Topping DX5 II: Two-minute review

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

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

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

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

Topping DX5 II review: Price and release date

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

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

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

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

Topping DX5 II review: Features

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

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

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

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

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

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

Features score: 5 / 5

Topping DX5 II review: Sound quality

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

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

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

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

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

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

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

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

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

Sound quality: 4.5 / 5

Topping DX5 II review: Design

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

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

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

Design score: 5 / 5

Topping DX5 II review: Usability and setup

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

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

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

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

Usability and setup score: 4.5 / 5

Topping DX5 II review: Value

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

Value score: 4.5 / 5

Should I buy the Topping DX5 II?

Buy it if...

Don't buy it if...

Topping DX5 II review: Also consider

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

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

How I tested the Topping DX5 II

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

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

• First reviewed: November 2025
• Read TechRadar's reviews guarantee

Topping DX5 II: Two-minute review

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

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

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

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

Topping DX5 II review: Price and release date

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

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

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

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

Topping DX5 II review: Features

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

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

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

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

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

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

Features score: 5 / 5

Topping DX5 II review: Sound quality

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

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

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

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

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

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

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

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

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

Sound quality: 4.5 / 5

Topping DX5 II review: Design

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

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

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

Design score: 5 / 5

Topping DX5 II review: Usability and setup

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

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

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

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

Usability and setup score: 4.5 / 5

Topping DX5 II review: Value

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

Value score: 4.5 / 5

Should I buy the Topping DX5 II?

Buy it if...

Don't buy it if...

Topping DX5 II review: Also consider

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

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

How I tested the Topping DX5 II

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

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

• First reviewed: November 2025
• Read TechRadar's reviews guarantee

FiiO BTR17 review: Two-minute review

Another day, another intriguing FiiO product. Today it’s the BTR17 portable Bluetooth DAC/headphone amplifier, and it seems safe to say it represents another day of FiiO business as usual.

The BTR17 is small, but it’s packed with functionality and specified in a way that seems beyond the tiny physical confines of the device itself. Between Bluetooth 5.4 with top-of-the-shop codec compatibility, a pair of ESS ES9069Q DACs, an disproportionate amount of power when used as a desktop headphone amp, decent battery life, the ability to deal with enormously high-resolution digital audio files, and a choice of balanced or unbalanced headphone outputs, it’s obvious FiiO has endeavoured to do the right thing here.

And that impression of ‘good intentions’ becomes even stronger when you hear the BTR17 in action. There are qualitative differences, of course, between using the FiiO as a wireless receiver and using it as a dongle hard-wired to a smartphone or laptop – but what doesn’t alter no matter the circumstances are the broad strokes of its sonic character.

And generally, it’s a character that’s fast, insightful, properly controlled and very satisfying to listen to. Or, at least, it is if you’re not expecting comparable bass power to the bass speed that’s on display here - the FiiO BTR17 is a rapid, direct listen, but it’s far from the chunkiest sound around. Investigating your options in the menus can bring about some changes in character, but they’re exclusively to the detriment of the device’s fundamental character and attitude.

Come on then, is it still one of the best portable DACs available for this money? Yes, with one caveat (which I'll come to).

If the balance is not to your taste, you’ll look elsewhere/. But those who value speed and dexterity of sound as much as (if not more than) straightforward ‘wallop’ will enjoy the BTR17 no end.

FiiO BTR17 review: Price and release date

• Launched in early November 2024
• Priced $219 / £179 / AU$349

The FiiO BTR17 portable Bluetooth DAC/headphone amplifier is on sale now, and in the United Kingdom it sells for no more than £179. In the United States it’s currently $219* and in Australia you’re looking at AU$329. So no matter the territory you’re shopping in, the BTR17 seems notable value for money.

If you don't mind wired connections of course, the world isn't exactly hunting high and low for an affordable USB DAC (see the pricier $499 / £449 / AU$769, the iFi GO Bar Kensei, the iFi Go Link Max at just $79 / £79 / AU$139 the five-star iFi hip-dac 3 at $199 / £199 / AU$349 for starters). But nevertheless, the combination of price and wireless specification could win out here…

(*subject to tariff-related change on a seemingly daily basis.)

FiiO BTR17 review: Features

• 32bit/768kHz and DSD512 support
• Bluetooth 5.4 with LDAC and aptX Lossless compatibility
• 650mW + 650mW balanced power for headphone amplification

It shouldn’t really come as any kind of surprise at this point that FiiO has specified one of its products in a manner that might easily shame an equivalent product from an alternative brand. And yet I find I’m still mildly startled but just how far into town FiiO has gone with the BTR17.

