing context, and the Philips are able to preserve a sense of singularity and togetherness from the very top end down towards the bottom of the midrange.

Beneath here, though, the speakers don’t so much ‘overplay their hand’ as seem to be engaged in a different game altogether. Low frequencies are overstated and overbearing, and exhibit less of the dexterity and variation that’s apparent further up the frequency range.

The quest for ‘punch’ seems a preoccupation, and the rather blunt and overstated nature of the bass response here makes for a lop-sided overall frequency response that seemingly prioritizes the low end at the expense of everything else.

This trait is obvious enough when listening to music, but if anything it’s even more apparent when listening to spoken word — especially with male voices. The moment the register of a speaking voice dips towards the bottom of the midrange and below, the bloom in that area of the frequency range becomes all too apparent.

The result is far from naturalistic, and it serves to undermine all the good work the FA3 does elsewhere in the frequency range.

It’s possible to mitigate this by dialing ‘bass’ response right back in the control app, but it doesn’t eradicate the issue — and it’s an issue that’s more apparent at lower volumes than it is at bigger levels.

Despite this rather pear-shaped frequency response, though, the Philips manage to express rhythms in a fairly convincing manner and somehow maintain a degree of momentum despite the drag those oversized bass sounds create.

  • Sound quality score: 3.5 / 5

The Philips Fidelio FA3 viewed from the side, showing their wedge shape

(Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Design

  • 170 x 303 x 211mm (WxHxD) per speaker
  • 3.4kg per speaker
  • Each cabinet features 45% RCS-certified recycled material

If you were considering the FA3 as a desktop audio system, I’d urge you to think again. Given the size of each speaker, you’d need a notably large and conspicuously tidy desktop to comfortably accommodate them — much better to consider this system for use on speaker stands or a shelf of appropriate depth.

The problem in this scenario, though, is that the cabinets are designed with a kind of ‘wedge’ foot integrated into the base which angles the speaker baffle so the drivers are firing slightly upwards rather than dead ahead. If the surface you’re putting them on is reasonably low, then this is definitely a good thing — it's somewhat common on desktop speakers.

But if you put them on stands or on a shelf that’s at a kind of regular shelf height, then the FA3 will be pointing above, rather than at, your ears. Unless you do all your listening while standing up, anyway.

The cabinets are very nicely built and finished, though, with gentle curves at each corner and that special sort of high-gloss black finish that’s very shiny and very keen to collect fingerprints.

They are supplied with magnetic grilles to cover the driver array if that’s your preference, and the plastic shell of each cabinet includes (deep breath) 45% RCS-certified recycled post-consumer acrylonitrile butadiene styrene in its construction.

  • Design score: 4

The Philips Fidelio FA3's app, showing general menu items, the EQ screen, and the on-screen remote control

(Image credit: Philips Entertainment / Future)

Philips Fidelio FA3 review: Usability & setup

  • Remote control handset included
  • Philips Entertainment control app
  • Physical controls on the primary speaker

To its credit, Philips has provided several options for taking control of the Fidelio FA3 — and each of them is reasonably well-implemented and reliable.

There’s a small and unremarkable remote control handset included in the packaging — it’s of quite hard plastic and has no backlighting. It doesn’t have quite enough buttons, either, since one button takes care of selecting the optical or the HDMI ARC input, another has to deal with selecting between USB-C and analog inputs, and a third chooses between Bluetooth and Auracast.

Still, it’s reliable enough, and the ability to raise, lower or mute the volume, play/pause, skip forwards or backwards, cycle through half-a-dozen EQ presets, and trim bass and treble independently of each other, is all very useful.

There are some controls on the rear of the primary speaker, too. These consist of a volume dial (which needs much too much turning to deliver any meaningful effect), a button to initiate wireless pairing between the speakers, a button to cycle through the inputs, and a power on/off switch.

