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FiiO’s new elite hi-res audio player will delight you, provided you serve it only the best –but disappoint it at your peril
2:30 pm | January 31, 2026
Author: admin | Category: Audio Computers Gadgets Portable Media Players | Tags: | Comments: Off

FiiO M27: Two-minute review

If there’s a stone FiiO has left unturned in the way it’s specified and built the M27 digital audio player, it’s invisible.

This is a portable(ish) music player for which the word ‘uncompromised’ is almost an understatement. Specification is thorough to the point of exhaustion. Twin ESS Sabre DACS with 32bit/768kHz and DSD512 compatibility, aptX Lossless and LDAC for Bluetooth, balanced and unbalanced analogue outputs, a super-slick Android 13 operating experience, a whole host of modes that allow the M27 to work as a USB DAC, a digital transport, a desktop system host and more besides… the list goes on.

So if you want a player (a big and heavy player, let’s be honest) with enough power to drive even the trickiest of headphones, with battery life that’s approaching ‘epic’, and that arrives with its own little desktop charging stand with integrated cooling fan, you’ve come to the right place.

All of this would count for very little, though, if the FiiO M27 didn’t have it where it really counts. Happily, this is a great-sounding machine – or, at least, it is if you treat it respectfully. Hi-res stuff enjoys amazing detail resolution, expansive soundstaging, sky-high dynamic response and the sort of singularity of presentation that makes every listen an event. Lower-resolution stuff, though, is basically exposed to ridicule. So don’t imagine the M27 is about to flatter your choices if your choices are incorrect…

Among the best MP3 players on the market then? Oh, without a doubt.

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Price and release date

  • Released November 2025
  • Priced $1,799 / £1,499 / AU$2,699

The FiiO M27 launched in the middle of November 2025, and in the United Kingdom it’s priced at £1,499. In the United States it sells for $1,799, while in Australia you’re looking at AU$2,699.

And just because it’s possible to pay plenty more than this for a premium digital audio player, that doesn’t mean the M27 hangs out anywhere near the ‘affordable’ category…

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Features

  • Twin ESS Sabre ES9039S PRO DAC chipsets
  • Bluetooth 5.4 with aptX Lossless, Bluetooth LE Audio and Auracast support
  • 9200mAh battery

FiiO never knowingly underspecifies its products – so when it’s going all-out to create a class-leading, market-defining digital audio player, it follows that the feature-count here is significant.

For the M27, FiiO has leaned heavily on Qualcomm’s expertise. The machine features the company’s QCS6490 chipset with Snapdragon 770G architecture. Along with eight (count ‘em!) Kryo 670 cores and an Adrena 642L GPU, this arrangement promises lightning-fast response times, effortless multitasking and a solid foundation for streaming and playback no matter the size or type of the digital audio file the player is dealing with.

Qualcomm’s QCC5181 chipset makes an appearance too. It facilitates Bluetooth 5.4 wireless connectivity when the M27 is acting as a receiver, and allows for aptX Lossless and LDAC codec compatibility as well as Auracast and Bluetooth LE Audio. The FiiO will also function as a Bluetooth transmitter – in this direction it’s running Bluetooth 5.2 with support for aptX Adaptive and LDAC.

There’s more. Qualcomm’s Dragonwing AI platform, allows the M27 to offer a 31-band PEQ at resolutions up to 32bit/384kHz (among other things), global ‘All to DSD’ functionality for bitrates from DSD64 to DSD256, and fully controllable end-to-end audio processing.

The crucial business of digital-to-analogue conversion is taken care of by a couple of ESS Sabre ES9039 PRO chipsets that are good to go with resolutions of up to 32bit/768kHz PCM and DSD512. They’re supported by sixth (and latest) generation of FiiO’s ‘Digital Audio Purification System’, which deploys a new FPGA and dual RIVER femtosecond crystal oscillators in a drive for vanishingly low jitter and optimal timing accuracy.

The M27 features a replaceable 9200mAh battery, which is a) good news where product longevity is concerned, and b) a massive amount of power. It translates to eight hours of playback via a balanced output or a touch over nine from an unbalanced alternative – and it also allows for power outputs big enough to drive even the most truculent headphones. And on the subject of big power outputs, if you connect the M27 to mains power via a fast charger and select ‘Ultra High Gain’ mode, a giddy 10,000mW of power is available.

Naturally the list goes on (and on). The M27 features a six-stage fully differential audio circuit – it doubles up on the high-quality components like signal relays, volume control chips and TI op-amps in order to independently process each channel of audio information, and then drives them via discrete power supplies. It has a high-current, low-loss, MOSFET-managed power path with big energy storage capacitors; it has copper heatsinks; it has a graphite vapour chamber and graphene thermal conduction pads integrated into the chassis to enable effective cooling.

And it has more besides. But for the sake of brevity, it’s probably enough to know that FiiO has left nothing – by which I mean nothing – to chance where the specification of the M27 is concerned.

Features score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Sound quality

  • Remarkably complete and articulate rendition of hi-res audio files
  • Deeply impressive powers of resolution and organisation
  • Almost comically intolerant of lower resolution stuff

I’m guessing that anyone who’s thinking of dropping this sort of money on a digital audio player is well served for properly high-resolution digital audio content. I certainly hope so – because while the way the M27 handles hi-res stuff is thoroughly enjoyable and deeply impressive, it’s got next-to-no time for stuff that dips below the magic 16bit/44.1kHz point.

So while a 24bit/192kHz file of David Bowie’s Low (which has somehow just had its 50th birthday) is delivered in the most eloquent, revealing and utterly engaging manner, the same content streamed as a 320kbps file via Spotify sounds almost as if the M27 is taking it personally.

Big files are lavishly detailed, arranged on a large and convincingly defined soundstage, and are laid out with considerable ‘left/right’ distance available and quite a lot of ‘front/back’ too. The spaces between elements of the recording are carefully observed, and even if the music involves few participants on this very big stage there’s a tangible sense of ‘togetherness’ about the way the FiiO presents it. The unity of its delivery makes for a confident and believable overall performance.

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

It’s possible to fiddle with the sonic characteristics of the M27 quite extensively, of course - but leave well enough alone and the player has a neutral, uncoloured tonality that makes for a naturalistic presentation. The attention to detail it exhibits means texture and timbre of instruments and of voices are made apparent, and the low-level dynamic variations or harmonic under- and overtones are made apparent every time.

Frequency response, too, is convincing – from the deep, hard-hitting and endless varied bottom end to the bright, attacking top, the FiiO gives every area fair weighting and representation. And in the midrange, it communicates in the most direct and unequivocal manner – if there’s even a transient, minor detail concerning tone, technique, attitude or character in a voice, you can be sure the M27 is handing it over.

Those low frequencies are beautifully shaped and their attack and decay is observed in the hawk-like manner. As a result, rhythmic expression is almost casually correct and momentum levels are always appropriate to the material. Add in apparently limitless dynamic headroom and the full account of big shifts in volume or intensity that results, and the M27 goes quite a distance towards the accolade of ‘best pound-for-pound digital audio player on the market’ it craves.

Lower the tone, though, and cue up some lower-resolution content and the FiiO can’t really disguise its disdain. It’s a bit like watching Lewis Hamilton drive a bog-standard hatchback around a racing track: he’ll wring the maximum out of it, but at the same time he’s got one hand on the wheel, he’s checking his look in the rear-view mirror… it’s too easy.

Give the M27 a stream from Spotify’s free tier and it quite ruthlessly exposes the compression and its knock-on effects where dynamics, detail levels, harmonic accuracy and all the rest of it are concerned. You might be thinking 'Well, it would, no?' but honestly some players try to make the best of this sort of content. The FiiO M27 is simply not one of those players.

Sound quality score: 4.5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Design

  • Titanium or aluminium alloy chassis
  • 157 x 85 x 28mm (HxWxD)
  • 6in 1080p touchscreen

Until you see and hold it, the fact the M27 measures 157 x 85 x 28mm (HxWxD) and weighs somewhere between 550g and 630g (depending on your choice of chassis material – aluminium alloy or titanium are available) might seem a little abstract.

And then you see it and hold it, and you realise the FiiO is not ‘portable’ in the way lots of less expensive digital audio players are ‘portable’. This is a hefty unit, and the shirt pocket that’s strong enough to accommodate it has yet to be invented. Think of it in terms of ‘small desktop device’ rather than ‘pocket-friendly go-anywhere player’ and you won’t be far wrong.

Mind you, FiiO has gone to considerable lengths to make sure the look and feel also says ‘premium’ as much as it says ‘chunky’. The industrial design is interesting – angular and pointy but not threateningly so – and the choice of metals for the chassis (titanium or aluminium alloy) is a nice touch too. The front of the M27 is basically all Gorilla Glass-covered 6in 1080p touchscreen display, and the rear panel is a marble-effect slice of glass fibre. FiiO supplies a snug-fitting real leather case to help keep your M27 in tip-top condition. No mention is made of a vegetarian option.

Build quality is unarguable – the FiiO feels solid and made to last. The asking price insists on a certain standard of finish, of course, and it’s a standard the M27 comfortably surpasses.

Design score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Usability and setup

  • Android 13 OS
  • Six functionality modes
  • Fan-assisted charging stand

Accessing the full and exhaustive list of functions and options available to the M27 user can be done via the touchscreen. The FiiO is running an almost complete version of Android 13 as on operating system, and it’s just as swift and responsive to use as the prodigious processing power promises.

There are also a selection of physical controls, though, along with a comprehensive suite of inputs and outputs. On the upper edge of the chassis there’s a big turn/press dial dealing with power on/off and volume control. There are three analogue outputs/headphone sockets up here, too: 3.5mm and 6.3mm balanced connections with a 4.4mm balanced alternative inbetween. On the bottom there’s space for a full-size Toslink digital optical output, a coaxial on an RCA socket (it can function as either an in- or an output), two microSD card slots (each of which can accept cards of up to 2TB capacity), a ’hold’ switch to disable all physical and touch-controls, a switch to turn ‘desktop mode’ on or off, and three USB-C slots. One is for either charging the battery, or powering the M27 from the mains. One is for charging and also for data transfer. The third, which is designated ‘USB HOST’, allows connection to an external DAC if you wish to use your player as a digital transport.

‘Desktop mode’, by the way, bypasses the battery entirely when the M27 is connected to mains power, which obviously has benefits for the life of the battery. The other functionality modes are ‘Android’ (which allows access to third-party streaming apps), ‘Pure Music’ (only the FiiO Music app is available), ‘USB DAC’ (so the player can act as a soundcard for external devices), ‘AirPlay’ (no explanation necessary) ,‘Bluetooth Receiving’ (which turns the M27 into a Bluetooth amplifier), and ‘Coaxial Decoding’ (which allows digital information incoming via the coaxial socket to access the FiiO’s D-to-A circuitry). Something for everyone, I think we can agree.

On the left side of the player you’ll find a few physical control buttons: skip forwards, skip backwards, play/pause and a user-definable ‘multifunction’ control. On the right there’s a fairly large patch behind which the FiiO stores its wireless antennae. And on both sides there’s an area for some completely gratuitous lighting effects.

The M27 is supplied with a neat desktop charging stand with its own line-up of USB-C connections as well as an integrated fan to keep the M27 cool. The protective leather case features a stainless steel hollow-cut panel on its rear, backed by a gel pack, in a further effort to make sure the player runs cool.

Usability and setup score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Value

Fundamentally, the M27 doesn’t do anything that a less affordable digital audio player (not least from the FiiO catalogue) can’t do. But that’s slightly besides the point: the M27 is not only a fine-sounding player with a stack of wider functionality where desktop and full-system use are concerned, but it’s a quite luxurious accessory in the manner of some nice jewellery or a handmade pair of shoes.

If you’re a hard-nosed, clear-eyed consumer than you’ll struggle to make a case for the M27 – but if you value the intangibles as much as, well, the tangibles, there’s an awful lot to like (and to covet, quite frankly) about this FiiO machine.

Value score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

Should I buy the FiiO M27?

Buy it if... 

You’re after an uncompromised hi-res audio experience
The M27 can handle dizzily high resolutions and deliver them either digitally or via a selection of analogue outputs

You own a lot of digital audio content
The ability to up the storage here by as much as 4TB means you should never find yourself short of memory

You like nice things
It’s hard to quantify ‘pride of ownership’ but you know it when you feel it

Don't buy it if... 

You think ‘value for money’ is a live consideration
FiiO itself can offer a huge proportion of the M27’s talents from devices costing considerably less than this

You have a strong idea of what ‘portable’ means
Yes, you can carry the M27 from one place to another easily enough - but don’t imagine it’s going to slip into the back pocket of your jeans

You’re vegetarian
There’s no alternative to the real leather case FiiO supplies – the M27 arrives with it pre-fitted, just to really drive home the point…View Deal

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Also consider

Astell & Kern A&ultima SP3000T
You’ve come this far, so you may as well go the whole hog; I reviewed the Astell & Kern A&ultima SP3000 for the website a couple of years ago, and it remains an extraordinarily capable device that’s a match for the FiiO M27 in every way. Well, in every way in sonic terms, anyway – FiiO has, not for the first time, managed to undercut its most obvious rival where price is concerned, and as a result your choice of ‘extraordinary digital audio player’ is not as cut-and-dried as it once was.
See my Astell & Kern A&ultima SP3000T review

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

How I tested the FiiO M27

I downloaded Qobuz and Tidal streaming service apps from the Google Play store, and slotted a 512GB SanDisk microSD card (filled with hi-res audio content) into one of the two microSD card slots.

I connected the player to wired and wireless headphones of appropriate quality (the Sennheiser IE900 on a 4.4mm balanced connection proved particularly sympathetic), and I also used it as a desktop DAC. And then I listened to lots of different types of music, stored in many different formats and at a variety of resolutions.

  • First reviewed in January 2026
FiiO’s new elite hi-res audio player will delight you, provided you serve it only the best –but disappoint it at your peril
2:30 pm |
Author: admin | Category: Audio Computers Gadgets Portable Media Players | Tags: | Comments: Off

FiiO M27: Two-minute review

If there’s a stone FiiO has left unturned in the way it’s specified and built the M27 digital audio player, it’s invisible.

This is a portable(ish) music player for which the word ‘uncompromised’ is almost an understatement. Specification is thorough to the point of exhaustion. Twin ESS Sabre DACS with 32bit/768kHz and DSD512 compatibility, aptX Lossless and LDAC for Bluetooth, balanced and unbalanced analogue outputs, a super-slick Android 13 operating experience, a whole host of modes that allow the M27 to work as a USB DAC, a digital transport, a desktop system host and more besides… the list goes on.

So if you want a player (a big and heavy player, let’s be honest) with enough power to drive even the trickiest of headphones, with battery life that’s approaching ‘epic’, and that arrives with its own little desktop charging stand with integrated cooling fan, you’ve come to the right place.

All of this would count for very little, though, if the FiiO M27 didn’t have it where it really counts. Happily, this is a great-sounding machine – or, at least, it is if you treat it respectfully. Hi-res stuff enjoys amazing detail resolution, expansive soundstaging, sky-high dynamic response and the sort of singularity of presentation that makes every listen an event. Lower-resolution stuff, though, is basically exposed to ridicule. So don’t imagine the M27 is about to flatter your choices if your choices are incorrect…

Among the best MP3 players on the market then? Oh, without a doubt.

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Price and release date

  • Released November 2025
  • Priced $1,799 / £1,499 / AU$2,699

The FiiO M27 launched in the middle of November 2025, and in the United Kingdom it’s priced at £1,499. In the United States it sells for $1,799, while in Australia you’re looking at AU$2,699.

