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I didn’t think it could be done — the Nothing Headphone (a) fix all the problems of the original while being way cheaper

2:15 pm | March 5, 2026

Nothing Headphone (a) review

The Nothing Headphone (a) are just about the dream tech version 2.0 launch. As the follow-up to the Nothing Headphone (1), launched in 2025, they fix the sound problems I had with those headphones, they keep the excellent stuff I liked, and they somehow cut the price in half in the process (in one country, at least).

What more could you ask from something that's looking to go from audio also-ran to ranking among the best headphones available today? At their official price of $199 / £149 / AU$329, I think the Nothing Headphone (a) are arguably the best cans in their category — just with a few reasons why you might want to choose something else over them.

Let's start with the most important area: the sound. As soon as I fired these up, I felt a sense of relief. Nothing's first headphones baffled me in my Nothing Headphone (1) review with their oddly narrow soundstage that felt like the breadth of a song's traffic was being crammed down a single-lane road.

The Nothing Headphone (a) immediately feel like a big expansive highway in comparison – it's an open, wide and free-flowing soundstage that allows songs to spread out and to feel more energetic, emotive and satisfying. And when I say "in comparison", I mean I broke out the original $299 / £299 / AU$549 model for a listen, and while they have their strengths (a nicely refined frequency balance), the new model is so much more enjoyable to listen to.

The Nothing Headphone (a) ear cushions and mesh inside them — There are 40mm drivers under the mesh (Image credit: Future)

And this improvement has come without any major downsides, though there's one quirk worth discussing. My unit came with the 'More Bass' setting activated out of the box, and this was certainly much more generous with the bass than the Headphone (1) was, to the point of wandering into the 'bass-heavy' category.

This was no problem at all with electronic or pop music — the strength of the lower frequencies gives a glorious foundation to deep drum machines or sinking synths. It's also well integrated into the overall balance, despite being so muscular, with the Headphone (a) having no problems delivering lower mids that can stand up to, or transition from, the bassier parts.

But it was too much for some tracks with real instruments. In Regulars by Allie X, the double bass that opens the song sounded like the instrument was collapsing under its own vibrations. I pulled up the EQ in the Nothing app, saw it was set to 'More Bass', switched to 'Balanced' instead, and immediately the double bass went back to sounding like a double bass, instead of a quadruple bass.

This took a bit of a punch out of electronic songs when I switched back to those, but the bass still had good depth, its integration with the rest of the sound was still excellent. But Nothing's superb app gives a nice option here that I decided to take it up on: I set one of the controls to be an instant EQ switch, so I could get the extra bass if I wanted it.

The Nothing Headphone (a) earcups in close-up — The oval section is more rounded on these headphones than the original (Image credit: Future)

The Headphone (a) provide loads of space for the mid-range to express itself, with a nice chunkiness to guitars, the ability to handle a lot of complex instruments going on at once, and a nice clarity to vocals through it all.

Moving to the treble, it's again just very well worked into the sound, able to stand up for itself without ever feeling harsh or like it's overblowing in order to be heard even when songs get really energetic.

But there is a slight softness of detail to the Headphone (a)'s sound. They're not poor in this area by any means, but switching to the similarly-priced Sennheiser Accentum Plus reveals a slightly more convincing edge to the guitar strings and tambourine in Fleetwood Mac's Go Your Own Way, and more texture to the beat of sticks on drumskins in Sonny Rollins' St. Thomas. There's also better instrument separation in the mix.

The Sennheiser Accentum Plus also have a more neutral sound overall, but this comes alongside a shortfall in bass depth and less dynamic attack in playback. I probably prefer the Nothing Headphone (a) overall for sound given my personal predilection for electronic music, but if you're more of an acoustic fan, you may be better off leaning towards the Sennheiser.

This doesn't change when switching to Hi-Res Audio and listening over USB-C, or with LDAC higher-quality wireless, both of which are supported here (along with a 3.5mm headphone jack). The USB-C mode maybe had a little extra lightness of touch with instrument separation and detail, but any difference was minor.

The Nothing Headphone (a) held in a man's hand — The overall design vibe is a little more 'regular' than the original Nothing headphones (Image credit: Future)

The Sennheiser cans are also much lighter than the Headphone (a) at 227g, versus 310g for the Nothings. That's an improvement on the 329g that the Headphone (1) weigh, but is still higher than most of the competition, and means they still need a stronger clamping force to stay on your head than lighter competition.

Again, this isn't inherently a bad or good thing, but you will 'feel' them more than other headphones, and the synthetic pads aren't designed to be particularly breathable, so left the sides of my head feeling warm over time.

It's probably worth talking about the overall design for a moment here, which is very similar to the original, but has been 'softened' in a way that makes them feel less like they make you look like a cyborg (a good thing), but the ear cups look less like cassette tapes (a shame). Aluminum is now plastic, and gentler curves to the raised section in the middle of ear cups makes all the difference.

