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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

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.

Read TechRadar's Reviews Guarantee
First reviewed: February 2026

AI just made my favorite Skullcandy earbuds worse — and I’m not sure anyone asked for it

7:30 pm | February 18, 2026

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: AI, ANC, EQ | Comments: Off

Skullcandy Method 540 ANC: Two minute review

For all that companies try to squirrel AI chatbots into every gadget possible, I’ve yet to see many buyers who genuinely want this kind of addition. In fact more often than not, the infiltration of artificial intelligence makes the tech worse — many companies are starting to realize this and take a step back. But there’s now a new victim of the AI war: the Skullcandy Method 540.

For context, let’s look at some earbuds that would have gotten onto our list of the best cheap earbuds if not for how competitive 2025 was. I’m talking about the Skullcandy Method 360, which were some of my favorite buds of the year: they fit great, sounded fun and were fairly affordable. The 540 are the updated model of 360, with Skullcandy apparently not taking a leaf from Microsoft’s naming playbook – don’t get your hopes up for a Method One and then Method Series X, then.

New models should, ostensibly, bring upgrades over the previous iterations. However the Skullcandy Method 540 have the same design, drivers and carry case design as the previous model. They’re incredibly similar buds, yet cost about 25% more.

So what’s actually new? Well, there are a few tiny tweaks here and there, but the flagship ‘feature’ is compatibility with Skull AI. This is Skullcandy’s AI assistant, built on Bragi AI which in turn is built on Open AI. So for all intents and purposes, you’re paying more for a built-in chat-bot…

…except that you’re not, because Skull AI is available as a separate subscription, which you have to pay for either monthly, at $4.99 / £4.99, or annually (at $49.99 / £49.99). Skull AI is one of the better AI chatbot names I've heard, but I'm not including an evaluation of the chatbot itself in this review: it’s very much a separate, optional product to the Method 540.

If you use AI chatbots, perhaps the Method 540 is worth considering, but the vast majority of buyers are going to wonder if there are any other spec improvements to justify that price bump, or if this is another case of AI implementation taking precedence over actual upgrades. Spoiler alert: it’s the latter.

The specs are identical – in fact, I copied and pasted the specs table from my 360 review to save time. In some cases, keeping things similar is great: the buds are comfortable and fit incredibly well, making them great for runners or gym-goers. In some cases, an upgrade was needed: I liked the Method 360’s sound, but budget buds have come on leaps and bounds in just one year, and the Method 540 aren’t as competitive.

Since I gave last year’s Skullcandy earbuds four stars, and these are basically the same thing, some might be wondering where half a star went. That was removed because the Method 360 was good for the price, and the 540 price hike makes them a less appealing prospect.

Given the increased cost, the lack of upgrades and the shoehorned AI mode, it’s just hard to get as enthused about the Method 540. And so it’s harder to recommend them, given how many low-cost rivals there are in 2026.

Skullcandy Method 540 ANC review: Specifications

Component	Value
Water resistant	IPX4
Battery life (quoted)	11 hours (earbuds), 29 hours (total)
Bluetooth type	Bluetooth 5.3
Weight	11g / Charging case: 72g
Driver	12mm

Skullcandy Method 540 ANC review: Price and availability

The Skullcandy Method 540 buds on a table. — (Image credit: Future)

Announced in January 2026
RRP $149.99 / £129.99 (roughly AU$250)
Skull AI costs $4.99 monthly

The Skullcandy Method 540 ANC were unveiled on January 8, 2026, at the annual CES tech conference. That release falls only nine months after the release of the Method 360.

You can pick up the earbuds for $149.99 / £129.99 (roughly AU$250, though there’s no word on an Australian release just yet). That’s a notable price hike over the Method 360, which sold for $119 / £99 / AU$189, and are even cheaper now thanks to some discounts.

That retail price doesn’t even take into account the monthly cost of Skull AI. Access to this AI assistant costs $4.99 per month or $49.99 per year – regional pricing wasn’t available at the time of this review – but it’s worth noting that Skull AI is optional and starts with a 3-month free trial.

Skullcandy Method 540 ANC review: Design

The Skullcandy Method 540 carry case, closed. — Future

The Skullcandy Method 540 carry case, open and with the buds inside. — Future

Chunky carry case
Incredibly reliable in-ear fit
Only black or white options

You know how wireless earbuds makers constantly one-up each other to make svelte little carry cases? Skullcandy didn’t miss the memo – it received it, laughed at it, screwed it up into a ball and threw it away. The Method 540 buds come in a tube, and you slide out the central column to reveal them.

The 360 used the same mechanism, although it’s a little thinner this time around: it measures 3.6 x 2.9 x 10.2 cm, and weighs 72g. At the time of writing, the buds only come in black or white, but Skullcandy often releases funky colors for its products, and hopefully it’ll follow for the 540.

This is not a convenient way to carry earbuds – the monolith doesn’t fit well in trouser pockets. But honestly, I don’t mind – I ended up just putting it in my jacket or bag instead. Perhaps I’ve grown used to these chunky cases from testing other such buds, or maybe petite carry cases are overrated. Plus, a magnetic mechanism makes sure it stays shut tight when not in use, a carry hook means you can attach them to your keys or bag, and unlike in the 360 the charging port is out in the open.

The Skullcandy Method 540 earbud, incorrectly placed in the carry case. — Evidence of how easily-bendable the hook is. (Image credit: Future)

My biggest annoyance with the old model remains, though: putting the buds in the case isn’t convenient, as you have to put them in, in a very particular fashion. It takes quite a bit of maneuvering and flipping to make sure they’re in right, and quite often I’d only realise I’d bungled the job when the case wouldn’t shut properly.

Skullcandy has trimmed the fat of its carry case, but it hasn’t touched the earbuds from the last-gen models – and it didn’t need to. Like the 360, the buds fit snugly and reliably, thanks in part to the grippy eartip material, but mostly due to the fins which wedge the buds into your ear. I went for runs with the buds and took them to the gym, and they never threatened to fall out.

They’re not that light, at 11g, or protected, with IPX4 (no protection against dust, only protected against splashes). But they’re not going to fall out into a puddle thanks to the lovely fit, so it doesn’t really matter.

Each bud has touch controls if you tap on their body, which generally felt okay to use, once I got used to tapping the right spot.

Design score: 3.5/5

Skullcandy Method 540 ANC review: Features

The Skullcandy Method 540 earbud, showing the back. — (Image credit: Future)

ANC is solid, not best-in-class
Battery life is above average: 11 hours from the buds/29 including the case
App misses some basic features

Technically, these buds are sold as the Skullcandy Method 540 ANC, and so naturally these buds have Active Noise Cancellation. It’s no more advanced than on the 360: pretty solid, but not best-in-class. Loud noises will cut above the silence, though the background hum of city life will get stripped away.

Stay-Aware falls into the trap that many transparency or surround-hearing modes do, in that it seemingly amplifies more than it strips. Thankfully, Skullcandy has included an Intensity slider in the app, so you can turn down its effects.

According to Skullcandy, the Method 540 lasts for 9 hours with ANC on, or 11 hours with it off, and I’d concur with those estimates. That goes up to 23 or 29 hours when factoring in the extra power offered by the case. And that's good, honestly – any earbuds capable of lasting over 7 hours with ANC on represent above-average stamina.

The Skullcandy Method 540's buds, in a man's hand. — (Image credit: Future)

You’re required to download and use the Skull-iQ app in order to use the 540’s extra features – not the standard Skullcandy one, something I only discovered after downloading the wrong one. I made the exact same error with the 360, but if I say it now, hopefully I save a few of you from making the same mistake.

The app lets you toggle ANC modes, play with a 5-band equalizer, turn on low-latency mode, use the earbuds as a remote phone camera trigger, enable Spotify Tap or set up multipoint pairing. Oh, and the main menu has two separate options for Skull AI. Notably missing perks include the ability to customize touch controls, any kind of fit or listening tests or a find-my-earbuds feature. Any one of these would be a more useful addition than an AI chatbot, as would a more advanced equalizer, or extra presets beyond the three available.

During testing, I had a few temporary Bluetooth drop-outs, but they all resolved themselves quickly.

Features score: 3.5/5

Skullcandy Method 540 ANC review: Sound performance

The Skullcandy Method 540 buds, in a man's ear. — (Image credit: Future)

12mm drivers and Bose tuning
Less bassy than Skullcandy norm
EQ tweaking is mandatory

On paper, the Skullcandy Method 540 match their predecessors in terms of audio specs: 12mm drivers, tuning by Bose, and a total lack of support for any Bluetooth or high-res streaming codecs.

It’s fair to say I was complimentary of the 360’s sound, but I can’t quite say the same about the 540. Partly, it could be because my ears have been spoiled by some fantastic budget rivals in the last year. But there also seem to be tuning differences too.

Skullcandy has a reputation for offering bass-heavy products, something that’s levelled either as a criticism or high praise, depending on the listener. People who sit in the former camp probably haven’t read this far into the review. The Method 540, however, seem to buck this trend. Simply put, they're not all about that bass.

These buds are relatively and surprisingly neutral for Skullcandy products. Treble is more powerful, the low end is sensibly is pared-back, mids are… well, we can’t hope for miracles. This new face would be an interesting twist, except that it reveals that there’s not much else going on under the surface.

The Skullcandy Method 540 carry case with an earbud inside. — (Image credit: Future)

Songs sound a little flat, with nothing to replace the lost bass injection, to add a little energy into proceedings. And it sounds like the top was lopped off to the detriment of some treble frequencies and musical passages; hi-hats, guitar stings and vocal flourishes do sound compressed.

There’s a lack of a meaningful soundstage, so instruments are tripping over each other to be head. When you listen to songs like Wake Up by Arcade Fire, or All My Friends by The Revivalists, what should be an encompassing cacophony of noise sounds more like a music track being played from a phone. I checked out Atmosphere by Joy Division after it was featured in The History of Sound, and even in the remastered version, it sounded like Ian Curtis was playing every single instrument. What about some noughties rock, right in Skullcandy’s core demographic? The guitar riffs of Yellowcard’s Ocean Avenue sounded heavy and dull – even if the wall of sound of the chorus picked up the energy a little.

Saving the Method 540 is the app. I always listened on Bass Boost, which went some way in restoring the Skullcandy sound – these things have the capability for decent bass if you can coax it out. I also dabbled with the equalizer. Though it only has five bands, it lets you add a bit of needed chutzpah to music. And the max volume is still high, so you can rock out at max power.

Sound performance score: 3.5/5

Skullcandy Method 540 ANC review: Value

If you’ve been paying close attention, you’ll have noticed that the Skullcandy Method 540 earbuds don’t offer that many upgrades over the 360… well, other than the higher price, and optional chatbot.

Given that it’s basically the same product, but for about 25% more, the Method 540 don't feel like they offer great value for money. That’s doubly true given that the older buds have seen price cuts of around 30% off, depending on where you live.

Value score: 3/5

Skullcandy Method 540 ANC review: scorecard

Category	Comment	Score
Value	Their feature set and sound quality aren't quite justified by the price tag, especially with the 360 on the market.	3/5
Design	The tip and fin make the Skullcandy incredibly sturdy in the ear, though the case is pretty chunky.	3.5/5
Features	Above-average battery life and okay ANC are good, but there are a few missing features.	3.5/5
Sound	The sound lacks a little luster that was present in previous Method buds.	3.5/5

Skullcandy Method 540 ANC: Should I buy?

The Skullcandy Method 540 earbud, with another bud and the case in the background. — (Image credit: Future)

Buy them if...

You need a reliable in-ear fit
These things won't fall out. Which makes them perfect for doing sit-ups in a gym, or running up hills.

You need solid battery life
Battery life is always an important feature, and the Method 540 last longer than most others at this price, especially with ANC off.

You want an AI chatbot in your ear
I didn't test Skull AI, but it's likely as reliable as other chatbots. Prepare for mounting costs, though.