And just because it’s possible to pay plenty more than this for a premium digital audio player, that doesn’t mean the M27 hangs out anywhere near the ‘affordable’ category…

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Features

  • Twin ESS Sabre ES9039S PRO DAC chipsets
  • Bluetooth 5.4 with aptX Lossless, Bluetooth LE Audio and Auracast support
  • 9200mAh battery

FiiO never knowingly underspecifies its products – so when it’s going all-out to create a class-leading, market-defining digital audio player, it follows that the feature-count here is significant.

For the M27, FiiO has leaned heavily on Qualcomm’s expertise. The machine features the company’s QCS6490 chipset with Snapdragon 770G architecture. Along with eight (count ‘em!) Kryo 670 cores and an Adrena 642L GPU, this arrangement promises lightning-fast response times, effortless multitasking and a solid foundation for streaming and playback no matter the size or type of the digital audio file the player is dealing with.

Qualcomm’s QCC5181 chipset makes an appearance too. It facilitates Bluetooth 5.4 wireless connectivity when the M27 is acting as a receiver, and allows for aptX Lossless and LDAC codec compatibility as well as Auracast and Bluetooth LE Audio. The FiiO will also function as a Bluetooth transmitter – in this direction it’s running Bluetooth 5.2 with support for aptX Adaptive and LDAC.

There’s more. Qualcomm’s Dragonwing AI platform, allows the M27 to offer a 31-band PEQ at resolutions up to 32bit/384kHz (among other things), global ‘All to DSD’ functionality for bitrates from DSD64 to DSD256, and fully controllable end-to-end audio processing.

The crucial business of digital-to-analogue conversion is taken care of by a couple of ESS Sabre ES9039 PRO chipsets that are good to go with resolutions of up to 32bit/768kHz PCM and DSD512. They’re supported by sixth (and latest) generation of FiiO’s ‘Digital Audio Purification System’, which deploys a new FPGA and dual RIVER femtosecond crystal oscillators in a drive for vanishingly low jitter and optimal timing accuracy.

The M27 features a replaceable 9200mAh battery, which is a) good news where product longevity is concerned, and b) a massive amount of power. It translates to eight hours of playback via a balanced output or a touch over nine from an unbalanced alternative – and it also allows for power outputs big enough to drive even the most truculent headphones. And on the subject of big power outputs, if you connect the M27 to mains power via a fast charger and select ‘Ultra High Gain’ mode, a giddy 10,000mW of power is available.

Naturally the list goes on (and on). The M27 features a six-stage fully differential audio circuit – it doubles up on the high-quality components like signal relays, volume control chips and TI op-amps in order to independently process each channel of audio information, and then drives them via discrete power supplies. It has a high-current, low-loss, MOSFET-managed power path with big energy storage capacitors; it has copper heatsinks; it has a graphite vapour chamber and graphene thermal conduction pads integrated into the chassis to enable effective cooling.

And it has more besides. But for the sake of brevity, it’s probably enough to know that FiiO has left nothing – by which I mean nothing – to chance where the specification of the M27 is concerned.

Features score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Sound quality

  • Remarkably complete and articulate rendition of hi-res audio files
  • Deeply impressive powers of resolution and organisation
  • Almost comically intolerant of lower resolution stuff

I’m guessing that anyone who’s thinking of dropping this sort of money on a digital audio player is well served for properly high-resolution digital audio content. I certainly hope so – because while the way the M27 handles hi-res stuff is thoroughly enjoyable and deeply impressive, it’s got next-to-no time for stuff that dips below the magic 16bit/44.1kHz point.

So while a 24bit/192kHz file of David Bowie’s Low (which has somehow just had its 50th birthday) is delivered in the most eloquent, revealing and utterly engaging manner, the same content streamed as a 320kbps file via Spotify sounds almost as if the M27 is taking it personally.

Big files are lavishly detailed, arranged on a large and convincingly defined soundstage, and are laid out with considerable ‘left/right’ distance available and quite a lot of ‘front/back’ too. The spaces between elements of the recording are carefully observed, and even if the music involves few participants on this very big stage there’s a tangible sense of ‘togetherness’ about the way the FiiO presents it. The unity of its delivery makes for a confident and believable overall performance.

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

It’s possible to fiddle with the sonic characteristics of the M27 quite extensively, of course - but leave well enough alone and the player has a neutral, uncoloured tonality that makes for a naturalistic presentation. The attention to detail it exhibits means texture and timbre of instruments and of voices are made apparent, and the low-level dynamic variations or harmonic under- and overtones are made apparent every time.

Frequency response, too, is convincing – from the deep, hard-hitting and endless varied bottom end to the bright, attacking top, the FiiO gives every area fair weighting and representation. And in the midrange, it communicates in the most direct and unequivocal manner – if there’s even a transient, minor detail concerning tone, technique, attitude or character in a voice, you can be sure the M27 is handing it over.

Those low frequencies are beautifully shaped and their attack and decay is observed in the hawk-like manner. As a result, rhythmic expression is almost casually correct and momentum levels are always appropriate to the material. Add in apparently limitless dynamic headroom and the full account of big shifts in volume or intensity that results, and the M27 goes quite a distance towards the accolade of ‘best pound-for-pound digital audio player on the market’ it craves.

Lower the tone, though, and cue up some lower-resolution content and the FiiO can’t really disguise its disdain. It’s a bit like watching Lewis Hamilton drive a bog-standard hatchback around a racing track: he’ll wring the maximum out of it, but at the same time he’s got one hand on the wheel, he’s checking his look in the rear-view mirror… it’s too easy.

Give the M27 a stream from Spotify’s free tier and it quite ruthlessly exposes the compression and its knock-on effects where dynamics, detail levels, harmonic accuracy and all the rest of it are concerned. You might be thinking 'Well, it would, no?' but honestly some players try to make the best of this sort of content. The FiiO M27 is simply not one of those players.

Sound quality score: 4.5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Design

  • Titanium or aluminium alloy chassis
  • 157 x 85 x 28mm (HxWxD)
  • 6in 1080p touchscreen

Until you see and hold it, the fact the M27 measures 157 x 85 x 28mm (HxWxD) and weighs somewhere between 550g and 630g (depending on your choice of chassis material – aluminium alloy or titanium are available) might seem a little abstract.

And then you see it and hold it, and you realise the FiiO is not ‘portable’ in the way lots of less expensive digital audio players are ‘portable’. This is a hefty unit, and the shirt pocket that’s strong enough to accommodate it has yet to be invented. Think of it in terms of ‘small desktop device’ rather than ‘pocket-friendly go-anywhere player’ and you won’t be far wrong.

Mind you, FiiO has gone to considerable lengths to make sure the look and feel also says ‘premium’ as much as it says ‘chunky’. The industrial design is interesting – angular and pointy but not threateningly so – and the choice of metals for the chassis (titanium or aluminium alloy) is a nice touch too. The front of the M27 is basically all Gorilla Glass-covered 6in 1080p touchscreen display, and the rear panel is a marble-effect slice of glass fibre. FiiO supplies a snug-fitting real leather case to help keep your M27 in tip-top condition. No mention is made of a vegetarian option.

Build quality is unarguable – the FiiO feels solid and made to last. The asking price insists on a certain standard of finish, of course, and it’s a standard the M27 comfortably surpasses.

Design score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Usability and setup

  • Android 13 OS
  • Six functionality modes
  • Fan-assisted charging stand

Accessing the full and exhaustive list of functions and options available to the M27 user can be done via the touchscreen. The FiiO is running an almost complete version of Android 13 as on operating system, and it’s just as swift and responsive to use as the prodigious processing power promises.

There are also a selection of physical controls, though, along with a comprehensive suite of inputs and outputs. On the upper edge of the chassis there’s a big turn/press dial dealing with power on/off and volume control. There are three analogue outputs/headphone sockets up here, too: 3.5mm and 6.3mm balanced connections with a 4.4mm balanced alternative inbetween. On the bottom there’s space for a full-size Toslink digital optical output, a coaxial on an RCA socket (it can function as either an in- or an output), two microSD card slots (each of which can accept cards of up to 2TB capacity), a ’hold’ switch to disable all physical and touch-controls, a switch to turn ‘desktop mode’ on or off, and three USB-C slots. One is for either charging the battery, or powering the M27 from the mains. One is for charging and also for data transfer. The third, which is designated ‘USB HOST’, allows connection to an external DAC if you wish to use your player as a digital transport.

‘Desktop mode’, by the way, bypasses the battery entirely when the M27 is connected to mains power, which obviously has benefits for the life of the battery. The other functionality modes are ‘Android’ (which allows access to third-party streaming apps), ‘Pure Music’ (only the FiiO Music app is available), ‘USB DAC’ (so the player can act as a soundcard for external devices), ‘AirPlay’ (no explanation necessary) ,‘Bluetooth Receiving’ (which turns the M27 into a Bluetooth amplifier), and ‘Coaxial Decoding’ (which allows digital information incoming via the coaxial socket to access the FiiO’s D-to-A circuitry). Something for everyone, I think we can agree.

On the left side of the player you’ll find a few physical control buttons: skip forwards, skip backwards, play/pause and a user-definable ‘multifunction’ control. On the right there’s a fairly large patch behind which the FiiO stores its wireless antennae. And on both sides there’s an area for some completely gratuitous lighting effects.

The M27 is supplied with a neat desktop charging stand with its own line-up of USB-C connections as well as an integrated fan to keep the M27 cool. The protective leather case features a stainless steel hollow-cut panel on its rear, backed by a gel pack, in a further effort to make sure the player runs cool.

Usability and setup score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Value

Fundamentally, the M27 doesn’t do anything that a less affordable digital audio player (not least from the FiiO catalogue) can’t do. But that’s slightly besides the point: the M27 is not only a fine-sounding player with a stack of wider functionality where desktop and full-system use are concerned, but it’s a quite luxurious accessory in the manner of some nice jewellery or a handmade pair of shoes.

If you’re a hard-nosed, clear-eyed consumer than you’ll struggle to make a case for the M27 – but if you value the intangibles as much as, well, the tangibles, there’s an awful lot to like (and to covet, quite frankly) about this FiiO machine.

Value score: 5 / 5

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

Should I buy the FiiO M27?

Buy it if... 

You’re after an uncompromised hi-res audio experience
The M27 can handle dizzily high resolutions and deliver them either digitally or via a selection of analogue outputs

You own a lot of digital audio content
The ability to up the storage here by as much as 4TB means you should never find yourself short of memory

You like nice things
It’s hard to quantify ‘pride of ownership’ but you know it when you feel it

Don't buy it if... 

You think ‘value for money’ is a live consideration
FiiO itself can offer a huge proportion of the M27’s talents from devices costing considerably less than this

You have a strong idea of what ‘portable’ means
Yes, you can carry the M27 from one place to another easily enough - but don’t imagine it’s going to slip into the back pocket of your jeans

You’re vegetarian
There’s no alternative to the real leather case FiiO supplies – the M27 arrives with it pre-fitted, just to really drive home the point…View Deal

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

FiiO M27 review: Also consider

Astell & Kern A&ultima SP3000T
You’ve come this far, so you may as well go the whole hog; I reviewed the Astell & Kern A&ultima SP3000 for the website a couple of years ago, and it remains an extraordinarily capable device that’s a match for the FiiO M27 in every way. Well, in every way in sonic terms, anyway – FiiO has, not for the first time, managed to undercut its most obvious rival where price is concerned, and as a result your choice of ‘extraordinary digital audio player’ is not as cut-and-dried as it once was.
See my Astell & Kern A&ultima SP3000T review

The FiiO M27 player with screen and dial showing, and content on the screen, on beige or yellow background

(Image credit: Simon Lucas / Future)

How I tested the FiiO M27

I downloaded Qobuz and Tidal streaming service apps from the Google Play store, and slotted a 512GB SanDisk microSD card (filled with hi-res audio content) into one of the two microSD card slots.

I connected the player to wired and wireless headphones of appropriate quality (the Sennheiser IE900 on a 4.4mm balanced connection proved particularly sympathetic), and I also used it as a desktop DAC. And then I listened to lots of different types of music, stored in many different formats and at a variety of resolutions.

  • First reviewed in January 2026
Grado’s S750 open-back wired headphones offer crystal clarity and a wide soundstage, but the fit isn’t a hit
12:30 pm | January 28, 2026
Author: admin | Category: Audio Computers Gadgets Headphones | Tags: | Comments: Off

Grado Signature S750 review: two-minute review

The Grado Signature S750 headphones are the latest addition to the audiophile brand's Signature series alongside the HP 100 SE and the S950s, both of which are considerably more expensive. They feature a newly designed S2 driver and the new Grado B Cushion, which reduces the distance between the driver and your ear canal and which also spreads pressure more evenly across the surface of your ear.

These headphones sound sensational at sensible volumes with well-produced music, and they're particularly great with close-miked vocals and rapping. The sound stage they produce is extraordinary, with superb precision and detail.

Easy entrant for our best wired headphones guide, then? Yes, although there are a few points to note: they are quite bright, and can get harsh with poorly produced or highly compressed music. They may also be a little bass-light for some tastes.

Grado Signature S750 headphones shot from an angle on a wooden table

(Image credit: Carrie Marshall / Future)

Grado Signature S750 review: price and release date

  • Released October 2025
  • Priced $1,695 / £1,695 (about AU$3,400)

The Grado S750 headphones were launched in October 2025 and went on sale the following month with a recommended price of $1,695 / £1,695 (about AU$3,400).

This is hardly wallet-friendly territory, is it? At this price, their closest competitors might be the slightly cheaper Shanling HW600 (which might suit those with larger heads). However, this money is far from as expensive as wired over-ear headphones can get – just look to Final, with the $3,499 / £2,999 / AU$5,899 planar magnetic Final D7000…

Grado Signature S750 headphones shot from above on a wooden surface

The new B Cushion brings you very close to the driver for a more immersive experience (Image credit: Carrie Marshall / Future)

Grado Signature S750 review: specs

Transducer type

Dynamic

Drivers

50mm dynamic

Operating principle

Open-back

Headphone connection

4pin Mini XLR

Frequency response

6kHz - 46kHz

Nominal impedance

38 ohms

Extras

Source connection 6.3mm; Signature Gold 12-conductor detachable cable, new B Cushion earpads supplied

Grado Signature S750 review: design

  • Lighter weight than the HP100 SE
  • New Signature Gold braided cable
  • Extra padding on the headband

You'd never mistake these headphones for any other manufacturer's: the S750 have the Grado family looks. But these headphones are over 10% lighter than the HP100 SE, although at 460g they're still quite hefty.

As we've come to expect from Grado the S750 come with a 6-foot cable with a 6.35mm single-ended plug, connected to the headphones with twin 4-pin balanced XLR. This cable is a new design called Signature Gold, with a braided design that Grado says is softer, more durable and lighter than before. It's still quite hefty, though, and I was conscious of its weight when I was listening at my desk rather than lounging in an armchair.

The S750 have a very similar headband to their siblings, but the headband is 50% more padded than earlier models and is very comfortable during long listens. The assembly makes use of aluminium alloy gimbals, stainless steel height rods and reinforced aluminium junction blocks, and it has rotation limited to 105 degrees to reduce wear for long-term durability.

  • Design score: 5/5

Grado Signature S750 headphones close up showing the headband

The headband is more padded than previous models, making it perfectly comfortable for long listens (Image credit: Carrie Marshall / Future)

Grado Signature S750 review: features

  • New 50mm carbon fiber and paper composite driver
  • New B cushion to reduce distance from driver to ear
  • Easy to drive

The Grado S750 feature a new 50mm S2 driver that uses a carbon fibre and paper composite diaphragm and a lightweight copper-aluminium voice coil. The impedance is 38 ohms and sensitivity is 115 dB, so these are relatively easy headphones to drive. But if you like to listen loud you'll get best results from an amp with reasonable headroom.