Nothing Headphone (a) next to Nothing Headphone (1) — Original flavor on the left, new flavor on the right (Image credit: Future)

Sadly, I don't love the new yellow and pink colorful options. I think there's not enough color for it to really work – the yellow in particular looks like a fried egg, because the rounded yellow mound is surrounded by white. I think there needed to be more color throughout. I love the changes in the white and black models, though – undeniably Nothing, but more mainstream than the divisive Nothing Headphone (1).

Nothing has kept a quirk of headphone design that I don't like here, in that the size is adjusted at the top of the head, rather than by the ears, which I find makes it harder to make micro-adjustments, but isn't a big deal overall.

The Nothing Headphone (a) headband — The headband adjustment is way higher up than on most cans (Image credit: Future)

What is a big deal is that Nothing has kept the fantastic set of controls from the Headphone (1). In particular, the roller for volume control is my favorite control system on any pair of headphones, period. It feels so high quality, it moves reliably under the thumb, and audible clicks tell you that it's moving up through volume tiers. Anything else feels crude in comparison.

That is paired with a 'rocker' control underneath, which is also super-intuitive. Nudge it one way to skip forward, and the other way to skip back. At the top of the right ear cup is a round multi-function custom button that was set to trigger your Voice Assistant by default; I changed it to EQ control, as I mentioned, but it can also work as a camera remote trigger (a new feature for this model) or a mic mute button, or a few other options.

The Nothing Headphone (a) roller and rocker controls on the side — The roller control at the top, with the rocker underneathFuture

The Nothing Headphone (a) customizable button — The roller control at the top, with the rocker underneathFuture

And you'll absolutely want to play around with this, because Nothing's app is so good. Not only are the headphones customizable in so many ways — different noise cancellation options, different spatial audio types, multiple EQ controls — it's also just really simple to find the key features you want to turn on and off, such as the low-lag mode for gaming, or dual-device connectivity (which really should be on by default, but most devices have it off, so I won't knock Nothing hard for that).

We recently knocked the Sony WF-1000XM6 earbuds for making it hard to find its essential features, so it's nice to see Nothing show how it should be done.

I mentioned spatial audio options before, and while you don't get head tracking or Dolby Atmos here, there are two options with processing handled by Nothing: Concert and Cinema. Concert does a good job of moving sound out from the ear cups, and making it feel like more of a speaker setup across and in front of you.

Cinema adds more left and right sound to that, while also pushing the EQ a little more towards the treble — going for more of a 'surround sound' experience and boosting voices, I suspect — and I found it useful for picking dialogue out of movie soundtracks, so I'd happily use it when watching while traveling.

Speaking of traveling, the noise cancellation here is strong, though not mind-blowing, and that's just fine for this level. Walking along a busy road while listening to music, I wasn't bothered by outside sounds at all. I could hear podcasts clearly while on public transport. The Transparency profile also works as advertised, and never makes things robotic or tinny.

But I want to briefly call out here that Nothing provides the best sounds to indicate what noise mode you're in. Switching to Transparency is announced by an exhaled breath as if sound is escaping; noise canceling is announced by the sound of something being sucked down and then slammed shut. There's no ambiguity here, and no annoying voice.

Nothing promises a phenomenal 75 hours of battery life with active noise cancellation turned on, and 135 hours with it turned off. I couldn't possibly test both claims fully in my time with them so far, even if I used them every waking hour. But I can say that they seem to live up to it, with the battery indicator dropping by 20% after around 13 hours of use.

This makes them essentially best in class, and phenomenal value. In general, I'd say these are about as good as headphones value gets in this space between the budget and premium options. There are only really two knocks against their value worth mentioning.

The first is that it's a shame they don't have an auto-pause feature (also called wearer detection) for when you take them off. It's pretty standard even in affordable stuff these days and while I'm not mad about it since they offer so much elsewhere, it's still surprising.

The second is that in lieu of a hard case (presumably dropped for cost reasons; again, it's understandable) they come with what I can only describe as a swimbag. Yes, it's like a smooth plastic fabric. Yes, it closes with a drawstring. Yes, it made me kind of nostalgic. No, it doesn't feel like a premium addition.

The Nothing Headphone (a) plastic bag — (Image credit: Future)

The thing with the Nothing Headphone (a) is that all the knocks I have against it are either minor like the above, or are more subjective, like the weight and clamping force.

There are enough little downsides or quirks that I can't quite give them full marks, but make no mistake that I think these are excellent headphones, that they'll be ideal for a lot of people, and that they're superb value.

Nothing Headphone (a) review: Price & release date

Released on March 13th, 2026
$199 / £149 / AU$329

The Nothing Headphone (a) arrive with an impressive price of $199 / £149 / AU$329, meaning that they come in at half the price of the earlier Nothing Headphone (1) and their £299 launch price in the UK, while they're a third cheaper than the $299 Headphone (1) price in the US. In Australia, the drop from AU$549 for the Headphone (1) is between those two percentages.