You can exercise the greatest amount of control over the system, though, by using the Philips Entertainment app that’s free for iOS and Android. It offers playback control, those EQ presets (‘balanced’, ‘warm’, ‘bright’, ‘powerful’, ‘clear’ and ‘custom’, the last of which employs user-controllable ‘bass’ and ‘treble’ adjustment dials), enables you tell the primary speaker if it’s the left or right channel, and lets you dial through your input selection options.

It also gives access to a suite of ambient sound settings (everything from ‘ancient wind’ and ‘ocean’ to ‘bubbles’ and ‘sonar’) in case you’ve misplaced your collection of Brian Eno LPs. It can duplicate the layout of the remote control handset (except with a single button for each input, mercifully) and enables you to check for software updates too.

  • Usability & setup score: 4.5 / 5

The Philips Fidelio FA3's remote control

(Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Value

  • Big and powerful for the price
  • Very well equipped and with a great app
  • But the iffy bass pulls the down from being a bargain

Judged either by the size of its specification or by the size of the speakers themselves, there’s really no arguing with the value for money the Philips Fidelio FA3 represents — the sheer amount of glossy black finish your money buys is considerable all by itself.

It's reassuring to have a great app, too — it's something that companies often don't manage to achieve. If only the remote control was as neatly laid out.

The bottom-heavy nature of the sonic character you get for your outlay, though, is quite a bit more difficult to make a case for than the above.

  • Value score: 3 / 5

The Philips Fidelio FA3 speaker viewed from the top

(Image credit: Simon Lucas / Future)

Should I buy Philips Fidelio FA3?

Philips Fidelio FA3 scorecard

Attribute

Notes

Score

Features

Basically as well-equipped as stereo wireless speakers come at this price.

5 / 5

Sound quality

Rich and powerful and full of dynamic attack – but the overblown bass is a problem.

3.5 / 5

Design

Very well-built and good-looking, but the wedge shape is an odd decision.

4 / 5

Setup & usability

Very well thought-through, and with multiple control options, including a great app.

4.5 / 5

Value

Not bad value at all, thanks to the features and build quality – but bass issues mean they're not amazing value either.

3 / 5

Buy them if…

You have one or two (or more) sources of hi-res content
The FA3’s ability to serve up the 24bit/96kHz stuff even when joined together wirelessly is not to be sniffed at.View Deal

You have a low-ish surface on which to position it
The laid-back, upward-facing cabinet arrangement is ideal for use on those surfaces that are below head height.View Deal

You love a shiny aesthetic
‘Glossy’ is almost too weak a word to describe the black finish of these speakers.View Deal

Don’t buy them if…

You’re expecting sonic realism
The way the FA3 so gleefully overstates the bass frequencies is almost admirable — but it’s not to be confused with an even frequency response.View Deal

You don’t have a lot of power outlets
The fact this is a wireless stereo system is a big positive — but it also means both speakers must be plugged into power individually.View Deal

Your memory isn’t what it was
Having three buttons on the remote control to cover six different input options is sub-optimal (as is the remote’s lack of backlighting).View Deal

Philips Fidelio FA3 review: Also consider

Ruark MR1 Mk3
This is one of the very best wireless speaker systems around at a similar price to what Philips wants for the Fidelio FA3. Compact enough to fit on a desk, but it sounds considerably larger; wired and wireless connectivity options include a phono stage for use with a turntable; the real wood veneer feels almost as good as it looks. No control app, though. Here's our full Ruark MR1 Mk3 review.View Deal

Edifier MR5
If you want something for the desktop, we described these as "triumphantly multifaceted little boxes of joy" in our full Edifier MR5 review. Lots of connections, a really comprehensive app, and a nice compact size – oh, and superb sound, of course. And they're cheaper than the Philips, though don't expect room-filling power in the same way.View Deal

How I tested the Philips Fidelio FA3

The Philips Fidelio FA3 speakers on stands, on either side of a hi-fi rack with various components on it

(Image credit: Simon Lucas / Future)

I connected the speakers together using their cable, but also wirelessly. I connected an Apple iPhone 14 Pro and a FiiO M15S digital audio player via Bluetooth, a Rega Apollo CD player via the digital optical input, an Apple MacBook Pro using the USB-C slot, and a Philips OLED806 television via the HDMI ARC socket.