Don't buy them if...

You can still find the Method 360 available
Even if not on sale, the Method 360 are preferable. They're basically the same, but cost less.

You want a tiny carry case
These aren't your easily-pocketable buds. They're not designed for trouser pockets.

Also consider

Component	Skullcandy Method 540 ANC	Skullcandy Method 360	Cambridge Audio Melomania A100
Water resistant	IPX4	IPX4	IPX5
Battery life (ANC off)	11 hours (earbuds), 29 hours (total)	11 hours (earbuds), 29 hours (total)	11 hours (buds); 39 hours (case)
Bluetooth type	Bluetooth 5.3	Bluetooth 5.3	Bluetooth 5.4
Weight	11g (buds) 72g (case)	11g (buds) 77g (case)	4.7g (buds) 38.7g (case)
Driver	12mm	12mm	10mm

Skullcandy Method 360
I've talked about them in this review almost as much as the 540. They're incredibly similar in terms of specs and design; a slightly different-shaped case, lack of AI, range of color options and lower price make this an even more tempting prospect.
Read our full Skullcandy Method 360 review

Cambridge Audio Melomania A100
For the same price as the Method 540, you can get these five-star earbuds. They sound fantastic, have great ANC and last ages on a single charge. You don't mind that they look a little boring, do you?
Read our full Cambridge Audio Melomania A100 review

How I tested

I used the Skullcandy Method 540 ANC for three weeks before writing this review.

The headphones were paired to a OnePlus phone for the entirety of the testing process. I listened to music from Spotify and Qobuz, played various games, conducted several video and voice calls, watched Netflix and listened to voice notes using them. Testing took place at home, while on runs, during cycling (Stay Aware mode, of course), at the gym, on various public transports, and on walks around different areas of my city.

I've been reviewing gadgets for TechRadar since 2019, including countless low-cost and mid-range headphones. That includes, of course, the Method 360 earbuds, as well as the Crusher 540 Active over-ears from Skullcandy.

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.

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First reviewed: February 2026

‘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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First reviewed: February 2026

I reviewed Sony’s flagship WF-1000XM6 earbuds — and it’s another case of ‘great sound, impressive features, middling noise cancellation’

7:00 pm | February 12, 2026

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: ANC, LDAC | Comments: Off

Sony WF-1000XM6: Two-minute review

The all-new Sony WF-1000XM6 an impressive set of earbuds with a formidable set of features – especially formidable for tech journos such as me, who are obliged to stick within some sort of length limit for these reviews – but as Sony seeks to recapture class-leading greatness with its 1000X series lineup, I can't help but wonder whether at some point we'll reach a case of diminishing returns.

Here, for example, Sony once again provides us a smaller earpiece. It's 11% thinner but somehow contains a 1.5x larger antenna for better connection stability, an extra mic per bud to equal eight in total, and two processors. One of these is called the QN3E (to take care of the eight mics and facilitate a new auto ambient sound mode) and the other is the V2, to enable 32-bit audio support (with Sony's LDAC codec) using the new 8.4mm unique driver and introduce a new 10-band EQ tab with a 'Find your EQ' tech plus new 'gaming' EQ preset.

But how many mics per bud is enough to facilitate fantastic ANC? And how much do we need our earbuds to shrink before the listener decides enough is enough – because they're actually not sure it's made the product that much better?

But before I answer those questions, know that for sound quality alone, the Sony WF-1000XM6 are a very good set of earbuds.

Some of the best earbuds on the market then? Well, Sony has certainly sought to stuff these buds with every upgrade it can (and every feature you can possibly imagine) using its own proprietary technology.

But there's the rub; the company that brought us 360 Reality Audio with head-tracking would absolutely love for you to use it, but the format is no longer supported on nearly as many of the big music streaming sites as it used to be – Deezer dropped it in 2022; Tidal gave up its support for the 3D format in 2024.

And in terms of hi-res Bluetooth chops, LDAC is of little use to iPhone owners, although Sony's DSEE Extreme upscaler is here again and it does make Spotify streams sound a lot better.

So what's excellent about the WH-1000XM6, what's less so, and are they worth their refreshingly approachable asking fee? The design of the buds is now pill-shaped, and while the earpieces are thinner, the units are also taller with a little notch halfway up to help them fit.

Because they're slightly more raised from their charging nest and covered entirely in a matte plastic for better traction, they boast what Sony calls "easier pick up" from their case – and I can confirm that while I wasn't convinced about the overall fit in the ear, I didn't drop them while first grabbing them half as much as I did the older XM5.

Sadly, the active noise cancellation didn't live up to my expectations in real-world testing. That said, the battery life, at eight hours from the buds and up to 24 with the case – and yes, that is with noise cancellation deployed – isn't bad at all.

Do I love them? Having spent over two weeks with them, I like them a lot, and that new antenna does provide rock-solid connection that never falters. I also liked the new Background Music Effect perk much more than I thought I would – it's a great focus aid, allowing you to push the music back just slightly, so you can hear yourself think.

Also, Sony's Quick Attention feature, wherein you simply cover the left earbud to lower music and quickly filter in ambient sound around you, is a winner, although this isn't new for Sony – we've loved it on the Sony WH-1000XM6 and previous headphones too.

Ultimately for me though, the noise cancellation isn't the class-leading triumph it is billed as, and competing options such as the Bose QuietComfort Ultra Earbuds 2nd Gen (and Apple AirPods Pro 3, if you've got an Apple source device) are offering better access to spatial audio formats and that cocoon of silence noise-nixing you may prioritize.

Add in the Technics EAH-AZ100 as an alternative – offering triple device multipoint, clearer calls and a more comfortable fit – and ultimately, while the WF-1000XM6 are talented and capable earbuds in many respects, there are other buds I would still nudge you to reach for, at this level.

Sony WF-1000XM6 earbuds in case — (Image credit: Future)

Sony WF-1000XM6 review: Price and release date

Released on February 12, 2026
Priced $329 / £250 / AU$499.95
Available in Black or Platinum Silver

Thankfully, Sony's kept a lid on price increases here here. The older flagship Sony WF-1000XM5 launched in July 2023 for $299.99 / £259 / AU$499, so the WF-1000XM6 are only slightly more expensive in the US, and are actually cheaper in the UK.

That said, Sony's hand has been somewhat forced, because Apple's AirPods Pro 3 came with a $249 / £219 / AU$429 price tag when they hit shelves back on September 19, 2025 – ie. cheaper or the same as the AirPods Pro 2's $249 / £249 / AU$399 price tag in the UK and US (although in Australia, they did come with a more expensive launch price).

Other direct competition at this level? The closest rivals are most pressingly the aforementioned AirPods Pro 3, followed by premium offerings such as the Technics EAH-AZ100, which are $299 / £259 / AU$478 or the Bose QuietComfort Ultra Earbuds (2nd Gen) for $299 / £299 / AU$450. I might even mention the Bowers & Wilkins Pi8 although those are a fair bit pricier, at $399 / £349 / AU$599.

So as you can probably deduce, Sony has actually gone in quite aggressive with the asking fee here.

Sony WF-1000XM6 review: Specs

Drivers	8.4mm dynamic with 'soft edge, hard center'
Active noise cancellation	Yes
Battery life	8 hours (buds, ANC on); 24 hours (case)
Weight	6.5g per bud
Connectivity	Bluetooth with LE Audio and LDAC; USB-C and wireless charging
Waterproofing	IPX4

Sony WF-1000XM6 earbuds next to the older-gen. WF-1000XM5 and WF-C710N, on colorful table — Sony WF-1000XM5 in the center, with WF-C710N on the left; WF-1000XM5 on the right (Image credit: Future)

Sony WF-1000XM6 review: Features

10-band EQ tab with 'Find My EQ' and new Gaming preset
DSEE Extreme upscaler, LDAC, LE Audio and 360 Reality Audio
Background Music Effect is surprisingly useful
…but the noise cancellation isn't the smash-hit it's billed as

Sony has once again stuffed these earbuds with all the perks and extras it knows, but a lot of them will be a case of "Yes, we know about that – what's new?" to fans of Sony's WF-1000XM lineup.

So what is new? The 10-band EQ tab (it used to be limited to five) is one upgrade, plus a specific Gaming EQ preset. Sony's more recent Sound Connect app is also newly used with the flagship lineup (this used to be the Sony Headphones app, until October 2024) but Sound Connect was already around for the budget-friendly Sony WF-C710N, which landed April 2025 – so anyone who owns those will be familiar with the 'Find My EQ' tab.

If you're not one of them, I can tell you that it's still good here: you tap on various sound profile bubbles and the software continues to supply more, based on your preferred listening choices, until it presents a personalized profile you can save as a preset.

But again, it's something that is also available in much cheaper Sony earbuds. It's also not a hearing test, as such (there are no diminishing tones to engage with; no analysis of your hearing and curation of a truly unique profile with augmented tones for you) and while you may not want a full hearing test, it's worth stating that competing options I've mentioned do offer it, for similar money. And if you're hoping for a huge app overhaul from the older Headphones app, you won't get it sadly.

For me, this companion app isn't the most intuitive. For example, the home screen is essentially a list of tabs – you can assign elements to be placed at the top of this, from the depths of the device settings, although for me this sometimes just further complicates things – but along the bottom are four smaller tabs labelled 'My Device' (the one you're brought to upon launching it); 'Scene', which attempts to work out what you're doing physically and also suggests profiles that can be deployed at specific times, such as 'Gym' or 'Commute Home', if you feel you need them; 'Discover' for your listening history (Sony likes to offer logs and 'badges' for listening) plus the option to deploy a gentler Safe Listening experience; and lastly, 'Menu'.

Now, you'd think 'Menu' is where all the good stuff lives, but this is basically just a home for the support bot, a 'Help' function, backups and 'About this app' info.

This means that what you need to do in order to get to any tweakable features is to scroll down to a small tab at the bottom of the 'My Device' toggle labelled 'Device Settings' and from there into the minutiae of customization tabs.

It just feels like a lot of taps. It also presents many chances for newbies to venture down the wrong route, to a dead end, and then wonder how to get back to what I like to call 'that long list I had before'. A reshuffle of the app might be sensible, to bring the user more quickly to the perks they actually want to find quickly.

three screen-grabs on iPhone of the Sony Connect app using the Sony WF-1000XM6 — (Image credit: Sony)

At the top of these Device Settings is 'Noise Canceling/Ambient Sound', but although Ambient Sound has a manual incremental 20-step slider, a 'sensitivity setting' which can be either Standard, High or Low, an auto toggle, and an option to toggle on Voice passthrough (to filter in voices while still suppressing noise), your actual noise cancellation options are still just 'on' or 'off', which feels a little disappointing, especially given the extra mic per-bud onboard here.

Sony hasn't listed a figure for the noise-nixing power in decibels, but the company is keen to tell us that the WF-1000XM6 are the "best noise-cancelling" earbuds it's ever released.

Sadly, I need to manage your expectations here, because although certain sounds are indeed dulled when I deploy ANC, when I switch to the AirPods Pro 3 and it's a different level. Want that bubble of silence feeling where the noise drops and extraneous sounds simply melt away? The kind of ANC that makes you genuinely surprised at how noisy your immediate surroundings have become, when you remove them? Sadly, the Sonys are fairly good, but they're not that good – Bose and Apple both have them beat.

Call handling? This is also a bit of a let down – and not just because it's been so hyped by Sony in these new buds. Although Sony couldn't wait to extol the talents of the new mic on each bud, the new wind-nixing structure around them, plus a new AI algorithm with beamforming and bone conduction sensors to aid with both ANC and call-handling on those four mics per earpiece… in practice, callers said I sounded "muffled" when using them for voice calls, especially when compared to my regular Technics EAH-AZ100.