In addition to the new driver the other big change here is the new Grado B Cushion, which is designed to shorten the distance between the driver and your ear and which features a smaller interior opening. There are eight slits to improve airflow and open up the sound stage, and the flat surface is designed to distribute pressure more evenly across your ear.

Whether you'll like that very much depends on whether you're a fan of the on-ear fit; as someone who prefers larger ear cups that envelop my ears the B Cushion felt as if it didn't really fit properly. That combined with the 460g weight meant that I couldn't wear the S750s to listen as I worked at my desk: as a varifocals wearer using a tall and wide display I move my head a lot, and the S750s wouldn't stay put. The S750s are compatible with Grado's G, F and L cushions if, like me, you'd prefer a different fit.

  • Features score: 4/5

Grado Signature S750 headphones shot from above to show the grado logo. The headphones are on a wooden surface

We love Grado's design ethos, which reminds us of steampunk (Image credit: Carrie Marshall / Future)

Grado Signature S750 review: sound quality

  • Exceptionally wide soundstage
  • A little bass-light
  • Superb on layered, well-produced music

You know those "I've never heard that before!" moments? The Grados deliver that again and again across a wide range of genres, eras and artists.

Grado describes the sound of the S750s as a "natural musical presentation" and I think that's a good description: there's no attempt to inject false excitement by boosting the low end.

That, and the nature of open-back headphones, means the sound is relatively bass-light – although the low 6Hz frequency floor means you get some nice sub-sonics you can feel, such as fingers hitting an acoustic guitar or damping a bass string. If you're a big fan of pumping EDM or stadium-sized kick drums you might prefer a different set of Grados, though; the bass is clear and well separated but it isn't trying to get a party started.

On tracks such as All Saints' Pure Shores or Christine and The Queens' Tilted, both of which have very strong, deep bass in the verses, the Grados spotlight the vocals and the interesting things going on around them rather than letting the bass overpower them. The spoken section in the latter song is a particular delight, as is the expansive, airy chorus of Kygo and Selena Gomez's It Ain't Me. The high frequencies are bright and airy and the overall spaciousness is well suited to atmospheric, layered widescreen songs such as Radiohead's Burn The Witch, Reckoner and There There, as well as to live and acoustic music.

Open-back headphones are known for their spacious sound, and that's particularly true here: the soundstage that the S750s delivers is wonderfully lifelike with precise positioning, great dynamics and particularly vivid voices on tracks such as Little Simz' Point and Kill, which features intertwined raps, glorious backing vocals and smile-inducing brass that the S750s were absolutely made for. If you're a fan of close-miked singers or rappers, or of breathy woodwinds and bowed cellos, the Grados will give your goosebumps goosebumps.

One of my favourite songs to test headphones with is U2's Vertigo, and it's enormous fun on these headphones: the song's spaced-out mix is even more thrilling on the Grados, with The Edge's crunching guitar and luminous delay sounding like his amp is in the room right next to you.

It's on less bombastic music such as Taylor Swift's Last Great American Dynasty where I really got the grins, though: the Grados do a spectacular job of revealing its subtle musical layers, as they do with the electric piano and atmospherics of The 1975's Somebody Else, the birdsong and burbling synths of Frankie Goes To Hollywood's Welcome to the Pleasuredome and the piano stabs, slap bass and strings of The Blue Nile's majestic Tinseltown in the Rain.

While the S750s are great with well-produced music at sensible volume, if your tastes are more punk rock or you just like to listen really loud you're going to want to roll off some of the high frequencies: their brightness can be harsh, especially at higher volume levels where instruments such as the ride cymbal in the intro to Radiohead's Reckoner become wince-inducing.

  • Sound quality score: 5/5

Grado Signature S750 review: value

There's no doubt that these are very expensive headphones: you could buy five pairs of Sennheiser HD 660S2s, nine pairs of Beyerdynamic DT-990 Pros or seventeen pairs of Grado SR80x headphones for the same money.

But they're handmade, beautifully built and considerably cheaper than their Signature range siblings or four-figure planar magnetic rivals such as the Final D7000. They’re made for a very specific and demanding kind of listener who's happy to pay for a premium product. And they do sound sensational.

  • Value score: 4/5

Grado Signature S750: Should you buy them?

Attributes

Notes

Rating

Features

Everything's here, but for me, the fit could be better

4 / 5

Sound quality

Expansive, detailed and delicious, albeit occasionally a tad bright

5 / 5

Design

Lighter than you'd imagine and beautifully padded

5 / 5

Value

They're not cheap – but they do sound sensational

4 / 5

Buy them if...

You want to spend less on a Signature
These are the entry-level model in Grado's very premium Signature series, and they're considerably more affordable than their siblings.

You like it close
The positioning and clarity of instruments and voices is exceptional, with close-miked voices so near to your ears they're almost indecent.View Deal

You like it lush
If we were to use one word to describe the sound, it would be "luxurious". View Deal

Don't buy them if...

You're on a budget
Our current pick of the best headphones, the Sennheiser HD-660S2, are a quarter of the price. There are very many high quality open-back headphones that don't cost anywhere near as much as these premium headphones do.View Deal

You want to commute
The relatively hefty weight and on-ear design means these headphones were rather precarious when we moved around. And the sound leakage will make your fellow passengers livid.View Deal

You only listen to Hüsker Dü
These headphones are best suited to well-produced music: think Stevie Wonder, not Steve Albini.View Deal

Grado Signature S750: also consider

Grado Signature S750

Meze Audio 105 Silva

Grado SR80x

Price

$1,695 / £1,695 (about AU$3,400)

$499 / £469 / AU$999

$125 / £130 / AU$179

Type

Open-back on-ears

Open-back over-ears

Open-back on-ears

Drivers

50mm dynamic

50mm dynamic; bio-cellulose, titanium-coated semicrystalline polymer

44mm dynamic

Weight

460g

354g

240g

Impedance

38 ohms

42 ohms

38 ohms

Connectivity

4pin Mini XLR/source connection 6.3mm

Dual 3.5mm TS output

3.5mm headphone jack

Frequency response

6kHz - 46kHz

5Hz - 30kHz

Wired, 3.5mm headphone jack

Extras

Source connection 6.3mm; Signature Gold 12-conductor 6ft detachable cable; new B Cushion ear pads supplied

Carry case, soft pouch for cables, 3.5mm TRS to dual 3.5mm TS cable, 3.5mm TRS to USB-C adapter w/ integrated DAC, 3.5mm TRS to 6.35mm TRS adapter

Very few (no case)

Grado's SR80x are a fraction of the cost of the Signature range, but they're still very special. In our Grado SR80x review, we said that they are the best affordable on-ears we've ever tested.

The Meze Audio 105 Silva are our current pick of the best wired headphones for audiophiles. They have a silky low end and excellent mid-range performance. The soundstage isn't as wide as some rivals but the Silva are very precise and involving.

How I tested the Grado S750

  • Tested for 4 weeks
  • Used for music listening and audio mixing and mastering
  • Tested with digital music library and lossless streaming via an SSL audio interface; with vinyl records via an Onkyo amplifier; and with CDs directly into a Marantz CD6007 CD player

I’ve been a recording musician since the 1990s and I’ve been writing about speakers, headphones and other hi-fi since the 2000s. I wanted to experience the Grados both as listening headphones and as working studio headphones. For that latter task, I used the S750s while mixing and mastering songs in Logic Pro, listening via a 32-bit/192kHz SSL 2 audio interface.

I used the same interface to play lots of recorded music, listening to largely uncompressed recordings as well as streaming. I streamed in Apple Lossless where available.

For vinyl playback I connected the Grados to my Onkyo A-910 stereo amplifier. For CDs I listened to my Marantz CD6007 CD player through the same headphone output, and also directly from the CD player's own output.

My favorite open earbuds brand just released a new Clip model — but sadly, they’re a let-down
6:00 pm | January 21, 2026
Author: admin | Category: Audio Computers Earbuds & Airpods Gadgets Headphones | Comments: Off

Huawei FreeClip 2: Two minute review

In 2025, open earbuds became the trendy new kind of headphone to buy, and the market was dominated by sports loop-style buds. By the end of the year, though, cuff- or hook-style open-ears had dethroned them, and the Huawei FreeClip 2 are some of the big new buds to use this form factor.

My favorite open-ears of last year were the Huawei FreeArc, so I was hopeful that this new option would deliver something special – perhaps even enough to dethrone the big names on this particular block, like the Bose Ultra Open Earbuds or Shokz OpenDots One. However you might as well call these the FreeClicarus, because the company has flown too close to the sun.

The selling point of the FreeClip 2 is this: they’re some of the lightest, thinnest and therefore most comfortable clippy ear-cuff type earbuds to date. This is clear from the size of the charging case, which is the smallest I’ve ever seen in such buds, but also from the design and build of the buds themselves.

However even with the ‘heaviest’ cuff-style buds, I’ve never had a problem with weight, and in the FreeClip 2, the reverse was true. Buds like this rely on gravity to lock them firmly around your ear, and if they’re light, they just won’t sit right. I found the buds didn’t naturally sit properly, so needed some adjustment every time I used them, and were far too easy to knock off if they received a bump or swipe. They never fell out during exercise, but they did when I was pulling up my hood, putting on a bike helmet or bringing my noggin too close to my neck.

There are other aspects of the bud that are poorly designed. The touch controls are too finickety, requiring a precision and soft touch that I defy anyone to have at any point, let alone when they’re running or walking. And like all Huawei hearables, the companion smartphone app requires so many hoops to jump through, you’ll feel like an elephant at a circus (on Android, at least – on iOS or HarmonyOS, the process is simple). And, perhaps most damning of all, the audio quality just isn't very good.

You might now be wondering why I gave a modestly positive score to the FreeClip 2, and that's for two reasons. Firstly, it's because these issues aren't terrible. Secondly, it's for two really handy perks that the buds offer which alternatives don't.

Firstly, as I've already said, they're lovely and lightweight, and they were more comfortable to wear for runs or walks than alternatives. Secondly, the maximum volume is really high, fixing a common open earbuds issue – hearing your music properly. Despite their issues, the dearer-than-they-should-be pricing and being a let-own compared to the FreeArc, I can see these being a reliable buy for certain users.

Huawei FreeClip 2 review: Specifications

Component

Value

Water resistant

IP57

Battery life

9 hours (earbuds), 38 hours (total)

Bluetooth type

Bluetooth 6.0

Weight

5.1g / Charging case: 37.8g

Driver

10.8mm

Huawei FreeClip 2 review: Price and availability

The Huawei FreeClip 2 case, closed in a man's hand.

(Image credit: Future)
  • Released on January 21, 2026
  • Priced at £179.99 (roughly $240, AU$350)
  • Premium price for clip-style buds

The Huawei FreeClip 2 were announced in December 2025, and put on sale on January 21, 2026 (today, at the time of writing). Just in time for your New Year Resolution to run more – unless you live in the US or Australia, where the things don’t sell.

At £179 (roughly $240, AU$350), the FreeClip are fairly premium cuff-style buds. They match the highly-rated Shokz OpenDots One, though undercut the $299 / £299 / AU$449 Bose Ultra Open Ears. Most earbuds with this form factor I’ve tested have been cheaper, though, with some great options at half the price that we’ll explore near the bottom of this review.

For some Huawei-shaped context, the original FreeClip were released two years prior for about the same price. If you want any open earbuds regardless of the form, the Huawei FreeArc came out in early 2025 for about half the price, and they’re the best sports-loop-style open earbuds I’ve tested to date.

Huawei FreeClip 2 review: Design

The Huawei FreeClip 2 on a man's ear.

(Image credit: Future)
  • Incredibly light case, comfortable buds
  • Too flexible and light to fit properly
  • IP57 protection

When I first took the Huawei FreeClip 2 out of the box, I thought Huawei had left them in the wash too long and they’d shrunk. The case is absolutely tiny. I’m talking about 5 x 5 x 2.5cm, smaller than any other charging case I’ve ever seen, and at 37.8g I don’t recall testing any lighter either. Lovely for popping the case in my pocket.

Like most clip-style open earbuds, the left and right buds are interchangeable, so you can pop them in your ears or the case either way around. But the process of putting them in the case is quite confusing, with an arrangement that seems… illogical. You can see what I mean in the pictures; it’s different to any other cuff buds I’ve tested, and I constantly put them in wrong and only noticed when the lid wouldn’t close properly. I found this quite annoying, but it’s the price to pay for a small case.

Onto the buds themselves: a spherical bud (or Acoustic Ball, according to Huawei), counterweight (Comfort Bean, apparently), and the connector loop (Airy C-bridge Design), all in a 5.1g package. The loop is quite elasticky, so there’s a lot of flex between the components, but I never noticed any ill effects when the buds were in my ears.

The Huawei FreeClip 2 placed wrongly in their case.

(Image credit: Future)

I noticed something with the bud – sorry, the Acoustic Ball – that I’ve not heard on other clipping buds. Sometimes when I put them in my ear, the audio wouldn’t be at full power, and I’d have to readjust them before they sounded right. Usually this kind of bud just falls into place, and I wasn’t used to this kind of micromanagement. It was also easier than I’m used to, to knock them out of place – they had a solid fit when exercising, but I kept hitting them out of my ear with bike helmet straps, hoods and hats. I think the frail design and light weight have resulted in some fit reliability problems.

There are touch controls on the buds: stroke the counterweight – I mean, Comfort Bean – for changing the volume, double-tap any part of the buds to play or pause, tripe to skip. The tapping was generally okay, even though my touch wasn’t always picked up, but I really struggled with the swiping – it’s really hard to intuitively reach the right spot behind your ear to find the trigger, and in my experience it was rarely picked up correctly anyway.

You can pick up the Huawei FreeClip 2 in three colors: blue, black or white. They’re rated to IP57, so they have limited protection against dust and can be immersed in shallow water for a limited time.

  • Design score: 3.5/5

Huawei FreeClip 2 review: Features

The Huawei FreeClip 2, with one bud between two fingers and the other with the case on a shelf behind.

(Image credit: Future)
  • Fantastic listening test
  • Battery life is 8 hours, 32 hours with case
  • Fewer other features than some rivals

A recurring problem with Huawei earbuds is that their app situation is, I'm sorry to have to say it, a bit of a nightmare for Android users (an app-solute nightmare?) and that’s no different for the FreeClip 2. Own an iPhone? You’re in the clear – the companion app can be pinched straight from the App Store.

On my Android phone I had to go into a web browser, download and then install an APK for the Huawei AppGallery and use that to install the Huawei Audio Connect app (I then, for good measure, deleted AppGallery). That’s quite a lot of admin just to turn off touch controls.

It might not be worth it. The app lets you pick between four presets (and lets you create your own with a 10-band equalizer), and lets you toggle a few features like touch control, wear detection and head control (you can shake your head to reject an incoming call). Okay, there’s a ‘Find-My’ feature for lost buds or case and drop detection, two useful features. The app also has an Experimental Features menu which, for now, just has a toggle for adaptive volume – since this is labelled as under development, it didn’t feel fair to evaluate it for this review.

The Huawei FreeClip 2 in a man's hand, being stretched.

(Image credit: Future)

I will say, wearer detection is rarely present on open earbuds, and even more rarely is it fully functional. One thing I noticed over my testing process is that on the FreeClip 2, it works very well. Sometimes, it’s the small things!

The battery life is a little longer than the rivals, with the earbuds lasting 9 hours before you need to pop them back in the case. The case, despite its short stature, offers a decent amount of mileage too: 39 hours in total. It’s not class-leading, but it’s still very good.

The FreeClips support Bluetooth 6.0, a figure I don’t always see in buds like these, and I never had any connection issues; they were fast to pair every time I used them. They can also pair with multiple devices simultaneously so you can use them with both your phone and, say, a running watch.