I positioned them on the same equipment rack as the TV — I also used them on my desk (not for long, though; they’re pretty big when you put them on there) and on a pair of Custom Design speaker stands.

I listened to music streamed from Qobuz and Tidal apps, from my collection of compact discs, and to content from a Panasonic 4K Blu-ray player and Sony Playstation 5 connected to the TV.

I reviewed the Eversolo DAC-Z10, and this DAC/preamp/headphone amp combo reveals details you didn’t know were in your music
2:00 pm | February 15, 2026
Author: admin | Category: Audio Computers DACs Gadgets Hi-Fi | Comments: Off

Eversolo DAC-Z10: one-minute review

Never let it be said that Eversolo is not ever so serious. The Eversolo DAC-Z10 is an extremely well-specified digital-to-analogue converter, headphone amplifier and system preamplifier in a single package – and while it sells for a significant sum, even compared to the best DACs around, it turns out to represent unarguable value for money.

As well as the full-on specification (which includes four AKM DAC chips, twin RSR ‘ladder’ volume control modules, and no fewer than three independent and heavily shielded linear power supplies), the user interface (via a big touch-screen) is excellent even before you realize it offers a choice of virtual VU meters and dynamic spectrum displays.

There are more than enough digital inputs, plus balanced and unbalanced analog outputs, and an extremely capable discrete headphone amplification module.

And it all works very well indeed. The DAC-Z10 is almost fanatical when it comes to detail retrieval, really holds its own where rhythmic expression, soundstaging and dynamic impetus are concerned, and maintains the tonal balance of the music as originally recorded as much as possible.

In fact, about its biggest shortcoming is how overtly intolerant it is of inferior partners – don’t imagine the DAC-Z10 is about to make a silk purse out of the sow’s ear that is sub-par electronics or loudspeakers. But that's not a real flaw for something that costs this much anyway – you'd expect an expensive DAC to sing with expensive other components, wouldn't you?

The Eversolo DAC-Z10 on a hi-fi rack, showing a frequency range readout on the screen

(Image credit: Simon Lucas)

Eversolo DAC-Z10 review: Price & release date

The Eversolo DAC-Z10 launched during November 2025 and in the United Kingdom it sells for a strangely specific £1,939. In the United States it’s $1,980, while in Australia the going rate is AU$3,339 or thereabouts.

This puts it in line with options from the likes of Denon and NAD – big names in the hi-fi separates space.

The Eversolo DAC-Z10's touchscreen, showing different control options

(Image credit: Simon Lucas)

Eversolo DAC-Z10 review: Features

  • Numerous digital and analog inputs
  • Independent left and right channel AKM digital-to-analog conversion modules
  • Three independent power supplies

Even by Eversolo’s established standards, the DAC-Z10 is extensively specified – ‘lavishly’ may not be too strong a word. It’s difficult to know where to start, really. Maybe on the outside would be best…

At the rear of the DAC-Z10, there are numerous digital and analogue inputs, alongside balanced XLR and unbalanced RCA analogue outputs for connection to a power amplifier, powered speakers or what-have-you. There’s also a grounding post for channeling even the most minor electrical interference out of harm’s way.

The digital stuff consists of an IIS (aka I2S) input (featuring eight switchable modes, naturally, and capable of dealing with digital audio resolutions of up to 32bit/768kHz PCM and DSD512), HDMI eARC, USB-B (with multi-core audio processor and again supporting 32bit/768kHz PCM and DSD512), a fully isolated AES/EBU input, and a pair of coaxial and a pair of optical audio inputs (all of which support 24bit/192kHz PCM and DSD64). There’s also wireless connectivity via Bluetooth 5.0, with SBC and AAC codec compatibility.

There’s a further analog output on the fascia: a 6.3mm single-ended headphone socket. It’s powered by a dedicated amplification module, and automatically detects the impedance of the headphones it’s driving and adjusts gain accordingly.