While I'm on the comparison, Sony's answer to Technics' excellent Sidetone tech, to amplify your own voice in calls, is an on/off toggle called 'Capture Voice' in the app, but I couldn't detect much difference either way when trying to use it. And because I had to really screw the earpieces quite far into my ears to get a secure fit (more on this later), I think I would have benefitted from more of a boost here.

Sony WF-1000XM6 three screen-grabs using grey background of the Sony Connect app, showing the ANC and 'scene' options — (Image credit: Sony)

All of this aside, a lot of things are really enjoyable about the WF-1000XM6 – and Background Music Effect is top of the list. To find it, you have to scroll down that thin tab at the bottom of the 'My Device' tab, labelled Device settings > Sound Quality/Volume > Listening Mode > Background Music – see what I mean about decent features being somewhat hidden away?

Only then will you be able to select from 'My room', 'Living room' or 'Cafe', which spreads and pushes your music just a little further away from your ears each time. I thought it'd be gimmicky; I was wrong. If you're someone who sometimes turns the TV on just for a bit of background noise to focus, or simply can't concentrate if lyrics are too prominent in your ears, say, this feature is for you.

I also like that the on-ear controls are now fully customizable, once you've delved into Device settings > Controls > Change the touch sensor function > Custom. The one caveat is that if you set a long-press of the left earbud to be volume decrease (which is always my preference) you lose Quick Attention, which is one of my favorite Sony-specific earbuds features because it's so useful – if someone starts talking to you or there's been an announcement about the late arrival of your train, say, simply press and hold the left bud and music is pushed low while ambient passthrough is boosted.

Other pleasing notable mentions go to the app's ability to corral my Apple Music subscription to the fold so I can see some playback information in the My Device tab, the 'Optimal Earbud Tips' wearer test (it's quite strict, you know) and the option to prioritize either a stable connection or audio quality. And I should probably mention that thanks to that bigger antenna, I never once experienced any dropouts in connection with this iteration (which was an issue with the older Sony WF-1000XM5 when I reviewed them, initially).

I've also long been a fan of Sony's DSEE Extreme upscaler, which takes your lossier music streams and does remarkable things to add detail and nuance. Here, it is very well implemented; I had to check more than once that I hadn't switched over from Spotify to one of the more audiophile-friendly streaming platforms, and that is something I don't say lightly.

There's also multipoint to two devices and Auto Switch, for handing off the audio from your buds to your Sony Linkbuds Speaker when you come home – but that's the only Sony speaker currently supported, so is pretty niche as an option.

Spatial audio? Ah. Yes, it's technically here, because you can have 360 Reality Audio – if you can find any content presented in the Sony-made format, given that Tidal and Deezer both dropped support a little while ago…

Features score: 4 / 5

Sony WF-1000XM6 review: Sound quality

Crisp bass that neither bloats nor overstates itself
Plenty of texture through upper mids
Beaten for dynamic nuance and detail across the frequencies

Switching all sound profiles to 'standard', with a neutral EQ and making sure I've selected the connection profile that prioritizes audio quality (rather than a stable Bluetooth connection) in the Sony WF-1000XM6, I cue up Sevdaliza's Mad Woman. The clock chimes in the opening of the song simmer beautifully initially, with razor-sharp leading edges of notes from the buds. And that note goes all the way down to the abyss without issue too, which is more than can be said for entry-level (and even most mid-range) earbuds.

I'm just missing an extra ounce of build and intentional distortion through the belly of the note that I know to be there – and it's confirmed when I switch to the Technics EAH-AZ100, which have no trouble revealing it.

If you've heard Harry Styles' new track Aperture, it's a similar idea; the timing ticks along beautifully and the Sony buds never shy away from a bass drop, but I can't help but notice when they gloss over a marginal inflection or pop within a gloriously imperfect synth note – because that wants to be remembered as such, and the buds aren't quite recreating it perfectly.

I'm being hypercritical, of course. The sound here is very good indeed – in fact, in instrumental works such as Nicholas Gunn's Campfire there's an expansive and emotive soundstage wherein each musical strand is held together in a cohesive and rewarding mix.

Human breath feels three-dimensional and, for want of a better word, real. It's just that when the flute comes in, I'm missing an iota of excitement as the soundstage builds in intensity and the shaker comes in.

That said, I'll caveat all of this with one potential reason: I did struggle to get the Sony WF-1000XM6 to fit perfectly, even after a week with them… but that's for the next section. If you can achieve a secure fit and seal, I do think there'd be very little in it between them and the best-sounding earbuds in their class.

Sound quality: 4 / 5

Sony WF-1000XM6 review: Design

On-ear controls are reliable and the headshell is grippy
Divisive fit and ear-tip material – although plenty of tips are provided
Case magnets feel a little weak

Sony has once again reworked the shape of its earbuds and I have to say that the company's commitment to tweaking and amending the fit in the pursuit of excellence is commendable. These earbuds are 11% thinner than the older model and are very much pill-shaped from above, but they are taller.

That means – and there's no pretty way to say this – they stick out of your ears a little more (as well as from their taller case), and there's a little notch or nub halfway up the housing, to nestle into your outer ear.

Far from being disappointing to me, this initially quite bulbous-looking fit can work very well (see the 'concha fit' style pioneered by the aforementioned Technics EAH-AZ100), however, in this thinner shape, I found that getting a secure fit did involve a fairly rigorous push and twist into the ear, to get them to 'lock in', as it were.

I worry that in the pursuit of a positive 'they're smaller!' goal, Sony hasn't quite achieved the aim of a better fit – although fit is a very personal thing.

Sony WF-1000XM6 earbuds tips, held in a hand — Future

The Sony WF-10000XM6 next to the Sony WF-1000XM5, held in a hand, to show the size difference — Future

I eventually achieved the best fit using the 'S'-sized small tips (not the XS, which is unusual for me), backed up by Sony's in-app ear-tip fit test tech, but after several hours of listening, the lower part of my antihelix and on to my antitragus did ache a little.

I also think there's a small chance that the shape of these buds affects the efficacy of the noise cancellation – their thinness perhaps means they didn't fill my outer ear fully, quite where they should? It's hard to know for sure, but as someone who's testing more buds than I can count, it felt a little off.

One good aspect of the taller buds, along with the fact that there's no shiny plastic involved in the design, is that I never once dropped an earbud while getting them out of the case, and that is a comment often levelled at the older XM5 buds.

The ear-tips are again memory foam in style, and while I like them a lot and found them very easy to switch out (particularly thanks to the little colored bands on the bottom, so you don't mix them up), unlike silicone options you do need to give them a moment to re-form if you inadvertently squish them while fitting.

The case is much more angular and a little taller, but maintains a USB-C charger and reset button on the back (it'll also charge wirelessly) plus a solo green LED light on the front. It can charge wirelessly too.

My only point on the case is the magnets that snap the case lid shut; given the extra height and bulk on the top, it feels as if they could be stronger. I did an initial drop-test and it did stay shut, but I didn't feel as confident of this happening consistently as I have with other class-leading buds.

In terms of battery life, their claim of eight hours from the buds with ANC and 24 from the case equals that of the AirPods Pro 3, which means it's good – but this is a standard rather than outstanding figure. In testing, I got a little less from them, at seven hours before they needed charging – but my testing does often involve boosting the volume above 50% and scrolling through features and profiles.

Design score: 4 / 5

Sony WF-1000XM6 review: value

Stuffed full of features and far from the most expensive buds around
…but the ANC isn't class leading, and spatial audio might be hard to access

Do you want the best noise-cancelling earbuds on the market for noise-blocking power? If so, the WF-1000XM6 are not my first choice – but that's not at the top of everyone's list, and doesn't mean you should discount them.

For sound, there's plenty to celebrate. These earbuds offer an expansive and pleasing soundstage with neutrality and plenty of options to further tweak the sound to your liking. If pushed, I could've used a little more energy and oomph to allow for an extra ounce of dynamic nuance, but it's my job to nitpick and I maintain that for sound, they're still bang on the money. Buy them, and you won't be disappointed in the WF-1000XM6 sonically.

But do you want device- and streaming-service agnostic spatial audio profiles with dynamic head-tracking? That's more of an issue sadly, since 360 Reality Audio isn't what it once was (Deezer and Tidal no longer support the format) and as such, you might feel you're missing out – where options such as the Bose QuietComfort Ultra Earbuds (2nd Gen) do offer that, in various guises and in conjunction with tweakable ANC.

Value: 4 / 5

Should I buy the Sony WF-1000XM6 review?

Attributes	Notes	Rating
Features	Stuffed to the gills with perks, but the ANC isn't class-leading – and spatial audio is hard to come by	4/5
Sound quality	Neutrality and faithfulness in spades, but they could use just a little oomph injection at times	4/5
Design	The tweaked taller shape may work for you, or it may not, but they do well in most areas	4/5
Value	Plenty to celebrate and competitively priced, but there are a few compromises you need to make	4/5

Buy them if…

You really need a good quick attention feature
I've tried literally scores of wireless earbuds that claim to offer an effective way to quickly hear external sounds without the faff of removing your buds or fully going into a transparency mode. I maintain that Sony's Speak to Chat (simply speak, and the music pauses and ambient sound filters in) and Quick Attention (cover the left bud for the same thing) features are the best in the business.

You want a rock-solid connection
Thanks to that larger antenna, I never once had Bluetooth connectivity dropouts using these earbuds in any situation, and you can prioritize the connection stability over audio quality – well done, Sony.

You're fed up of dropping your buds on the floor
Often grab your buds a hurry? Sony's worked hard to make sure there's enough traction on the earpieces and within the design of the case so that you won't lose a bud underfoot as you try to pluck them out of their battery nests, and it really works.

Don’t buy them if…

You want the absolute best noise cancellation around
It pains me to say this, because I really did want Sony to challenge the likes of Bose and Apple here. Sadly, in my tests it didn't quite match up to what was promised.

You need them for super long-haul flights
The battery life is far from bad here, but it hasn't been upgraded from the older set. And compared to direct rivals it can be bettered – the Technics EAH-AZ100 lasted over an hour longer, in my tests.

You want easy-to-find head-tracked spatial audio
At the time of writing, you can still get 360 Reality Audio on Amazon Music Unlimited, but it's safe to say that support for this Sony tech is on the wane.

Sony WF-1000XM6 review: Also consider

	Sony WF-1000XM6	Apple AirPods Pro 3	Bose QuietComfort Ultra Earbuds (2nd Gen)	Technics EAH-AZ100
Price	$329 / £250 / AU$TBC	$249 / £219 / AU$429	$299 / £299 / AU$450	$299 / £259 / AU$478 (approx.)
Drivers	'Unique' 8.4mm dynamic with 'soft edge, hard center'	'Custom high-excursion' Apple driver with new multiport acoustic architecture	10mm	10mm free-edge dynamic
Active noise cancellation	Yes	Yes	Yes	Yes
Battery life	8 hours (buds, ANC on); 24 from case	8 hours (buds, ANC on; 10 hours with ANC off); 6.5 hours (buds, heart rate sensor on); 24 hours (case)	6 hours (earbuds, ANC off; 4 hours with it on) case not specified	12 hours (earbuds, ANC off); 17 hours (charging case)
Weight	6.5g per bud	5.6g per bud	7.7g per bud	5.9g per bud
Connectivity	Bluetooth with LE Audio and LDAC	Bluetooth 5.3	Bluetooth 5.3 with aptX Lossless / Adaptive	Bluetooth 5.3 with LDAC and LC3 compatibility
Waterproofing	IPX4	IP57 case and earbuds	IPX4 earbuds only	IPX4 earbuds only

Apple AirPods Pro 3
No LDAC, but these will take your heart-rate, offer a pretty comprehensive hearing test and (provided you've got an iPhone) translate various languages for you. Also, the ANC is some of the most effective I've ever heard, and Dolby Atmos head-tracked spatial audio is excellent. iPhone owner? You'll be hard pushed to beat these…
Read my in-depth AirPods Pro 3 review for the full scoop.