  • Features score: 4/5

Huawei FreeClip 2 review: Sound performance

The Huawei FreeClip 2 in the case, next to a zipper lighter.

(Image credit: Future)
  • Single 10.8mm driver
  • Music sounds lifeless
  • Lovely, high max volume

Each Huawei FreeClip 2 earpiece has a 10.8mm driver, just like its predecessor – it seems that the improvements in this sequel are in the design department, not the audio sector. That’s a shame because while we didn’t receive the original model, I saw some negative responses to its audio quality, and I’m going to level (I think) those same complaints at the new model.

Music, frankly, sounds flat and lifeless, condensing different instruments into one musical line instead of a sonic spread and then, oddly elevating mid tones higher above treble and bass. It sounds like the guitarist forgot to plug their axe in, the singer is struggling to remember the lyrics, the bassist is pushing through carpal tunnel syndrome.

In The Roosevelts & James Mason’s This Is Life, the rhythmic acoustic guitar seems to take dominance of the mix over the bass and vocals (drums? Not here, officer). The same happened in ABBA’s Waterloo: the acoustic stings in the verse stood above everything else, but strangely when the instrument returned in the chorus it was barely audible. I listened to a recording of the fourth movement of Antonin Dvorak’s New World Symphony, and the brass overshadowed the entire instrumentation – even in the segments they’re barely present.

In short, I wasn’t wowed by the Huawei FreeClip 2’s sonic prowess – it’s not the worst I’ve ever tested, but it is for the price. However, the buds do one spec better than any other model I’ve reviewed, and it’s a department that’s crucial for open earbuds: volume.

Too many times, these open-fit headphones don’t go loud enough, and they’re hard to hear due to the background noise you’re not meant to be isolated from. The FreeClip 2, however, go really loud, and for this reason alone I’d still recommend them to some fitness users who’ve struggled with other options.

If the buds support any features like Dolby Audio or aptX, or codecs like LDAC or AAC, it isn't mentioned on Huawei's website or app.

  • Sound performance score: 3/5

Huawei FreeClip 2 review: Value

The Huawei FreeClip 2 buds on a ledge.

(Image credit: Future)

Given the glut of cuff-style open earbuds at sub-$100 (or £, AU$ equivalent) prices, you can expect a premium product if you’re going to pay a premium price like this. I’m sorry to say that I don’t think the FreeClip 2 quite deserve to be called that, though; the feature set, fit and sound quality aren’t significantly better than the budget options on the market.

I think Huawei missed a trick by pricing these buds as they did. You can pay less and get just as much, or pay the same amount and get more from rivals.

  • Value score: 3/5

Huawei FreeClip 2 review: scorecard

Category

Comment

Score

Value

These are priced like premium buds but perform like budget ones.

3/5

Design

The teeny tiny build feels good, although it brings problems. At least the case is small.

3.5/5

Features

It may be a little light in the feature department, but what it has works well. It's a shame about the app situation though.

4/5

Sound

They sound a little flat and lifeless, but the high max volume makes them a suitable pick for certain users.

3/5

Huawei FreeClip 2: Should I buy?

The Huawei FreeClip 2 buds in a case, leaning on a zippo lighter.

(Image credit: Future)

Buy them if...

You need something loud
Listening in a noisy environment? The volume you can reach makes these better than others on the market.

You want a small charging case
The tiny carry case for the Huawei FreeClip 2 is easily pocketable and won't weigh you down like some of the alternatives.

You find them as a gift with another gadget
They cost more than they should, but as a purchase gift with a Huawei tablet or phone, they'd be alright.

Don't buy them if...

You're an audiophile
It should go without saying, but it's doubly true of the Huawei. Don't buy these if you want a detailed sonic experience.

You're a cyclist or hat-wearer
Because of its build, headwear could really affect the FreeClip. Not for helmet-wearers or those who like a hat.

Also consider

Component

Huawei FreeClip 2

Shokz OpenDots One

Bose Ultra Open Earbuds

Water resistant

IP58

IP54

IPX4

Battery life

9 hours (earbuds), 39 hours (total)

10 hours (earbuds), 40 hours (total)

7.5 hours (earbuds), 27 hours (total)

Bluetooth type

Bluetooth 6.0

Bluetooth 5.4

Bluetooth 5.3

Weight

5.1g / Charging case: 37.8g

5.6g / Charging case: 52g

6g / Charging case: 43g

Driver

10.8mm

2x 11.8mm

12mm

Shokz OpenDots One

Shokz' debut options are a solid fit, sound great and come in a charging case that's small, though not Huawei small. They match the FreeClip 2 in price, though are slightly older so have seen some reductions.

Read our full Shokz OpenDots One review

Bose Ultra Open Earbuds

These top-price options have fantastic audio, even if they look a little more robotic than most alternatives. If you've got money to burn, Bose is ready.

Read our full Bose Ultra Open Earbuds review

How I tested

I listened to the Huawei FreeClip 2 for just over two weeks before writing this review. In that time I used it paired to my Android smartphone.

I used the FreeClip daily during that time. I worked out at the gym, went on runs and cycled, and also used it when not exercising at home and on walks around my neighborhood. I listened on Spotify and Tidal, watched on streaming services and played several games with them.

These are the latest in a busy line of earbuds I've tested at TechRadar, including plenty of open-ear options and various gadgets from Huawei.

Read more about how we test

  • First reviewed: January 2026
This retro-style Bluetooth speaker is trying to outdo Marshall at its own game, but is it up to the task?
2:00 am | January 18, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Edifier ES60: two-minute review

Elegant and Supreme. According to Edifier, those are the two words that define its ‘ES’ line of speakers. So, as you can imagine, my hopes were pretty high for the Edifier ES60 – a Bluetooth speaker that promises “immersive” and “high-quality 360-degree sound”.

And in some ways, it met my expectations. Especially in regard to its ‘Elegant’ side. Yes, this is a very nice-looking speaker. Its retro-style design – which is clearly pretty Marshall-inspired – is a hit, with its golden details, faux-leather casing, and appealing speaker grille winning me over.

Sure it’s not the lightest speaker in its size-class, and its IP66 waterproof rating has been outdone by many of the best Bluetooth speakers, but it’s still highly portable and able to withstand a good splashing.

I wasn’t totally convinced of the ES60’s supremacy, though, especially in the audio department. This is a solid-sounding speaker in general, with clear overall audio output and punchy enough bass. However, it lacks the nuance that many similarly priced rivals offer. Vocals don’t sound beautifully separated, and it's not as expressive or energetic as models like the JBL Flip 7. The treble is also a little overzealous, and sounds particularly harsh at higher volumes.

The ES60’s suite of features is also a bit of a mixed bag. I’m a fan of the customizable ambient lighting, USB-C audio passthrough compatibility, and inclusion of a built-in mic for hands-free calls. However, the EQ options are very basic, and there’s no custom option, which I would’ve used to temper that treble a touch.

Also, you only get nine hours of battery life from this model, which is underwhelming compared to much of the competition in this price range. For instance, the aforementioned Flip 7 can live for as long as 16 hours, and the Marshall Emberton III can go for up to 32 hours.

When you consider that the Edifier ES60 typically comes in at $199.99 / £119.99 / AU$199.99, it just doesn’t feel like great value for money. Rivals outdo it in too many crucial areas, including audio performance, battery life, and waterproofing. It’s still a solid speaker overall, with an especially eye-catching design, but unless it’s on sale, I can’t recommend it outright.

Man holding the Edifier ES60

(Image credit: Future)

Edifier ES60 review: price and release date

  • $199.99 / £119.99 / AU$199.99
  • Launched in March 2025

The Edifier ES60 launched in March 2025 as part of Edifier’s ‘ES’ line, which also includes models like the palm-sized Edifier ES20 and larger Edifier ES300. It typically sells for $199.99 / £119.99 / AU$199.99, but I have seen it going for less than $150 over on Amazon US on occasion. You can grab the ES60 in either Black or Ivory.

Edifier ES60 review: specs

Drivers

1x 18W mid-bass driver; 2x 8W tweeters

Dimensions

7.5 x 3.6 x 3.9 inches / 190 x 92 x 98mm

Weight

2.3lbs / 1kg

Connectivity

Bluetooth 5.4, USB-C

Battery life

9 hours

Waterproofing

IP66

Edifier ES60 on table, against pink background with lights active

(Image credit: Future)

Edifier ES60 review: features

  • Attractive customizable lighting
  • Limited EQ options
  • Nine-hour battery life isn’t great

Under the hood the Edifier ES60 has a fairly standard configuration for a speaker of its size. It’s packed with a single 18W mid-bass driver, alongside two 8W tweeters. That means you’re getting a maximum power output of 34W – similar to that of the JBL Flip 7, but quite a bit more than its main rival, the Marshall Emberton III.

So, how good does it sound exactly? I’ll get onto that later – let’s take a look at its list of features for now.

You get a lot of the usual stuff here, such as multi-point connectivity, dual-speaker pairing, and companion app compatibility. However, you do get a few neat extras, including a high-sensitivity microphone, which enables you to take hands-free calls. This even has integrated noise-cancelling technology, which can carve your voice out from busy surroundings.

Another notable inclusion is EQ settings, accessible via the Edifier ConneX app. In honesty, these are pretty basic. You get the default music tuning, alongside a game, movie, and outdoor calibration. There are no genre-specific alternatives, and there’s no custom tuning available. That last part is a real shame – if there’s a specific sound I’m aiming for, I always appreciate the option to implement it.

Another negative for me was the speaker’s battery life. It only delivers nine hours of listening, which just isn’t that much for a speaker in its size class. By comparison, the JBL Flip 7 delivers as much as 16 hours, while the Marshall Emberton III provides a colossal 32 hours.

It’s not all bad news, though. One of the best things about the Edifier ES60 is its integrated LED lighting. This emits from the underside of the speaker, and can shine onto a surface to create a bit of ambience. You can customize the color and effect of the lighting in the Edifier ConneX app, which is a nice touch. This can also be disabled entirely if you want to focus on conserving battery life.

You can also access wired audio via the speaker’s USB-C port, which opens up higher-resolution, more stable listening. That’s an enticing inclusion, and something that a lot of Edifier’s rivals skip on.

  • Features score: 3.5/5

Edifier ES60 on table, against pink background with lights active

(Image credit: Future)

Edifier ES60 review: sound quality

  • Decent at mid volumes, with solid bass output
  • But treble can sound a little overeager
  • Not the best in terms of nuance and instrument separation

I absolutely adored the sound signature of the Edifier ES60’s smaller-sized sibling, the Edifier ES20, so I had pretty high hopes for this one. On top of that, Edifier itself claims that the ES60 plates up a “superior sound performance” with “deep, punchy bass”, so I was pretty excited to get into my listening test.

With I Just Wanna Stop by Gino Vannelli, the overall sound was fairly pleasant at mid-volumes, with clear vocals and well-balanced bass. However, I did sense that drums in the treble range were a tad overstated, which was only emphasized as I cranked up the loudness.

It was a similar sort of story in the more upbeat Keep the Fire Burning by Gwen McCrae – bass was tempered but clean, but those higher-pitched percussive elements were a little over-eager. Again, vocals were quite clear, but not beautifully separated. More generally, instrument separation isn’t incredible on the ES60 – it doesn’t feel as if every individual element can express itself fully.

After this, I tried something a little different, with the bass-heavy Fascinator by Max Dean. I was fairly impressed here, with the deep, pumping bass in the build-up sounding agile and decently regimented. Those highs were pretty aggressive again, and they could potentially get grating over long listening periods, but vocal chops in the midrange were balanced quite well, and didn’t sound obscured.

M-High’s 12 O.C Riddim was also handled pretty well. Bass gets very dark in this track, and although the ES60 couldn’t quite muster up the full-bodied low end might required to replicate that, it certainly produced a meaty effort. At higher volumes, though, bass does thin out quite a bit, and there’s very obvious compression – that treble goes from overzealous to shrill, and vocals lose tonal accuracy.

Another positive is that the ES60 sounds pretty good from every listening angle. I tried walking around our music testing space and office, and the speaker remained fairly consistent at all times.

But how does this model compare against the competition? Well, I tested the ES60 alongside the JBL Flip 7 – a speaker with a similar amount of power, and similar price (in the UK at least). And this comparison hammered home why the Flip 7 sits atop my guide to the best Bluetooth speakers.

The key difference I picked up on was the Flip 7’s ability to carve out vocals and bring them to the fore, creating a truly emotive listen. In Ned Doheny’s I’ve Got Your Number, strumming guitars were beautifully weighted on the Flip 7 and sounded as if they occupied their own pocket, while soulful vocals came through with clarity and direction. The ES60 delivered a more one-note performance, which never sounded harsh or unpleasant – it just lacked the nuance of JBL’s speaker.

Meanwhile, Love At First Sight - Kid Creme Vocal Dub by Kylie Minogue just had a bit more energy and drive on the Flip 7, a speaker that ultimately surpasses the ES60 in terms of control, instrument separation, and expressiveness. So, even though Edifier’s speaker sounds solid overall – especially in the low end – I just don’t think its audio performance can stack up to some big-name rivals.

If the ES60 had a custom equalizer or even some more presets to play around with, it may well be able to compete more effectively, but as I mentioned in the ‘Features’ section, the options at your fingertips are very limited.

It’s also worth flagging that this model only supports the most basic SBC audio codec – there’s no fancy stuff like LDAC or aptX Adaptive on-board, and not even any love for AAC. That means you won’t get the most insightful, high-resolution listen around if you’re streaming over Bluetooth.

  • Sound quality score: 3.5/5

Man pressing button on the Edifier ES60

(Image credit: Future)

Edifier ES60 review: design

  • Appealing retro-style aesthetic
  • Decent IP66 waterproof rating
  • Pretty solid feel

The category in which the Edifier ES60 arguably excels the most is design. Sure, it’s clearly inspired quite a bit by Marshall’s Bluetooth speakers, in particular, the Emberton line, but Edifier has pulled off the retro style nicely here.

It’s got an attractive speaker grille, faux-leather casing, and golden details, which help it stand out from much of the crowd. You can also grab this model in either Black or Ivory, and both colorways complement the speaker’s luxury look beautifully.

On the top side, this model has a simple and effective array of buttons, which allow you to adjust lighting, playback, or power in an instant. You’ll also find a USB-C port on the reverse side of the speaker, which can be used to charge it up or access wired audio.

Earlier, I discussed the speaker’s LED lighting, which conjures up a little bit of ambience for immersive listening sessions, and is customizable in the Edifier ConneX app.

So, I’m a big fan of the layout and look of the Edifier ES60, but how does it fare in terms of practicality? Well, not too badly. First of all, it's not the lightest of speakers, coming in at around 2.3lbs / 1kg. However, it’s just about small enough to carry around one-handed, and there’s a fabric strap included if you’re traveling a short distance.

The ES60 is also IP66-rated, meaning that it’s fully dustproof, and able to withstand powerful jets of water from multiple directions. That rating is decent overall, but a lot of the competition goes further, with the JBL Flip 7, for instance, holding an IP68 rating, making it able to survive a dunking under 1.5 meters of water for 30 minutes.

Still, this is a solidly built model, and should survive the odd drop when you’re out and about. Combine that with its swell look, and the Edifier ES60 nets plenty of points in the design department.

  • Design score: 4.5/5

Edifier logo on the Edifier ES60

(Image credit: Future)

Edifier ES60 review: value

  • Fairly pricey, especially in the US
  • Better value rivals out there
  • Still, by no means a bad speaker

Though the ES60 exceeded in the last category, it falls a little flat in terms of value. It’s quite a pricey model, coming in at $199.99 / £119.99 / AU$199.99. That’s especially pricey for the US buyers out there, although I have seen it going for a bit less from time to time – it’s actually selling for around $149.99 on Amazon US.