The internal layout of the Eversolo is no less thorough. Built on the company’s ‘Fully Isolated Architecture’ platform, which isolates the digital and analog domains in a drive for optimal signal purity, the DAC-Z10 features three linear power supplies. One is for the left channel, one for the right, and one for system circuitry – each is isolated from the others in an effort to minimi`e interference.

The DAC-Z10 is big on the concept of independent left and right stereo channels elsewhere, too. For instance, each stereo channel has a dedicated pair of AKM DAC chips – an AK4191 and an AK4499 – so left and right digital signals are kept completely separate from input to conversion.

Volume control uses an independent R2R ‘ladder’ module for each channel, so signal integrity and phase alignment should be uncorrupted, even if the selected volume level is very low or very high.

The Eversolo ‘Precision Core’, which features a temperature-controlled crystal oscillator, phase-locked loop technology and FPGA clock reconstruction, makes up the DAC-Z10 clock system. Despite the extremely thorough attention it has paid to this critical componentry, though, the Eversolo also has an input for an external clock – and with multiple impedance options.

This allows the DAC-Z10 to integrate into super-high end systems that have even more effective clock systems than the one specified here. Either way, though, the DAC-Z10 seems extremely well-served where clocking, and by extension the imaging and transient response of its sound, are concerned.

  • Features score: 5 / 5

The Eversolo DAC-Z10 on a hi-fi rack, with some virtual VU meters displayed on the screen

(Image credit: Simon Lucas)

Eversolo DAC-Z10 review: Sound quality

  • Profoundly impressive detail retrieval
  • Expansive, organized and front-foot sound
  • Not especially tolerant of less-capable partners

Let’s get the minor negative out of the way first, shall we? The Eversolo DAC-Z10 is not about to indulge in partnering equipment that is less capable than it is. The DAC-Z10 punches above its weight, not below it – so it can hold its own in systems with high price-tags, but it’s not about to make your run-of-the-mill power speakers or wallet-friendly amps into world-beaters. If anything, it’s more likely to expose their shortcomings.

But as long as the stuff before and after the Eversolo in the chain is up to scratch, there’s a whole lot to enjoy about this device – especially where its powers of digital-to-analog conversion are concerned.

Where detail retrieval is concerned, the DAC-Z10 is as good as anything I've heard at anything like the price. No event in a recording is too minor, no harmonic variation is too subtle, no over- or undertone surrounding the fundamental note of an instrument or a voice is too muted to elude it.

The production of Horsegirl’s Phonetics On and On is open and so spare that you might think every shred of information is available even when it’s playing on an unremarkable system – but the Eversolo demonstrates that even deeper subtleties and transients are there, and it has the power to reveal and contextualize them. If you’re after the most complete image possible of your music, the DAC-Z10 is ready and able to give it to you.

It’s more than willing to get out of the way of the music, and of the source machine that’s playing it. So when it comes to tonality and frequency response, the Eversolo tries its utmost to have as little input as possible even though it’s responsible for D-to-A conversion – the sound you get, in these respects, seems very much to be the sound stored on the disc, the digital file or whatever.

What the DAC-Z10 will do is ensure that low frequencies are shaped and controlled to the point that rhythmic expression is coherent and momentum levels never dip below what is appropriate.

It takes care of the minor dynamic variations with just as much ease as it does with every other aspect of detail retrieval – and when the music undergoes big shifts in intensity or volume, as it does during a listen to Daniel Blumberg’s soundtrack to The Brutalist, the Eversolo is able to describe them in full, and in the most articulate manner.

It ensures the top of the frequency range always carries enough substance to prevent its bite becoming problematic, and allows the midrange to project with real confidence.

And the bigger and more information-packed the audio content you serve it, the more impressive the DAC-Z10 sounds. A DSD64 file of Michael Jackon’s Off the Wall sounds positively ferocious once the Eversolo has done with it – the clean, open and pristine recording (especially in 2024 remaster guise) sounds more animated, more immediate, and more engaging than it does via any even vaguely price-comparable alternative. And there are plenty of very capable, vaguely price-comparable, alternatives around.