Regardless of the way the digital audio information gets on board, either by USB-C or via Bluetooth, it’s dealt with by a pair of ESS ES9069Q DACs that are able to handle every major file type up to 32bit/768kHz and DSD512 resolution. If you decide to go with Bluetooth, you have the luxury of the 5.4 version with codec compatibility all the way to LDAC and aptX Lossless – the use of a Qualcomm QCC5181 Bluetooth chip to do the necessary means the FiiO is LE Audio-compliant, too.

Use the BTR17 in ‘desktop’ mode with its ‘power in’ USB slot connected to a source of USB power (FiiO provides a little length of monocrystalline silver- and copper-plated eight-strand USB-C / USB-C cable to ensure clean power and accurate data transfer)and it can churn out a substantial 650mW + 650mW of balanced power. This is the sort of output more commonly associated with bigger desktop headphone amps, and is ample to drive even quite truculent headphones.

If you’re using battery power rather than USB-C power, the BTR17 will run for anywhere between seven hours (making a Bluetooth connection, using a power-hungry codec, driving balanced headphones via the 4.4mm output and listening at hefty volume) and ten hours (in ‘phone’ mode, at modest volume, driving headphones via the unbalanced 3.5mm output and listening to stuff of no more than 16bit/44.1kHz resolution). Charging from ‘flat’ to ‘full’ is a 90-minute job.

Unsurprisingly, there’s more – just as there was with the older FiiO BTR7 Bluetooth DAC (which is not to be confused with the newer model you're reading about today). The BTR17 has a three-stage, ten-rail power supply, and it has multi-stage architecture of the type FiiO fits to its pricey digital audio players. It has a ‘driver-free’ mode that means it can connect to a PS5, a Switch or something like that directly, without the need for downloaded drivers. It has integrated DC output and temperature detection to protect the device if conditions take a turn for the abnormal. And I could go on - but let’s just wrap this section up by saying FiiO has laid in on, specification-wise, with a trowel here.

Features score: 5 / 5

FiiO BTR17 review: Sound quality

• Great sonic momentum and rhythmic positivity
• Detailed and insightful
• ‘All or nothing’ EQ and filter adjustments

I’ve heard a few DAC/headphone amp devices lately that have sounded muscle-bound and barrel-chested in the manner of a bulldog. The FiiO BTR17, by way of happy contrast, is more of a greyhound.

There’s a rapidity, a kind of entirely naturalistic momentum, to the FiiO’s sound no matter if it’s receiving its digital audio information wirelessly via Bluetooth or through one of its USB-C sockets. A fleet-footed recording like Broadcast’s Black Cat fairly motors along – the BTR17 expresses the rhythm with complete conviction, and the tune stays on the front foot as result. There’s nothing forced about the way it’s presented, though - it doesn’t hang around, but neither does it feel like it’s being prodded forwards.

Part of this impression comes from the way the BTR17 handles the leading edge of low-frequency sounds – there’s no overhang or slurring, instead the FiiO snaps into bass information with real purpose. There are some minor issues at the bottom of the frequency range, and I’ll get to those – but there’s no arguing with the speed this little device can invest a recording with.

This is not at the expense of organisation, either. The FiiO creates a decently spacious and easy-to-understand soundstage, and can spread out even complex recordings to the point that individual elements are easy to highlight. There’s plenty of detail available at every part of the frequency range, and the BTR17 is just as attentive to fleeting and/or very minor occurrences as it is to the broader strokes. The upshot is a presentation that seems very much like it’s the complete picture.

Overall tonality is, in almost every circumstance, quite carefully neutral and uncolored, so if you play a warm and sepia-coloured recording like Johnny Too Bad by The Slickers, or a blue-ish and low-temperature number like Floating World by Zodiac Free Arts Club, what goes in is what comes out. The BTR17, left to its own devices, seems perfectly happy not to stick its oar in.

Integration of the frequency range is good, too, with no area being overplayed. I’ve heard plenty of products like this that will ramp up the bottom end or shove the midrange forwards, but that’s the FiiO’s scene at all.

There’s not an awful lot of meat on the low-frequency bones here, though. The BTR17 can dig fairly deep and hit reasonably hard, but low-end substance is in fairly short supply. Of course, a positive knock-on of this trait is that speed and manoeuvrability I’ve already discussed – but there’s also a downside which anyone who’s interested in bass for the sake of bass will already have worked out for themselves.

There are options in the device’s menus to finesse the EQ settings, of course, and also to investigate various filters – you might think this slightly flyweight presentation could be mitigated somewhat this way. But the effects of each are mild in the extreme, right until the moment they become rather ham-fisted and end up spoiling the carefully shaped low-frequency response. You can make the BTR17 sound weightier than it really wants to if you set your mind to it – but you’ll be affecting its speed and rhythmic positivity at the same time. And not in a good way.