Even so, that’s quite a bit to shell out on a speaker of this size, especially when you consider the imperfect audio quality and feature-set on offer. Don’t get me wrong, this is a nice-looking speaker, and it doesn’t sound bad by any means, but the competition is just too hot.

Take the JBL Flip 7, for example. It's regularly available for less than the Edifier ES60, plus it sounds better, has superior waterproofing, and offers much more playtime. Even the Marshall Emberton III – which this speaker draws inspiration from – delivers great audio, stereo sound capabilities, and an even more luxurious look.

As a result, the Edifier ES60 isn’t the value marvel of its sibling, the Edifier ES20 – and until it gets a juicy sale, I won’t be able to recommend it outright.

  • Value score: 2.5/5

Carry strap attached to the Edifier ES60

(Image credit: Future)

Should I buy the Edifier ES60?

Attributes

Notes

Rating

Features

Neat built-in mic and lighting, but poor EQ options and battery life.

3.5/5

Sound quality

Decently clear with solid bass, but lacks nuance and treble gets overexcited.

3.5/5

Design

Appealing aesthetic, well-built, IP66 rating isn’t too bad.

4.5/5

Value

By no means a bad speaker, but it can’t keep up with the competition in this price category.

2.5/5

Buy it if...

You want a speaker that’s also a statement piece
The best thing about the Edifier ES60 is its retro-style aesthetic, which makes it a real standout pick. Its golden details, neat speaker grille, and faux-leather casing make for a great combo, as we’ve seen with Marshall’s Bluetooth speakers, too.

You’re looking to enjoy an ambient listening experience
Another thing that makes the ES60 special is its integrated LED lighting. This can be customized in the Edifier ConneX app, and helps to create a more atmospheric, ambient listening experience.

Don't buy it if...

You want the best sound quality
When comparing the ES60 with the similarly powerful JBL Flip 7, the latter just operated at a new level in terms of audio quality. Unfortunately, the ES60 lacks the nuance, energy and control to compete with the best of the best in its size and price category.

You don’t want to charge your speaker too much
The ES60’s nine-hour battery life isn’t very impressive, and a whole lot of rivals outdo it for playtime. The two speakers I’ve listed below, for example, are far better choices if you don’t want to charge your audio companion all too regularly.

Edifier ES60 review: also consider

Edifier ES60

Marshall Emberton III

JBL Flip 7

Price

$199.99 / £119.99 / AU$199.99

$159 / £159 / AU$289

$149 / £129 / AU$179

Drivers

1x 18W mid-bass driver; 2x 8W tweeters

2x 10W full-range drivers, 2 passive radiators

1x 45 x 80mm mid/bass 'racetrack' driver, 1x 16mm tweeter

Dimensions

7.5 x 3.6 x 3.9 inches / 190 x 92 x 98mm

6.3 x 2.7 x 3 inches / 160 x 68 x 76.9mm

2.8 x 7.2 x 2.8 inches / 70 x 183 x 72mm

Weight

2.3lbs / 1kg

1.5lbs / 0.7kg

1.2lbs / 0.6kg

Connectivity

Bluetooth 5.4, USB-C

Bluetooth 5.3

Bluetooth 5.4, USB-C

Battery life

9 hours

32 hours

16 hours

Waterproofing

IP66

IP67

IP68

Marshall Emberton III
It only seems right to include the Emberton III here, as it's clearly a point of inspiration for the Elegant Superb 60. We really rated this speaker, thanks to its pleasantly balanced sound, incredible battery life, and gorgeous looks. It’s certainly a better performer than Edifier’s speaker – it just doesn’t have the integrated lighting. Read our full Marshall Emberton III review.

JBL Flip 7
I’ve mentioned the JBL Flip 7 multiple times already, but for good reason. It’s simply the best value-for-money Bluetooth speaker on the market, with S-tier waterproofing, an attractive cylindrical design, and almost unfathomably good sound for such a small cylinder. If you’re going to buy one speaker in this price range, the Flip 7 would be my top recommendation. Read our full JBL Flip 7 review.

How I tested the Edifier ES60

Edifier ES60 on table, against pink background with lights active

(Image credit: Future)
  • Tested over the course of one week
  • Mainly used in the music testing space at Future Labs
  • Predominantly tested using Tidal

I spent hours upon hours testing out the Edifier ES60, listening to a ton of music and fiddling around with its various features. During my time testing it, I tried all of its light customization and EQ options, and made sure to try it in a variety of settings.

For the most part, though, I used the ES60 in the music testing room here at Future Labs. When listening to tunes, I went through the TechRadar testing playlist, which features tracks from a range of genres. But I also sifted through a bunch of songs from my personal library – mainly via Tidal, but sometimes on Spotify instead.

More generally, I’ve reviewed dozens of speakers, headphones, earbuds, soundbars, and more here at TechRadar, where I have a particular focus on audio-visual technology. I’ve tested most of the ES60’s competition, so I know what it takes for a speaker to stand out in a highly convoluted market.

  • First reviewed: January 2026
  • Read more about how we test
These super cheap noise-cancelling headphones boast a 110-hour battery, but I still can’t recommend them — here’s why
4:00 am | January 13, 2026
Author: admin | Category: Audio Computers Gadgets Headphones Wireless Headphones | Tags: | Comments: Off

Tribit QuietPlus 81: review

If you’re looking for an ultra-cheap pair of noise cancelling headphones, the Tribit QuietPlus 81 appear to be a very tempting option indeed. With a list price of just $49.99 / £49.99 (about AU$75), they pack a lot in – ANC, a ton of playtime, and a neat, foldable design. But are they really worth checking out?

Well, in a lot of ways, these headphones are impressive. Above all, I was blown away by their ultra-long battery life. You get 70 hours with ANC on, and a whopping 110 hours with ANC off. That means you’ll barely have to charge these cans, ideal if you’re someone that’s on the go quite a bit… or are just forgetful like I am.

Like the best headphones around, these also have pretty extensive EQ options. There are a range of genre and situation-specific presets, but you can also set your own with the included 10-band equalizer. This means that you can create the sound that works best for you – an important inclusion, given that these headphones do not sound great out of the box.

Yes, I understand that these are incredibly cheap, and I didn’t have big expectations for these headphones, sonically speaking. But still, I think there are better-sounding options in the budget category – more on those in the ‘Also consider’ section. But essentially, these cans just lack the clarity, dynamism, and detail that others offer.

When listening to Black Eye by Allie X, synth beat intro lacked the razor-sharp delivery that makes it so impactful. The drum machine that follows sounds pretty deep, but also quite bloated, leaving the track devoid of its intense, energetic character. With the standard ‘Music’ tuning, instruments in the treble range are concealed, but even with a custom setup, I wasn’t able to get the expressive sound I was chasing.

Moving over to 12 O.C Riddim by M-High – a track that’s great for testing the low-end capabilities of headphones – and the picture was fairly mixed. High-pitched percussion in the build up again lacked the vibrancy and edge I was looking for, and although the headphones could reach down to the track’s dark depths, bass wasn’t agile or clean enough for a truly immersive listen.

Just generally, these headphones lack the refined sound you’d expect from a budget model like the 1More Sonoflow Pro HQ51. With a custom EQ, you can get adequate sound when listening at mid-volumes, just don’t expect to get anything out of the ordinary for $50 / £50 headphones.

Man holding the Tribit QuietPlus 81

(Image credit: Future)

Let’s get onto another crucial area and discuss ANC. So, these headphones can be used in normal mode, transparency mode (for enhanced awareness), and with noise cancelling on. I spent most of my time testing the headphones with ANC on, and in honesty, it was about as good as I’d expected.

When working in the office, I could still hear chatter and typing with volume set to 70%. On walks, traffic noise was still pretty prominent too, as was the sound of passerbys talking. Sure, these dampen surrounding sounds decently enough, but they’re unlikely to impress on the noise cancelling front.

One feature that interested me on these headphones, though, was their ability to trigger transparency mode in an instant. You can simply hold down on the right earcup, and hear your surroundings – as seen on the excellent Sony WH-1000XM6. Is this the most responsive? No – the feature doesn’t activate instantly as it would on the XM6. But still, it’s fairly effective, and a worthwhile inclusion.

More generally though, controls on the QuietPlus are pretty poor. After a firmware update, I was able to access ‘customizable touch controls’, but I couldn’t set playback control to the right ear cup… that’s limited to physical button controls. These buttons are black on black, and are slightly hard to read – and the volume controls being bound to one small-sized button is very impractical.

Touch controls themself are fairly responsive, but all they can do is activate XBass mode – which doesn’t sound good – or summon a voice assistant. I personally would’ve preferred standard touch controls to play, pause, or skip music – as seen on a model like the Bose QuietComfort Ultra Headphones (2nd Gen).

There are a few other features to explore, like a lower-latency game mode, wired listening via a 3.5mm slot, and hearing protection. You can find just about everything you need in the Tribit app, although this is a pretty rudimentary piece of software – something I flagged in my review of the Tribit PocketGo.

In terms of design, these headphones are hit and miss. They’re foldable, which makes them pleasingly compact, and their adjustable headband makes them easy to fit. One thing that's not too well-designed is the packaging. The box says these headphones offer "ULTRA LONG BATT" and "SMOOTH TALKING"... that's one way to make a first impression.

Anyway, in spite of their use of ‘protein leather cushioning and memory foam’, I found the QuietPlus 81 to be a little uncomfortable for extended use. To me, they’re a little tight-feeling, and padding on the headband feels a little thin. Looks-wise, however, these headphones are solid. They don’t look ultra plasticky, and the earcups have a rounded look, which is fairly appealing.

In the end, then, would I recommend the Tribit QuietPlus 81 headphones? Unfortunately, the answer is no. There are certainly some commendable qualities on offer here, like that brilliant battery life and ten-band equalizer. But sonically, these fail to beat out rivals in their price category. Combine that with some unremarkable ANC and features, and I’d say you’re better off putting that $50 / £50 towards a pair of the best cheap headphones instead.

Tribit QuietPlus 81 leaning against block on pink background

(Image credit: Future)

Tribit QuietPlus 81 review: specs

Drivers

40mm dynamic

Active noise cancellation

Yes

Battery life

70 hours ANC on; 110 hours ANC off

Weight

283g

Connectivity

Bluetooth 6.0, 3.5mm

Frequency range

20Hz-20kHz

USB-C cable plugged into the Tribit QuietPlus 81

(Image credit: Future)

Tribit QuietPlus 81 review: price and release date

  • $49.99 / £49.99 (about AU$75)
  • Launched in December 2025

The Tribit QuietPlus 81 headphones were released in December 2025, and are available via Tribit’s website directly, or over on Amazon. They have a list price of $49.99 / £49.99 (about AU$75), which plants them firmly in the budget category.

Earcup with USB-C slot and 3.5mm slot on the Tribit QuietPlus 81

(Image credit: Future)

Should I buy the Tribit QuietPlus 81?

Attributes

Notes

Rating

Features

Excellent battery life, but unremarkable ANC and clunky app.

3/5

Sound quality

Can get pretty deep, but audio is pretty muddy and lacks dynamism.

2.5/5

Design

Not particularly comfortable, poor controls, but decent looking.

2/5

Value

Cheap, but quality doesn’t match up to other budget rivals.

3/5

Buy them if...

You want ANC for less
The Tribit QuietPlus 81 provide active noise cancelling capabilities for less than $50 / £50. Sure, it’s not the most amazing ANC around, but these headphones will still dampen noise from your surroundings decently.

You want headphones with a whole lot of battery life
With 110 hours of battery life with ANC off and 70 hours with it on, the Tribit QuietPlus 81 supply a whole lot of playtime. That’s more than the majority of budget rivals, and makes them ideal for those who don’t want to charge their headphones all too often.

Don't buy them if...

You want some comfy cans
In my experience, the QuietPlus 81 weren’t very comfortable. There’s not much padding on the adjustable headband, and they were a slightly tight fit, meaning they’re not ideal for longer listening sessions. If you want some seriously comfortable headphones, my top recommendation would be the Anker Soundcore Space One Pro.

You’re looking for good sound quality
The underwhelming audio of the Tribit QuietPlus 81 is one of their key flaws, and sees them lag behind some of the budget-friendly competition. If you want better audio at a still-low price, I’d recommend one of the options down below.

Tribit QuietPlus 81 review: also consider

Tribit QuietPlus 81

1More Sonoflow Pro HQ51

OneOdio Focus A6

Price

$49.99 / £49.99 (about AU$75)

$89 / £99 / AU$130

$55 / £55 (about AU$110)

Drivers

40mm dynamic

40mm dynamic

40mm composite

Active noise cancellation

Yes

Yes

Yes

Battery life

70 hours ANC on; 110 hours ANC off

65 hours ANC on; 100 hours ANC off

75 hours ANC off; 40 hours ANC on

Weight

283g

246g

240g

Connectivity

Bluetooth 6.0, 3.5mm

Bluetooth 5.4, 3.5mm

Bluetooth 6.0, USB-C audio passthrough

Frequency range

20Hz-20kHz

20Hz-40kHz

20Hz-40kHz

1More Sonoflow Pro HQ51
The 1More Sonoflow Pro HQ51 remain as the top budget pick in our guide to the best noise-cancelling headphones, and for good reason. With genuinely good ANC, seriously impressive audio, and plenty of playtime, they feel like the ultimate cheap pair of headphones. They’re often on sale for less than their already phenomenally low list price, and I’d certainly recommend them over these Tribit cans. Read our full 1More Sonoflow Pro HQ51 review.

OneOdio Focus A6
These ultra-cheap headphones really impressed us with their comfy fit and quality build, their exhaustive suite of features, and their genuinely good sound quality. You really can’t do much better than this for cans sitting around the $50 / £50 mark, so these are well-worth checking out. Read our full OneOdio Focus A6 review.

How I tested the Tribit QuietPlus 81

Tribit QuietPlus 81 leaning against block on pink background

(Image credit: Future)
  • Tested for one week
  • Used in the office and while on walks
  • Predominantly tested using Tidal

I spent one week testing the Tribit QuietPlus 81, during which time I took them just about everywhere I went. Whether I was on a walk, working in the office, or doing chores at home, I made sure to have the headphones at hand – allowing me to test the quality of their ANC in a wide range of settings.

When listening to music, I predominantly made use of Tidal, but I did dip into Spotify from time to time as well. As always, I commenced my testing by running through the TechRadar testing playlist, which features songs from a wide range of genres, but I also tuned into a heap of tracks from my personal music library.

On top of that, I made use of the various features on the QuietPlus 81, messing around with the customizable controls, ANC modes, and custom equalizer. More generally, I’ve been a Reviews Writer here at TechRadar for almost two years, during which time I’ve tested a whole lot of headphones, including premium releases like the Sennheiser HDB 630 and budget alternatives like the Baseus Bowie 30 Max.

  • First reviewed: January 2026
  • Read more about how we test
Goldring’s G3 turntable is all about style and convenience, but there’s one aspect I wish I could switch off…
2:00 pm | January 10, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Turntables | Comments: Off

Goldring GR3 turntable: two-minute review

Just two decades or so since it last had a turntable in its product line-up, Goldring is back. The GR3 has been developed in collaboration with acknowledged experts and it really looks the part in a ‘black high-gloss lacquer’ sort of way.

It’s got plenty going for it where specification is concerned, too. This is a belt-drive turntable with manual speed-change, and it arrives with a very capable Goldring E3 pre-fitted and pre-adjusted moving magnet cartridge at the end of the aluminium tube tonearm. It’s supplied with a couple of pairs of QED cables to make plugging it into a system as painless as can be. And it’s fitted with an internal phono stage to ensure it is compatible with as wide a range of systems as possible – if the phono stage had an ‘off’ switch it could be fair to say the GR3 has everything you could possibly expect or require.