I should note that they Headphone (1) have been available for as little as $254 / £199 / AU$350 in sales events, though — but I have no doubt the Headphone (a) will see juicy discounts too.

Instead of putting them in direct competition with high-end releases from the likes of Bose and Sony, the Headphone (a)'s mid-to-low price tag puts them up against the likes of Sennheiser's Accentum Plus or Soundcore Space One Pro.

Nothing Headphone (a) review: Specs

Drivers	40mm
Active noise cancellation	Yes
Battery life (ANC off)	135 hours
Weight	310g
Connectivity	Bluetooth 5.4, LDAC, USB-C audio, 3.5mm jack
Frequency response	20Hz - 40kHz
Waterproofing	IP52

The Nothing Headphone (a) close-up of the ear cup — (Image credit: Future)

Should I buy Nothing Headphone (a)?

Attribute	Notes	Score
Features	They're generally best-in-class for features, but miss just a few minor options.	4.5 / 5
Sound quality	Expansive and exciting with excellent balance, but a little soft on detail.	4.5 / 5
Design	The best controls of any headphones, and a premium build – but a little heavy.	4 / 5
Value	An excellent mix of features and performance for a very fair price.	4.5 / 5

Buy them if…

You want excellent all-rounders for Android or iPhone
No matter which platform you're on, the Headphone (a) deliver an excellent range of features, great sound, and their mighty battery life.View Deal

You like a big and energetic sound
The Nothing Headphone (a) deliver fun and dynamic audio that's finely balanced, and is much more expansive than the Nothing Headphone (1).View Deal

You don't like to think about charging
75 hours with ANC on, and 135 hours without it, are as good as it gets in headphones right now.View Deal

Don’t buy them if…

You want a neutral, hi-fi sound
They're well-balanced, but still like to juice up songs a little — the Sennheiser Accentum Plus can deliver a more neutral sound with a little more instrument separation.View Deal

You don't like to 'feel' your headphones
Nothing has made these lighter than its first pair, but they're still heavier than most other options, and clamp the head more firmly as a result.View Deal

You need a protective case
If you don't treat your headphones very well in your work or gym bag, the flimsy plastic drawstring sack the Nothing Headphone (a) come with won't do much to help them.View Deal

Nothing Headphones (a) review: Also consider

Sennheiser Accentum Plus
If you'd like a more 'hi-fi' sound than the Nothing provide, in a lighter body, then these are ideal. They're a bit more detailed and neutral, and battery life is great at 50 hours. You'll miss out on a lot of features in comparison, though – but we do like them, as our Sennheiser Accentum Plus review explains.View Deal

Sony WH-1000MX4
Still available to buy over five years since they launched, and now available for a price in the same range as the Nothing Headphone (a). Good sound, great noise cancellation, a super-comfortable fit, and a hard case, for those who want one. They have a solid range of features, but not as many as the Nothing – and the battery life is 30 hours with ANC on. Still, they're great cans – you can read our original Sony WH-1000XM4 review there.View Deal

How I tested the Nothing Headphone (a)?

The Nothing Headphone (a) worn on a man's head — These look a little more natural on the head than the Headphone (1), thanks to some tactical curvier design (Image credit: Future)

Used for a week in my day-to-day life
Tested largely over standard Bluetooth and USB-C hi-res wired audio
Tested with a pre-release update to the Nothing X app

To test the Nothing Headphone (a), I started carrying them everywhere with me and made them part of my normal life. I used them on both walking and public transport commutes, around the house, and at the office.

I compared them directly to the Nothing Headphone (1), Sennheiser Accentum Plus and Sony WH-1000XM4 headphones, switching back and forth, as the headphones I think are the biggest alternative options. I had access to an early version of the Nothing X app with support for their features, so some details may change there before launch.

I lead TechRadar's AV team, and I've been reviewing audio gear for well over a decade, from the budget end of things all the way to up to high-end audiophile tech. I reviewed the earlier Nothing Headphone (1), as well as this newer model.

Read TechRadar’s reviews guarantee
First reviewed: March 2026

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

12:34 pm | March 4, 2026

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

Cambridge L/R S: Two-minute review

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

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

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

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

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

Cambridge L/R S review: Price & release date

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

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

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

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

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

Cambridge L/R S review: Features

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

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

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

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

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

Features score: 5 / 5

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

Cambridge L/R S review: Sound quality

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

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

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

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

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

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

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

Sound quality score: 5 / 5

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

Cambridge L/R S review: Design

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

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

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

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

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

Design score: 4.5 / 5

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

Cambridge L/R S review: Usability & setup

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

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

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

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

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

Usability & setup score: 4.5 / 5

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

Cambridge L/R S review: Value

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

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

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

Value score: 5 / 5

Should I buy Cambridge L/R S?