Sound quality: 4 / 5

FiiO BTR17 review: Design

• 87 x 41 x 16mm (HxWxD)
• Black or blue finishes
• 73g

When a product is sincerely intended to be ‘portable’, design has to take a back seat to ‘getting everything into a package as small and light as is realistically possible’. So apart from the little ledge beneath the 33mm screen on the front of the BTR17 and the mildly interesting ‘turn/push’ control at the top left, its 87 x 41 x 16mm (HxWxD), 73g chassis is entirely unremarkable. And that’s the case regardless of which of the black or blue finishes you choose.

There’s absolutely nothing wrong with the build quality here, though, nor the standard of finish. The BTR17 is almost entirely plastic, but it’s reasonably tactile and seems made to last.

Design score: 5 / 5

FiiO BTR17 review: Usability and setup

• Tiny physical controls
• Full-colour screen
• Staggeringly in-depth control app

The BTR17’s 33mm display may look unhelpfully small, but it’s a crisp, full-colour IPS job and manages to legibly confirm file type or Bluetooth codec, sample rate, EQ setting, battery life and volume level all at the same time. It also gives access to menus that allow adjustment to gain gradients, audio filters, a choice of EQ presets, screen brightness and so on.

You navigate the menus using the rotary control on the top left edge of the BTR17. It feels and looks good, and operates with pleasant positivity – and it also gives access to volume control, ‘play/pause’ and telephony functions. There are other controls arranged beneath it down the edge of the machine – they are, inevitably, very small, and their labelling is even smaller. But take the time to commit their functions to memory and you can deal with ‘skip forwards/backwards’, ‘power on/off’, select ‘Bluetooth’, ‘phone’ or ‘PC’ your usage mode, and switch ‘desktop’ mode on or off.

Those usage modes have a big part to play in the BTR17’s battery life. In ‘PC’ mode, it’s powered by the computer it’s connected to. In ‘phone’ mode, its internal battery contributes to power supply, which reduces the load on your smartphone. In ‘BT’ mode, all the power is coming from the FiiO’s internal battery.

Physical connection to a computer or a smartphone is via one of the two USB-C slots on the bottom of the BTR17. Either can be used for charging and for data transfer, and one is also for power input when the device is in ‘desktop’ mode. At the opposite end of the device, meanwhile, there are Back in the mainstream world, there are a couple of headphone outputs - one is an unbalanced 3.5mm socket, the other a 4.4mm balanced equivalent.

There’s a huge, almost unnecessarily extensive, amount of functionality available in the ‘FiiO Control’ app. Want to adjust the ‘double-click’ function of those physical ‘skip forwards/backwards’ buttons, or create a custom EQ using a ten-band equaliser, or switch ‘distortion compensation’ in a couple of harmonic ranges on or off, or adjust the channel balance between ‘left’ and ‘right’? This is where you do it. If you want a slider to control the length of time the BTR17’s screen stays on, or how bright it is, or how long it stays switched on while it’s at rest, you can do it here too. Unless you’re the sort of person who can’t rest until they’ve customised the minutiae of their audio equipment’s set-up and performance, it is likely to seem like overkill.

Usability and setup score: 4 / 5

FiiO BTR17 review: Value

• You can't pick fault with the value for money
• Performs its duties admirably

Obviously it’s important to judge ‘value’ on a basis other than that of ‘how much stuff do I get?” – because while the FiiO BTR17 is necessarily small and light, it’s got a lot of functionality and it performs really well.

Most USB DAC/headphone amps at this sort of money don’t have a wireless aspect to their performance. Very few have a display or a control app, and fewer still have the sort of alacrity of sound the BTR17 can summon. Its sonic attitude will not be for everyone, but for those who are partial, there is excellent value for money to be had here.

Value score: 5 / 5

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FiiO BTR17 review: Also consider

The iFi Go Link Max is a great-sounding USB-C DAC/headphone amp that’s compact and well-made – but it doesn’t have Bluetooth connectivity.

Helm Audio’s Bolt USB-C DAC/headphone amp is another great performer and no hardship at all to listen to – but, again, there’s no wireless functionality here.

How I tested the FiiO BTR17

• Used while working, while commuting and in the car
• Listened in wireless Bluetooth mode, and using wired options

I used the BTR17 as a desktop DAC/headphone amp, connected to my Apple MacBook Pro. I used it connected to an Apple iPhone 14 via its USB-C socket, too, which allowed me to use wired headphones with a device with no headphone socket – and I also connected it wirelessly via Bluetooth to the smartphone, just for the sake of completeness.

I also found it a useful device when in a car with no wireless connectivity – Bluetooth from my smartphone to the FiiO, and the out of the BTR17’s 3.5mm unbalanced headphone socket to the ‘aux’ input of the in-car audio system. In every circumstance, no matter the type of connection or the type of music playing, the little FiiO was always a speedy and revealing listen.

• First reviewed: August 2025
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