Connected to an appropriate system, the Goldring GR3 is an articulate, informative and confident listen with just enough drive and attack to stop it sounding leisurely. Dynamic headroom, soundstaging and timing all impress, and the amount of detail the GR3 can extract from the groove is also noteworthy.

In a slightly less appropriate system, though, the latent high-frequency stridency the Goldring hints at becomes a little more evident – a minor lack of treble substance can become apparent. When weighed against all the things that are enjoyable about the GR3 sound, though, ‘minor’ is the word to bear in mind and it bears serious consideration to sit among the best turntables available.

Goldring GR3 turntable, with the dustcover closed, as part of a sound system setup on a wooden surface

(Image credit: Future / Simon Lucas)

Goldring GR3 turntable review: price and release date

  • $1,299 / £699 / AU$1,599 (approx.)
  • Launched in October 2025

The Goldring GR3 launched towards the end of October 2025, and in the United States it's priced at $1,299. In the United Kingdom it goes for £699, while in Australia it will set you back around AU$1,599.

Goldring GR3 turntable review: features

  • Low-vibration belt drive motor
  • Integrated phono stage
  • Pre-fitted Goldring E3 moving magnet cartridge

The plain fact is that the Goldring GR3 has a few more features than is the norm where a record player costing this sort of money is concerned. So where has that half-a-star gone from the ‘features’ score below? I’ll get to that, but for now let’s establish what’s what.

The motor that moves the belt that spins the platter is a low-noise, low-vibration design. The tonearm is a 237mm one-piece aluminum tube with a three-point arm mounting system - and it’s pre-fitted with an extremely well-regarded Goldring E3 moving magnet cartridge, a design that’s well on the way to becoming a classic.

The GR3 is also supplied with two pairs of relatively high-quality interconnects, manufactured by Goldring’s sister company QED. One is a 1.5mm stereo RCA design, the other a 3.5mm / stereo RCA alternative, so connecting the GR3 to a full-size system or a pair of powered speakers should be no problem.

The Goldring’s stereo RCA outputs are fed by an integrated phono stage, and it’s here that the GR3’s final half-a-star goes astray. I’m absolutely in favor of record players with integrated phono stages, don’t get me wrong; it makes for ultimate flexibility, and it means the deck can slot into pretty much any system you care to mention. But the phono stage here is always on and cannot be switched off, so if you own a system with a phono stage of its own (and surely any number of people ready to spend $1,299 on a record player must do), you must avoid your own phono stage for the one fitted here. You don’t even get to compare and contrast.

Just a simple ‘on/off’ switch is all that’s required, Goldring. Is it too much to ask?

  • Features score: 4.5/5

Closeup of a pre-fitted Goldring E3 moving magnet cartridge for the Goldring GR3 turntable

(Image credit: Future / Simon Lucas)

Goldring GR3 turntable review: Sound quality

  • Tremendous rhythmic positivity
  • Extracts plenty of fine detail
  • Lacks a little top-end substance

There are some aspects of audio reproduction at which well-sorted turntables seem to excel. And the Goldring GR3 is almost a caricature of a record player in this respect; the areas where it’s at its most convincing and most enjoyable are all textbook turntable strengths.

Take rhythmic expression, for instance. The GR3 manages the low frequencies during a listen to Patti Smith’s Horses with absolute confidence, closely observing the attack and decay of individual bass sounds so that rhythms and tempos are described in the most naturalistic, fluent and convincing manner. There’s plenty of variation in the low end here, ample detail regarding tone and texture is available, but it’s the effortlessness with which the Goldring describes even quite tricky, off-kilter rhythms that lets you know you’re in safe hands.

The unity and togetherness with which the GR3 presents the whole recording is another one from the Big Book of Turntable Cliches. Detail levels are high throughout the frequency range, and (with the slight exception of the very top end) tonality is very consistent too – and there’s a real sense of singularity and performance about the way the Goldring handles the entirety of the music. As with rhythmic expression, there’s a complete lack of stress or apparent effort in the way this turntable handles the timing of a recording.

There’s decent dynamic headroom available for when the going gets especially hectic or intense. The GR3 is able to create a large and quite persuasive soundstage and there’s more than enough room available for each strand of a recording to make itself heard. The Goldring communicates eloquently through the midrange, and has just enough positivity to its overall presentation to prevent the words ‘laid back’ seeming like something that might come in useful at some point.

It’s only at the top of the frequency range that the GR3 seems anything less than nicely balanced and assured. Unlike the rest of the frequency range, which is described with quite carefully neutral tonality and a fair amount of substance, the very high end sounds a little thin and malnourished. It stops well short of hardness or edginess, don’t get me wrong, but its relative lack of body puts it at odds with pretty much everything that’s going on beneath it.

In a sympathetically matched system it will hardly be an issue but with carelessly chosen or similarly inclined partners the GR3 could conceivably bare its teeth a little more readily than is ideal.

  • Sound quality score: 4.5/5

Goldring GR3 turntable on top of a four-shelf sound system with pre-amp and stand mount speakers.

(Image credit: Future / Simon Lucas)

Goldring GR3 turntable review: Design

  • Belt drive with manual speed change
  • Phenolic resin platter
  • High-gloss black plinth

Goldring, up to a point, is being quite open about the fact the GR3 was developed in collaboration with a third party. This is the Goldring’s first turntable in over two decades, after all, so the idea of getting some outside help is probably sensible. “A renowned British hi-fi manufacturer” is how Goldring rather coyly describes its associate.

If you’re in any way au fait with the work of any renowned British turntable brands, the design of the GR3 is going to look pretty familiar – heck, if you’re in a similar line of work to me you’re probably likely to recognize the arrangement of the packaging the GR3 arrives in. But if you’re going to collaborate, then why not collaborate with the best around?

Anyhow, the GR3 is a belt-drive design, and is fitted with a phenolic resin platter. The platter is designed to increase inertia and maximize the flywheel effect (thus maintaining consistent rotational speed) by having the bulk of its considerable mass at the outside.

The plinth is built of anti-resonant composite fiber, and is finished in the sort of high-gloss black that collects fingerprints like a particularly zealous scene-of-crime investigator. It stands on three pliant, resonance-suppressing feet, and can be fitted with a supplied clear Perpsex dust cover. With the lid closed, the GR3 is 120 x 450 x 360mm (HxWxD), and weighs around 5.5kg.

  • Design score: 5/5

Goldring GR3 turntable, with the dust cover closed, with a yellow De La Soul record on the platter.

(Image credit: Future / Simon Lucas)

Goldring GR3 turntable review: usability and set-up

  • Cartridge is pre-adjusted for all but downforce
  • Can easily be connected to many types of system
  • Manual speed change

The Goldring E3 moving magnet cartridge is fitted to the tonearm before the GR3 leaves the factory, and it’s pre-adjusted for all but downforce. Dial in the recommended 2g and you’re ready to play.

Connecting to a system is very simple, too. Use one of the supplied cables to take line-level left-and-right channel information away from the turntable and into an ‘aux’ or other line-level input on your set-up – anything from a powered speaker to a full-on hi-fi system is fair game.

After that, make sure the belt is around the correct part of the pulley in order to get the rpm you need. The power switch is on the underside of the plinth, almost directly beneath the legend ‘Goldring - established 1906’ on the surface. Take the guard off the cartridge and lower the needle onto the vinyl… then sit back and enjoy.

  • Usability and setup score: 5/5

Closeup of the rear panel of the Goldring GR3 turntable, showing the input and output ports.

(Image credit: Future / Simon Lucas)

Goldring GR3 review: Value

  • Great build and finish
  • Articulate sound
  • Very acceptable cartridge

A good standard of build and finish, a very acceptable cartridge thrown in, and specification that makes system-matching the work of a moment all go towards suggesting there’s value for money available here. Add in the confident, articulate way the Goldring GR3 sounds and its case is approaching ‘watertight’.

  • Value score: 5/5

Closeup of the tonearm of the Goldring GR3 turntable.

(Image credit: Future / Simon Lucas)

Should I buy the Goldring GR3?

Attributes

Notes

Rating

Features

Low-vibration belt drive motor; integrated phono stage but would benefit from an 'off' option.

4.5/5

Sound quality

Excellent level of detail with decent dynamic headroom, but lacks a little top-end substance.

4.5/5

Design

Belt-drive design with a phenolic resin platter, developed in collaboration with a third party.

5/5

Usability and setup

Goldring E3 moving magnet cartridge fitted to the tonearm, though you must set the downforce; otherwise easy to connect to a system.

5/5

Value

Good build and finish, great cartridge, a fine proposition.

5/5

Buy it if...

You want as convenient an experience as possible
Yes, you have to set the downforce, but other than that, the GR3 is as painless as they come.

You value effortlessly rhythmic sound
The way the Goldring just flows is highly enjoyable.

You don’t mind a bit of dusting
The plinth shows up every speck of dust that lands on it.

Don't buy it if...

You have a decent phono stage in your system already
It’s the GR3’s phono stage or nothing, I’m afraid.

Your system is in any way flimsy at the top of the frequency range
The Goldring is happy to hit the top end perhaps a little harder than is ideal.

You have greasy hands
That high-gloss plinth picks up fingerprints very easily indeed.

Goldring GR3 review: also consider

Rega Planar PL1
Obviously you should consider Rega as a strong alternative to the Goldring – the Planar PL1 is less expensive, it’s true, it isn’t fitted with pre-amplification or as capable a cartridge as the Goldring, but it’s cracking value for money nevertheless.
Read the full Rega Planar PL1 review

Pro-Ject T2 Super Phono
It’s also worth checking out Pro-Ject, specifically the T2 Super Phono. It’s a good-looking, great-sounding record player with an integrated phono stage (that can be switched off if you want) and a decent (but not quite Goldring E3-standard) Sumiko moving magnet cartridge. And it’s available at GR3 money or even a little less.

How I tested the Goldring GR3

Goldring GR3 turntable on a wooden surface

(Image credit: Future / Simon Lucas)
  • Tested over the course of two weeks
  • Connected to a Naim Uniti Star network streamer/amplifier and Bowers & Wilkins 705 S3 Signature speakers
  • Listening to various types of music

I connected the Goldring GR3 to the line-level analog input of my Naim Uniti Star network streamer/amplifier using the supplied QED RCA/RCA cables.

The Naim was connected to a pair of Bowers & Wilkins 705 S3 Signature speakers on FS-700 S3 stands using QED XT50 speaker cable.

And then I listened to a lot of records for quite a long time, which was not the hardship it sounds like, I have to admit. I used a Rega Planar 2 with Carbon MM cartridge and a Technics SL-1300G with Goldring 1042 cartridge as reference devices.

  • First reviewed: January 2026
  • Read more about how we test
This pocket-sized Bluetooth speaker takes aim at the JBL Go 4 — but sadly, 3 key flaws hold it back
1:56 pm | January 8, 2026
Author: admin | Category: Audio Computers Gadgets Hi-Fi Wireless & Bluetooth Speakers | Tags: | Comments: Off

Tribit PocketGo: two-minute review

The Tribit PocketGo is an ultra-small Bluetooth speaker that comes with an equally small price tag. It’s lightweight, can be easily hooked up, and is ideal for on the go use thanks to its pocket-sized form.

But there are even more positives worth pointing to. For instance, this model has exceptional IP68 dust and waterproofing, meaning its fit for just about any environment, be that your shower, a pool, the beach… you name it. It's also fairly sturdy, so should survive the occasional drop.

One more positive is the model’s 20 hour battery life, which is right up there with the best Bluetooth speakers in its size class. Unfortunately, though, this is where much of my praise reaches its end.

See, the most important thing for any Bluetooth speaker is to sound good. And even when accounting for this speaker's limited size, I still think it falls flat in a few areas. Of course, you’re not going to expect much in the bass department, but I felt that audio could get muddied too easily on the PocketGo, with a generally one-note sound. Compression is also pretty prominent at higher volumes, and dynamics are pretty lacking.

Don’t get me wrong, the Tribit PocketGo isn’t the worst sounding speaker I’ve heard, not by some margin. Mids and highs still sound clear enough at mid-volumes, and less demanding tracks come through pretty well. But its obvious rival – the JBL Go 4 – sounds considerably better, and comes at a pretty similar cost.

Speaking of the JBL Go 4, it's clear that it was a huge source of inspiration for Tribit’s small-sized speaker. The two models look highly similar, but Tribit’s speaker doesn’t quite have the same level of refinement, and isn’t available in the same broad, exciting array of colors.

It’s not all doom and gloom, though. There’s an effective nine-band equalizer and a commendable selection of EQ presets. I was also interested to see microSD playback onboard – not something you’d see from a lot of rivals.

But in the end, it just feels as if the PocketGo fails to beat out its hero, the JBL Go 4. It doesn’t have the visual flair, the audio quality, or the sophisticated app required to assert supremacy. And as a result, I can’t recommend Tribit’s small speaker outright.

Fabric hook on the Tribit PocketGo

(Image credit: Future)

Tribit PocketGo review: price and release date

  • $34.99 / £29.99 / AU$49.99
  • Launched in November 2025

The Tribit PocketGo released in November 2025, and can be purchased in a range of color options, including Black, Blue, and Green. It has a list price of $34.99 / £29.99 / AU$49.99, which is a fair bit cheaper than the typical cost of its main competitor, the JBL Go 4, which is $49.95 / £39.99 / AU$59.95.

It's worth noting that Tribit isn't alone in wanting to offer the Go 4 for less; another option we tested, the AO mini portable wireless speaker, tried (in the UK at least) to match JBL's option for a cheaper £29 (around $34). But sadly, neither has fully succeeded…

Tribit PocketGo review: specs

Weight

0.5lbs / 220g

Dimensions

4.3 x 3.2 x 1.7 inches / 108 x 81 x 42mm

Connectivity

Bluetooth 6.0

Battery life

20 hours

Speaker drivers

1x 7W full range

Waterproofing

IP68

Tribit PocketGo review: features

  • Pleasing customizable EQ options
  • Impressive 20-hour battery life
  • Multi-speaker pairing, but no Auracast

The Tribit PocketGo has a decent set of features, with a few customization features available through the Tribit companion app. This opens up a bunch of EQ presets for different genres and listening environments, as well as a nine-band custom equalizer, which is a most welcome inclusion.

There’s not much more to explore in the app, though. You can control audio playback, alter the auto shutdown window, and toggle voice prompts on and off, but that’s about it. There are no battery preservation options, device management section, or anything out of the ordinary. I was also surprised to see Auracast left out, especially given the use of Bluetooth 6.0. You can pair two speakers together for stereo playback, though.

Another small thing worth noting is that the app isn’t the best I’ve used. It has a fairly rudimentary appearance, and I also experienced an issue where the app wouldn’t allow me to upgrade the speaker’s firmware. It believed that I wasn’t using the latest version of the companion software, but even after updating the app, I still couldn’t upgrade to the latest firmware, which was puzzling.

Anyway, your mileage may vary on that issue, and there are still plenty of good features to discuss. For instance, hands-free calling is available on the PocketGo thanks to its built-in mic. Quality-wise, the mic is just OK – a colleague said that I sounded pretty distant, but my words were still discernible. But one good thing is that the built-in mic enables you to use a voice assistant, which some users will appreciate.

One of the key benefits of the PocketGo is also its battery life. 20 hours is a very generous portion of playtime for a speaker of this size, though it’s worth noting that you can expect less if you’re listening at more than 50% volume. Still, 20 hours is almost three times the battery life of the JBL Go 4, which is the PocketGo’s nearest rival.