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

Buy them if…

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

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

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

Don’t buy them if…

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

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

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

Cambridge Audio L/R S review: Also consider

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

How I tested the Cambridge L/R S

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

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

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First reviewed: March 2026

I’ve been using these super-cheap headphones for a month — I’m surprised to report they sound great

5:30 pm | February 27, 2026

Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: ANC, Australia, UK, US | Comments: Off

OneOdio Focus A1 Pro: Two-minute review

It’s a competitive world out there for the best cheap headphones — OneOdio should know, it’s contributed a fair few options. And with its most recent pair of budget blowers, it’s offered yet another fantastic-value headset with just a few rough edges.

The OneOdio Focus A1 Pro are the cheapest pair of headphones we’ve tested yet from the budget brand, and that’s really saying something. They cost just $35 or equivalent, undercutting the 4.5-star-rated OneOdio Focus A6. If you’re looking for a pair of headphones that’ll last you well, and really don’t want to spend much money, they’re a hit.

Last you they will, because they offer a battery life that reaches up to 70 hours, which is fantastic for the money. They’re also lightweight and easy to tote about, and these perks will likely be big draws to buyers on a budget.

My favorite element of the Focus A1 Pro is the audio quality: these headphones sound better than anything else I’ve tested under $50. That’s obviously a low bar, but the OneOdio easily clears it, with music sounding natural and bright with a decent sound stage.

When buying budget headphones, there’s always a big risk that you’re buying tat that’ll end up in landfill (or a box to take to your local recycling center) by the end of the month. I’m happy to report that the OneOdio certainly aren’t that… but they have a few issues too.

Lots of the weakest elements of the A1 Pro are things I’ve seen in other OneOdio headphones, such as the Focus A5 (which I only awarded three stars, in my review).

These new cans don’t have a tie-in smartphone app, and nor do they offer many of the features that an app would help open the door to. Most vitally, there’s no equalizer, which many consider an imperative feature for products such as this. The ANC performance is also weak, with the passive padding of the cups doing the lion’s share of the work in stopping surrounding sounds from distracting you. Now, we can easily argue that it would be churlish to expect these things for such a lowly fee, but it's my job to tell you what you'll be getting here if you click 'buy'.

I also found these cans a little uncomfortable to wear over longer periods of time, partly due to their rather tight clamping force, and partly because they sit somewhere between on-ears and over-ears. Your poor flappers are going to get a little crushed.

OneOdio Focus A1 Pro review: Price and release date

The OneOdio Focus A1 Pro a lamp, with a bookshelf in the background. — (Image credit: Future)

Released on January 20, 2026
Sells for $34.99 / £43.99 (roughly AU$85
On sale in UK and US, not Australia

You can pick up the Focus A1 Pro for $34.99 / £43.99 (roughly AU$85, but unlike many other cans from the company, they don’t yet seem to be on sale in Australia).

You think that makes them some of the cheapest headphones worth considering? Wait until you hear the actual price; within two weeks of the release date of January 23, I’d already found them discounted. Only by a couple of dollars or pounds, but it's still something, and OneOdio promises continued price cuts through the year.

The headphones were announced on January 20, 2026, and released shortly afterwards.

OneOdio Focus A1 Pro review: Specs

Drivers	40mm
Active noise cancellation	Yes
Battery life (ANC off)	70 hours
Weight	200g
Connectivity	Bluetooth 6.0
Frequency response	20Hz - 20kHz
Waterproofing	N/A

OneOdio Focus A1 Pro review: Features

The OneOdio Focus A1 Pro on a wooden table. — (Image credit: Future)

70-hour battery life
ANC is resoundingly light-touch
No app

In what might come as a shock to headphone buyers in the year 2026, the Focus A1 Pro don’t have a smartphone app. Of all the features this rules out, an equalizer is the biggest: if you don’t like OneOdio’s mix, you'll have to lump it.

You do still get multipoint pairing, as well as a low-latency mode for gaming which is enabled by double-pressing the ANC button. But this department more than any other shows why the headphones are so cheap.

Talking of ANC, it’s not very good, but coupled with the natural passive noise cancellation of the ear cups, it’ll remove the top layer of annoying noise. When I was on public transport, I could still hear every screech of noisy rails or honk of nearby vehicles, but it was a little less onerous than normal.

I personally took to keeping the ANC off, though, and it was for battery reasons. With ANC off, you get 70 hours of listening time, which is solid stamina. For context, if you listened for about three hours and 20 minutes every day, you’d only have to charge every three weeks.

That figure drops substantially with ANC on; OneOdio’s figures alternate between quotes of 40 or 50 hours, and the truth is likely somewhere in between. I’d rather have the longer listening time than the scant improvements this particular ANC solution brings.

I was surprised to read that the OneOdio has Bluetooth 6.0; it’s rare among headphones I’ve tested recently in having this enhanced standard. Not once in testing did I have any connection issues.

Features score: 3.5/5

OneOdio Focus A1 Pro review: Design

The OneOdio Focus A1 Pro on a man's head. — (Image credit: Future)

Sustainable build
Comfortable to wear
Incredibly handy joystick controls

The Focus A1 Pro are, by and large, your standard headphones: big, black band with an ear cup at each end, that give you music. No-one was expecting OneOdio to reinvent the wheel for $35.