  • Sound quality score: 5 / 5

the Eversolo DAC-Z10's connections on the rear

(Image credit: Simon Lucas)

Eversolo DAC-Z10 review: Design

  • Aluminum chassis
  • A choice of VU meters, spectrum displays and control dial colors
  • 310x88x365mm / 12.2x3.5x13.4in (WxHxD)

As is only to be expected, given the asking price, the Eversolo DAC-Z10 is carefully constructed from premium materials, and finished to an extremely high standard. Fundamentally it’s simply a rectangular box in the established ‘hi-fi’ manner – but in terms of look, feel and finish it’s a fairly upmarket proposition.

It’s not quite as wide as your average hi-fi separate, but nevertheless Eversolo has found space for an 8.8-inch touchscreen that’s bright, clear and responsive, and is able to display a great deal of information without looking in any way crowded.

It forms the majority of the fascia of a chassis built from aircraft-grade aluminum and coated in a soft(ish)-touch finish that only adds to the impression of refined good taste.

Eversolo has remembered to make sure the design of the DAC-Z10 is enjoyable as well as admirable, too. As well as an exhaustive amount of relevant information, the screen can display a number of different VU meters or dynamic spectrum displays – and the single ‘turn/push’ control dial alongside it can be illuminated in one of quite a few different colors.

  • Design score: 5 / 5

The Eversolo DAC-Z10's remote control, with basic playback buttons and input selection

(Image credit: Simon Lucas)

Eversolo DAC-Z10 review: Usability & setup

  • Remote control, app and touchscreen control options
  • Some end-user tweaking available
  • Switchable XLR polarity

Despite its wealth of features and extensive functionality, setting up and operating the DAC-Z10 is pretty straightforward. And you have plenty of options, too.

Obviously the first thing to do is make your relevant connections into and out of the device. The DAC-Z10 will support plenty of digital devices, of course, and there’s the ability to route a single analog source through too – which is useful if you’re connecting directly to a power amplifier rather than a pair of powered or active speakers.

It’s worth noting the XLR connections have switchable polarity, which makes system-matching a great deal more straightforward than it otherwise would be. After that it’s just a question of trimming each individual input in terms of volume – every digital input can have a choice of six filters applied, which allows the end user a fair amount of input into the way the quartet of DAC chips performs.

In terms of control, you’ve a gratifying number of well-implemented options. The control wheel, which is a turn/push number, is responsive and reliable, and the same can be said for the weighty little remote control handset that is, in its own way, just as tactile a device as the DAC-Z10 itself. The touchscreen is equally simple and logical to use, and just as reliable in the way it reacts.

Best of all, though, is the ‘Eversolo Control’ app that’s free for iOS and Android. It’s far from the most visually exciting control app around, it’s true – but once you get beyond the relative lack of visual stimulation you’ll find a thorough, stable and eminently useful interface that enables you to control every single aspect of the DAC-Z10’s performance.

  • Usability & setup score: 5 / 5

The Eversolo DAC-Z10 showing input selection options on the screen

(Image credit: Simon Lucas)

Eversolo DAC-Z10 review: Value

  • It costs a lot, but it does a lot
  • Performs as well or better than anything else at the same price
  • Versatility really adds to its value as a long-term buy

Obviously spending this sort of money on a DAC with preamplification functionality means you have a system that justifies the outlay, and in that case there’s really no arguing with the value for money that’s on offer here.

The amount of things it can do, the range of connections it has, the usefulness of its various control options, and the impeccable quality of its audio mean that its price is very agreeable… to people with this kind of money to spend.

  • Value score: 4 / 5

Should I buy the Eversolo DAC-Z10?