Finally, you’re able to play music from a microSD card thanks to a TF card input slot on the speaker. This isn’t something I’ve seen from a lot of rival models, and though it doesn’t seem to be the most practical way to enjoy your tunes, playback was stable when I tested it out.

  • Features score: 3.5/5

Buttons on top of the Tribit PocketGo

(Image credit: Future)

Tribit PocketGo review: sound quality

  • Mid-range and treble perform decently at mid-volume
  • Bass is lacking, largely due to restricted size
  • Lacks the dynamism and expression of the JBL Go 4

I’ll put my cards on the table – the Tribit PocketGo isn’t the best-sounding speaker I’ve tested, but it does have some redeeming qualities.

When listening to Black Eye by Allie X, the rapid-fire drum machine never sounded lethargic or bloated, although it did lack quite a bit of depth. That’s largely down to the small size of the PocketGo, which is light on power and can’t reach down all too deeply.

Higher in the frequency range, sudden percussive hits didn’t quite have the bite I’d hoped for – and generally the speaker’s dynamics never blew me away – but treble sounds were never harsh or uncontrolled at 50% volume or less. Vocals were also clear in the mix, which made for a decent overall listen, although I will say that they started to get muddied when I pushed volume above that 60-70% mark.

Tracks that feature sub-bass or generally deeper bass won’t fare well at all on the PocketGo. As I mentioned, there are some limitations here, so it’s to be expected, but tracks like 12 O.C Riddim by M-High featured almost inaudible low-frequency elements, which stripped them of the energy and excitement bass heads will be seeking out.

With a less demanding track like I’ve Got Your Number by Ned Doheny, there was a notable improvement, though. Strumming acoustic guitars were clear even with soulful vocals at the fore, and mid-bass – though not particularly impactful – came through cleanly. Again, there was very noticeable compression as I edged towards top volumes, but this speaker can get pretty loud for its size, so you might not need to crank things all the way to the top.

When I compared the PocketGo against its rival, the JBL Go 4, the latter model typically performed better. The PocketGo could get louder, but it had a less expressive overall sound, with the Go 4 plating up superior instrument separation and dynamics. Both speakers suffer from similar restrictions due to their size – neither gave me amazing deep bass or beautifully layered, detailed sound. But I think the Go 4 is the better sounding model.

  • Sound quality score: 3/5

Tribit PocketGo in someone's hand

(Image credit: Future)

Tribit PocketGo review: design

  • A less refined-looking JBL Go 4
  • Small and lightweight
  • Exceptional IP68 dust and waterproofing

Let’s address the elephant in the room here. To say that the Tribit PocketGo is inspired by the JBL Go 4 would be an understatement.

This is almost a one-for-one copy, featuring a fabric speaker grille, a rubber control pad, and small loop for hanging the speaker up. It’s not as refined or premium looking as JBL’s model, though, and its color options aren’t the most exciting, meaning it's not my favorite looks-wise.

But there are some definite positives to discuss in regard to this speaker’s design. First of all, it’s pleasingly compact and lightweight, coming in at just 0.5lbs / 220g. Its fabric loop also makes it easy to place on a hook – though I’d recommend laying it flat or on its base to listen to music, if you want the best audio quality.

What’s more, the Tribit PocketGo has an IP68 rating. That means it’s fully protected against dust, and highly waterproof too. More specifically, it can live through a 30 minute dunking under a meter and a half of water – it doesn’t get much better than that. In addition, it has a fairly solid construction, and should easily survive the occasional drop.

  • Design score: 3/5

Reverse side of the Tribit PocketGo

(Image credit: Future)

Tribit PocketGo review: value

  • Has a very modest price tag
  • Although you can grab an on-sale JBL Go 4 for similar
  • Fairly average overall quality

The Tribit PocketGo is a very budget friendly option, coming in with a list price of just $34.99 / £29.99 / AU$49.99.

Of course, this speaker is far from perfect. It produces average audio with solid mid-range and treble output at mid-volumes, but limited instrument separation and poor overall sound at louder levels. Its design is also a little unoriginal, and there are some missing features I would’ve liked to see.

But when you consider its impressive playtime, excellent waterproofing, and compact build, there is still plenty to like. Is it going to blow you away for the price? Perhaps not, but I still think you get what you pay for.

Still, would I recommend it outright? Not exactly. I think the JBL Go 4 is still the stronger pick if you’re seeking out a cheap, small-sized option. It may have a slightly higher list price, but it's on sale fairly regularly for around $40 / £35 / AU$49. Its superior sound quality and aesthetic makes it the better pick, for me.

  • Value score: 3.5/5

Buttons on top of the Tribit PocketGo

(Image credit: Future)

Should I buy the Tribit PocketGo?

Attributes

Notes

Rating

Features

Great battery life, but lacks Auracast, and companion app is pretty rudimentary.

3.5/5

Sound quality

OK sounding at mid-volume, but struggles beyond that, generally one-note audio.

3/5

Design

A little too close to the JBL Go 4, but lightweight and highly waterproof.

3/5

Value

Overall, you get what you pay for, but no more than that.

3.5/5

Buy it if...

You want a compact speaker to take on the go
One of my favorite things about the PocketGo is its satisfyingly small size, which makes it easy to throw in a bag or, well you know, in your pocket. It’s also dust and waterproof, meaning it's fit for use in any environment.

You’re on a tight budget
The low list price of the Tribit PocketGo makes it an enticing option. Its audio isn’t going to blow you away, and it's not the prettiest looking speaker on the market, but its long battery life and lightweight build may tempt you.

Don't buy it if...

You want great sound quality
Of course, some of this speaker’s flaws are linked to the inherent restrictions of its size. For instance, you can’t expect deep bass or amazing loudness here. But even still, this model left a little to be desired sonically, with a fairly one-note sound, limited instrument separation, and harsh audio at higher volumes.

You’re looking for something with style
This model looks a little bit too similar to the JBL Go 4 for my liking, but doesn’t quite have the refinement and charm of that model. There are less color options to choose from too, so I’d suggest picking the Go 4 over it.

Tribit PocketGo review: also consider

Tribit PocketGo

JBL Go 4

Edifier ES20

Price

$34.99 / £29.99 / AU$49.99

$49.95 / £39.99 / AU$59.95

$89.99 / £50 / AU$99.99

Weight

0.5lbs / 220g

0.6lbs / 285g

0.7lbs / 0.3kg

Dimensions

4.3 x 3.2 x 1.7 inches / 108 x 81 x 42mm

3.7 x 3 x 1.7 inches / 94 x 78 x 42mm

3.6 x 3.7 x 2 inches / 90.4 x 93.7 x 49.7mm

Connectivity

Bluetooth 6.0

Bluetooth 5.3

Bluetooth 5.4

Battery life

20 hours

7 hours

15 hours

Speaker drivers

1x 45mm full range

1x 45mm full range

1x 43mm full range

Waterproofing

IP68

IP67

IP67

JBL Go 4
This is the speaker that the Tribit PocketGo wants to be. It’s not the best sounding speaker ever, but I appreciate the Go 4’s clear mids and controlled treble, and you can adjust EQ to your personal taste. It’s a colorful, well-built, and lightweight option that’s even in my guide to the best Bluetooth speakers. Read our full JBL Go 4 review.

Edifier ES20
The Edifier ES20 was one of my favorite Bluetooth speakers of 2025. It's a little larger than the PocketGo and Go 4, but it’s still nice and compact, and highly waterproof. Sonically, this is an excellent choice, with surprisingly detailed mids, punchy bass, and expressive treble. Read our full Edifier ES20 review.

Tribit PocketGo review: how I tested

Tab on Tribit PocketGo pulled to one side, revealing USB-C and microSD card slots

(Image credit: Future)
  • Tested within a one-week period
  • Mainly used at home
  • Predominantly tested using Tidal

I tested the Tribit PocketGo over a week-long period, mainly using it at home. During my time with the speaker, I spent hours listening to music, exhausted all of its features, and even compared it directly against the JBL Go 4.

When listening to tunes, I made sure to start with the TechRadar testing playlist, which features tracks from a range of genres. I also listened to songs from my personal library through both Tidal and Spotify.

And more generally, I’ve reviewed dozens of Bluetooth speakers here at TechRadar – more than 30 to be precise. As a result, I’m highly familiar with the PocketGo’s competition, and I know what it takes for a speaker to stand out in a highly convoluted market.

  • First reviewed: January 2026
  • Read more about how we test
Final’s latest DX over-ear headphones still aren’t cheap — but if you need detail and faithful neutrality, they’re the ones
2:30 pm | January 3, 2026
Author: admin | Category: Audio Computers Gadgets Headphones | Comments: Off

Final Audio DX3000CL: Two-minute review

The DX3000CL are, in the least pejorative way, a very Final Audio product. There’s nothing flashy about the way they’re designed, there’s nothing remarkable about the way they’re specified (although the provision for both balanced and unbalanced cable terminations is something some alternative brands might want to take notice of), and there’s nothing unusual about the way they look (apart from the fact they’re a little wider on the head than most alternatives).

All of the effort that’s gone into them seems to have been concentrated on the way they perform, and that can only be a good thing as a means to enter our best wired headphones guide.

The quality of build and finish is well up to standard, don’t get me wrong, and they’re as comfortable to wear as any price-comparable rival and quite a lot more comfortable than some. But it’s the 40mm free-edge dynamic driver, and its paper/carbon composite diaphragm, that’s the real star of the show here.

All the relevant numbers (frequency response, sensitivity, impedance) are very promising – but that’s nothing when you consider the way the DX3000CL actually sound. At this money they’re up against some extremely credible competition – the open-backed Sennheiser HD 660 S2 are an obvious alternative, and the planar magnetic FiiO FT5 are no slouches either, but the Final Audio have some very specific tricks up their sleeve.

They’re not the most dynamic or engaging listen, it’s true – but if you value insight, eloquence and a soundstage so large you feel you could walk around it, the DX3000CL will keep you listening for the foreseeable future.

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

Yes, the case is huge (Image credit: Future)

Final Audio DX3000CL review: Price & release date

  • 13th November 2025
  • Priced $599 / £549 / AU$1099

As briefly mentioned above, at $599 / £549 / AU$1099, these Final cans are up against some serious competition – I might mention the open-backed Sennheiser HD-660 S2 as a go-to alternative, or the planar magnetic FiiO FT5, but again, the Final Audio headphones do have some (very specific) aces up their sleeve.

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

Final Audio DX3000CL review: Specs

Type

Wired closed-back over-ear

Drivers

40mm paper/carbon composite

Weight

410g

Cable length

2m

Sensitivity

96dB/wm

Impedance

37Ω

Termination

4.4mm (with 6.3mm adapter)

Housing: glass fibre-reinforced resin

Glass fibre-reinforced resin

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

Final Audio DX3000CL review: Features

  • 40mm paper/carbon composite dynamic drivers
  • 96dB/wm sensitivity / 37Ω impedance
  • 3: 2m OFC cable with 4.4mm termination

To be honest, I’m not quite sure how any pair of passive wired over-ear headphones could score less than ‘5’ for ‘features’. After all, products like this require very few features – and if the necessary features are present and correct, then ‘5’ is basically mandatory. And there’s no denying the Final Audio DX3000CL have the necessary features.

The headphones are supplied with a two-metre length of relatively hefty oxygen-free copper cable in a nicely flexible polymer sheath. At one end it splits into two 3.5mm terminations, as each ear cup must be wired. At the other there’s a 4.4mm balanced connection, and there’s also a rather over-engineered 6.3mm adapter included too.

The cable supplies audio information to a pair of 40mm dynamic drivers. They’re a free-edge design, made from a paper-and-carbon composite – they’re good for a claimed frequency response of 10Hz - 40kHz, and are fully designed and assembled in-house by Final Audio in Japan.

Sensitivity of 96dB/wm and 37Ω impedance means the DX3000CL aren’t especially tricky to drive, and no reasonably powered headphone amplifier will have to break a sweat in order to get worthwhile volume out of them.

  • Features score: 5/5

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

Final Audio DX3000CL review: Sound quality

  • Remarkable powers of insight and detail retrieval
  • Big, organised and explicit soundstaging
  • Could conceivably sound more engaged and engaging

If you’re prepared to concede that you can’t have everything, even from an expensive pair of headphones, then the Final Audio DX3000CL are in many ways a deeply accomplished listen. As long as you don’t want to be grabbed by the lapels, the sound they make has plenty to recommend it.

Where they score very heavily is in the level of insight they summon, their ability to retrieve, reveal and contextualise even the most minor, most fleeting, most transient details in a recording and give them precisely the right amount of weighting. If it’s there in a mix, no matter how far back or how far down, the Final Audio will seize on it and let you know all about it. And the fact that they can generate a large, spacious and carefully organised soundstage doesn’t do any harm in this respect, either.

Do you remember when Scarlett Johansson collaborated with David Bowie on her album of Tom Waits cover versions? That was a weird old time, wasn’t it? Their version of Falling Down can sound quite foggy and indistinct, but when the Final Audio get hold of it all is revealed. The recording is opened up, with every element individualised and distinct in its own little pocket of space – but without sounding remote or dislocated. There’s still unity to the way the song is presented, but it’s a bit like the view from a freshly washed window – everything comes more fully into focus.

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

It doesn’t do any harm that the tonality of the DX3000CL is so neutral and naturalistic, and the fact that the journey from the (deep and solid) low frequencies to the (crisply substantial) top end is so smooth and uneventful. They’re deftly punchy without ever threatening to get out of hand, and the balance they strike in these respects is judicious in the extreme.

Where the Final Audio disappoint just a little centers around dynamics and overall engagement. There’s a suggestion of self-conscious good taste about the way these headphones are voiced that means they don’t always attack a recording with as much determination as might be appropriate, and they’re reluctant to properly let loose when the levels of intensity or simple volume in a recording begin to ramp up.

In the case of the Scarlett Johansson tune it’s not that much of an issue, but when you switch to something like Fanfare for the Warriors by The Art Ensemble of Chicago it becomes all too apparent that the DX3000CL are capable of being altogether too polite. ‘Wild abandon’ isn’t the be-all and end-all when it comes to reproducing music, of course, but a pair of headphones needs to be able to cut loose every now and then…

  • Sound quality score: 4/5

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

Final Audio DX3000CL review: Design

  • Glass fibre-reinforced resin housing
  • Screws and ‘O’ rings allow for easy servicing
  • 410g (without cable)

Beauty is in the eye of the beholder, of course, but for my money there’s an elegant simplicity about the design of the DX3000CL that isn’t always easy to come by. Final Audio has resisted the temptation to try to fancify these headphones, and the result is a clean and understated look.

This relative sophistication is thanks, in large part, to judicious choice of and use of materials. The single slender length of steel that adjusts the position of the headband relative to the ear cups looks and feels good – and unusually, it allows the ear cups to move in order to achieve adjustment rather than the other way around. The ear cups themselves are made of resin reinforced with glass fibre, and the hint of capillary waves in the housing constitutes perhaps the only design flourish here.

The ear pads and the headband feature memory foam covered with synthetic leather. There’s plenty of it for the ear pads, too, which makes the DX3000CL rather wider than most of their nominal rivals – you’ll have to be OK with looking a bit like a Cyberman when wearing these headphones. They’re comfortable, though, and are not as keen to retain and return your body heat than some alternatives I could mention. 410g is a fairly considerable weight, especially when you consider that’s without the cable being attached – but the clamping force and the hanger arrangement are both so carefully judged that the Final Audio don’t feel in any way burdensome, even if you’ve been wearing them for hours.