They weigh 200g, and while they have a few little design flourishes that differentiate them from your average budget cans (some curves and patterns in the appearance, for example), they do feel cheap. The build is plastic-heavy and some of the moving parts can wobble or creak a little bit.

You don’t get a carry case with the Focus, and I was a little scared to transport them in my bag, as they feel a tad fragile. They also have no IP rating. That said, during my testing month, they sustained no damage whatsoever.

I’ve so far refrained from classing these as over-ears or on-ears, as they sit haphazardly in the middle of both. Forget Goldilocks’ messaging, though, because it’s not ‘just right’ either. They sit a little weirdly on the head, for me.

The pads, while soft, crush your ears a little over time; this was noticeable when listening for longer sessions, as my ears would get a bit achey. The rather tight grip of the cans doesn’t help here either. I also never quite figured out exactly how to wear them, due to this over/on dilemma.

On the right cup, there are some touch controls (volume up and down, power, ANC; the basics) as well as the USB-C port. These don’t stick out too much, so finding them by touch can be tricky. It took a little while for pressing these to become easy and natural. There’s no 3.5mm jack for wired audio; these are wireless or nada.

Design score: 3.5/5

OneOdio Focus A1 Pro review: Sound quality

40mm driver
Crisp, natural audio
Max volume could be higher

I’ve been positive about the Focus A1 Pro and that’s not going to stop now, but let’s get one thing straight: these are budget cans, and when I say they’re ‘good’, I mean ‘for the price'.

OneOdio has kitted out the headphones with 40mm dynamic drivers using PET diaphragms; so far, so budget.

Unlike many other budget headphones, the brand hasn’t fallen into the ‘more bass is more gooder’ trap — there’s a fairly natural-sounding V shape with distinct trebles in vocals, and bass that’s as rounded as you can hope for at this price point. I was surprised when songs like Starlight by Slash and Miles Kennedy offered layered instrumentation and palpable timbre, as it’s not something I’d expect for the cost.

Naturally, the mids can fall through the cracks, so you can’t expect the whole band to show up. And when you get songs with lots going on, instruments blur together; Clarity by Vance Joy doesn’t quite live up to its title.

I’ve been constantly mentioning the price in this scene, and it’s to cover my back. Audiophiles won’t like these cans, as the mixing is messier than it would be on pricier options. But if you compare these to other offerings at the price, they’re nothing short of wonderful.

I would’ve liked to see the Focus A1 Pro manage a higher max volume, though. At full blast, the audio could mostly compete with a busy-ish road I was walking down, but Nigel Tufnel would malign the lack of any 11 to turn your music up to for that harder hit. Even when at home, anything below 50% volume was hard to hear.

Sound quality: 4/5

OneOdio Focus A1 Pro review: Value

Great sound for price
Some rivals may beat in certain departments

The OneOdio Focus A1 Pro are fantastic for the price. They sound far better than you’d expect from budget cans, and I’ve tested rivals for twice the price which don’t hold a candle.

That’s not even touching on the solid battery life, the hardy connection or the useful-for-gamers latency mode.

If you look hard enough, you can probably find rival cans with better ANC, a comfier fit or an equalizer, and I’d like the OneOdio even more if it offered these. But for the price, it’s hard to knock the Focus for its absences.

Value: 4.5/5

Should I buy the OneOdio Focus A1 Pro?

OneOdio Focus A1 Pro score card
Attributes	Notes	Rating
Features	There’s no app and ANC isn’t great, though the battery life and connection are solid.	3.5/5
Design	For cheap earbuds, they look better than most, but have a few rough edges (literally).	3.5/5
Sound quality	These cans sound great for the price, with clearer audio and neater sound spacing than you’d expect.	4/5
Value	If you’re on a budget, these can’t be beaten	4/5

Buy them if…

You're on a tight budget
These headphones have been designed for people who don't want to pay for premium, or even mid-range, options.

Battery life is an important factor
The 70-hour battery life is going to be handy for all kinds of use cases.View Deal

You need lightweight headphones
Don't like a big helmet on your head? These are lighter than some alternatives I've tested.View Deal

Don’t buy them if…

You need something durable
The OneOdio feels a little fragile, and I don't imagine they'll stand up to some rough-and-tumble use.

You need heavy-duty noise cancellation
The ANC on these guys isn't fantastic, though it's better than nothing.