Bose QuietComfort Ultra Earbuds (2nd Gen)
This is the better pick over the XM6 for device- and streamer-agnostic immersive audio profiles, wonderful noise cancellation, and a colorful look (if you like). Some wearers may find the buds a touch big (though they're secure and fit excellently), but if profiles that combine bubble-of-silence ANC as a backdrop for wonderful spatial audio experiences sounds like your bag, you've found the best buy in the business.
See our full Bose QuietComfort Ultra Earbuds (2nd Gen) review for more. View Deal

Technics EAH-AZ100
An option with slightly better stamina that also offers slightly better sound quality – and just costs slightly more. You'll still get LDAC higher-resolution Bluetooth support if you've got a device that supports it, but here, you also get multi-point to three brand-agnostic devices (rather than the standard two) and for me, the fit is also just that bit better. And Technics' sidetone tech (to better hear your own voice in calls) makes them the better bet for call handling.
Get the full picture in our Technics EAH-AZ100 review.

How I tested the Sony WF-1000XM6

Tested for two weeks
Tested at home, on a plane, on long train journeys, and while running (occasionally in the rain)

I used the Sony WF-1000XM6 for two weeks to complete this review. My testing process involved listening to new music on Tidal, Qobuz and Apple Music as well as podcasts and plus streamed TV shows from my Apple iPhone 15 Pro (I'm catching up on Married at First Sight UK, please don't judge me) on long train journeys to and from London. I also paired simultaneously to my MacBook Pro and both connections were easy and solid.

I listened at home, on a quiet train, on admittedly half-hearted runs in the constant UK rain, and I even taught myself to make natural soy wax candles from YouTube videos with the WF-1000XM6.

I've been testing audio products full-time since 2019, firstly at TechRadar's sister publication What Hi-Fi? as a staff writer, then as senior writer and now audio editor here at TechRadar.

My background as a professional dancer means I never tire of listening to music, and my still-insatiable need to move to what I'm hearing is what drives me to search for faithful timing, neutrality, precision, clarity, energy, and good old fashioned fun in recorded audio.

First reviewed February 2026

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I tested the Philips turntable with a CD player squirrelled away in its plinth and honestly, for this money it’s hard to argue with the versatility

1:30 am | February 11, 2026

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

Philips Fidelio FT1 turntable/CD player: two-minute review

There’s no school like the old school, right? Philips certainly seems to think so anyway, because it’s delivered a product you may not have even realised you needed: the Fidelio FT1 is a belt-drive turntable with integrated phono stage and a built-in CD player, that can act as a Bluetooth transmitter and features Auracast connectivity.

And it costs less than a stand-alone turntable or CD player that might easily be considered ‘entry level’.

Obviously the FT1 is not that last word in sturdiness or unburstable build quality. It’s perfectly well put together, though, looks quite good in its gloss-black finish (as long as you’re not the one who has to clean it) and arrives with a very decent Audio Technica cartridge pre-fitted to its aluminium tonearm. Add in a control app to complement its physical controls and you’ve got a ‘just-add-speakers (-or-wireless-headphones)’ plug-and-play device that covers several functionality bases.

In practice it’s not without charm. There’s plenty of drive and energy to the sound, no matter the source of the music you’re listening to, and the midrange communicates very freely. Dynamic headroom is significant, and the Philips controls its (solid, detailed) low frequencies well enough to express rhythms with real confidence. It’s strangely flimsy where treble response is concerned, though, and the bass does tend to sound rather estranged from the rest of the frequency range.

It’s nevertheless an enjoyable listen overall, though, and there’s a lot to be said for the amount of sonic enjoyment, as well as extended functionality, your money buys. One of the best turntables on the market? For this money, I really think it's hard to argue against it.

Philips Fidelio FT1 turntable closeup showing the tonearm, plinth, stylus and CD mechanism — (Image credit: Future / Simon Lucas)

Philips Fidelio FT1 turntable/CD player review: price and release date

Announced in September 2025, but released early 2026
Priced $349 / £269 / (approx.) AU$429

The Philips Fidelio FT1 turntable/CD player/ Bluetooth transmitter is on sale now, and in the United Kingdom it sells for £269, while in the United States it’s yours for around $349. In Australia, meanwhile, the going rate is something like AU$429 – or, at least, that’s what today’s exchange rate suggests…

Philips Fidelio FT1 turntable/CD player review: features

33.3 and 45rpm turntable with Bluetooth transmission
Integrated phono stage
CD playback too

You can’t argue with the functionality that’s available here; certainly not at the asking price. In a chassis that’s actually a little narrower than your average turntable, Philips has managed to incorporate a record player with a switchable phono stage, a CD player and Bluetooth transmission. If you’re old enough to remember the whole ‘music center’ thing, you’re entitled to have a mild flashback just about now.

As far as the turntable section goes, the Fidelio FT1 is a belt-driven device that arrives with an Audio Technica AT3600L moving magnet cartridge pre-fitted to a straight aluminium tube tonearm. It has automatic speed-change via a dial on the plinth, and on the rear of the device there’s a switch to turn the integrated phono stage on or off.

The platter is of die-cast aluminium and there’s a rubber slip mat supplied too. The FT1 is a Bluetooth transmitter, and can convert an analog signal from your vinyl to a digital equivalent and then send it to a pair of wireless headphones or speakers via Bluetooth 5.4 using one of the SBC, AAC or LC3 codecs with which it’s compatible. Philips, understandably, considers its Fidelio FA3 wireless speakers to be the ideal partner for the FT1, but any Bluetooth receiver is fair game. It’s also Auracast-equipped – so it’s able to transmit whatever’s playing to as many appropriate speakers as you have access to.

There’s a compact disc drive built into the FT1 too. The tray into which CDs are loaded emerges from the front right section of the plinth – the tray door also features an LED display which gives confirmation of the selected input and the usual ‘track number, time elapsed, etc etc’ stuff when a CD is playing. The regular CD player modes (‘shuffle’, ‘repeat’, ‘random’ and so on) are available, and the drive itself is compatible with CD-R/RW and MP3-CD as well as your ordinary CDs.

Features score: 5/5

Philips Fidelio FT1 turntable/CD player review: Sound quality

Quite direct and energetic character
Insubstantial treble response and slightly dislocated low end…
…which can make the midrange seem rather exposed

There are, of course, perceived differences in the fundamental sonic signatures of vinyl and compact disc – but initially, one of the most most striking things about the Fidelio FT1 is just how consistent and itself it sounds no matter the source of the music it’s playing.

For better or for worse, its own sonic character seems to override those of the format it’s dealing with. So a CD of Barry Adamson’s Oedipus Schmoedipus is presented in much the same way as a vinyl copy of Doechii’s Alligator Bites Never Heal. The FT1 is an up-front, positive and quite energetic listen. It keeps a firm grip on the lower frequencies where attack and decay are concerned, so rhythms are expressed with confidence. There’s appreciable drive to its presentation, and a facility with dynamics that makes the up- and down-shifts in volume or intensity in a recording perfectly apparent.

Detail levels are respectable, even where the most minor and/or transient information is concerned. And the Philips discloses quite freely through the midrange, giving Doechii’s idiosyncratic delivery abundant character and attitude as well as revealing the goings-on of her technique and tone. This is further facilitated by the way the FT1 organises a soundstage – the midrange is nudged forwards, which further adds to both the intelligibility of voices and the overall sensation of direct communication.

Where tonality and frequency response are concerned, though, we’re on less solid ground. At the top of the frequency range the FT1 can quite readily become splashy and insubstantial, even at quite low volume levels – there’s a lack of body to treble sounds that never quite becomes edginess or hardness, but certainly serves to make the top end sound a little flimsy.

At the opposite end there’s no shortage of low-frequency substance, and a fair amount of tonal and textural variation – but there’s a sense of remoteness to the bass, a lack of unity with the frequency information above it that makes it sound a little distant.

The ability to stream wirelessly to headphones or speakers, or to physically connect to a system of some sort, is of course very welcome. But if you’re switching between the two you’ll need to be prepared to ride the volume control (either in the app, on your wireless speakers/headphones, or your amplifier), because the FT1 is noticeably quieter through its line-level output than it is through its Bluetooth equivalent.

Sound quality score: 3.5/5

Philips Fidelio FT1 turntable/CD player review: Design

130 x 420 x 370mm (HxWxD, without dust cover)
Plastic shell contains 20% recycled materials
Detachable clear plastic dust cover

You can’t expect the Earth when ‘design’ is concerned when it’s obvious Philips has devoted the bulk of its budget to piling on the features – and sure enough, the FT1 is as pragmatic a piece of design as you’re likely to encounter.

The main box, on which the turntable platter sits (and in which the CD-related stuff lives) is built of hard, extremely glossy black plastic that features a fair amount of recycled post-consumer material. It’s shiny and reflective, as is all too obvious from my photographs – and even though the detachable dust cover is clear, rather than black, it’s just as keen to pick up fingerprints as the rest of the device.

Although the dust cover of my review sample doesn’t sit absolutely centrally on the plinth (it’s offset to the right just about enough to trigger my latent OCD), there’s no arguing with the standard of construction and finish here. Nothing feels vulnerable, even though the entire unit weighs less than 4kg, and the CD tray opens and closes smoothly.

The FT1 isn’t absolutely silent when it’s loading a disc or the turntable’s ‘auto start’ feature kicks in as the tonearm is taken from its rest and moved over the vinyl – but keep the asking price uppermost in your mind and there’s really not that much to take meaningful issue with here.

Design score: 4/5

Philips Fidelio FT1 turntable and CD player, with a closeup on the tonearm, control buttons, plinth and CD mechanism — (Image credit: Future / Simon Lucas)

Philips Fidelio FT1 turntable/CD player review: usability and set-up

Control app and physical buttons
Auto-start and -stop
Rapid Bluetooth pairing

Setting up the Fidelio FT1 is neither complex nor taxing. The die-cast aluminium platter needs to be put on its spindle, and the belt that’s attached needs to be put over the drive pulley. The tonearm needs its counterweight to be fitted and adjusted – Philips recommends a tracking weight of 1.5g or so. There’s a guard on the cartridge which needs to be removed. That’s your turntable section ready to go – for CD playback, just remove the transport tape holding the drawer closed and that’s all you need to do.

The FT1 can be hard-wired to an amplifier using stereo RCA connections – make sure the integrated phono stage is switched either on or off, depending on the input you’re connecting to. There’s a 3.5mm analog output on the rear panel too (not the most convenient location, but let’s not get bogged down in that), in case you’d like to connect a pair of wired headphones. Otherwise, the Philips can be quickly and easily paired with wireless speakers, wireless headphones or any other kind of Bluetooth receiver.

Control of the system is available via some physical buttons on the plinth. There’s a relatively big ‘power on/off’ button and a speed-control dial (choose between 33.3 and 45rpm). In addition, there are buttons handling Bluetooth pairing, source selection, Auracast, play/pause, and the opening and closing of the CD drawer.

The FT1 can be integrated into the Philips ‘Entertainment’ app, too. Here you’re able to duplicate the functions of the physical controls (apart from ‘power on/off’, weirdly), adjust volume, programme the CD player, adjust the clock or set a timer, check for software updates and plenty more besides. It’s not the most intuitive app around, in all honesty, but stick with it and it proves very useful indeed.

Usability and setup score: 5/5

Philips Fidelio FT1 turntable/CD player review: Value

Three separates in one, plus Bluetooth transmission
If you can deal with a few sonic shortfalls, it's a lot of kit for the money

On the face of it, it’s hard to argue with the value represented by swapping $349 / £269 for an automatic turntable with integrated phono stage and CD player, especially not one that’s a Bluetooth transmitter and Auracast device too.

But of course, you didn’t buy the Fidelio FT1 just to admire its specification (or to constantly be dusting its high-gloss finish), did you? If you can live with its insubstantial treble response and, to a lesser extent, with its rather remote way with the low frequencies though, the Philips has plenty going for it.