Buy it if…

You have digital audio sources that need a proper decoding
Even quite expensive CD players and the like will feel the benefit of the DAC-Z10's audio expression.View Deal

You enjoy a good user interface
The touchscreen and, especially, the control app are as it good as it gets.View Deal

You love a virtual VU meter
Or, even better, a choice of virtual VU meters.View Deal

Don't buy it if…

Graphic design is your passion
The control app may be entirely fit for purpose, but it is tedious in the extreme to look atView Deal

You’re hoping to make an ordinary system sound extraordinary
The Eversolo is not especially tolerant of inferior partners.View Deal

Eversolo DAC-Z10 review: Also consider

Audiolab D9
On a pound-for-pound basis, the D9 DAC/preamplifier is a very decent bet – for a little over half the price of the Eversolo, it gives you a great deal of solid audio competence.View Deal

Chord Hugo TT2
If you’re after something slightly more portable, this an exceptional device – it doesn’t come cheap, though, and it has one of those user interfaces that Chord seems to think is a good idea but the rest of us get madly frustrated by. View Deal

How I tested the Eversolo DAC-Z10

I slotted the Eversolo DAC-Z10 into my reference system – so it took care of the digital-to-analog conversion required by a Rega Apollo CD player, a Naim Uniti Star (meaning internet radio, network streaming and music streaming service content was available), and an Apple MacBook Pro via USB to access digital audio of the highest possible resolution.

It also accepted an analog signal from a pre-amplified Technics SL-1300G turntable. It was connected to a Cambridge Edge W power amplifier via balanced XLR connections, which in turn was connected to Bowers & Wilkins 705 S3 Signature loudspeakers on their bespoke FS-700 S3 stands.

‘I cannot think of a single meaningful downside:’ I tested Wharfedale’s new Diamond 12.1i stereo speakers, and they’re as good as things get for this price
2:00 am | February 13, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Speakers | Comments: Off

Wharfedale Diamond 12.1i: One-minute review

The Wharfedale Diamond 12i standmount speakers are the latest in the line of 'Diamond' speakers that has, one way and another, been around since 1982. The most recent (and wildly acclaimed) series, the Diamond 12, launched back in 2020 – so it’s about time the Diamond 12i range made an appearance.

(Obviously not everyone loves a ‘13’ name, and Wharfedale is open enough to acknowledge that this new range of loudspeakers is not a ground-up redesign of the range it’s replacing - so ‘12i’ it is.)

The Wharfedale Diamond 12.1i tested here is a two-way bookshelf (or, more accurately, standmount – I'll come back to this) design that sells for the same £249 that the outgoing Diamond 12.1 launched at – which does, of course, mean it’s less expensive in real terms. It's not a situation that occurs all that often with the sort of hi-fi equipment I deal with. In the US, the new model costs $499, and in Australia it's AU$699.

But if you think Wharfedale has cut corners to get the Diamond 12.1i to market at this very aggressive price, think again. Build quality is more than acceptable. The trio of available finishes look (and even feel) good. Best of all, though, is the way the Diamond 12.1i sound. They’re perfectly OK at lower volumes – but let them loose even just a little and they really come to life, combining insight, balanced, dynamic potency and simple entertainment to periodically thrilling effect.

The specification (with highlights including a 25mm woven polyester tweeter, a 130mm mid/bass driver made from mica-enhanced polypropylene, a carefully tuned rear-facing bass reflex port, and some very judicious cabinet bracing), results in a speaker that’s easy to drive and has a frequency response of 65Hz - 20kHz.

The front baffle of each Wharfedale features the tweeter positioned behind a minimal waveguide – the idea is to expose the driver as much as possible in an effort to achieve wide dispersion. Below here is the 130mm ‘Klarity’ mid/bass driver, backed by a substantial magnet with an aluminum compensation ring, with a voice coil that’s wound on a glass-fibre/epoxy resin bobbin.

The crossover between the two drivers is positioned at a sensible 2.6kHz, and is performed by a Linkwitz-Riley network featuring air-core inductors – it has been specified with minimal phase-shift and smooth integration in mind.