OneOdio Focus A1 Pro review: Also consider

	OneOdio Focus A1 Pro	Soundpeats Cove Pro	OneOdio Focus A6
Drivers	40mm	40mm	40mm
Active noise cancellation	Yes	Yes	Yes
Battery life (ANC on)	70 hours	95 hours	75 hours
Weight	200g	251g	240g
Connectivity	Bluetooth 6.0	Bluetooth 6.0	Bluetooth 6.0
Waterproofing	NA	IPX4	NA

OneOdio Focus A6
These high-rated budget cans cost a touch more than the A1 Pro, but app access is the headline improvement.
Read our full OneOdio Focus A6 review

Soundpeats Cove Pro
These slightly pricier alternatives have a solid build and impressive feature set, though they don't sound as good. (Our review on the Cove Pro is currently in the pipeline; when we publish it, you'll be the first to know!)

How I tested the OneOdio Focus A1 Pro

Tested for 1 month
Tested at home, on walks, on public transport and the gym

I used the OneOdio Focus A1 Pro for the best part of a month before writing this review, so they got a lot of use.

For most of the test period, the headphones were paired with my Android smartphone, though I also used them alongside an Android tablets at several points.

Testing was done streaming music, watching TV shows and playing games. I tested the headphones in various interior settings, while out and about, and during gym sessions.

I've been tested audio gadgets for TechRadar for years, including several previous OneOdio headphones and earbuds.

First reviewed in February 2026

Read TechRadar's reviews guarantee

‘I’m loving the audio and design upgrades, but one huge problem remains’ — after using Samsung Galaxy Buds 4 Pro for one week, there’s still an issue

9:00 pm | February 25, 2026

Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Tags: Samsung Galaxy Buds | Comments: Off

While the launch of the Samsung Galaxy S26 series has the phones world abuzz, it’s the unveiling of the company’s new audio products which is turning earbuds fans’ heads. The flagship new 'Buds' vying to feature in our best earbuds guide are the Samsung Galaxy Buds 4 Pro, which have just been released alongside their non-Pro counterparts. They are, depending on your persuasion, the follow-up to the Galaxy Buds 3 Pro, or the latest rival to the AirPods Pro 3.

As early leaks all-but confirmed, these buds have seen a design change, using a new version of what Samsung calls its ‘blade’ design to create a sleek and understated-looking model. I don’t know how much Marvel’s sword-wielding vampire-fighter had to do with the change, but it’s just the most readily-apparent of the several changes and upgrades coming to this new iteration.

At an early event I got to test the Galaxy Buds 4 Pro, as well as their non-Pro sibling, and since then I’ve been listening to them non-stop for the past week. That’s not enough time to write a full review (though rest assured one is coming), but below you’ll find my early impressions on this new pair of premium earbuds.

@techradar
♬ original sound - TechRadar

Samsung Galaxy Buds 4 Pro review: Price and availability

The Samsung Galaxy Buds 4 and Buds 4 Pro cases, stacked on top of one another. — (Image credit: Future)

Announced on February 25, 2026
Selling for $249 / £219 / AU$399
Matches AirPods Pro 3 in price — which is likely deliberate

The Samsung Galaxy Buds 4 Pro were unveiled on February 25, 2026, and they’re due to go on sale at the beginning of March.

To buy the new buds, you’ll have to shell out $249 / £219 / AU$399. That’s certainly a high price for earbuds, marking them as premium options, though it’s worth noting that this is the same launch price as the previous model.

Let’s put that in context: the latest AirPods Pro 3 cost $249 / £219 / AU$429 so it’s a similar price in most places, but Samsung undercuts Apple in Australia. The standard Galaxy Buds 4 go for $197 / £159 / AU$299, so they’re naturally cheaper, but you’re getting an open-style bud for that price.

Samsung Galaxy Buds 4 Pro review: Design

Two The Samsung Galaxy Buds 4 Pro in a man's hand. — (Image credit: Future)

New 'blade' look, old 'blade' traits gone
Feel solid in the ear
Annoying eartip problem returns

Changes to the Galaxy Buds 4 Pro are evident from the outset: they come in a clamshell-style charging case which is transparent in its lid, so you can admire the buds at will – it’s much easier to slot the buds into than the 3 Pro’s case was. It feels a little smaller but thicker, from my recollection of the last buds, though I can’t confirm that – either way, it was easy to slot into my trouser pockets.

The buds themselves have seen a redesign, and now have a brushed-metal edge which is lovely and understated. I’m personally a big fan of earbuds that aren’t bedecked in the company’s logo, and could proudly walk around without feeling like a Samsung billboard.

The brushed-metal edge of the Samsung Galaxy Buds 4 Pro. — (Image credit: Future)

Some more changes: Blade Light? Gone. Color-coded buds so you know at a glance which side of the case to put them in? Gone. Proprietary eartip-locking system which stops you using third-party tips, and makes them incredibly hard to remove? Sadly not gone, despite this finickity system causing so many problems in the Buds 3 Pro that they were delayed. I needed to switch the tips when I first received the buds, and was fearful of doing so given how easily I could have accidentally broken them. I can't understand why Samsung has left this big problem in place.

I switched out the tip because the buds’ fit didn’t feel solid, and changing to the biggest option didn’t remedy that. However, the only times they've actually fallen out is when I took them on a run; I'd say they're fine for everyday use, then, but aren't runners' buds.