Value score: 4/5

Should I buy the Philips Fidelio FT1 turntable/CD player?

Attributes	Notes	Rating
Features	It's impossible to take issue over the plentiful separates built into a single chassis	5/5
Sound quality	There are a few compromises to be made here, but again, for the money there's still a lot to like	3.5/5
Design	A lot of glossy black plastic and it's a shade off rock-solid in terms of build quality, but it's all here and it all works well	4/5
Usability and setup	The turntable setup is well-explained and simple and the app, although not the most intuitive, is ultimately a a good and useful addition	5/5
Value	Accept its insubstantial treble response (and it's admittedly remote way with bass) and the Philips has a lot to recommend it	4/5

Buy it if...

You want multi-format convenience
Here’s a turntable, a CD player and a Bluetooth transmitter in a single shiny box

You own Bluetooth speakers and/or wireless speakers
You can connect the FT1 to a traditional system using stereo RCA cables, but where’s the fun in that?

You enjoy full-bodied low-frequency response
They may not get on with the rest of the frequency range all that well, but the FT’s bass sounds are deep, well-controlled and detailed

Don't buy it if...

You’re not particularly houseproud
The ‘none more shiny’ finish of the FT1 needs constant attention if it’s going to stay clean

You’re sensitive to high-frequency response
The Philips system is strangely boneless and insubstantial at the top end

You’re going to switch between wired and wireless use
There’s a fair discrepancy between the output volume of the Philips in one state compared to the otherView Deal

Philips Fidelio FT1 turntable/CD player review: also consider

The beauty of the Fidelio FT1 is that it’s currently Number One in a field of very, very few - and certainly the ‘Philips’ badge is more credible that that worn by any of its nominal competitors. So unless you want to trust your vinyl collection to a brand you’ve either never heard of or that has a less-than-stellar reputation, the FT1 is probably the way to go.

That's unless you can stomach the idea of a Bluetooth-equipped turntable – the Sony PS-LX310BT is a particularly impressive example, the Majority Folio is also worthy of a look – and an affordable CD player as a separate purchase. But then, of course, you can’t stream your CDs wirelessly…

How I tested the Philips Fidelio FT1 turntable/CD player

Tested over the course of three weeks
Tested its vinyl and CD performance, wired and wirelessly

Naturally I listened to both vinyl and compact discs during the course of my testing. I connected the FT1 wirelessly to a pair of matching Philips Fidelio FA3 wireless speakers (review incoming!), and I also connected it to my reference system using RCA cables and with its integrated phono stage switched on.

I used it with wired and wireless headphones. That’s the thing about products with as much functionality as this – it takes ages to investigate every aspect of their performance…

First reviewed: February 2025
Read more about how we test

I reviewed Fluance’s Ri91 wireless active stereo speakers, and I loved them for the price — except for a couple of concerns

2:55 am | February 5, 2026

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

Fluance Ri91: Two-minute review

The Fluance Ri91 floorstanding speakers are the third pair of Fluance's line-up that I’ve reviewed here at TechRadar with each model sounding better than the last – I don't mind sharing that this testing has turned me into a bit of a fan.

The Fluance Ri91 represent a modernized addition to the competitors for our list of the best stereo speakers – like the Fluance Ri71, they are a step up for the company since they include support for Bluetooth including aptX, plus an HDMI ARC input. Add in the reasonable price for what they are, and they're very tempting indeed.

There are issues with the Fluance Ri91, but they're minimal. Sure, the sound is a bit mid-focused, but most people looking for pleasing audio will appreciate this fact (and they sound great overall anyway). The lack of a phono preamp isn't a dealbreaker, and is easily remedied if needed.

The only real concern I have is about build quality, because the original pair of these speakers I received had an issue with the HDMI port (quite a major one: it didn’t work).

That said, the Fluance Ri91 speakers come with a warranty, and the replacement pair the company sent presented no issue during review.

Considering how expensive floorstanding speakers can get, I think these speakers at $799 (about £640 / AU$1,270) are very easy to recommend for any music lover or budding audiophile.

The Fluance Ri91 speakers together, in front of a TV — (Image credit: James Holland)

Fluance Ri91 review: Price and release date

$799 (about £640 / AU$1,270)
Released in March 2025

Being the big brother of the Fluance Ri71 I recently reviewed, the Fluance Ri91 is appropriately a bit more expensive, but thoroughly reasonable at $799 (about £640 / AU$1,270).

While the Fluance Ri71 is available in both the US and UK, the Ri91 reviewed here seems to only be available in the US.

At least these floorstanding speakers are available through a number of retailers like Amazon, Macy’s, and Walmart, as well as directly from the brand itself.

Fluance Ri91 review: Specs

Dimensions	41.73 x 8.5 x 10.24 inches / 106.0 x 21.6 x 26.0 cm
Weight	Active Speaker: 41.89 lb (19 kg) Passive Speaker: 40.79 lb (18.5 kg)
Active or passive	Active
Subwoofer	No (has sub out)
Frequency response	40Hz - 30kHz
Dolby Atmos / DTS:X enabled	No
Maximum output	150 watts

The Fluance Ri91 speakers' connections on the rear — (Image credit: James Holland)

Fluance Ri91 review: Features

Comes with HDMI ARC input
Bluetooth supports aptX HD
Doesn’t come with phono preamp or Wi-Fi streaming

The feature set of these sorts of speakers – even active ones – is going to be pretty limited compared to what you find in the best soundbars, despite the addition of an HDMI port. But that’s because they’re not trying to do the same thing. The features here are focused on convenience and helping getting the best stereo sound possible.

Regarding convenience, it first should be noted that the Fluance Ri91 are an active set of floorstanding speakers, meaning that they don’t need an external receiver for power or connections. Also on the convenience front is the HDMI-ARC input, which is new for Fluance on the Ri91 and the Ri71 bookshelf speakers that were released at the same time.

There's Bluetooth 5.0 and aptX HD support for wireless streaming, with the allowing transmission of higher-res audio. That’s greatly appreciated for those using hi-fi-level streaming services – but not that there's no Wi-Fi, or for the highest-res support, except for wiring in the old-fashioned way.

These speakers pump out 150 watts of class D power using two 6.5-inch woven glass drivers and a 28x35mm AMT in place of a traditional tweeter. There’s no subwoofer, but there is a bass port at the bottom of each speaker cabinet.

All the connectivity is on the back of the active speaker, which is the right one by default, though you can hold the mute button down for three seconds and switch the configuration. Besides the ARC-supported HDMI port, there are also two RCA inputs, and a subwoofer out, along with the speaker wire hookups.

Lastly, while you can (and should) connect one of the best turntables to these speakers, the Fluance Ri91 do not come with a built-in phono preamp, so you’ll need to make sure your record player has one built in (or get an external one) to make sure the signal going to the speaker is loud enough.

Features score: 4.5 / 5

The Fluance Ri91 speakers' either side of a TV — (Image credit: James Holland)

Fluance Ri91 review: Sound quality

Sound great when turned up and a little muffled when not
Somewhat mid-focused
Better for music than for movies

The Fluance Ri91 sound very good. And for any audiophiles out there, they sound like what you would expect from floorstanding speakers that cost about $800. They’re not going to wipe the floor with speakers that cost the price of a new car, but they’re good enough to blow away people that are not in the audiophile world, or are new to it.

I played all sorts of artists to test them, from John Coltrane to Kendrick Lamar to Smashing Pumpkins. I also listened to music from the ’60s and ’70s. After all my listening, a few things became clear.

First, as somewhat behemoth speakers, they don’t really come alive until you turn the volume up, in some instances even sounding a tiny bit muffled when lower. Also, when I was initially listening at lower volumes, I felt like I wasn’t getting a lot of low end. Turning them up fixed all these issues.

The sound was expansive when loud, with plenty of low-end, though you might want to add a sub if you listen to a lot of Hip Hop or EDM, as some songs didn’t translate as well. The high-end was clear and detailed, and the mid-range was rich, though it is a bit upfront.

Unfortunately, there’s no EQ for the mids, so you have to turn up the treble and bass a little if that bothers you (I prefer to cut the mids a bit when dealing with this problem, but obviously couldn't here).

I also used the Fluance Ri91 for some movie watching and gaming. The sound quality is there, but being a more traditional stereo setup makes this not as ideal for the immersive home theater experience.

With music, I can feel the wide stereo soundstage with accurate imaging when the speakers are correctly set up. With movies, it can feel a little one dimensional, especially at lower volumes.

Now, that’s not to detract from the Fluance Ri91, as they shine for a more traditional listening experience, and that’s what they’re really meant for. They do work well enough for movies and gaming, but using them right after testing a surround-sound system really highlights that these are speakers for listening to music first.

Sound quality score: 4 / 5

The Fluance Ri91 speakers' bass ports — (Image credit: James Holland)

Fluance Ri91 review: Design

Tall and hefty as floorstanders
Good connections and controls on one speaker
Has EQ controls on remote

The Fluance Ri91 are fairly imposing, standing at just under 42 inches tall. And with a weight of about 40 lbs per speaker, they’re hefty as well. It’s a good thing that they look good (available in walnut, black, or white) since these aren’t the kind of speakers you can tuck away discreetly.

There’s a Bluetooth pairing button on the back, and two additional controls on the active speaker, one being the power switch. The other is a volume dial that sits atop the back of the speaker that can also be pressed in to change inputs.

But you’re more likely to use the included remote for any adjusting. The remote is pretty straight forward with all the usual stuff like volume controls, power, input, etc. But it also includes a Treble and Bass Boost and Cut that’s helpful for fine tuning the audio a little bit.

My only real issue with the Fluance Ri91 are some concerns about quality assurance. Not only were the styrofoam packing the speakers came in disintegrating, but the HDMI input didn’t work in my first pair, so I had to request another test unit.

The speakers were promptly replaced for me, and come with a two-year warranty for regular buyers.

Design score: 4 / 5

The Fluance Ri91 speakers' remote — (Image credit: James Holland)

Fluance Ri91 review: Setup and usability

Setup is simple and straightforward
Positioning the speakers takes some time but is worth it
Using them is fairly intuitive

The functional setup of the Fluance Ri91 is very straightforward. Take each speaker out of the box, connect the active one to power, and connect the two speakers together with the included speaker wire. Then pop in the batteries for the remote and connect whatever sources you want. Flip the power switch and you’re good to go.

Of course, you should correctly set up the speakers to get the best sound and that can take a little time (and a measuring tape) – I found that you needed to be careful with positioning them next to walls. But it doesn’t take that long and it’s worth it.

Using the Fluance Ri91 is just as simple. The included remote is not all that complicated, and the color-coded LED indicator on the active speaker not only lets me know what source I’m on, but will flash when certain settings are reached, such as the mid, low, or high point for EQ settings.

Setup and usability score: 5 / 5

The Fluance Ri91 speakers' items in the box — (Image credit: James Holland)

Fluance Ri91 review: Value

These are Fluance’s most expensive speakers
Some other quality options at the same price
The Ri91 are more feature-heavy than the competition

It's interesting to compare the Fluance Ri91 with the company’s previous floorstanding entry, the Ai81, which is a little cheaper at $599, versus to $799 for the Ri91. The Ri91 replaces the silk dome tweeter of the Ai81 with an AMT one, not to mention also includes an HDMI port.

Interestingly, the Ai81 reaches down to 30Hz instead of 40Hz like the Ri91, so does have a little more bass without adding a subwoofer. On the flipside, the Ri91’s 30kHz upper range is more impressive than the 20kHz of the Ai81 and is something I value more than the deeper bass.

Since Fluance generally fits into that budget-premium range, the Fluance Ri91’s price tag is about what one would expect. They’re not in the thousands like most boutique audio brands, but have some competition at the same price, such as the Q Acoustics M40 HD. The Q Acoustics were a little more expensive when released in 2024, but go for the same amount now, not to mention are also available in the UK and Australia.