Wharfedale’s description of the Diamond 12.1i as a ‘bookshelf’ speaker is, I think, just a little bit naughty. Yes, you may have a bookshelf big enough to accommodate the cabinet’s 250mm depth (which rises to 280mm once you include the speaker binding posts, and more if your speaker cable is terminated with plugs) – but when you factor in the breathing space the rear-facing reflex port needs, even the deepest shelf is unlikely offer the breathing space the Wharfedale require. Let’s just go with ‘standmount’ and leave it at that, shall we?

At 312 x 180 x 250(ish)mm (HxWxD) the Diamond 12.1i are tidily proportioned for standmounts, and the standard of build and finish is more than good enough to justify the asking price. Both of the available colors (‘deep’ black and ‘stone’ grey) are in a kind of semi-matt finish that looks nice (to me, at least), isn’t all that reflective and is actually slightly soft to the touch. Your other option is ‘classic’ walnut, and I will have to reserve judgment on its qualities as I have yet to see (or feel) it.

Each of the finishes is supplied with magnetically attached, full-length grilles finished in black fabric – it certainly makes for a clean look, but I feel it’s a shame to hide the mildly shiny driver surrounds and clean overall appearance. You may feel differently.

On the inside, the Diamond 12.1i feature minimal and carefully targeted ‘spot’ bracing designed to keep both resonance and resonance transfer to a minimum. In conjunction with cabinet walls of varying thickness, plus the resonant properties of the glue holding everything together taken into account, this is a slightly more sophisticated piece of engineering and design than the asking price might lead you to believe.

Some loudspeakers don’t alter their character no matter the volume level you’re listening at. The Wharfedale Diamond 12.1.i don’t undergo drastic volume-related changes, I must emphasize – but at very modest volume levels they can sound just a little matter-of-fact. All you need to do is nudge the level north just a little, though, and these speakers come bounding to life – and then they reveal themselves to be one of the very best budget options around.

Get a Tidal-derived stream of Zaho de Sagazan’s version of Modern Love playing as a 24bit/44.1kHz FLAC file, for instance, and you’ll find out exactly what’s what. The Diamond 12.1i are a direct and spirited listen, with an uncomplicatedly upfront sonic signature and an almost palpable enthusiasm for the recording.

Low frequencies are respectably deep, and nicely controlled where attack and decay is concerned, with knock-on effects to the rhythmic expression and momentum that are entirely positive.

Detail levels are impressive, too, so there’s plenty of variation where tone and texture are concerned to go along with the straight-ahead punch. Transition into the midrange is clean, and once there the Wharfedale demonstrate a similarly insightful and animated attitude – the details of attitude and character in the voice are just as readily available as those regarding phrasing and technique.

At the top of the frequency range, the Diamond 12.1i have quite sensibly decided that discretion is the better part of valor, staying relatively constrained in the mix – but although the highest rebel sounds are dialed down just a little, there’s still no shortage of bite or the overall enthusiasm for attack.

With the discretion at the very top of the frequency range borne in mind, the frequency response here is nicely even and even-handed – and while the overall tonality has a nice little suggestion of heat to it, it’s not even close to becoming overcooked.

The attention to detail the speakers pay extends to the most transient or fleeting harmonic variation, and there’s a respectable amount of dynamic headroom available for when the tune shifts through the ‘volume and intensity’ gears.

Soundstaging is convincing, and the Diamond 12i are able to escape the confines of their cabinets, just a little, in every direction. The layout of the stage is plain, and while the Diamond 12.1i manage to give every participant on it just a little breathing space they’re capable of offering a sense of unity and togetherness at the same time.

The Wharfedale seem in no way demanding of their partnering equipment, either – they don’t get flustered by sitting at the end of a disproportionately expensive system, and they don’t seem to mind being driven by some standard all-in-one electronics costing less than they do. There are qualitative differences, of course – but broadly speaking the Diamond 12.1i are easy-going and adaptable.