The fact the cable clicks into the front of the lower portion of each ear cup is slightly disconcerting (although it makes no practical difference). I’m so used to wired headphones connecting at the very bottom, or at the rear of the lower portion of the ear cup, I find myself checking that I haven’t got the headphones on backwards. That might just be me, though…

Final Audio is very keen on the fact that it’s entirely avoided the use of adhesives in the construction of the DX3000CSL. The use of precision screws and ‘O’-rings to ensure everything fits together nicely means the headphones can quite easily be dismantled, serviced and put back together again – and ‘no adhesives’ also means ‘greater sustainability’ and ‘reduced use of chemicals’ too, of course.

  • Design score: 5/5

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

Final Audio DX3000CL review: Value

  • Good standard of construction and finish
  • Quite extensive specification
  • Some sonic blind spots

Big, well-made and great-sounding headphones that use premium materials and stay comfortable for hours at a time seldom come cheap – and in all of these respects the Final Audio are right on the money.

If they could muster a little more sonic vigour in those instances when it’s essential their case would be watertight…

  • Value score: 4/5

Close ups of the Final DX3000CL with a hi-res digital audio player, showing the ear cups, arm and screen on the player, all on beige background

(Image credit: Future)

Should I buy theFinal Audio DX3000CL?

Section

Notes

Score

Features

All necessary features present and correct – and painstaking trouble has been taken over them too

5/5

Sound quality

Fantastic insight, detail and organisation, but could sound a touch more dynamically engaged and engaging

4/5

Design

Elegant, simplistic, clean and understated

5/5

Value

Excellent in most aspects, just a shade off the best-in-class for sonic vigour

4/5

Buy them if...

You value sonic insight
There isn’t a detail in a recording, no matter how tiny, that seems capable of eluding the DX3000CL

You like mildly unusual things
For all that it’s a fully credible brand, it seems that Final Audio is not all that many people’s default choice

You have some premium source equipment
The appearance of a 4.4mm balanced cable termination lets you know these headphones were designed to work with your more upmarket sources of music

Don't buy them if...

Your head is on the wide side
The last thing you need is for your head to seem wider still, but the DX3000CL are among the widest designs around

You particularly value dynamism and drive
The Final Audio do lots of things very well indeed, but they are neither the most dynamic nor the most attack headphones you can buy

You’re a frequency flyer
These headphones don’t come supplied with a case or even a bag - which is a bit of an oversight to be honest

Final Audio DX3000CL review: Also consider

Final DX3000CL

FiiO FT5

Sennheiser HD-660 S2

Price

$599 / £549 / AU$1099

$449 / £429 / AU$799

$599 / £499 / AU$949

Drivers

40mm paper/carbon composite dynamic

90mm planar magnetic (open-back)

38mm (open-back)

Weight

410g

456g

260g

Cable length

2m

1.5m

1.8m

Impedance

37Ω

36Ω nominal

300Ω

Sensitivity

96dB/wm

96dB/mW @1kHz

104dB

Sennheiser HD-660 S2
Want something super-light on your head? These open-backed Sennheisers might be just the ticket. They're a little older, having been unveiled in March 2023, but in the realms of wired audio and your mixing suite that's hardly an issue…
Read our full Sennheiser HD-660S2 review

FiiO FT5
The cable's a half meter shorter than the Final, at 1.5m rather than 2m, but the 90mm planar magnetic drivers are the star of the show – and do note the this is also an open-backed option. If you want faithful neutrality, do go for the Final, but if you want a bit more excitement and oomph, give these an immediate spot on your shortlist.
See our FiiO FT5 review for more

How I tested the Final Audio DX3000CL

  • Connected to a number of sources using both terminations
  • With many different music storage formats
  • With many different genres and styles of music

I connect the Final Audio DX3000CL to my iFi iDSD Diablo 2 headphone amp/DAC using the 4.4mm input – the iFi is connected to an Apple MacBook Pro and to an iPhone 14 Pro. I also connect them to a FiiO M15S digital audio player using the machine’s 4.4mm socket.

To listen to vinyl I connect the headphones to a Naim Uniti Star connected to a Technics SL-1300G – but it only has a 3.5mm headphone socket, so an ugly combination of the 4.4mm jack fitted with its 6.3mm adapter, in turn fitted to a 6.3mm-to-3.5mm adapter, is required.

Rotel’s bijou integrated amp is small but mighty —and it became my system’s pint-sized powerhouse
4:30 pm | December 31, 2025
Author: admin | Category: Audio Computers Gadgets Hi-Fi | Comments: Off

Rotel DX-5: Two-minute review

The Rotel DX-5 is a compact, beautifully constructed and very nicely designed stereo integrated amplifier with the emphasis firmly on digital sources of sound. It looks and feels good, it’s quite obviously built to last, and it’s specified to handle hi-res sources via its USB, coaxial and optical inputs as well as TV sound thanks to its HDMI ARC socket. A single line-level analog input deals with your properly legacy equipment (but not a turntable unless it’s pre-amplified).

Because it’s not a network device, it doesn’t have a control app. It has a remote control, though, which looks and feels just as swish as the device it’s controlling – but is more dependent on line-of-sight to the device it’s controlling than is the norm, and by quite a distance.

Sound quality is straightforwardly impressive. The DX-5 is an open, revealing and entertaining listen, one that has a real facility with dynamics and can express rhythms confidently. It retains and contextualise all the detail in a recording, has nicely even frequency response and is adept at unifying a recording even at the same time that it can pick it apart for your inspection. It demands you spend some time considering system-matching, because it’s quite assertive at the top of the frequency range – but other than that, its sound is no kind of chore to enjoy.

Rotel DX-5 review: Price and release date

Rotel's DX-5 integrated amp in silver on a light gray table, with the amp's remote visible

(Image credit: Simon Lucas / Future)
  • Released in April 2025
  • Priced $1,499 / £1,399 / AU$2,199

The Rotel DX-5 is on sale now, and in the United Kingdom it sells for £1,399. In the United States the going rate is $1,499, while in Australia you’ll have to part with AU$2,199.

This is not hair-raising money for an integrated stereo amplifier from a renowned brand, but it’s quite stiff if you apply the ‘physical stuff/asking price’ ratio…

Rotel's DX-5 integrated amp in silver on a light gray table, with the amp's remote visible

(Image credit: Simon Lucas / Future)

Rotel DX-5 review: Features

  • ESS Sabre ES9039Q2M DAC
  • Digital inputs outnumber analog inputs
  • 25W per channel into 8 ohms

There’s not a huge amount of space inside the Rotel DX-5, but it seems fair to say it’s been utilised to something approaching ‘the maximum’.

Under the lid, the most space-hungry element is the high-current toroidal transformer – it’s wound in-house, and can churn out 25W of Class AB power per channel into an 8-ohm load (rising to 33 watts per channel into 4 ohms). The crucial business of digital-to-analog conversion is handled by the deeply fashionable ESS Sabre ES9039Q2M chipset – it supports 32bit/384kHz PCM and DSD512 via the amplifier’s USB-B input (some source devices will need a driver to be installed, but not all) and 24bit/192kHz PCM via its coaxial and optical inputs. The DX-5 is certified Roon Tested, and Rotel suggests the machine is capable of a considerable 10Hz - 80kHz frequency response. It’s also claiming vanishingly low intermodulation distortion and signal-to-noise ratio numbers at the same time.

The three digital inputs I’ve already mentioned line up alongside an HDMI ARC socket and a single line-level analogue input accessed via a pair of stereo RCA inputs. Outputs amount to a pair of speaker cable binding posts, a pre-out for use with a subwoofer, and a fascia-mounted 6.3mm headphone socket. Wireless connectivity is handled by Bluetooth, and here it’s compatible with SBC, AAC and aptX HD codecs. A small, discreet Bluetooth aerial is integrated into the rear of the chassis.

The strong implication, then, is that yours is an overwhelmingly digital set-up – and, what’s more, a set-up in which your source devices don’t have digital-to-analog conversion circuitry that can lay a glove on the DX-5’s. That may well be true, but nevertheless it might be nice to see a second analog input if only for flexibility’s sake. The omission of a phono stage for use with a turntable is more understandable, though, despite the record player’s sudden front-and-centre position in any modern stereo system – keeping costs and physical dimensions down do rather make it a bit of a non-starter.

Features score: 4.5 / 5

Rotel's DX-5 integrated amp in silver on a light gray table, with the amp's remote visible

(Image credit: Simon Lucas / Future)

Rotel DX-5 review: Sound quality

  • Open, detailed and properly defined presentation
  • Equally adept with rhythms and dynamics
  • Requires some system-matching in order to play nicely

It might be worth starting with the one area where the Rotel DX-5 is anything less than entirely easy to enjoy – this way I’ll be able to finish on a long and enthusiastic high… In the simplest terms, the DX-5 needs a greater degree of care taken with system-matching than many of its price-comparable rivals.

Sources of music or loudspeakers that count ‘high-frequency excitability’ among their attributes will find this trait compounded by the DX-5 – and if the Rotel is part of an entire system that shares this kind of emphasis, you may end up with rather too much of a good thing. Even a tonally warm recording like Otis Redding’s That’s What My Heart Needs enjoys plenty of shine at the top of the frequency range, and unhelpfully trebly tunes like FKA twigs’ Cheap Hotel could conceivably become problematic in a properly unsympathetic set-up. A moment or two spent ensuring you’re not going to provoke the Rotel is time well spent.

But with that out of the way, I think it’s safe to say the remaining news is good without qualification. From the deep and carefully shaped low frequencies to the top end, the tonality of the DX-5 is consistent and even (provided you’ve paid attention to the previous paragraph), and quite carefully neutral – it’s able to describe the fundamental tone of a recording without meaningfully sticking its oar in.

And the same is true of frequency response, again from the very bottom to the very top of the frequency range: the bottom end is detailed and textured, and so well-controlled where onset attack is concerned that the Rotel expresses rhythms with real confidence. The midrange is similarly informative and similarly articulate, and there’s a directness to the way the DX-5 delivers the voices of the two vocalists I’ve already mentioned that makes them sound positive and eloquent. The top end is similarly accomplished in this respect – it’s just as packed with information as the rest of the frequency range, and receives just as much emphasis and drive.

All this good stuff takes place on a large, well-defined and easy-to-understand soundstage – even a fairly complex recording like Bath is Black by Marika Hackman is organised to the point that it’s simple to follow. Each individual element gets the necessary space in which to express itself – but the DX-5 is also able to let these elements cohere into a unified whole. There’s a sense of togetherness that’s not always available when an amplifier is as capable of separation and focus as this one.

The dynamic variation in this recording, where attack, intensity and sheer volume are concerned, is identified and contextualised carefully, and the smaller harmonic variations are given the correct amount of weight too. The Rotel is very talented in this regard, and can put very worthwhile distance between ‘quiet’ and ‘loud’ despite what is, on paper at least, a less-than-promising amount of power on which it can call.

But it’s the facility with detail retrieval that I’ve already referred to that’s possibly the single most impressive thing about the way this amplifier goes about things. From the broad strokes to the most minor transients, it can locate and position any details in a recording in the most naturalistic and convincing manner – which means you’re never in any doubt as to whether or not you’re getting the complete picture.

Sound quality: 4.5 / 5

Rotel's DX-5 integrated amp in silver on a light gray table, with the amp's remote visible

(Image credit: Simon Lucas / Future)

Rotel DX-5 review: Design

  • 76 x 215 x 251mm (HxWxD)
  • Anodised aluminium construction
  • Black or silver finish

There may not be all that much of it (it’s a titchy 76 x 215 x 251mm, HxWxD), but what there is of the Rotel DX-5 is nicely designed and flawlessly built.

It uses a luxurious amount of anodised aluminium in its construction, and is a visually and tactile treat no matter which of the black or silver finishes you choose. The industrial design is sophisticated, and nice little touches like the knurling of the volume control and the confidently embossed ‘R’ on the ventilated top of the box don’t do any harm either.

As the asking price demands, the DX-5 is built and finished to an extremely high standard. Nothing about the design or construction of this device suggests a single penny has been pinched, and it feels ready to last for the long haul.

Design score: 5 / 5

Rotel's DX-5 integrated amp in silver on a light gray table, with the amp's remote visible

(Image credit: Simon Lucas / Future)

Rotel DX-5 review: Usability and setup

  • Full-colour TFT display
  • Heavy, luxurious and unhelpful remote control
  • A (very) few physical controls

This is not a wi-fi -enabled device, and so there’s no control app. Getting what you want from the Rotel is done the old-fashioned way.

There’s a big, bright, crisp TFT display in the centre of the fascia – it features an indication of volume level, confirmation of selected input, and some reasonably in-depth set-up menus too. It also has a ‘source selection’ button embedded in its bottom left, opposite the 6.3mm headphone output. There’s an illuminated ‘power’ button on the left of the fascia, and a big, tactile volume dial on the right.

The DX-5 can also be operated using a remote control handset that’s a weird combination of ‘sky-high perceived value’ and ‘marginal usefulness’. Its weighty aluminium construction, sensible button layout and nicely judged dimensions all fall into the first category, while its absolute insistence on being pointed precisely at the sensor on the fascia in order to operate falls strongly into the second. If there’s a remote control that’s more dependent on pin-point line-of-sight in order to be of any use, I’ve yet to encounter it.

Usability and setup score: 3 / 5

Rotel DX-5 review: Value

If it’s the amount of stuff your money buys that’s important, then the DX-5 obviously doesn’t represent the same sort of value for money as an alternative that uses much more metal.

Its specification could be said to be slightly lacking, too, if you squint. But if you concentrate on the quality of componentry, the sophisticated nature of its design, its bank-vault build quality and its lavishly detailed, wide-open sound, there’s unarguable value on offer here. Best not to dwell on the remote control, though…

Value score: 4 / 5

Should I buy the Rotel DX-5?

Attributes

Notes

Rating

Features

Stuffed to the gills, just one more analog input might have meant full marks

4.5/5

Design

Luxurious anodised aluminium – a tactile treat!

5/5

Sound quality

Consistent, even, neutral, faithfully detailed (just get the system-matching right)

4.5/5

Value

If you want more physical product for your money, it's a tough sell. We all know that's not always the point though

4/5

Buy it if...

Your system is mostly digital
Physical and wireless digital inputs outnumber the analogue equivalent by quite a margin

You admire understated industrial design
There’s nothing shouty about the design here, and it makes the perceived value of the DX-5 all the greater

You enjoy entertaining, insightful sound
Not every amplifier combines forensic levels of detail retrieval with an overall attitude of uncomplicated musicality, but this one does

Don't buy it if...

You’ve more than a single analog source
There are numerous amplifiers that will suit your analog ways better than this one

You don’t have particularly steady hands
The remote control handset insists on being pointed precisely at the IR receiver on the amp’s fasciaView Deal

Your system is already happy to fully attack high-frequency information
Unsympathetic partners in the system, and/or unsympathetically recorded music, can bring the Rotel’s treble reproduction to the foreView Deal

Rotel DX-5 review: Also consider

If you like the Rotel’s dinky dimensions, will happily trade a USB input for a phono stage, and will forgo some tactility in exchange for a more aggressive price tag, the Rega’s excellent Brio mk7 ($1,095 / £799) could be just the ticket. It’s a punchily exciting listen, but capable of deft insight at the same time. Or if you want to retain the size but hang the expense, then Cyrus (who could fairly lay claim to having the idea of full-on sound from a half-pint box in the first place) has just launched its $4,995 / £3,995 AMP 40 – and it’s a bravura performer in every respect.

How I tested the Rotel DX-5

I connected the Rotel DX-5 to a pair of Bowers & Wilkins 606 S3 Signature loudspeakers using Chord Company Clearway X speaker cable. I used my Naim Uniti Star as a streamer and a CD player (attached to the sole analog input, of course) and plugged my Colibri-enhanced Apple MacBook Pro into the USB-B socket to get the highest-resolution content possible on board.

And then I listened to lots of music, of many genres and of many file-types and -sizes – probably for longer than was absolutely necessary…

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