Plus, the two products stack up fairly well against each other, though the Fluance Ri91 do include an HDMI port, 50 more watts of power, and a wider frequency response, probably thanks in part to those AMT tweeters.

Value score: 4.5 / 5

Should I buy the Fluance Ri91 speakers?

Score card
Attributes	Notes	Rating
Features	The feature set is pretty good for this type of speaker, including aptX. No, phono preamp or Wi-Fi streaming, though.	4.5 / 5
Sound quality	While not ideal for TV, these speakers sound great, particularly when turned up.	4 / 5
Design	Good port selection and imposing look only held back by build quality concerns.	4 / 5
Setup and Usability	Easy to set up and use, though one should make sure to spend some time on speaker placement.	5 / 5
Value	The price is very good for floorstanders, especially considering the feature set.	4.5 / 5

Buy them if…

You want loud and expansive, impressive sounding audio
These speakers sound really good when they’re really loud. If your criteria is loud and good, then get the Fluance Ri91.

You need extra connectivity
The included HDMI ARC port and aptX HD over Bluetooth support is something that sets these speakers apart, especially from other models at this price point.

You can’t quite justify audiophile prices
Audiophile speakers can get really expensive. These sound good while still staying under a grand. That’s pretty good for a new pair of floorstanding speakers.

Don’t buy them if…

You’re in a small space
These speakers are a bit underwhelming at low volume (and they take up a lot of space), so if you have limited space, go for the Ri71 instead.

You want pristine, neutral audio
These speakers sound very good, but are not the right pick for anyone looking for very neutral sounding audio.

Fluance Ri91 review: Also consider

Q Acoustics M40 HD
Like the Ri91, these sound massive. They also bridge the gap between big speakers and not needing a lot of space as they’re a bit smaller than the Ri91 making them a good alternative if you don’t have a big space.

Read our full Q Acoustics M40 HD review

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

Read our full Kanto Ren review

How I tested the Fluance Ri91

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

I used the Fluance Ri91 for a few weeks at home, listening to all sorts of genres of music – Hip Hop, EDM, Top 40 Pop, Rock, Jazz, and Folk, among others – to get a better feel for these speakers. They were also tested with some TV and computer games. I tested the various controls and ports as well.

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

First reviewed: February 2025
Read TechRadar's reviews guarantee

I tested the JBL Boombox 4 and it’s a wonderful party companion — but one minor flaw holds it back from audio perfection

1:00 am | February 4, 2026

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

JBL Boombox 4: two-minute review

The JBL Boombox 4 is the latest high-end option in JBL’s popular consumer Bluetooth speaker lineup, and so has some pretty big shoes to fill. Its predecessor, the JBL Boombox 3 Wi-Fi has become a mainstay recommendation for anyone searching for one of the best Bluetooth speakers on audio forums or social media thanks to its durable design, impressive sound, and decent level of portability.

All of these qualities remain true in this slightly more expensive follow-up, so the biggest question is whether the JBL Boombox 4 is actually an upgrade. For my money, the answer is yes.

Where the Boombox 3 offered a three-way system with a dedicated subwoofer, the Boombox 4 relies on a two-way system that replaces the subwoofer with a passive radiator. On paper this might seem like a bit of a downgrade, but in the real world the Boombox 4 sounds just as clear as the 3 Wi-Fi, though actually enhanced by noticeably richer bass.

It’s also significantly louder, capable of reaching up to an eardrum decimating 105dB – that’s about as loud as your average car horn and more than enough to ensure it can be heard across even large outdoor venues. Just be warned that the sound starts to hollow out the closer you get to these absurd volumes, though that’s to be expected in a speaker of this relatively modest 20 x 10 x 8inch / 51 x 26 x 21cm size.

The JBL Boombox 4 on a table outside. — (Image credit: Future)

I’m sure some audiophiles will argue the Boombox 4 reproduces sound less faithfully than the Boombox 3 Wi-Fi overall and that some of the mid-range is sacrificed for this loud and booming tuning. To that I would say go buy a Bose Soundlink Max, and steer clear of a product line that’s explicitly designed for party settings where loudness and bass are king.

Unlike the Boombox 3 Wi-Fi, there’s also no audible difference in performance when the Boombox 4 is unplugged (on paper you do lose about 5W of power in each of the two woofers, though I would challenge anyone to notice without a spectrogram) which makes it a more practical pick for events.

Adding to that practically is the fact that the JBL Boombox 4 is also more futureproof than any older model to date. It features a user replaceable battery (make sure you buy the JBL Battery 600, as there are a few similar looking models on the official website) so you don’t need to worry about your expensive speaker becoming e-waste after a few years thanks to battery degradation.

JBL even now sells battery charging cradles that allow you to keep a topped up cell on hand as a useful spare. You’re also getting Auracast support, letting you pair it up easily with any compatible models, such as the recently released JBL Grip or JBL Flip 7.

Are all these changes enough for existing Boombox 3 Wi-Fi owners to justify running out to drop $549.95 / £449.99 /AU$699.95 on a new speaker? I don’t think so given the lofty price tag, but if you’re buying for the first time, then this new version is a clear, and forward-thinking, choice.

JBL Boombox 4 review: price and release date

Costs $549.95 / £449.99 /AU$699.95
Launched in September 2025
Has already dropped by almost $100 / £100

The JBL Boombox 4 launched in September 2025 and retails for $549.95 / £449.99 /AU$699.95 officially. That’s about $100 / £100 more than you can find the older JBL Boombox 3 Wi-Fi right now, though you should note that the Boombox 4 has already received some significant discounts at times.

Indeed, at the time of writing it can be yours for $449.95 / £355.99 via the official JBL website, with the potential for even better deals at retailers like Amazon – this goes great way towards close the gap between the two models.

At similar prices, the JBL Boombox 4 is the best bet as it boasts newer features like the Auracast support, plus louder sound, richer bass, and that user replaceable battery for longevity.

The JBL Boombox 4 is available in three colorways: the green camo inspired Squad, a cheerful Blue, and rather basic Black

JBL Boombox 4 review: specs

Weight	13lbs / 5.89kg
Dimensions	20 x 10 x 8inch / 51 x 26 x 21cm
Connectivity	Bluetooth 5.4, USB-C (lossless)
Battery life	Up to 28 hours
Speaker drivers	2 x 65W RMS Woofer, 2 x 40W RMS Tweeter (on battery power) / 2 x 60W RMS Woofer, 2 x 40W RMS Tweeter (on AC power)
Waterproofing	IP68

JBL Boombox 4 review: features

Two bass boost modes with basic lighting
Playtime boost for extended battery life
Auracast support and robust companion app

The JBL Boombox 4 is loaded with all the bells and whistles that you would expect from a modern JBL speaker. There’s Bluetooth 5.4 support, plus the option to use a USB-C cable for lossless audio playback (or even charge your phone in a pinch).

It’s got Auracast with a pairing button to activate the feature, which allows you to easily pair (nearly) countless compatible speakers together. There are also two optional bass boost modes, Deep and Punchy, toggled via a dedicated button or in the JBL Portable app.

Although Punchy is definitely my preference of the two, I tended to stay away from either, because while they do increase bass noticeably, they tend to overpower the sound leading to a much less pleasant listening experience.

With Deep bass activated, the JBL logos on the two massive passive radiators on each end of the speaker illuminate in a bright pulsing orange which then turns white when Punchy is enabled. It’s a lovely effect, but I do wish there was a way to turn it on independently of these bass modes, or even just the option to customize the colors of either. You can at least disable it entirely if you wish.

Aside from your usual power, Bluetooth pairing, play, pause, and volume controls, the rest of the major features are accessible via the excellent JBL Portable app. This includes a range of equalizer settings plus a screen to create your own using a seven-band EQ.

If battery life is a concern, you can turn on Playtime Boost – a feature also found in other JBL speakers, and that my colleague Harry Padoan strongly recommends. It enables you to squeeze out an extra few hours of playtime, but in this case it leaves the Boombox 4 sounding incredibly hollow, with little bass and a totally obliterated mid and high range. It's good to have just in case, but you’re probably not going to want to use this unless you’re really desperate.

This is especially true given the already superb battery performance of the speaker. JBL quotes a battery life of up to 28 hours, though I was able to push it above the 35 hour mark on lower (but still very listenable) volume,s which is impressive.

If you slap the volume up on max and turn on a bass boost mode, you can expect a figure around the five to 10-hour range depending on your choice of music – enough to last for the bulk of a party and trigger a few noise complaints.

Features score: 5/5

JBL Boombox 4 review: sound quality

Clear sound with booming bass
Sweet spot below 70% volume
Prone to distortion in certain instances

For the most part, the JBL Boombox 4 delivers sublime sound – especially if you keep it below around 70% volume (that’s still plenty loud enough for a party unless you particularly loathe your neighbors, mind you).

The energetic percussion of Readymade by Ado packs a serious punch without diminishing the quality of the dramatic vocals, which come clearly with an impressive amount of detail, or the treble. The hectic Mirror Tune by Zutomayo demonstrates strong instrument separation in spite of the bold bass, with a rich and full sound that is a delight to listen to on repeat. Japanese hip-hop anthem Harenchi by Chanmina produced a delightfully rich sub-bass while simultaneously maintaining plenty of low-end detail.

I initially feared that more gentle tracks like Cö Shu Nie’s undress me and Artificial Vampire would be spoiled by overemphasized bass, but thankfully found them to be delightfully bouncy and detailed throughout.

As you start taking it louder, the sound does begin to strain, as the drivers reach their limits. It’s most noticeable above the 70% mark, where the mid-range becomes thin in the mix, and the treble relatively tinny, but this is a reasonable compromise when you’re pushing a speaker of this size this loud.

Importantly, the bass remains strong regardless of your chosen volume level, meaning that this is going to be a crowd-pleaser if you need to crank it up to fill a large space.

Unfortunately, the experience is not completely perfect. One track I tested, the recently released Butterfly by Wednesday Campanella, seems noticeably distorted in the lower treble, leading to an unpleasant sibilant sound that grated on the ears.

There is some sibilance present in the original track, but the JBL Boombox 4 definitely brings it to the fore more than any other audio device that I’ve tested – even other Bluetooth speaker models by JBL.

The cause of this is unclear and, hopping online, I soon was able to find a few users complaining of a similar effect in a handful of other songs by a range of artists. To be clear, this is not a widespread issue across my music, and I only noticed it occurring in one song out of the hundreds that I tested, so I’m not docking too many points for it, but it is unfortunate that the listening experience falls just short of flawless across the board.

Hopefully it’s the result of some kind of software issue, and will be remedied in a future update.

Sound quality score: 4.5/5

JBL Boombox 4 review: design

Hefty look and feel
Classic rugged JBL design
Easy to use controls

It’s impossible to fault the JBL Boombox 4 on an aesthetic front if, like me, you’re already a big fan of the brand’s now iconic rugged designs.

This speaker is a behemoth, with an overall shape reminiscent of a handheld battering ram. It’s clad in a thick fabric that’s remarkably resistant to cuts and grazes, with a massive handle on top. Despite being constructed primarily from plastic, with just a small strip of metal on top, the handle feels very solid with some pleasant textures that make the speaker a little easier to haul around.

Although lighter than the Boombox 3 Wi-Fi, which weighed a hefty 14.7lbs / 6.7kg, the Boombox 4 is still quite heavy at 13lbs / 5.89kg, so it’s not one that you’re going to want to carry around too frequently even resting on your shoulder in classic boombox fashion. Still, it’s portable enough to bring to a party or out to the park.

Each end of the Boombox 4 features a massive passive radiator surrounded by inches of thick rubber. I haven’t consciously dropped my review model from a great height, but this seems like it would be enough to provide some decent protection if the worst was to happen. Each radiator features a JBL exclamation mark logo, which illuminates with LED lighting when the speaker’s bass boost modes are enabled.