Bear in mind that the Diamond 12.1i, just like every other pair of passive loudspeakers, needs a degree of ‘running in’ before they sound how they are intended to sound – certainly you should ensure they have quite a few hours on the clock before you judge them.

The entry-level in passive loudspeakers has enjoyed a very successful decade so far – and this is in no small part thanks to Wharfedale’s efforts. Yes, the company has inspired some very credible rivals to take this area of the market properly seriously (I’m thinking particularly of the excellent Dali Kupid), but there’s just no getting around the fact the Diamond 12.1i offer prodigious value for money in every respect.

They look and feel more expensive than they are, and once they’re properly positioned they sound it too. Unless you’re been suckered in by the promise of an actually bookshelf-friendly design, I cannot think of a single meaningful downside to Wharfedale Diamond 12.1i ownership.

Wharfedale Diamond 12.1i review: Price & release date

  • Launched in December 2025
  • Priced at $499 / £249 / AU$699

The new Wharfedale Diamond 12i range of entry-level loudspeakers launched in December of 2025. This 12.1i model is, at £249 in the UK, the second-least-expensive of the five-strong newest Diamond range of stereo speakers. In the United States it sells for $499, while in Australia the going rate is AU$699.

This compares very favorably to options from the likes of Dali, Monitor Audio or Q Acoustics.

Should I buy the Wharfedale Diamond 12.1i?

Wharfedale Diamond 12.1i score card

Attributes

Notes

Score

Features

Obviously very limited, being passive speakers, but great driver setup.

5 / 5

Sound quality

Punchy and rapid low-frequency response meets detail and positivity across the range – but best if the volume isn't too low.

5 / 5

Design

Lovely finishes and build quality – but just know they're bigger than you might expect from 'bookshelf' speakers.

5 / 5

Usability and setup

Ideal passive speakers – plug in and go! And they're not fussy about what drives them.

5 / 5

Value

As good as speakers at this price get.

5 / 5

Buy them if…

You’re setting out on your ‘authentic hifi’ journey
Once you hear what a modestly priced pair of speakers designed and built by a specialist can do, you’ll be locked in for life.View Deal

You’re after good looks as well as good sound
The Diamond 12.1i look and feel good, especially in the ‘stone’ gray of my review sample.View Deal

You have a half-decent micro-system that deserves a new lease on life
You might think the speakers that came with your nice little Denon all-in-one are good enough. Wharfedale begs to differ…View Deal

Don't buy them if…

Your bookshelf is only the size of a bookshelf
These are slightly larger cabinets than the description ‘bookshelf’ rather optimistically implies.View Deal

You want to fill an especially large room with sound
There is, of course, a limit to what an affordable pair of speakers fitted with fairly small drivers can do in terms of outright scale.View Deal

You prefer to listen at quite low volumes
The Diamond 12.1i are perfectly OK at low levels, but really come to life if you wind the volume up just a little.View Deal

Wharfedale Diamond 12.1i review: Also consider

Dali Kupid
The Dali Kupid seem to offer a little less (in physical terms) than the Diamond 12.1i while costing a little more – but they’re an energetic, punchy and entertaining listen and can actually comfortably fit on a bookshelf. They’re not quite as easy to drive as the Wharfedale, though. Here's our full Dali Kupid review.View Deal

Q Acoustics 3020c
These are not much more expensive than the Wharfedale these days, and they’re a great-sounding pair of speakers for the money. The cabinet is notably deep, though, so they’re even less of a bookshelf proposition than the Diamond 12.1i. Here's our full Q Acoustics 3020c review.View Deal

How I tested the Wharfedale Diamond 12.1i

I positioned the speakers on a pair of Custom Design speaker stands in my home and usual speaker testing room, and connected them to a Naim Uniti Star and also an A&R Cambridge A60 for amplification.

Sources of music were the Naim (as a network streamer), a Rega Apollo CD player and a Technics SL-100G (with a Goldring 1042 cartridge and pre-amplified by a Chord Huei) as a turntable. So I was able to listen to music from lots of different formats, and of various styles and genres.

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