Other than that, they’ve felt pretty reliable, even when I walked around with the buds at weird and irregular angles to test out one of their features (don’t tell my editor, who threatened to write a column calling out all the people who wear earbuds wrong). I was surprised by how much much I liked the on-stem touch controls too: swipe for volume, pinch for play/pause. Nice and convenient, and with a responsive ‘click’ for the latter too, reminding me of the Nothing Ear (a) which have a gold star in this department.

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♬ Straf (Theme) - Weval

Samsung Galaxy Buds 4 Pro review: Features

The Samsung Galaxy Buds 4 Pro, next to their charging case. — (Image credit: Future)

Solid ANC
App is chock-full of features
New live translation and head gestures

I remember being blown away by the Galaxy Buds 3 Pro’s ANC, and from early tests, it’s just as strong here. I’ve mostly been listening on the standard ANC mode, at full power, but there’s an Adaptive mode that I’m getting ready to try next. If there’s a flaw, it’s that Ambient mode seems weaker than on other buds I’ve tested, in that it lets through too much.

Like any good premium earbuds, there are plenty of app features in the Galaxy Buds 4 Pro. I spent a good long while playing around with tools like an earbud fit test, a 5-band equalizer with various presets, an Ultra High-Quality mode, 360 audio and setting up neck stretch reminders.

Two Samsung Galaxy Buds 4 Pro earbuds, in a man's hand. — (Image credit: Future)

The app also offers an adaptive sound mode, which offers a hearing test to create a bespoke sound profile – it’s simpler than the alternative offered by many rivals, and didn’t have an audible impact on my music. I must say, I’m not convinced by this one.

New features to the Galaxy Buds 4 Pro include head gestures to answer or reject calls, however I didn’t get to test this, due to no-one calling me in the test week (it’s 2026 – I don’t get many calls full stop). AirPods Pro-style Live Translation is also here, and thanks to an upcoming trip, it’s something I hope to test soon for the full review.

There's also the feature I referred to earlier in the article: adaptive casting, so the buds will recognize how you're wearing them and adapt playback accordingly. In short, if you're wearing the buds wrong, they'll play music slightly differently to atone for it. Perfect for all those people you see on the train who have the stems vertical (or horizontal).

Samsung Galaxy Buds 4 Pro review: Sound performance

The Samsung Galaxy Buds 4 Pro, on a plant pot. — (Image credit: Future)

Driver improvements offer better-defined bass
Support for high-quality music
Sounds great, with refined V-shaped audio

There's an audible change afoot in the Galaxy Buds 4 Pro; they have a slightly bigger driver, and according to Samsung this brings bass boosts. In my testing, this doesn’t mean more bass, but better bass.

Lower-frequency instruments don't dominate the other tracks as much as in rivals, but sit better alongside them, with better definition and timbre. It feels more natural, and less like a filter slapped over music.

Beyond that, these sound similar to the previous-gen model: really, really good, with a gentle V-shaped sound. Sharp treble, wide sound stage, high quality of tracks supported. Expect a more detailed and nuanced analysis when the novelty has worn off, but to praise them simply: I used them for hours on my return trip from covering the Bristol Hi-Fi show, and didn’t find them as much of a sad comedown as I expect any other earbuds would be (to clarify, I'd spent the days listening to speakers and hi-fi systems that cost hundreds of thousands, in any currency you like).

I should note, I did much of my listening on a Samsung phone, which allows for the company’s Ultra High Quality Sound feature – it compresses then decodes music up to 24-bit/96kHz. This made music sound distinctly better than it might on another device, as illustrated by the fact I also tested alongside a different Android phone which also sounded great, but not quite as high-quality.

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♬ original sound - TechRadar

Samsung Galaxy Buds 4 Pro review: Value

The Samsung Galaxy Buds 4 in their case, on a potted plant. — (Image credit: Future)

The big question for expensive earbuds like these, is how well they justify that high price tag. I can't deny that the Samsung Galaxy Buds 4 Pro sound great, but the earbuds world is a competitive one, and you can get a great pick without paying much.

I think it's the feature department that'll sway me either way: it's what set many buds apart, and if the Galaxy Buds 4 Pro tools prove useful over the coming weeks, it'll help make the price make sense.

How I tested

The Samsung Galaxy Buds 4 Pro in their carry case, with the lid closed. — (Image credit: Future)

So far, I've been listening to the Samsung Galaxy Buds 4 Pro for the best part of a week, mainly using it for music streaming. I tested it for a time on my Realme phone, listening to Spotify as I would any other pair of headphones. I also spent a few days with it paired to a Samsung Galaxy S25 Plus, listening to high-res music and testing its various features. I will repeat this split for the remainder of the testing process, to see how well the buds work for Samsung and non-Samsung users.

I've tested plenty of other earbuds in the past, including options from Samsung and its companies including the Galaxy Buds 3 Pro, original Galaxy Buds and some picks from AKG, Bowers & Wilkin and JBL (yes, all owned by Samsung).