On the bottom there’s a flat rubber base flanked by two grippy strips. Look closely and you’ll see the screws necessary for removing the battery – a slightly fiddly affair, though this shouldn’t be too surprising given the speaker’s IP68 waterproof and dustproof rating, meaning it can take a full dunking in a pool.

On the rear of the speaker is a small rubber flap that hides the charging port to use with the included power adapter and a USB-C port for lossless audio. You can’t charge the speaker via USB-C, though you can use it as a power bank for your other devices if you need to.

In terms of controls, you get the usual JBL affair of play/pause, volume up and down, plus power, Bluetooth pairing, and Auracast. This is in addition to a button with a ‘B’ icon that toggles the bass boost modes. It’s all very intuitive and easy to use, and the most important buttons are illuminated to help you see them at night.

Design score: 5/5

JBL Boombox 4 review: value

A high-end party speaker
You’re paying for the design
Still, good value if you have the budget

There’s no getting around the fact that the JBL Boombox 4 is expensive. At $549.95 / £449.99 / AU$699.95, it’s significantly pricier than more budget-oriented competitors such as the Tribit Stormbox Blast 2 and even JBL’s own previous generation model, the JBL Boombox 3 Wi-Fi.

Of course, you are paying a premium for the quality of the design and construction, not to mention the excellent software, so those on a strict budget are better saving their cash and settling for something else.

If you are willing to splash out that much, or manage to find the speaker at one of its many attractive discounts, you’re going to be very happy with what you’re getting for your cash.

Value score: 4/5

Should you buy the JBL Boombox 4?

Attributes	Notes	Rating
Features	Everything you could want in a modern party speaker, with smart additions like a removable battery and Auracast.	5/5
Sound quality	Almost perfect party sound with booming bass and excellent clarity. It’s a shame a small number of songs suffer from distortion, though.	4.5/5
Design	Rugged, durable, and good looking. It’s impossible to fault the JBL Boombox 4 here.	5/5
Value	This is a premium speaker for those with a big budget. There are cheaper alternatives out there, but the build quality is worth it.	4/5

Buy it if...

You crave a high-end party speaker
The JBL Boombox 4 is a brilliant party speaker, with booming bass and loud sound that’s going to be more than enough to fill even large outdoor venues.

You want a future proof buy
While the JBL Boombox 3 Wi-Fi is often cheaper, the Boombox 4 benefits from forward thinking features like the addition of Auracast and a user replaceable battery.

Don't buy it if...

You’re on a tight budget
This is a premium product aimed at those with a hefty budget. You can still find great sounding party speakers for much less, so if you want to save some cash you could be better served with alternatives like those below.

JBL Boombox 4 review: also consider

	JBL Boombox 4	Tribit Stormbox Blast	JBL Xtreme 4
Price	$549.95 / £449.99 / AU$699.95	$199.99 / £162 (about AU$300)	$379.95 / £329.99 / AU$499.95
Weight	13lbs / 5.89kg	11.6lbs / 5.3kg	4.63 lbs / 2.1kg
Dimensions	20 x 10 x 8inch / 51 x 26 x 21cm	14.4 x 4.1 x 3.1 inches (366 x 104 x 79 mm)	11.69 x 5.87 x 5.55 inches / 297 x 149 x 141mm
Connectivity	Bluetooth 5.4, USB-C (lossless)	Bluetooth 5.3	Bluetooth 5.3, USB-C
Battery life	Up to 28 hours	30 hours	24 hours
Speaker drivers	2 x 65W RMS Woofer, 2 x 40W RMS Tweeter (on battery power) / 2 x 60W RMS Woofer, 2 x 40W RMS Tweeter (on AC power)	2x 30W woofer, 2 x 15W tweeters	2 x 30W woofers, 2 x 20W tweeters
Waterproofing	IP68	IPX7	IP67

Tribit Stormbox Blast
The Tribit Stormbox Blast doesn’t look anywhere near as nice as the Boombox 4, but it still delivers meaty, room-filling sound at a fraction of the price. It’s the party speaker to go for if you want the most possible bang for your buck.

Read our full Tribit Stormbox Blast review

JBL Xtreme 4
The Boombox 4’s little sibling could also be a good pick if you want something a bit more portable. It offers talented sound, strong battery life, and a useful shoulder strap for hauling it around.

Read our full JBL Xtreme 4 review

JBL Boombox 4 review: how I tested

Tested for over three months
Used at home and outside
Tried in group settings

I spent more than three months with the JBL Boombox 4, much to my neighbors' chagrin. During that time I endeavoured to put it through its paces by testing its audio capabilities with a wide range of music. I mostly relied on my personal Apple Music library, but also tried tracks from YouTube Music and Tidal.

I used the speaker at home, outside, and brought it with me to a variety of social events over the Christmas period. I tested its battery life by setting the volume level to roughly a fifth and playing a looping playlist over multiple days, recording the hours taken for it to gradually trickle down to zero.

I compared it against my hands-on use of not only the Boombox 3 Wi-Fi, but also other JBL speakers that I own including the JBL Flip 7, JBL Grip, JBL Go 4, and more.

First reviewed: February 2026
Read more about how we test

I tested the earbuds that morph from workout headphones to open ‘buds and it works — but that’s only half the story

2:30 pm | February 1, 2026

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: ANC, EQ | Comments: Off

Soundcore Aerofit 2 Pro: Two minute review

Usually, when I review a product with a brand-new feature, I use that function for about a week before the novelty wears off. The Soundcore Aerofit 2 Pro may not be the best earbuds I’ve ever tested, but I’ve been using its key selling point constantly over the testing period, and that at least says something.

Are they a pair of open earbuds? Or are they a pair of standard workout headphones? Yes and yes – these new hearables from Anker’s audio-visual sub-brand Soundcore do both. The bud’s body is adjustable in relation to its loop: you can have them as standard sports buds, or raise the bud somewhat so it’s further out of your ear. Ta-da, you have open earbuds.

In theory, you get the best of both worlds. Put them in open-ear mode and you enjoy your listening while still hearing what’s going on around you. Flick them into standard mode and you can hear your music with no distractions from outside, thanks in part to ANC turning on.

When I first reported on the buds, I guessed that they could be the best fitness earbuds of the year – it’s safe to say I was cautiously optimistic about them. The function is useful: I’d run along a busy road in open mode and close it when I reached a quieter park, or keep it open when cycling to the gym and close it when I got there.

A home-run, then? Not quite – these are the first earbuds I’ve ever seen trying out a form factor like this, and myriad teething problems plague the buds. I don’t think they are the best fitness headphones of the year any more, but it’s still a valiant effort.

Take, for example, the design. The buds aren’t that far from your ear when in open mode, so don’t let in nearly as much sound as rivals. But due to having AirPods-style tip-less ends, the Aerofits aren’t fully in your ear when in ANC mode, and so don’t actually cancel that much sound.

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The Soundcore Aerofit 2 Pro in a man's hand, in open mode. — (Image credit: Future)

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The Soundcore Aerofit 2 Pro in a man's hand, in ANC mode. — (Image credit: Future)

The loop material is also quite flimsy, so the buds wobble a lot, and the buttons are hard to press when in ANC mode (but, admittedly, very easy in open mode).

You need to play around in the settings to get the best of the Aerofit 2 Pro too. The default EQ preset, Soundcore Signature, goes for a misshapen V-shaped sound profile which sounds pretty wonky; go into the equalization menu straight away. The Intelligent Noise Cancellation feature also gets in the way, by messing with your sound constantly; turn this off too.

You probably wouldn’t be buying adjustable buds like this if you weren’t okay with some tweaking, though; just know that you’ll have to be doing it quite a bit.

Soundcore Aerofit 2 Pro review: Specifications

Component	Value
Water resistant	IP55
Battery life	7 hours (earbuds), 34 hours (total)
Bluetooth type	Bluetooth 6.1
Weight	11g / Charging case: 109g
Driver	11.8mm

Soundcore Aerofit 2 Pro review: Price and availability

The Soundcore Aerofit 2 Pro case. — (Image credit: Future)

Released on January 6, 2026
Priced at $179.99 / £179.99 (roughly AU$350)
Paying a premium for the novelty

Anker unveiled the Soundcore Aerofit 2 Pro at CES 2026 in the first week of the year, and put them on sale immediately after. Perfect for your new year’s fitness resolution.

The earbuds cost $179.99 / £179.99 (roughly AU$350, but they don’t seem to have joined Soundcore’s line-up in Australia). That’s the official price, but mere weeks after release, I’ve seen them discounted by $30 in the US and £10 in the UK.

As open earbuds go, that price is on the higher side of things, but you’re paying to be the first to test this novel kind of tech.

It’s a little higher than the launch price of the first Aerofit Pro, but that device plummeted in price over two years, and we could see the new model drop to similar lows over time.

Soundcore Aerofit 2 Pro review: Design

Image 1 of 2

The Soundcore Aerofit 2 Pro in a man's ear, in open mode. — (Image credit: Future)

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The Soundcore Aerofit 2 Pro in a man's ear, in ANC mode. — (Image credit: Future)

Easy to switch between open- and closed-ear fit
Weak loop and heavy earpiece affect wear
IP55 protection, comes in black, white or purple

I’ve already described the Aerofit 2 Pro’s transforming gimmick; but how does it work? Basically, the sports loop connects to the driver housing via a connector that can be moved around five different settings; each one results in a different angle for the earpiece to sit at, relative to your ear. At the furthest extent, said headshell sits right in your ear, and at the opposite extent it’s hovering high above it. The first two are ANC (in-ear) mode, the latter two open mode, and the middle one is something in between.

I was skeptical about this, but functionally it works really well. Quickly I became adept at opening or closing the buds while they were in my ear, and in no time I was doing so without breaking my stride while on a run. Unfortunately, basically everything about this design (other than the ease of switching) poses problems.

The key one problem is the loop, made out of a thin silicone which just isn’t rigid enough to hold the earbuds in place. When I was running or working out with the buds, I often found that the battery-bearing counterweights would wobble. It was especially noticeable when in ANC mode. They never fell out, but it was an annoying sensation.

This is exacerbated by the buds’ weight. At 11g each, they’re the heaviest than any other open earbuds I remember testing.

The Soundcore Aerofit 2 Pro on a ledge. — (Image credit: Future)

The tip-less design brings with it another problem: the sound leakage on these things, especially in open mode, is significant. Your gym peers will definitely hear what you’re listening to.

Each bud has a button. No, not a sensor or an area you tap and pray something happened: an honest-to-God area that you press in and hear a satisfying ‘click’. Lovely. It’s really easy and simple to use when the bud is in open mode, however when in ANC mode, I found that the pressure needed to press the button instead just pushed it into my ear.

Now that I’m complaining about things: the material used for the end of the bud is a dirt magnet. When it’s in the case or ear it’s fine, but when I put the buds in my pocket or dropped them on the floor, they quickly picked up fluff and particles that were quite hard to clean off. That’s all to say: excuse the review images, I tried my best.

This section is already far too long, but let’s briefly touch on the case. It’s certainly on the big side, even for sports-hook earbuds, and it weighs 109g (including the buds). It has some neat touches: an LED bar gives you an indication of how much charge you have left, and the case also facilitates wireless charging.

Design score: 3.5/5

Soundcore Aerofit 2 Pro review: Features

The Soundcore Aerofit 2 Pro in a man's hand. — (Image credit: Future)

Little noise is cancelled due to design and the ANC algorithm
Battery life is 7 / 34 hours with ANC on
Several app features including handy EQ presets

Why have I been calling one form of the Soundcore Aerofit 2 Pro ‘ANC mode’? That’ll be because when you’re at these extensions, noise cancellation will turn on, ostensibly stopping as much surrounding sound as possible from entering your ears. An anti-open-ear mode, so to speak.