FiiO KA15: Two-minute review

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

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

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

FiiO KA15 review: Price and release date

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

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

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

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

FiiO KA15 review: Features

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

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

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

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

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

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

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

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

Features score: 5 / 5

FiiO KA15 review: Sound quality

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

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

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

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

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

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

Sound quality: 5 / 5

FiiO KA15 review: Design

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

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

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

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

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

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

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

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

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

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

Usability and setup score: 4 / 5

FiiO KA15 review: Value

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

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

Value score: 5 / 5

Should I buy the FiiO KA15?

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

Buy it if...

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

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

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

Don't buy it if...

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

FiiO KA15 review: Also consider

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

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

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

How I tested the FiiO KA15

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

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

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

First reviewed: February 2026
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I reviewed this delightfully retro DAC dongle and at this price, it’s a punchy and talented no-brainer

1:00 am |

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

FiiO KA15: Two-minute review

FiiO KA15 review: Price and release date

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

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

FiiO KA15 review: Features

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

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

Features score: 5 / 5

FiiO KA15 review: Sound quality

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

Sound quality: 5 / 5

FiiO KA15 review: Design

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

Design score: 5 / 5

FiiO KA15 Review: Usability and setup

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

Usability and setup score: 4 / 5

FiiO KA15 review: Value

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

Value score: 5 / 5

Should I buy the FiiO KA15?

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

Buy it if...

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

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

Don't buy it if...

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

FiiO KA15 review: Also consider

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

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

How I tested the FiiO KA15

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

First reviewed: February 2026
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Hit the road, jack? Not at all, iFi’s tiny Go Blu Air DAC brings the headphone port back to your phone — and levels up the audio to boot

2:00 pm | February 22, 2026

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

iFi GO Blu Air: Two-minute review

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

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

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

iFi GO Blu Air review: Price and release date

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

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

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

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

iFi GO Blu Air review: Features

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

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

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

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

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

Features score: 4 / 5

iFi GO Blu Air review: Sound quality

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

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

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

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

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

Sound quality: 5 / 5

iFi GO Blu Air review: Design

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

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

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

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

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

Design score: 4 / 5

iFi GO Blu Air Review: Usability and setup

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

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

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

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

Usability and setup score: 4 / 5

iFi GO Blu Air review: Value

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

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

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

Value score: 4 / 5

Should I buy the iFi GO Blu Air?

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

Buy it if...

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

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

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

Don't buy it if...

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

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

iFi GO Blu Air review: Also consider

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

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

How I tested the iFi GO Link Max

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

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

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

First reviewed: February 2026
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I reviewed Philips’ affordable Fidelio stereo speakers that look ‘too good to be true’ on the spec sheet — and they nearly pull it off

4:00 pm | February 21, 2026

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

Philips Fidelio FA3: Two-minute review

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

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

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

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

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

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

The Philips Fidelio FA3 on a white surface — (Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Price & release date

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

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

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

The two Philips Fidelio FA3 speakers viewed from the back, showing connections and bass reflex ports — (Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Features

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

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

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

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

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

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

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

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

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

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

Features score: 5 / 5

The mid/bass speaker driver of the Philips Fidelio FA3 — (Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Sound quality

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sound quality score: 3.5 / 5

The Philips Fidelio FA3 viewed from the side, showing their wedge shape — (Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Design

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

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

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

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

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

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

Design score: 4

The Philips Fidelio FA3's app, showing general menu items, the EQ screen, and the on-screen remote control — (Image credit: Philips Entertainment / Future)

Philips Fidelio FA3 review: Usability & setup

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

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

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

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

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

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

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

Usability & setup score: 4.5 / 5

The Philips Fidelio FA3's remote control — (Image credit: Simon Lucas / Future)

Philips Fidelio FA3 review: Value

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

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

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

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

Value score: 3 / 5

The Philips Fidelio FA3 speaker viewed from the top — (Image credit: Simon Lucas / Future)

Should I buy Philips Fidelio FA3?

Philips Fidelio FA3 scorecard
Attribute	Notes	Score
Features	Basically as well-equipped as stereo wireless speakers come at this price.	5 / 5
Sound quality	Rich and powerful and full of dynamic attack – but the overblown bass is a problem.	3.5 / 5
Design	Very well-built and good-looking, but the wedge shape is an odd decision.	4 / 5
Setup & usability	Very well thought-through, and with multiple control options, including a great app.	4.5 / 5
Value	Not bad value at all, thanks to the features and build quality – but bass issues mean they're not amazing value either.	3 / 5

Buy them if…

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

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

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

Don’t buy them if…

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

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

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

Philips Fidelio FA3 review: Also consider

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

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

How I tested the Philips Fidelio FA3

The Philips Fidelio FA3 speakers on stands, on either side of a hi-fi rack with various components on it — (Image credit: Simon Lucas / Future)

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

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

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

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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