However, the Aerofit run into the same problem as the Apple AirPods 4 with ANC: there’s no rubbery ear tip to create a natural sound-blocking seal, and so the noise cancellation is fighting an impossibly steep uphill battle from the outset. It doesn’t win the battle, and it’s very easy to hear surrounding sounds in this mode – I can hear myself typing this sentence over fairly loud music. It’s not a totally lost cause, and sounds are made quieter, but there’s little meaningful difference between open mode and ANC mode.

ANC mode may do more harm than it’s worth, though, because of Soundcore’s adjustable ANC. This is designed to automatically adjust noise cancellation and many earbuds have similar modes, but on the Soundcore, it had too dramatic an effect on the sound. Frequently, I’d hear dramatic shifts in listening volume or sound profile, and sometimes the volume wouldn’t be able to go very high to compensate for the ANC. On my first run with the buds, I was frustrated with how quiet the max volume was – until I realized it was the noise cancellation running amok. Thankfully this mode can be turned off.

Soundcore puts the battery life of the buds at 7 hours in open-ear mode and 5 hours with ANC turned on. My testing suggests these figures could be a little conservative, so I’m not going to knock the buds like I normally would with 5-hour listening time buds.

The Soundcore app brings a few extra features to the earbuds. These include the ability to customize what the touch controls do, a low-latency and a Spatial Audio mode, an equalizer and the ability to make ANC toggling manual instead of automatic.

The equalizer has a healthy selection of presets, most of which make meaningful adjustments to the sound, and there’s also an eight-band custom option too. I particularly like the Volume Booster preset, which doesn’t exactly sound fantastic, but it gives the buds that extra ‘oomph’ that you need with open buds when venturing somewhere noisy.

Pairing the buds to my phone was quick and easy, however I did have the occasional stuttering and connection dropping problems during testing.

Features score: 3/5

Soundcore Aerofit 2 Pro review: Sound performance

Single 10.8mm driver
Music sounds lifeless
Lovely, high max volume

There’s a custom-built 11.8mm driver in each of the Aerofits. Their most impressive feature, though, may be the support for Bluetooth 6.1, which is more advanced than most smartphones you’d be pairing the buds with. That pairs with Hi-Res Audio Wireless certification and a support for LDAC.

When I first started listening to the Aerofit 2 Pro, I was in a quiet home and listening on ANC mode, and I was impressed by a few aspects. There’s decent spacing between instruments, and enough detail to hear the timbre of instruments. Lovely, and unexpected for fitness earbuds like these. However I made the critical mistake of listening to the Soundcore Signature EQ preset for much of my testing period.

This doesn’t sound great: it elevates treble, mutes bass and drops mids almost entirely, like V-shaped sound profile with a lop-sided ‘V’. Uncle Kracker’s In A Little While had distorted guitar that sounded like a fan with a scrap of paper stuck in it, while the chorus of Five More Minutes by The War and Treaty sounded like a duet between vocals and a lawnmower. And treble was far too prominent: Don McCloskey’s First In Flight was constantly jump-scaring me with brass stings.

However, jumping into the EQ preset menu let me salvage my listening experience; I’d recommend buyers to switch straight to ‘Balanced’, or one of the genre-based EQs if you only listen to one kind of music. Balanced levels out that ‘V’ into much more of a flat line, so you can enjoy the high-quality audio without any line or instrument being overwritten.

Max volume for the buds is pretty loud, especially on Volume Booster, but the auto-ANC mode can put a pretty significant upper limit; turn this off.

Sound performance score: 4/5

Soundcore Aerofit 2 Pro review: Value

The Soundcore Aerofit 2 Pro next to their case. — (Image credit: Future)

Novelty form factor aside, the Soundcore Aerofit 2 Pro go for quite a high price, compared to other open earbuds you’d be considering. These aren’t a budget option by any stretch of the imagination – I’d go so far as to call them premium, given that relatively few options exist above the $/£200 threshold.

All considered, it feels a little hard to recommend them for the price – you’re paying for the privilege of testing a new form factor of headphone, not for an especially competitive feature set or sound quality. You're not being ripped off exactly, but it's not a competitive price.

If you can find the Aerofit 2 Pro discounted, though, they’d be well worth considering. They don’t even need an especially meaty price cut; the minor discount already available is a good start.

Value score: 3.5/5

Soundcore Aerofit 2 Pro review: scorecard

Category	Comment	Score
Value	The Aerofit's price matches some premium alternatives.	3.5/5
Design	The two-in-one design and switching works well; some other elements don't.	3.5/5
Features	The ANC doesn't work too well and the battery life isn't fantastic, although the app brings some nice additions.	3/5
Sound	Play around with the settings enough, and you can get detailed, expansive audio that'll surprise you compared to other fitness buds.	4/5

Soundcore Aerofit 2 Pro: Should I buy?

The Huawei FreeClip 2 buds in a case, leaning on a zippo lighter. — (Image credit: Future)

Buy them if...

The 2-in-1 gimmick appeals
Think you want buds that switch between open and standard sports earbuds? You won't be disappointed by how Anker does it.

You want treble-first sound
The Aerofit aren't bassy buds, and they'll appeal to people who prefer hearing lyrics, spoken words or guitar solos.

You appreciate wireless charging
We don't see wireless charging available on many earbuds cases, especially sports-specific ones. If you like the feature, the Aerofit have you covered.

Don't buy them if...

You have noise that needs cancelling
Even in ANC mode, the noise cancellation of the Aerofit isn't competitive.

You won't use the 2-in-1 design
You're paying a premium for the novel form factor of the Aerofit. If you don't think you'll use it enough, other options will give you more value for money.

Also consider

Component	Soundcore Aerofit 2 Pro	Shokz OpenFit 2+	Huawei FreeArc
Water resistant	IP55	IP55	IP57
Battery life	7 hours (earbuds), 34 hours (total)	11 hours (earbuds), 48 hours (total)	7 hours (earbuds), 23 hours (total)
Bluetooth type	Bluetooth 6.1	Bluetooth 5.4	Bluetooth 5.2
Weight	11g / Charging case: 109g	9.4g / Charging case: 56g	8.9g / Charging case: 67g
Driver	11.8mm	17.3mm	17mm x 12mm

Shokz OpenFit 2+

Our favorite open earbuds right now come from Shokz, and they offer the full package: a stable fit, great sound quality and a solid feature set. Best of all, they either match or undercut the Soundcore depending on where you live.

Read our full Shokz OpenFit 2+ review

Huawei FreeArc

Want an affordable alternative? The Huawei FreeArc cost half the price of the Soundcore, and have fantastic sound. The case is small and the buds fit well.

Read our full Huawei FreeArc review

How I tested

I tested the Anker Soundcore Aerofit 2 Pro for just over two weeks in order to write this review. During this time, they were paired with my Android smartphone.

In that time, I used the Soundcore on runs, at the gym and on cylces. But because of their dual-purpose design, also treated them as my everyday headphones in that time, so I listened at home, on public transport, and on walks around my neighborhood. Most of the testing was done on Spotify, YouTube and Prime Video's apps.

I've tested plenty of open earbuds for TechRadar over the last few years, as the audio segment has emerged, as well as countless other earbuds and headphones.

Soundcore Aerofit 2 Pro: Two minute review

Image 1 of 2

Image 2 of 2

The loop material is also quite flimsy, so the buds wobble a lot, and the buttons are hard to press when in ANC mode (but, admittedly, very easy in open mode).

You probably wouldn’t be buying adjustable buds like this if you weren’t okay with some tweaking, though; just know that you’ll have to be doing it quite a bit.

Soundcore Aerofit 2 Pro review: Specifications

Component	Value
Water resistant	IP55
Battery life	7 hours (earbuds), 34 hours (total)
Bluetooth type	Bluetooth 6.1
Weight	11g / Charging case: 109g
Driver	11.8mm

Soundcore Aerofit 2 Pro review: Price and availability

Released on January 6, 2026
Priced at $179.99 / £179.99 (roughly AU$350)
Paying a premium for the novelty

Anker unveiled the Soundcore Aerofit 2 Pro at CES 2026 in the first week of the year, and put them on sale immediately after. Perfect for your new year’s fitness resolution.

As open earbuds go, that price is on the higher side of things, but you’re paying to be the first to test this novel kind of tech.

It’s a little higher than the launch price of the first Aerofit Pro, but that device plummeted in price over two years, and we could see the new model drop to similar lows over time.

Soundcore Aerofit 2 Pro review: Design

Image 1 of 2

Image 2 of 2

Easy to switch between open- and closed-ear fit
Weak loop and heavy earpiece affect wear
IP55 protection, comes in black, white or purple

This is exacerbated by the buds’ weight. At 11g each, they’re the heaviest than any other open earbuds I remember testing.

The tip-less design brings with it another problem: the sound leakage on these things, especially in open mode, is significant. Your gym peers will definitely hear what you’re listening to.

Design score: 3.5/5

Soundcore Aerofit 2 Pro review: Features

Little noise is cancelled due to design and the ANC algorithm
Battery life is 7 / 34 hours with ANC on
Several app features including handy EQ presets

Pairing the buds to my phone was quick and easy, however I did have the occasional stuttering and connection dropping problems during testing.

Features score: 3/5

Soundcore Aerofit 2 Pro review: Sound performance

Single 10.8mm driver
Music sounds lifeless
Lovely, high max volume

Max volume for the buds is pretty loud, especially on Volume Booster, but the auto-ANC mode can put a pretty significant upper limit; turn this off.

Sound performance score: 4/5

Soundcore Aerofit 2 Pro review: Value

If you can find the Aerofit 2 Pro discounted, though, they’d be well worth considering. They don’t even need an especially meaty price cut; the minor discount already available is a good start.

Value score: 3.5/5

Soundcore Aerofit 2 Pro review: scorecard

Category	Comment	Score
Value	The Aerofit's price matches some premium alternatives.	3.5/5
Design	The two-in-one design and switching works well; some other elements don't.	3.5/5
Features	The ANC doesn't work too well and the battery life isn't fantastic, although the app brings some nice additions.	3/5
Sound	Play around with the settings enough, and you can get detailed, expansive audio that'll surprise you compared to other fitness buds.	4/5

Soundcore Aerofit 2 Pro: Should I buy?

Buy them if...

The 2-in-1 gimmick appeals
Think you want buds that switch between open and standard sports earbuds? You won't be disappointed by how Anker does it.

You want treble-first sound
The Aerofit aren't bassy buds, and they'll appeal to people who prefer hearing lyrics, spoken words or guitar solos.

You appreciate wireless charging
We don't see wireless charging available on many earbuds cases, especially sports-specific ones. If you like the feature, the Aerofit have you covered.

Don't buy them if...

You have noise that needs cancelling
Even in ANC mode, the noise cancellation of the Aerofit isn't competitive.

You won't use the 2-in-1 design
You're paying a premium for the novel form factor of the Aerofit. If you don't think you'll use it enough, other options will give you more value for money.

Also consider

Component	Soundcore Aerofit 2 Pro	Shokz OpenFit 2+	Huawei FreeArc
Water resistant	IP55	IP55	IP57
Battery life	7 hours (earbuds), 34 hours (total)	11 hours (earbuds), 48 hours (total)	7 hours (earbuds), 23 hours (total)
Bluetooth type	Bluetooth 6.1	Bluetooth 5.4	Bluetooth 5.2
Weight	11g / Charging case: 109g	9.4g / Charging case: 56g	8.9g / Charging case: 67g
Driver	11.8mm	17.3mm	17mm x 12mm

Shokz OpenFit 2+

Read our full Shokz OpenFit 2+ review

Huawei FreeArc

Want an affordable alternative? The Huawei FreeArc cost half the price of the Soundcore, and have fantastic sound. The case is small and the buds fit well.

Read our full Huawei FreeArc review

How I tested

I tested the Anker Soundcore Aerofit 2 Pro for just over two weeks in order to write this review. During this time, they were paired with my Android smartphone.

I've tested plenty of open earbuds for TechRadar over the last few years, as the audio segment has emerged, as well as countless other earbuds and headphones.